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Revisiting Peach Blossom Spring: A Quest for Authenticity and New Subjectivity in A Rural Tourism Landscape of the Dabie Mountains Ƥ ȋ Ȍ Ǧ ȁ Ǥ ǯ ȁ ȁ ȁ ǣ ǡ

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Page 1: 20140808 ran xiao thesis in spreads compressed

Revisiting Peach Blossom Spring A Quest for Authenticity and New Subjectivity in A Rural Tourism Landscape of the Dabie Mountains

ƤȋȌǦ

ȁǤǯȁȁ13ȁǣǡ

32

AcknowledgementUacuteǡǦǡ13ǡǦǤǦǤ

ǡƤǤ

ƤǤ

4

ǡ Ƥǡ Ǥ Ǥ ǡ Ǥ -Ǥ -ǡƪǯǡ ǡǤơǤ

ǣǡǤƤ-ǡ-Ǥǡ Ǥ Ǥ

Dz -ǡdz Ǥ - ǡ Ǣ - - Ǥ ƥƤǤǡǤ

Ƥǡ ǡ Ǥ Ǣ ǤǤƤǤ-ƤơǢ Ǥ

Ǥ- Ƥ - Ǥ ǡǤ ƤǤǢǦ Ǥ

Ǧ ǯ ȏǦȐǦƤǤǡ ǡǤ

Ǥ ǡƪǡǡƤǤ

ProloguebyTao Qian (Ćĉ376-427)

ƤǤ

Ǧ ơƤǤǡ -Ǥ DzǤdz1

ǤǡǡǣȋǣǡȌǡǤǦ

9

3

Ǥ

Ǥ

Ǥ

Ǥ

ǤȀ

Ǥ

Ǥ

Ǥ

Ǥ

Ǥ

Contents

1110

ȋȌ ǤǡǤǦǤ

ǮǯǤǡ ǦǡǦ ǡ Ǥ ǡǦǡǤǦǤǡǡǤ

13

Introductionǡǡ Ǥ ǤǡǤǤǡǦǤǮǦǯǤ

ǡǤǡǡǮǯƥǤǦ ǦǤƤǡǤ

ǡǦǡǦǤǡ andǤǡǡǡǤ

ǡƤǡǤǡǦǡǡǤǡǤƤƤƤǦǤǡơǤ

ǯǡ2009-2015 ȋǣǡȌǡ

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 2: 20140808 ran xiao thesis in spreads compressed

32

AcknowledgementUacuteǡǦǡ13ǡǦǤǦǤ

ǡƤǤ

ƤǤ

4

ǡ Ƥǡ Ǥ Ǥ ǡ Ǥ -Ǥ -ǡƪǯǡ ǡǤơǤ

ǣǡǤƤ-ǡ-Ǥǡ Ǥ Ǥ

Dz -ǡdz Ǥ - ǡ Ǣ - - Ǥ ƥƤǤǡǤ

Ƥǡ ǡ Ǥ Ǣ ǤǤƤǤ-ƤơǢ Ǥ

Ǥ- Ƥ - Ǥ ǡǤ ƤǤǢǦ Ǥ

Ǧ ǯ ȏǦȐǦƤǤǡ ǡǤ

Ǥ ǡƪǡǡƤǤ

ProloguebyTao Qian (Ćĉ376-427)

ƤǤ

Ǧ ơƤǤǡ -Ǥ DzǤdz1

ǤǡǡǣȋǣǡȌǡǤǦ

9

3

Ǥ

Ǥ

Ǥ

Ǥ

ǤȀ

Ǥ

Ǥ

Ǥ

Ǥ

Ǥ

Contents

1110

ȋȌ ǤǡǤǦǤ

ǮǯǤǡ ǦǡǦ ǡ Ǥ ǡǦǡǤǦǤǡǡǤ

13

Introductionǡǡ Ǥ ǤǡǤǤǡǦǤǮǦǯǤ

ǡǤǡǡǮǯƥǤǦ ǦǤƤǡǤ

ǡǦǡǦǤǡ andǤǡǡǡǤ

ǡƤǡǤǡǦǡǡǤǡǤƤƤƤǦǤǡơǤ

ǯǡ2009-2015 ȋǣǡȌǡ

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 3: 20140808 ran xiao thesis in spreads compressed

4

ǡ Ƥǡ Ǥ Ǥ ǡ Ǥ -Ǥ -ǡƪǯǡ ǡǤơǤ

ǣǡǤƤ-ǡ-Ǥǡ Ǥ Ǥ

Dz -ǡdz Ǥ - ǡ Ǣ - - Ǥ ƥƤǤǡǤ

Ƥǡ ǡ Ǥ Ǣ ǤǤƤǤ-ƤơǢ Ǥ

Ǥ- Ƥ - Ǥ ǡǤ ƤǤǢǦ Ǥ

Ǧ ǯ ȏǦȐǦƤǤǡ ǡǤ

Ǥ ǡƪǡǡƤǤ

ProloguebyTao Qian (Ćĉ376-427)

ƤǤ

Ǧ ơƤǤǡ -Ǥ DzǤdz1

ǤǡǡǣȋǣǡȌǡǤǦ

9

3

Ǥ

Ǥ

Ǥ

Ǥ

ǤȀ

Ǥ

Ǥ

Ǥ

Ǥ

Ǥ

Contents

1110

ȋȌ ǤǡǤǦǤ

ǮǯǤǡ ǦǡǦ ǡ Ǥ ǡǦǡǤǦǤǡǡǤ

13

Introductionǡǡ Ǥ ǤǡǤǤǡǦǤǮǦǯǤ

ǡǤǡǡǮǯƥǤǦ ǦǤƤǡǤ

ǡǦǡǦǤǡ andǤǡǡǡǤ

ǡƤǡǤǡǦǡǡǤǡǤƤƤƤǦǤǡơǤ

ǯǡ2009-2015 ȋǣǡȌǡ

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 4: 20140808 ran xiao thesis in spreads compressed

9

3

Ǥ

Ǥ

Ǥ

Ǥ

ǤȀ

Ǥ

Ǥ

Ǥ

Ǥ

Ǥ

Contents

1110

ȋȌ ǤǡǤǦǤ

ǮǯǤǡ ǦǡǦ ǡ Ǥ ǡǦǡǤǦǤǡǡǤ

13

Introductionǡǡ Ǥ ǤǡǤǤǡǦǤǮǦǯǤ

ǡǤǡǡǮǯƥǤǦ ǦǤƤǡǤ

ǡǦǡǦǤǡ andǤǡǡǡǤ

ǡƤǡǤǡǦǡǡǤǡǤƤƤƤǦǤǡơǤ

ǯǡ2009-2015 ȋǣǡȌǡ

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 5: 20140808 ran xiao thesis in spreads compressed

1110

ȋȌ ǤǡǤǦǤ

ǮǯǤǡ ǦǡǦ ǡ Ǥ ǡǦǡǤǦǤǡǡǤ

13

Introductionǡǡ Ǥ ǤǡǤǤǡǦǤǮǦǯǤ

ǡǤǡǡǮǯƥǤǦ ǦǤƤǡǤ

ǡǦǡǦǤǡ andǤǡǡǡǤ

ǡƤǡǤǡǦǡǡǤǡǤƤƤƤǦǤǡơǤ

ǯǡ2009-2015 ȋǣǡȌǡ

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 6: 20140808 ran xiao thesis in spreads compressed

13

Introductionǡǡ Ǥ ǤǡǤǤǡǦǤǮǦǯǤ

ǡǤǡǡǮǯƥǤǦ ǦǤƤǡǤ

ǡǦǡǦǤǡ andǤǡǡǡǤ

ǡƤǡǤǡǦǡǡǤǡǤƤƤƤǦǤǡơǤ

ǯǡ2009-2015 ȋǣǡȌǡ

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 7: 20140808 ran xiao thesis in spreads compressed

1514

Abstract15

10 km

S5 MOTORWAY

YINGSHANCOUNTY

YINGSHANCOUNTY SEAT

TOWNSHIP OFCAOPANDI

TAOHUACHONGȍȎ

FOREST PARK

AN

HU

I PR

OV

INC

EA

NH

UI PR

OVINCE

HU

BEI PRO

VIN

CE

TH

E YANGTZE

THE D

AB

IE MO

UN

TAIN

S

XISHUI COUNTY

HUANGGANGCITY

ErsquoZHOUCITY

LUOTIAN COUNTY

MACHENG CITY

WUHAN CITY

HU

BEI PRO

VINCE

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 8: 20140808 ran xiao thesis in spreads compressed

16

Township of Caopandi

The East River Valle

y

To Taohuachong

Forest Park

To the County Seat of Yingshan

and S5 Motorway

A satellite image of Caopandi

Zhanhe Reservoir

Xihong Reservoir

Xih

ong

Rive

r Val

ley

17

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 9: 20140808 ran xiao thesis in spreads compressed

1918

A Brief History of Transformation of Local Landscape

Deep in the Dabie mountains the picturesque landscape of rolling mountains and river valleys of Yingshan county seems natural However beneath this pic-ǡơǤEspecially in recent history the local landscape was drastically transformed A review of the social political and economic causes of the transformation will form the historical basis of this thesis It is instrumental to the understanding of the impending transformation of the local landscape to a tourism destination

Landscape of Caopandi

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 10: 20140808 ran xiao thesis in spreads compressed

2120

The mountains were covered by temperate forests and the valleys were inhab-

ited by a agrarian community The county seat of Yingshan was established in

Song dynasty in 1270 A constitute part of the county the village town of Cao-

ƪƪǤǡƪ-ǡƪǤƪrisk

Terracing has been a vernacular agrarian practice to acquire additional arable

land since record begins As a result lower hills adjacent to densely populated

Ƥǡproviding as much as 20 of arable land in the county1 However the soil con-

Ƥ ƪơa particularly serious threat in a mountainous subtropical monsoon climate To

retain the precious soil on terraces farmers built stone retaining walls and dug

ơǤlocal community The ecosystem of the forests also provided game and herbal

medicine The only major threats to the forests were from extreme weather con-

ƤǤ

Local landscape prior to 1950 was still largely in a natural state of agroforestry a

result of gradual transformation to meet simple needs of an agrarian economy

before the advances in industrialisation and modern technology

1 Kaiwen Chen ed Yingshan Annals (Beijing Zhonghua Book Compa-

ny 1998)

A NATURAL AGROFORESTRY LANDSCAPE

A historic map of Yingshan from 1920 shows

the mountains rivers valleys roads villages

and towns

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 11: 20140808 ran xiao thesis in spreads compressed

2322

MAN MUST CONQUER NATUREA departure from this natural state came shortly after the Chinese Communist Party defeated Kuomingtang in 1949 and established the Peoplersquos Republic of China government in Beijing Mao and the Communist Party aims to build a new China based on communist principles In the 1950s Soviet-styled plans for rapid development of heavy industrialisation were introduced in China which pioneered a utopian agenda in Maorsquos era His philosophy held that through con-centrated exertion of human will and energy material conditions could be al-ƥearth to build a socialist utopia1 This philosophy was coined by Maorsquos deliberate misinterpretation of a Confucian phrase ren din sheng tian which originally em-phasised the power of manrsquos will in changing the objective world around him In Maorsquos interpretation it is better translated as man must conquer nature

ldquoTo struggle against the heavens is endless joy to struggle against the earth is endless joy to struggle against people is endless joyrdquo2

Such phrases were used in the Great Leap Forward an economic and social campaign to transform China into a communist society through rapid industri-alisation and collectivisation from 1958 to 1961 Collectivisation in rural parts of China took the form of Peoplersquos Communes In 1958 a major national objective of the campaign was to surpass Great Britain in terms of steel production All of the communes in Yingshan county were mobilised Backyard furnaces were built regardless of location or availability of resources to produce steel In Yingshan 6 ǡƤepisode of deforestation It was shortly followed by another episode from 1960-1962 when forests were cut down to create additional arable land for the new communes which collectivised all agricultural activities3

In 1964 under the pressure of natural disasters and international isolation after the split with the Soviet Union Mao renewed his campaign in rural China during the Cultural Revolution with the model village Da Zhai The national propaganda of Da Zhai was to send a domestic political message of a non-reliant and self-de-pendant spirit

Located in Shanxirsquos mountainous Xiyang County Da Zhai attracted notice in Au-ǡǡƪǤ-retary Chen Yonggui refused state relief and declared it would rebuild without help In addition he promised it would continue to contribute grain to the state

1 Judith Shapiro Maorsquos War Against Nature Politics and the Environment in Revolutionary China Studies in Environment and History (Cambridge Cam-bridge University Press 2001) p 32 Maorsquos poetry as quoted ibid p93 Chen p83

Landscape Transformation during Maorsquos era

1 kilometre

River diversion project

Zhanhe Reservoir

Xihong Reservoir

Honghua Reservoir

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 12: 20140808 ran xiao thesis in spreads compressed

2524

Chen led the commune of Da Zhai in a series of landscape and infrastructural works to improve agricultural conditions Subsequently it achieved high level of production in the following years and became a national model The Da Zhai model focused on increasing arable land area and provision of reliable irrigation system It was achieved through intensive terracing of mountains and construc-tion of a dam numerous reservoirs and extensive irrigation channels

These measures were replicated in many parts of rural China including Yingshan ơǤƤneat stone work took place in some local communes however the scale was lim-ited by the availability of labour The campaign also mobilised nine local com-munes to start construction on their own small sized dams in 1965 However ƪǤCultural Revolution in the 1970s that larger dams were built with more sophis-ƪ-shan The building of the dams in the county submerged large area of forests By 1985 after all constructions of the Maorsquos era ended forest coverage dropped to 454 from 685 in 1940s1

The largest project of this era in Caopandi is the construction of the Honghua reservoir and dam As a precursor to the project a tributary of the East River was diverted through a manmade channel 150 metres wide at one point involving 30000 local labourers A tunnel was also dug out in a hill for the diversion The Ƥǡ-ƪǤǡto over 10000 acres of forest 140 acres of arable land and the relocation of 850 villagers were accounted for the construction

Apart from the physical legacies evidently seen locally there is also a cultural legacy from this era The rhetoric of man must conquer nature (ಭๆȌƤintroduced in a speech by Mao in 1945 with a reference to a fable the Foolish Old Man Removes the Mountains

ldquoThe Foolish Old man Removes the Mountains tells the story of an old man of 90 years who lived near a pair of mountains He was annoyed by the obstruction caused by the mountain and sought to dig through them with hoes and baskets When questioned as to seemingly impossible na-ǡƤthe task in his lifetime through the hard work of himself his children and their children and so on through the many generations some day the mountains would be removed if he persevered The gods in Heaven impressed with his hard work and perseverance ordered the mountains separatedrdquo

Although the original context of Maorsquos speech was the removal of the two mountains of imperialism and feudalism the fable was later interpreted more literally in various campaigns against nature Maorsquos political campaigns not only transformed the physical rural landscape but also politicised it It succeeded by adapting his highly potent narrative that is both historical and modern The rhetoric represented a Maoist relationship with nature an animosity towards ƪǡwhich became the cultural legacy from this era Ten years after the last Maoist ǡƤ ǡthe then governor of Yingshan Nie Lijun wrote in a Maoist rhetoric

1 Lie Zi Tang Wen (4th century BC) quoted in Shapiro p 56

Construction of a channel in Caopandi to divert a river involving at one point 30000 people

A PERSISTANT MAOIST NARRATIVE

Xu Beihong The Old Man Who Moved the Moun-tain 1940 ink and colour on paper Xu Beihong Memorial Museum

Original course of the

river

BulwalkBulwalk

Tunnel

Diverted course of

the river

Fields Created

Part of the river diversion project in Caopandi

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 13: 20140808 ran xiao thesis in spreads compressed

2726

LAND TO THE TILLERS

The Collapsed tunnel in 2014

ldquoSince the establishment of new China every county government led by the county Communist Party Council led the people of Yingshan in the Ƥ ǣhills to plant trees and forests damming the valleys to build hydraulic infrastructure parting steep mountains to build roads and bridgeshellipThe heroic people gained the thriving conditions of today with their sweat and bloodrdquo1

Nevertheless the Peoplersquos Communes were gradually disbanded and replaced by the Household Responsibility System (HRS) as part of nationwide marketisa-tion reform since 1978 Individual households were guaranteed long term rights of designated use and management of farmland and forest which are secured by leases from village collectives From 1979-2008 China saw its agricultural an-nual average growth rate of 44 percent This is largely attributed to the drastic enhancement in peasantrsquos interests and rights in agriculture and the marketisa-tion measures that increased incentives to peasants a reform that is hailed as land to the tillers2

Paradoxically the HRS has not contributed to scaled farming and production and has contributed to inadequacy of public service provision In Yingshan Coun-ty the average arable land area per person is a meagre 06 mu (01 acre) Pre-viously communally managed land was redistributed to families who manage their farms individually It has resulted in the fragmentation of agricultural activ-ities which limits the scale of production and therefore inhibit further improve-ment in productivity The HRS has also resulted in an extreme version of decen-ǡǡơcollective action by the peasants to use the land sustainably and to defend their rights3

Ƥǡơdesignated for rural residential construction The constructional land is legal-ǡơlegal status from farmland and forests managed under the HRS But its frag-mentation and decentralised planning is similar to that of farmland Especially outside the neighbourhoods (ധ౼) densely populated areas that were deemed more urban than rural local farmers were usually free to use their constructional land without any restriction Due to a lack of public service provision the space in-between the constructional plots fell into neglect Infrastructure such as road and drainage was inadequately funded thus usually had to be built with private ơǤ

Much of the previous infrastructure built by the Peoplersquos Communes also grad-ually fell into disrepair after the marketisation reforms In 1997 half the small irrigation projects built during the Da Zhai campaign were decommissioned due to prolonged problems The heroic tunnel in the hill that channels the diverted river collapse in 2012 a emblematic scene of the fragmented landscape

Another part of the marketisation reform since 1978 was the liberalisation of the domestic labour market As a result the urbanised population has steadily risen partly due to immigration from rural areas to expanding urban centres Statistics

1 Chen p32 Yongjun Zhao Chinarsquos Disappearing Countryside Towards Sustainable Land Governance for the Poor (Farnham Ashgate 2013) p533 Ibid p54

A framented landscape in Caopandi

GETTING RICH IS GLORIOUS

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 14: 20140808 ran xiao thesis in spreads compressed

2928

The post-productive landscape in Caopandi

shows that excluding migrant workers by 2011 513 of Chinese population resides permanently in urban areas a big increase from under 30 in 1995 In addition it is estimated that there will be 242 million migrant workers in China by 2020 accounting for about one third of the rural workforce1

In Yingshan County rural populations dropped from 334466 in 1982 to circa 333000 in 2012 despite a population growth nationally of over 25 during the same period2 Local rural labour is largely drawn to two of the biggest ur-ban centres in China the Pearl River Delta and the Yangtze Delta Metropolitan Area which includes Shanghai Nanjing and Hangzhou A key drive of such mi-gration is economical The typical wages of a farmer as a migrant worker in the two urban areas are several times higher than agricultural income of the same ǤƤ-tion drain In addition many households also have children attending secondary schools in the urbanised county seats that provide boarding for children who live far away The remaining population consists disproportionate of young children and elder grandparents

Such social and economic change is evident in the landscape Most families in Caopandi have rebuilt their family homes with the earnings in the cities The lav-ish westernised decorative detailing on the facade commonly seen in Chinese cities is highly popular As many farmers work in the construction industry in the cities the self-built houses adopted multi-storey reinforced concrete frame structures The remittance from migrant workers forms the majority of a typical family income while agriculture loses its economic priority in the households Many families only farm for food to meet their own sustenance and have aban-doned labour intensive practices especially after the abolishment of agriculture ǤƤǡǡin the less accessible parts of the mountains

In 1985 as part of the HRS the management of a majority of forests was trans-ferred into households with logging restrictions applied Since then many for-ests started to recover In 2002 the county government implemented the na-tional policy of Returning Farmland to Forest subsidising reforestation of poor quality farmland on steep slopes Local farmers took on opportunities to culti-vate fast growth timber and other cash crop species on steep terraces However this reforestation campaign has had mixed results due to the lack of market en-try of forestry products for smallholders Many of these ventures into cash crops were driven by short term economic gain instead of long term planning An or-chard previously planted with chestnut trees for 10 years for example could be cut down due to a fall in chestnut prices and lack of processing facilities - and replanted with Oil-seed Camellia which is a more valuable product currently

ƤǡǦ ǡ -lapidated agricultural infrastructure the patchy orchards on the foothills are all signs of a post-productive landscape a landscape that needs new transforma-tion to sustain its rural community and agrarian lifestyle in the national context of demographic and social-economic changes

1 State Council Research report on Chinese migrant workers (ᇖݚୱן

ကИ (Beijing Shiyan Chubanshe 2006) p32 Chen p68 also Department of Comprehensive Statistics and Depart-ment of Rural Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012 (Beijing China Statistics Press 2012)

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 15: 20140808 ran xiao thesis in spreads compressed

3130

TOWARDS A LEISURE LANDSCAPE

Transformation to revitalise the post-productive agrarian landscape is promised by rural tourism development The burgeoning urban middle class has a fast growing desire for tourism The mountainous county of Yingshan is less than 2 hours away from Wuhan a provincial capital of over 8 million residents Over ǡƤǤ1 Rural tourism is welcomed as a nascent industry by the local government as it not only holds potential of inward investment but also of sustainable economic development by providing local employment opportunities in tourism services In addition it could also help to grow a local market for upgraded agricultural products to ca-ter for the tourists

Before examining the promises and recent developments of rural tourism in Caopandi the next chapter sets on to explore another issue closely related to the transformation of landscape - the representation of landscape It will form an essential argument of this thesis that representation should not be seen as an innocent reproduction of the real world but a prime mechanism to transform the real landscape

1 Press release from Tourism Authority of Yingshan County (httpwwwyshlycnly1899ciyeasp424185062424242439012024242424241html) accessed 24th July 2014

Sign of a nascent industry in Caopandi

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

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TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

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LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

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ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

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87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 16: 20140808 ran xiao thesis in spreads compressed

3332

Landscape and ItsRepresentation

ldquoLandscape painting is best understoodhellipnot as the uniquely central medium that gives us access to ways of seeing landscape but as a representation of something that is already a representation in its own righthelliplandscape is itself a physical and multi sensory mediumhellipin which cultural meanings and values are encoded whether they are put there by the physical transformation of a place in landscape gardening and architecture or found in a place formed as we say DzǤdzǥƤǡbefore it becomes the subject of pictorial representationrdquo1

In Mitchellrsquos terms the representation of landscape is an instrument or an agent of power It is a particularly interesting suggestion for architecture and mas-terplanning in a landscape In the political campaigns of Yingshan and in more distant history of Chinese landscape art examples of such representation can be observed They provide a valuable lesson not only about the mechanism of representation in transforming landscape but also about representational tech-ơǤ

1 William J T Mitchell ed Landscape and Power 2nd ed (London University of Chicago Press 2002) p14A poster used in the Da Zhai cam-

paign

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

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TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

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LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

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ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

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87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 17: 20140808 ran xiao thesis in spreads compressed

3534

ǡǡǡƪƤdams landscape of Yingshan in Da Zhai spirit

At the centre of propaganda of Da Zhairsquos campaign standard posters were iAt the centre of propaganda of Da Zhairsquos campaign standard posters were issued illustrating an anonymous rural landscape being heroically transformed The posters often depicted in crayon colours a village populated by modern hydrau-lic infrastructure and machinery surrounded by mountains all transformed into ƤǤǮǮǡ-toonistic version of the real Da Zhai but a utopian vision of landscape and agri-ǤǮ-ary rigour and fervourrsquo to transform the real landscape in rural China in its image

It is important to note the didactic use of these posters1 Understandably the mobilisation of tens of thousands of farmers in construction of a dam cannot be achieved by each of them reading technical drawings The posters provid-ơǡǤof photos of the results of the Da Zhai campaign in Yingshan was featured in the County Annals in 1998 The photographs are reminiscent of the portrayal of Da Zhai in the posters showing meticulously constructed terraces heroic ǡǡƪƤǤ ǡƪƪpaved bulwark of the water channel were conscious aesthetic choices based on Ǥơreal landscape had been transformed

Another set of posters relating to the model village of Mao Tian in Yueyang County Hunan Province was produced as a supporting campaign of Da Zhai Distinctively created in the traditional hanging scroll format the posters were ơǤ-mat composition and the portrayal of trees and mountains of these posters are very traditional

ƪ from 1949-1979 The communist art policy based itself on Maorsquos Yanrsquoan talks in 1942 to ensure that literature and art became a component of the whole revo-lutionary machinery To achieve this goal artists and writers needed to be more aware of their roles in the revolution They needed to identify with the masses and with the CCP they needed to be clear that their audience was the workers peasants and soldiers The Yanrsquoan talk politicised art as an agent in the commu-nist revolution although it did not prescribe a particular style of art as revolu-tionary It was left to be debated among the artist community2

At the central of this debate is an issue of guohua or Chinese Paintings A group 13 ǮƤ ǯ western tradition as a basis of new art in communist China and destruction of the old But they were defeated in the debate by another group of reformist who accept the legacy of Chinese paintings but remould its contents and new formsPoet Ai Qing represented the latter group His speech in 1953 became a key doc-ument of the reformist On landscape tradition he expressed

1 Stefan R Landsberger lsquoThe Rise and Fall of the Chinese Propaganda Posterrsquo in Chinese Propaganda Posters ed by Benedikt Taschen (Koumlln Taschen 2003) p 162 13Ǥǡ Painters and Politics in the Peoplersquos Republic of China 1949-1979 (London University of California Press 1994) p 19

GUOHUA REVIVAL OF A GREAT NATIONAL HERITAGE

DA ZHAI POSTERS

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 18: 20140808 ran xiao thesis in spreads compressed

3736

Mao Tian Posters

ldquoThe second problem is landscape painting Is it permissible to paint land-scapes I believe it is China is so large and has good mountains and good rivers everywhere If you paint well you will produce in people an intense love for their own landhellipTo be a great painter you must have thought and at least a clear awareness of your own work What am I giving to the people What do I wish to say to the people Under current conditions thoughtful painters are too few Chinese painting if it cannot escape the Ǧ Dz dzƪ literati class will never have a futureldquo1

The political victory of the latter group came in 1958 for the reform of traditional Chinese painting Helped by border disputes with India and the Soviet Union in 1960 China started to become isolated and then responded with increasingly strident Chinese nationalism Guohua an indigenous forms of Chinese art be-came politically appropriate for no better reason than that it is Chinese2 An ex-ǡǡ painting This Land So Rich in Beauty a monumental painting decorated the Ǥƥǡ with concrete artistic questions previously involved themselves in this project Drawn according to a poem written by Mao in a late Tang dynasty format and ǯǡƪstatehood

This revival of guohua landscape paintings came as it became heavily politicised with a new nationalism Despite the fact that landscape always held a conno-tation of territory and dynastic legitimacy in China the new nationalism medi-ated by guohua Andrews suggested is more akin to the intensely nationalistic sentiments embodied by American landscape paintings of the late nineteenth century3 The versatility and vitality of guohua landscape as a medium of political ideas is notable

As Mitchell contends landscape as a cultural medium naturalises cultural and ǡƤinevitable and it also makes that representation operational by interpolating its beholder in some more or less determinate relation to its givenness of sight and site Thus in the political context of nationalism the reasons in applying guohua format in the Mao Tian posters become evident The landscape in the tradition-al format not only naturalised the radicalness of the utopian message but also Ǯǯ-ǮǯǤ4

1 Ai Qing KŶŚŝŶĞƐĞƉĂŝŶƟŶŐ(ฒᇖ߉ݚ) quoted in Andrew p112-p1182 Andrews p2323 Ibid p 2354 Mitchell p 2

This Land so Rich in Beauty (Draft)Colour on Paper H 302cm W 659cmNanjing Museum

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 19: 20140808 ran xiao thesis in spreads compressed

3938

An album of eight views of Yingshan published in 1920

A cockerel sculpture completed in 1998 in

In contrary to Ai Qingrsquos statement that traditional literati paintings only serves to ldquorelax the feelings and cultivate characterrdquo the medium of landscape paintings being appropriated in social and political context has a long tradition Since the Tang and Song dynasties landscape paintings started to prevail in Chinese art It overtook portrait paintings as an expression of class and knowledge of a new Ǥơan educated but non-aristocratic individuals could negotiate issues of personal worth in the absence of overt signs of rank and station1 In later dynasties a se-miotics of landscape paintings was gradually developed which served as a social instrument in the gifting exchange and exhibition of paintings2

ǡǮǦǦǯǤǮǯcertain region and each view given a poetic title the format follows the models ǦǦǡǯǦǤǦǦimposing a pattern of cultural references on a region previously thinly supplied with them and attributed high-culture values to the places while eschewing any faithful representation of them3

Ƥthe Republic of China They aim to supply the cultural backwater of Yingshan a cultural identity through the medium of artistic representation of its landscape ǣ Ǣ ǯ ǢǢǯǢơǢǯơǢTemple on Magu Rock Dark Clouds over Scarlet Inscription

ƤǮǯǡǮǯǤissues of translation of Jing () in traditional albums the Chinese notion of view or scenery is concerned with a realm created only by the feeling and imagination of beholder The views in the album do not provide accurate spatial information but dissolve the order of places through the viewerrsquos ideational engagement with the sceneries4ǡ-tal in the places one of the view indicates according to local legends but instead to engage in the imagination of such spiritual events in the scenery to enhance the experience with the help of the poetic narrative

ǡǡby tourism promotion by the local governments as a cultural narrative Two additional views were added in the promotional news pieces The Ten Views of Yingshan were promoted as tourist destinations and were packaged for theme Ǥnamed after the local Song dynasty inventor of movable types a large clumsy sculpture of cockerel was built to mark the view of Mount of Cockerelrsquos Crow in Ǥ

ϭ DĂƌƟŶWŽǁĞƌƐWhen Is a Landscape like a Bodyrsquo in Landscape Culture and Power in Chinese Society ed by Wen-Hsin Yeh (Berkeley Institute ǡǡȌǡǤ2 James Cahill Three Alternative Histories of Chinese Painting (Kansas City Spencer Museum of Art The University of Kansas 1988) p 383 Ibid p 644 Andong Lu Lost in Translation Modernist Impression of the Chinese Garden as Experiential Space and Its Assumptions in The Journal of Architec-ture 164 pp 499-527

EIGHT VIEWS OF YINGSHAN

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 20: 20140808 ran xiao thesis in spreads compressed

4140

REPRESENTATION AND NARRATIVE

development in China

Ƥ-ences eg the narrative of Maorsquos philosophy to every farmer in the commune the narrative of nationalism to the isolated Chinese people after the split with ǡƤgentry of Yingshan and the narrative of scenery beauty to investors and tour-ists They have manipulated the landscape through narratives which have their Ǥơarchitectrsquos plan in Lefebvrersquos terms a conceived space thought to be true by ǤƤabstraction against the real concrete space1 A similar critique was brought up by Scott in the process of representation any abstraction by a powerful new specialists in the form of land clerks surveyors planners and architects causes power shifting from the farmers to the specialists and their client whether it is the state in Maorsquos era or developers of today2

Two particular forms of representation are favoured by developers and local au-thorities today Plans are used as an important economic planning tool It ab-stracts the use of land density and infrastructure onto one drawing address-ing the interests of the investors together with that of the local state It is used with a narrative of economic promises Similarly the use of computer generated renders (CGI) also triumphs over any other forms of representation The super reality of CGI in terms of the forms and details is contrast with the inaccuracy of spatial qualities Its ambiguity can be exploited in the realisations of schemes The super realism of CGI is nonetheless used as a persuasive narrative The eas-iness of manipulating any landscape into any scenario is particularly beguiling It is sometimes used and abused without critical stance of existing conditions or concrete commitment for the future

1 Henri Lefebvre translated by Donald Nicholson-Smith dŚĞWƌŽĚƵĐƟŽŶof Space (Oxford Basil Blackwell 1991) p231

Ϯ ames C Scott Seeing Like a State (London Yale University Press 1998) p 48

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 21: 20140808 ran xiao thesis in spreads compressed

4342

A REPRESENTATION METHODOLOGY

ǡ -

tion is a key issue to be resolved critically in order to appropriately engage local

communities instead of subjugating them under abstractions of conventional

Ǥ ǡ Ǧ ǦǯǤǡ 1313used models intensively in consultation with local communities1

Such concerns have informed the methodology of the design element of this

thesis Realising the limitation of conventional drawings and CGIs the design

project set out to experiment with a new format of representation The base

drawing is set up as a three dimensional CAD model manipulated into an oblique

parallel projection view The pictorial vision similar to the traditional Chinese

landscape scroll format is a plain and straight forward way of representing land-

scape Yet it aims to invoke the sensitivity by engaging the observer to imagine

onersquos situation in the landscape like a traditional landscape scroll instead of pre-

senting a approximation of the real landscape as in CGIs or abstracting the de-

sign to a technical drawing which takes training to read properly The concerns

of representation were also carried into the design of buildings A methodology

of measuring and representing views of landscape was developed during the

course of the research This is detailed in the appendix

Nonetheless representation never just represents a set of design ideas but also

always participates in the design process Designing in this particular format pri-

oritises certain issues over others Less control is available over the exact meas-

urements and scale of architecture as the projection gives no scale So a mixed

working method - switching between the CAD model and the representation

drawing - is needed The representation feeds back to the CAD with pictorial

sceneries and engages in the local conditions more poetically in onersquos mind

while the CAD provides with scale and size information

Historically there are precedents of similar pictorial planning in rural China

Many clan books contains drawings of this kind And of course garden plan-

ning also involves similar representation Like any other representation the pro-

posed method also provides a narrative which is strengthened by its traditional

connotation The proposed methodology is far from being mature but it does

provide a trial of an instrument to combine the technical with a narrative of a

more sensitive planning The issue of its narrative will be explored in the follow-

ing chapters

ϭ ŽƐŚƵĂBolchover and John Lin Rural Urban Framework Transforming the Chinese Countryside (Basel Birkhaumluser 2014) p 185

also

Hsieh Ying-chun Sustanable Construction Empowerment of the Villager in

Homecoming Contextualising Materialising and Practicing the Rural in China

ed by Joshua Bolchover et al (Berlin Gestalten 2013) p 147

Working method

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 22: 20140808 ran xiao thesis in spreads compressed

4544

Revisiting Peach Blossom Spring

THE RETREAT TO THE COUNTRYSIDE TRADITION

Ten li of Peach Blossom SpringA stone marking Taohuachong Forest Park refers to the ancient fable

In Imperial China an agrarian nation up to 1862 tourism was not seen as an eco-nomic sector but rather was linked to political and social activities Rural tourism ƤǤǡǡǡǤ ȋǦȌǤ13ȋǦȌǡǤǡ-ǤǤǯǤǡǡǤ1

- ǤǡǡǤ

ǡƤ-ǤǤ-tion of an ethereal village The access through the grove and the villagers living ƪǤ

ldquoIn a little state with a small population I would so order itthat though there were individuals with the abilities of ten or a

ǡǢǡǡ

ȋȌǤ

ǡǢơǡ

should have no occasion to don or use them

ȋȌǤ

ȋȌǢȋȌǢȋȌǢ

ȋȌǤ

There should be a neighbouring state within sight and the voicesǡ

ǤǡǣȋǣǡȌǡǤ

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 23: 20140808 ran xiao thesis in spreads compressed

4746

THEORIES OF MODERN TOURISM

A landscape of political semiotics

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

ǡ-ǡǤƤhumble and uncorrupted living

ơstance while the open stream suggests an option of venturing out

ǡǡintercourse with itrdquo2

-ing found again perhaps a reference to ldquopeople to old age even to death not dzǤǡǤǡǡ-ǡǤǡǮǯǡfrom the old to the new13ǤǡƤauthentic rural life

ǡ ƥ ǡ Ǥ ǡ unspoiled moral and independent Perhaps a departure from its Taoist roots in literature gardening and landscape paintings For example the hermitage -ǤƤ-ǡǯ Ǥdetails in the painting pictureretreats are compiled in the appendix illustrating some of the most common se-miotics

ǡǤǡǤ-ǯ-der to gain political positions in the capitalǡ-Ǥ Ǥ ǡ ơof politics posturing

ǡǡ-bilities that it shares with modern tourism The drastic social changes and tur-ǯǤǡǡǡǤcould be seen as a warning of risk of erosion in similar constructions in modern tourism

Ǥ

ǡ 13ograveǡModernity - An Incomplete Project in The Anti-Aes-thetic Essays on Postmodern CultureǡǤǡȋǣǡȌǡǤ ǡǤǦ ǡ

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 24: 20140808 ran xiao thesis in spreads compressed

4948

Construction of an authentic place illustrated China

-struction Rather than representing the real China in chaotic modernisation it vanishing tradition and the narrative of an authenticǤǤơƪǤ-ƤǡƪǮƤ-ǥǤǯof tourism space6

Ǧ Dzdz-Ƥǡ ǡ Ǥ ǡǡtraditionalǡǡơdominate her life8

ǡ ǡ from the products of our work we make a fetish of the work of others and that Ǥ Ǯ-ǯǡ DzdzǤ Ǥ ǤldquoThe existence of reproductions is what makes something original or authen-ǡǤǡother times and in other places This reproduction of such tourism experiences is ơǤ

ǡ- ǡ -most detrimental The production of touristic experiences is a unique modern ǡǡơǤơǤ

ǡ-Ǥ-rience make the urban tourist search for a purer and simpler life elsewhere The ǦǦ-Ǥǡ-ǡǤǡ-

ǡǣǡȋǣǡȌǡǤ ǡǡȋǣǡȌǡǤǤǦ ǡǤ ǡ ǡ

THEORETICAL PARADOX IN RUǧRAL TOURISM IN CHINA

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 25: 20140808 ran xiao thesis in spreads compressed

5150

The model a surviving vernacular clan house

ǣơ

ǡƤǡǤ

ǣơ

ǮǯǤ11 ǡbut also the creation and marketing of experiences as an overt and conscious avenue of capitalist accumulation

ƤƥǤǡǤǡǮ ǯǤ ǡ -ǡǤ-ǡǤ-dential houses with westernised facades that are common in Chinese cities The -ǡǤǤ-Ǥ-ǡǤ

ǯ ǡ ǮǯǡǤ Ǧ ǡ ǦǡǦǡ-ƤǤ ǡ Ƥ ǡ of farm houses in Caopandi The other meaning might be termed an ldquoauthen-tic modernrdquo though not ldquoauthenticrdquo in terms of some discernible modern ldquoes-dzǡǦǡǦǤ-ǮǯǤ12

ǡǤ Ǯǯ Ƥǡǡ-Ǥǡpotential of creating a new meaningful space for both the tourists and the local Ǥ

11 ǡTourism in China Policy and Development since 1949ǡȋǣǡȌǤalsoǤhe Role of Tourism in Chinarsquos Transition An IntroductionǡǣǡǤǤǤȋǣǡȌǡǤ12 ǡǤ

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 26: 20140808 ran xiao thesis in spreads compressed

5352

In the light of the previous theoretical discussion of modern tourism a critical analysis needs to be made on current conditions of rural tourism development in Caopandi It is essential to understand the ongoing processes of development Ƥend of the theoretical discussion

The current tourism development in Caopandi started in 2008 when local gov-Ƥ-Ǥ Ǥfurther improved by a new road connecting the motorway exit to Taohuachong ǤƤǢmodel of small scale local enterprises and the large hotel resort model of exoge-ǤǡǯȋȌƤ

Current Rural Tourism Development in Caopandi

A map of current tourism development in Caopandi

Town of Caopandi

Site for a large resort

ANUI PROVINCE

UBEI PRO

VINCE

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 27: 20140808 ran xiao thesis in spreads compressed

5554

1980s in the villages in the vicinity of Chengdu Sichuan Province Local peasants ơǤ-Ǥǡthan 1500000 rural households nationwide by 2010

ǦǦǡ-isting houses or new built houses that accommodate both the farmer family and Ǥ ǡǤwere either constructional plots originally occupied by local farmers or recent-other less favourable locations in the village The swap practice is an implemen-tation of national rural land policy that forbid any action that reduces the total amount of arable land1construction plots it must be reclaimed elsewhere to maintain the same arable area in the village

Ǥơ-ǦǤǯơǡƥǡƤǤǡ ǡ ǡattractions2 -ǤǡǤ3

Ƥ ǤAccommodation demand is high in certain periods in spring time for instance when over 4000 visitors came to Caopandi daily for white-water rafting It has Ǥǡ-ǤAdditionally poor local and regional planning exercises created incongruous Ǥ-Ǥǡơof their product

ǯǡNational Land Use Planning ȋয়ȌǡȋǣǡȌǡǤ 13ǡA Model of Mountain Regio Rural Tourism Development The Case of Suichang in Tourism in China Destinations Planning and Experiences ǤǤǤȋǣ-ǡȌǡǤ3 Ibid p25

NONGJIALEHAPPY FARMERrsquoS HOME ENTERPRISES

A CGI showing the initial proposal of a large

nongjiale development in

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 28: 20140808 ran xiao thesis in spreads compressed

5756

ǡƥǤǤȋȌǮǮǮǡǯƪǤǡis expected to contribute to the local economy by providing extensive employ-ǤǡǤ

ơǤǡzone for tourism development This location was not only chosen for its scenic ǡǤfar from the more densely populated valley and is only inhabited by 7 families ǡơ-Ǥpublic an early CGI render of the proposed hotel gives a sense of a grand lsquoim-ǯǤ-scheme on the architects involved in this scheme

Land transfers for scaled development in rural regions were seen as essential for fast growth and development of scaled economies as suggested by various national policy documents The practice of land transfer is characterised by land transfer demolition and relocation of local communities It has been criticised for farmland expropriation which is accompanied by farmland loss and inade-quate compensation for lost livelihoods1

Although the proposed master plan of the hotel and local government policies pledge a sustainable development The realisation of the master plan and im-plementation of policies are contingent on the power balance between the local government and the investor In general terms the scarcer the resource sought ȋǤǤȌǡwith such resource in the negotiation process would be2 As a poor mountainous ǡǤǡ18218 million in tax income3ƤǤ4 It is reasonable to suspect the investor has a much greater advantage since capital is the scarcer resource ǡƪ-ǤǮ-Ǯ ǯǤwider experiences of similar developments in other rural mountainous regions ǡƤ-ers obtain are often very limited 5

13ǡChinarsquos Desappearing Countryside Towards Sustainalbe Land Governance for the PoorǡȋǣǡȌǡǤ 13ǡInstitutional Opportunism in Tourism Devel-opment in Tourism in China Destinations Planning and Experiences ed by Chris ǤǤȋǣǡȌǡǤ Survey of National Bureau of Statistic China Statistical Yearbook for Regional Economy 2012ȋǣǡȌ ǡǤ 13ǡǤ

Feburary 2014 for the proposed development

LARGE EXOGENOUS TOURISM DEVELOPMENT

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 29: 20140808 ran xiao thesis in spreads compressed

5958

ǣ-ing the design of the proposed development ǡǡserviced apartments

ǡ-Ǧmodernisation in China Arguably it is a process largely controlled by the farmers themselves For example many of the guesthouses were built by the farmers who did not live on the current sites They had swapped their original plot of land ǡƤǤ

-ǡ ǡơǤǡ-ognised their needs and wishes and respond to them in their operations they seem to be reactive with little structured understanding

For example the local farmers realised the tourists interest in buying traditional ǡǡ-ƤǤǡcannot meet the high demand at certain times in the high seasons of tourism So battery farmed eggs were sometimes sold fraudulently by some operators Ǥ- ǡ process

ǡơǤǡǡ-oped with external investment The land transfer practice minimises communi-ty engagement through the mediation of local government which accelerates -nities in the process

ǡ attempt to construct an authentic tourist experience that is detached from its ǤǡǦ-cycled and appropriated notions of tradition and authenticity They are signif-icantly shaped by what Urry terms ldquoaesthetic cosmopolitanismrdquo- a quality of ƪexperience As active participants in the construction of the ldquosupport apparatusrdquo ȋǡȌǡơǤ

ǡǡǡơ ǡ - ǡ Ǯǯ Ǥ7 Such ơ national policy documents The local community holds little share in these de-velopments despite the fact that there will be local employment opportunities ơhave little positive impact on local landscape as they exclude the existing agrari-Ǥǡơǡ-ticity is unauthentic

ǡǤ7 MacCannell p 48

CONFLICTING NARRATIVES OF THE TWO MODELS

6160

A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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A New Narrative of Rural Tourism Development

The critical assessment of the existing models of local rural tourism development provides an opportunity to rewrite its paradoxical narrative As an example a site for a hypothetical development is chosen on the south side of the East River val-ley where the new connection road to Taohuachong National Forest Park passes through The site is constituted of 6 independent clusters of farms Each cluster ƪƤ Ƥ parts of the mountain The clusters are segregated by lower mountain ridges that reach into the valley These geographical formations of the lower hills and ƤǦcentǡ-ogy of settlements in the valleys in this region Contrary to the the more gentle landscape on north bank of the river which is densely populated the south bank rises up to a major mountain range peaking at 1500 metres and has a smaller density Such density makes the site viable for a farmhouse-plus-guesthouse de-velopment similar to existing HFHs

If the HFH model of farmhouse-plus-guesthouse is considered as a spatial proto-type the problems of HFH model the degradation of the surrounding rural land-scape the lack of coordination among neighbouring operations and the lack of expertise must be addressed It will require a new institution that includes all shareholders to integrate the fragmented landscape of small household farms providing public services on site and draws in expertise of design and manage-ment

Location of the proposed site

centlandscape of Yingshan

Sweet Gumcent

Zhang Family cent

Celery cent

Hai Familycent

Upper Old House cent

Lower Old Housecent

Hu Familycent

Ginkgocent

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 31: 20140808 ran xiao thesis in spreads compressed

Some parts of the lower hills are underused due to the fact that the families who Ǥƪagricultural produce price is forcing them to change their plans regularly

ơmarket as tourists are less sensitive to price of self-picking onsite than the price of produce in the market The orchard will be planted with Chinese plum apri-cot Chinese fruiting cherry peach Japanese plum Chinese pear pomegranate Ǥƪof the year The hills will form a scenic framework with the other elements of the adaptation of existing landscape

START OF A NEW NARRATIVE

Flat FieldsTerrace Fields

Lower Hills Lower HillsLower Hills

Terrace Fields Terrace Fields

Lower Hills Lower Hills

Terrace Fields Terrace Fields

Lower Hills

Terrace Fields

Lower Hills

Extent of the siteMain road Secondary routes

STRUCTURE OF THE LANDSCAPE ON THE CHOSEN SITE

62

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

Ƥ

Ƥ

Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 32: 20140808 ran xiao thesis in spreads compressed

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Pyrus pyrifolia

ȋȌPrunus salicina ȋ13Ȍ

Prunus armeniaca ȋȌ

13 March 13 13

ϒუ൳⨓ᅸ൳ᑍუ൳ᴾ൳ Ǥcentcentǡǡ

Ǥcent Ǥcent

Ǥcent ǤȀcent

Prunus mume (Chinese plum)Prunus pseudocerasus (Chinese fruiting cherry)

Prunus persica ȋȌ

Nelumbo nucifera ȋǡȌ

Punica granatum ȋȌ

Osmanthus fragrans ȋƪȌ

Camellia Sinensis ȋƪȌ

Triticum spp ȋȌ

Fagopyrum esculentum ȋȌ

Ozyza sativa ȋȌ

Brassica rapaȋȌ

㔮ᅸ൳ 㔮ᅸ൳Ǥcent㟦㤉൳

A DIAGRAM OF SEASONALITY AND SPATIAL PLANNING OF THE RURAL TOURISM LANDSCAPE OF THE NEW NARRATIVE

72 73

FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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FIELDƵĞƚŽƚŚĞŽƵƚŇƵdžŽĨůĂďŽƵƌŝŶƚŚĞƌĞŐŝŽŶŵĂŶLJŽĨƚŚĞĮĞůĚƐǁĞƌĞƉůĂŶƚĞĚǁŝƚŚĐĂƐŚĐƌŽƉƐƐƵĐŚĂƐƚĞĂƚŝƐĚƵĞƚŽƚŚĞŝŶĞĸĐŝĞŶĐLJŽĨĐĂƐŚĐƌŽƉŝŶĂǀĂůůĞLJůĂŶĚ-ƐĐĂƉĞĂƐĮĞůĚƐĂƌĞŵƵĐŚƐŵĂůůĞƌĂŶĚůĞƐƐĞĸĐŝĞŶƚƚŽǁŽƌŬǁŝƚŚŵĂĐŚŝŶĞƐƚŝƐĂůƐŽĚƵĞƚŽƚŚĞĨĂĐƚƚŚĂƚƚŚĞůĂďŽƵƌŝŶǀŽůǀĞĚŝŶƐƚĂƉůĞƐĂƌĞŵƵĐŚŵŽƌĞŝŶƚĞŶƐŝǀĞƚŚĂŶĐĂƐŚĐƌŽƉƐƵĐŚĂƐƚĞĂŝŶĐŽŵĞŽĨƚŽƵƌŝƐŵǁŝůůƐƵďƐŝĚŝƐĞƐƵĐŚŐĂƉĂƐĐĂƐŚĐƌŽƉŶŽƚŽŶůLJĨŽƌŵƐĂŶŝŵƉŽƌƚĂŶƚƉĂƌƚŽĨƚŚĞĂŐƌĂƌŝĂŶƐĐĞŶĞƌLJ ŝƚĐĂŶĂůƐŽƉƌŽǀŝĚĞlocal organically produced food and feed for animals It forms an important part ŽĨƚŚĞƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞƚŽƵƌŝƐƚƐĂŶĚƚŚĞůŽĐĂůĂŐƌĂƌŝĂŶƉƌĂĐƟĐĞ

74 75

TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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TERRACEdŚĞƚĞƌƌĂĐĞĮĞůĚŝƐĂŶŽƚŚĞƌŝŵƉŽƌƚĂŶƚĞůĞŵĞŶƚŽĨƚŚĞĨŽƌŵĂƟŽŶŽĨƚŚĞƐĐĞŶĞƌLJdĞĂ ŝƐ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐĂƐŚ ĐƌŽƉ ŝŶ ƚŚĞ ƌĞŐŝŽŶ ĂŶĚ ŝƐ ŐƌŽǁŶŽŶŚŝŐŚĞƌ ƚĞƌƌĂĐĞƐǁŚĞƌĞƚŚĞƌĞŝƐƚŚŝŶŶĞƌƐŽŝůdŚĞƉůĂŶƟŶŐŽĨƚĞĂŽŶƚŚĞƚĞƌƌĂĐĞƐǁŝůůďĞĂƌĞƚƵƌŶƚŽƚŚŝƐƚƌĂĚŝƟŽŶdŚĞůĂƌŐĞƌƚĞƌƌĂĐĞƐŽŶůŽǁĞƌƉĂƌƚƐǁŝůůďĞƵƐĞĚĂƐƌŝĐĞŶƵƌƐĞƌŝĞƐĂŶĚĨĂƌŵůĂŶĚĨŽƌƐŽLJďĞĂŶƐĂŶĚĐŽƌŶ

76

LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

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ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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LOWER HILLSSome parts of the lower hills are underused due to the fact that the families who ŵĂŶĂŐĞƚŚĞŚŝůůƐŚĂǀĞŶŽůŽŶŐƚĞƌŵǀŝƐŝŽŶĨŽƌƚŚĞŝƌƵƐĞdŚĞŵĂƌŬĞƚŇƵĐƚƵĂƟŽŶŝŶagricultural produce price is forcing them to change their plans regularly

dŚĞŝŶƚƌŽĚƵĐƟŽŶŽĨƚŽƵƌŝƐŵŝŶƚŚĞƌĞŐŝŽŶĐĂŶŝŶĞīĞĐƚƐƚĂďŝůŝƐĞƚŚĞƉƌŝĐĞŽĨƚŚĞŵĂƌŬĞƚĂƐƚŽƵƌŝƐƚƐĂƌĞůĞƐƐƐĞŶƐŝƟǀĞƚŽƉƌŝĐĞŽĨƐĞůĨͲƉŝĐŬŝŶŐŽŶƐŝƚĞƚŚĂŶƚŚĞƉƌŝĐĞŽĨƉƌŽĚƵĐĞŝŶƚŚĞŵĂƌŬĞƚdŚĞŽƌĐŚĂƌĚǁŝůůďĞƉůĂŶƚĞĚǁŝƚŚŚŝŶĞƐĞƉůƵŵĂƉƌŝĐŽƚŚŝŶĞƐĞĨƌƵŝƟŶŐĐŚĞƌƌLJƉĞĂĐŚ ĂƉĂŶĞƐĞƉůƵŵŚŝŶĞƐĞƉĞĂƌ ƉŽŵĞŐƌĂŶĂƚĞĂŶĚƐǁĞĞƚŽůŝǀĞdŚĞŝƌŇŽǁĞƌŝŶŐƐĞĂƐŽŶƐĂŶĚĨƌƵŝƟŶŐƐĞĂƐŽŶƐĐŽǀĞƌƐŵŽƐƚƟŵĞƐŽĨƚŚĞLJĞĂƌ dŚĞŚŝůůƐǁŝůůĨŽƌŵĂƐĐĞŶŝĐĨƌĂŵĞǁŽƌŬǁŝƚŚƚŚĞŽƚŚĞƌĞůĞŵĞŶƚƐŽĨƚŚĞĂĚĂƉƚĂƟŽŶŽĨĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞ

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 36: 20140808 ran xiao thesis in spreads compressed

ACCOMMODATIONŌĞƌƚŚĞĞdžŝƐƟŶŐůĂŶĚƐĐĂƉĞŚĂƐďĞĞŶƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽĂƐĐĞŶŝĐĂŐƌĂƌŝĂŶůĂŶĚ-ƐĐĂƉĞŝƚǁŝůůƐĞƌǀĞĂƐĂĚĞƐƟŶĂƟŽŶĨŽƌƌƵƌĂůƚŽƵƌŝƐŵĂĐƟǀŝƟĞƐƐƵĐŚĂƐƚĞĂƉůƵĐŬŝŶŐĂŶĚĨƌƵŝƚƉŝĐŬŝŶŐƚƉƌŽǀŝĚĞĂŶĞŶǀŝƌŽŶŵĞŶƚƐƵŝƚĂďůĞĨŽƌƚŽƵƌŝƐƚĂĐĐŽŵŵŽĚĂƟŽŶƐ

dŚĞĞdžŝƐƟŶŐƐĞůĨͲďƵŝůƚĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĂƐƐĞƐƐĞĚĨŽƌƚŚĞŝƌƐƚƌƵĐƚƵƌĂůƐĂĨĞƚLJĂŶĚƉƌĞƐĞƌǀĞĚ ǁŚĞƌĞ ƉŽƐƐŝďůĞ ůƚŚŽƵŐŚ ƚŚĞ ŽƉĞŶ ƐƉĂĐĞƐ ƉƌĞǀŝŽƵƐůLJ ŝŶĚŝǀŝĚƵĂůůLJŵĂŶĂŐĞĚǁŝůůďĞŝŶƚĞŐƌĂƚĞĚŝŶĂŵĂƐƚĞƌƉůĂŶZŽĂĚƐĚƌĂŝŶĂŐĞĂŶĚƌĞƚĂŝŶŝŶŐǁĂůůƐǁŝůůďĞƌĞŽƌŐĂŶŝƐĞĚĂŶĚǀĞŐĞƚĂďůĞŐĂƌĚĞŶƐƚŽďĞĐĞŶƚƌĂůŝƐĞĚƚŽŵĂdžŝŵŝƐĞĂŐƌĂƌ-ŝĂŶĂĐƟǀŝƚLJdŚĞĞdžŝƐƟŶŐĂŶŝŵĂůƐŚĞĚƐŶĞdžƚƚŽĨĂƌŵŚŽƵƐĞƐǁŝůůďĞĐĞŶƚƌĂůŝƐĞĚƚŽŝŶĐƌĞĂƐĞĂǀĂŝůĂďůĞƐƉĂĐĞĂŶĚŝŵƉƌŽǀĞŚLJŐŝĞŶĞdŚĞŐƵĞƐƚƐǁŝůůďĞŚŽƵƐĞĚŝŶŶĞǁƉƵƌƉŽƐĞůLJďƵŝůƚĞdžƚĞŶƐŝŽŶƐƚŽĞdžŝƐƟŶŐŚŽƵƐĞƐdŚĞĞdžƚĞŶƐŝŽŶƐƚĂŬĞƐĂůŽŶŐƐŝŶŐůĞƐƚŽƌĞLJĨŽƌŵƌĞŵŝŶŝƐĐĞŶƚŽĨƚŚĞǀĞƌŶĂĐƵůĂƌƉĞĂƐĂŶƚƐŚŽƵƐŝŶŐŝŶƚŚĞƌĞŐŝŽŶŚŝƐ-ƚŽƌŝĐĂůĂŶĂůLJƐŝƐŽĨůŽĐĂůŚŽƵƐĞďƵŝůĚŝŶŐĐĂŶďĞĨŽƵŶĚŝŶƚŚĞĂƉƉĞŶĚŝdž

dŚĞŶĞǁŵĂƐƚĞƌƉůĂŶĐƌĞĂƚĞƐĂŶŝŶƚĞŐƌĂƚĞĚƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶƚŚĞĨĂƌŵŚŽƵƐĞƐĂŶĚ ŐƵĞƐƚŚŽƵƐĞƐ ďLJ ĐƌĞĂƟŶŐ ƐŚĂƌĞĚ ƉƵďůŝĐ ĐŽƵƌƚLJĂƌĚƐ Žƌ ĨƌŽŶƚ LJĂƌĚƐ ĂŶĚ Ɖƌŝ-ǀĂƚĞďĂĐŬƚĞƌƌĂĐĞƐůŽŽŬŝŶŐŽŶƚŽƚŚĞĂŐƌĂƌŝĂŶůĂŶĚƐĐĂƉĞdŚĞŐƌŽƵŶĚŇŽŽƌƐŽĨƚŚĞĨĂƌŵŚŽƵƐĞƐǁŝůůƌĞŵĂŝŶƐĞŵŝƉƵďůŝĐƐƉĂĐĞĨŽƌĚŝŶŝŶŐĂŶĚŽƚŚĞƌƐŽĐŝĂůĂĐƟǀŝƟĞƐĂƐƚŚĞLJĐƵƌƌĞŶƚůLJĂƌĞŝŶĞdžŝƐƟŶŐůŽĐĂůĐŽŵŵƵŶŝƟĞƐdŚƵƐƚŚĞŐƵĞƐƚƐǁŝůůŶŽƚŽŶůLJďĞůŝǀŝŶŐŝŶƚŚĞůŽĐĂůƌƵƌĂůĐŽŵŵƵŶŝƚLJĂƐŝŶampƐďƵƚĂůƐŽƐƵƌƌŽƵŶĚĞĚďLJƚŚĞƐĐĞŶĞƌLJŽĨůŽĐĂůĂŐƌŽĨŽƌĞƐƚƌLJůĂŶĚƐĐĂƉĞĂůĂŶĚƐĐĂƉĞƌĞǀŝƚĂůŝƐĞĚƐƵƉƉŽƌƚĞĚďLJƚŚĞŐƵĞƐƚƐĂƌƌŝǀĂůdŚĞĨŽůůŽǁŝŶŐƉĂƌĂŐƌĂƉŚƐĐƌĞĂƚĞĂŶĂƌƌĂƟǀĞƚŚĂƚŵĞƌŐĞƐƚŚĞƚŽƵƌŝƐƚĞdžƉĞ-ƌŝĞŶĐĞǁŝƚŚƚŚĞĂŐƌĂƌŝĂŶĂĐƟǀŝƟĞƐĂŶĚƐĐĞŶĞƌŝĞƐdŚĞƉĂƌĂŐƌĂƉŚƐƐĞƌǀĞƚŚĞƐŝŵŝůĂƌĨƵŶĐƟŽŶĂƐƚŚĞƉŽĞƟĐƟƚůĞƐƐĞĞŶŝŶƚŚĞŝŐŚƚsŝĞǁƐŽĨzŝŶŐƐŚĂŶĂůďƵŵ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

MASTERPLAN OF THE PROǧPOSED GUESTHOUSES IN THE LANDSCAPE

78

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

83

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 38: 20140808 ran xiao thesis in spreads compressed

ƉƉĂƌĞŶƚůLJŶĂŵĞĚĂŌĞƌĂůĂƌŐĞŚŝŶĞƐĞ^ǁĞĞƚƵŵŝŶƚŚĞtĂŶdŚŝƐƐĞƩůĞŵĞŶƚŝƐĂŵŽŶŐƚŚĞůĂƌŐĞƐƚŝŶĂůůƚŚĞƐĞƩůĞŵĞŶƚƐŽŶƐŝƚĞdŚŝƐŝƐĚƵĞƚŽĨĂŵŝůŝĞƐƌĞŚŽƵƐĞĚŚĞƌĞŝŶϭϵϴϬƐĂŌĞƌƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨŽŶŐŚƵĂZĞƐĞƌǀŽŝƌ

dŚĞƐŝƚĞŝƐŝŶŚĂďŝƚĞĚďLJŵĂƚƵƌĞƚƌĞĞƐŝŶĐůƵĚŝŶŐŝŶŬŽ ǁĞĞƚƵŵŚŝŶĂampŝƌ ŚĞƐƚ-ŶƵƚĂŶĚŽƚŚĞƌƵŶŝĚĞŶƟĮĞĚƐƉĞĐŝĞƐŽĨƚƌĞĞƐĂƐĞĚŽŶĐƵƌƌĞŶƚůĂŶĚƵƐĞƉƌĞǀŝŽƵƐďĂĐŬŐĂƌĚĞŶƐĂƚƚŚĞĐĞŶƚƌĞŽĨƚŚĞƐŝƚĞĂƌĞŵĞƌŐĞĚƚŽĨŽƌŵƚǁŽŵĂŝŶĐŽŵŵƵŶĂůŐĂƌĚĞŶƐ ĨŽƌ ǀĞŐĞƚĂďůĞƐ dŚĞ ŐƵĞƐƚ ĂƌƌŝǀĞƐ ĨƌŽŵ ƚŚĞ ƌŽĂĚ ĂŶĚ ƐƚĞƉƐ ŽŶƚŽ ƐƚŽŶĞƉĂǀĞĚ ĨƌŽŶƚ ĐŽƵƌƚƐ Ŷ ůĂƚĞ ƐƵŵŵĞƌ ŐƌĂŝŶƐ ĂƌĞ ďĞŝŶŐ ĚƌŝĞĚ ŽŶ ďĂŵǁŽǀĞŶƐŚĞĞƚƐƵŶĚĞƌƚŚĞƐĞƫŶŐƐƵŶƚŽƚŚĞǁĞƐƚũƵƐƚďĞĨŽƌĞƚŚĞĂƵƚƵŵŶƌĂŝŶƐdŚĞŚŽƐƚŚŽƵƐĞŽƉĞŶƐƵƉƚŽƚŚĞĐŽƵƌƚďLJĂƐĞƌŝĞƐŽĨǁŽŽĚĞŶƐŚƵƩĞƌĚŽŽƌƐdŚŝƐŝƐǁŚĞƌĞƚŚĞĨĂŵŝůLJŚŽƐƚĚŝŶĞƐŽŶůĂƌŐĞƌŽƵŶĚƚĂďůĞƐtŚĞŶƚŚĞƐƵŶĮŶĂůůLJƐĞƚƐƚŚĞĐƌŝĐŬĞƚƐŝŶŐƐŝƚƐůĂƐƚƐŽŶŐŽĨƚŚĞƐƵŵŵĞƌ ĂŶĚĂĨĞǁŵŽƚŚƐƉƵƐŚŝŶŐŝƚƐǁŝŶŐƐĂŐĂŝŶƐƚƚŚĞŚĂŶŐŝŶŐůĂŵƉŽŶƚŚĞŽƉĞŶĐŽƌƌŝĚŽƌŝŶĨƌŽŶƚŽĨƚŚĞƌŽŽŵƐŶƚŚĞŵŽƌŶŝŶŐǁĂŬŝŶŐƵƉƚŽƚŚĞƐŽŶŐƐŽĨƚŚĞďŝƌĚƐƚŚĞŐƵĞƐƚĨĞĞůƐƚŚĞĨƌĞƐŚĐŽŽůŵŽƵŶƚĂŝŶĂŝƌƚŚĂƚĮůƚĞƌƐƚŚƌŽƵŐŚƚŚĞŐĂƉƐŽĨƚŚĞďĂĐŬǁŝŶĚŽǁKŶůLJĂŐůŝŵƉƐĞŽĨŵŽƌŶŝŶŐƐŬLJĂŶĚƚŚĞĞdžƉĂŶƐŝǀĞŵŽƵŶƚĂŝŶƵŶĚĞƌŶĞĂƚŚŝƐǀŝƐŝďůĞĂďŽǀĞƚŚĞƌĞƚĂŝŶ-ŝŶŐǁĂůů

84

87

89

dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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dŚĞůĂŶĚƐĐĂƉĞŽĨŚĂŶŐampĂŵŝůLJtĂŶŝƐĐŽŶƐƚƌĂŝŶĞĚďLJĂƐŵĂůůŚŝůů ŝŶƚŚĞŵŝĚĚůĞĂŶĚƐƚĞĞƉĂŶĚƵŶƌƵůLJƚĞƌƌĂĐĞƐKŶƚŚĞůĞŌƐŝĚĞŽĨƚŚĞƌŽĂĚŝŵŵĞĚŝĂƚĞůLJďĞŶĞĂƚŚƚŚĞƌĞƚĂŝŶŝŶŐǁĂůůŝƐĂƉŝŐĨĂƌŵWŝŐƐƐƵŶďĂƚŚĞŽŶƚŚĞŚĂLJůĂŝĚŐƌŽƵŶĚƐŽŶůLJŚƵƌƚůĞƚŽƚŚĞƚƌŽƵŐŚǁŚĞŶƚŚĞĨĂƌŵĞƌĐŽŵĞƐƚŽĨĞĞĚŶĂƌƌŽǁďƵƚƋƵŝĞƚƌŽĂĚďƌŝŶŐƐƚŚĞŐƵĞƐƚƚŽĨŽƵƌƌŽĂĚƐŝĚĞůŽĚŐĞƐƚŚĞǁŝŶƚĞƌƐƵŶĐĂŶũƵƐƚĐůŝŵďĂďŽǀĞƚŚĞŚŝůůƐƚŽƚŚĞƐŽƵƚŚƚŽƌĞĂĐŚƚŚĞƐĞŚŽƵƐĞƐŽŶƚŚĞŶŽƌƚŚƐŝĚĞŽĨƚŚĞtĂŶĐŚŝĐŬĞŶĨĂƌŵůŝĞƐĨƵƌ-ƚŚĞƌĚŽǁŶƚŚĞƌŽĂĚŶƚŚĞŵŽƌŶŝŶŐƚŚĞĐŽĐŬĞƌĞůƐĐƌŽǁŝŶŐďƌĞĂŬƐŝŶƚŚĞĐŚŝůůŝŶŐŵŽƌŶŝŶŐĂŝƌ ĂŶĚƚŚĞĚĂLJďĞŐŝŶƐ

88

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

a

b

c

d

e

1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

Ƥ

a a

a

a

a

a

a a a

a

a

a

a

a

a

a

ď

ď

ď

ď

ď

ď

ď

ďď

ďď

ď

ď

c

c

c

c

c

c

d

e

SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 41: 20140808 ran xiao thesis in spreads compressed

ůƚŚŽƵŐŚƚŚĞƟůĞĚŚŽƵƐĞŝƚƐŶĂŵĞƌĞĨĞƌƐƚŽǁĂƐĚĞŵŽůŝƐŚĞĚĂĨĞǁLJĞĂƌƐĂŐŽdŝůĞĚŽƵƐĞtĂŶƐŶĞǁŚŽƵƐĞƐŚĂǀĞƌŽŽĨƐƚŚĂƚƌĞĐLJĐůĞĚƚŚĞŽůĚƟůĞƐǁŝƚŚƚŚĞŶĞǁdŚĞĂƐƚZŝǀĞƌŇŽǁƐǀĞƌLJĐůŽƐĞƚŽŝƚƐďĂŶŬdŚĞŚĞĂǀLJƌĂŝŶƐŝŶƚŚĞ^ƵŵŵĞƌŚŝƚƚŚĞƌŽŽĨ ĂŶĚƌĂŝƐĞƐƚŚĞǁĂƚĞƌ ŝŶƚŚĞƌŝǀĞƌ ĂŶĚƚŚĞƚŚƵŶĚĞƌŽŶƚŚĞƚŽƉŽĨƚŚĞŵŽƵŶƚĂŝŶƐĞĐŚŽĞƐĂůŽŶŐƚŚĞǀĂůůĞLJĐƌĞĂƟŶŐĂƐLJŵƉŚŽŶLJŽĨƐŽƵŶĚŝŶƚŚĞŐƵĞƐƚƌŽŽŵƐ

90 91

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

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b

c

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1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

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a a a

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SECTION 1200

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EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

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ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 42: 20140808 ran xiao thesis in spreads compressed

dŚĞƐŵĂůůĞƐƚtĂŶ ŝŶƚŚĞĐŽůůĞĐƟǀĞĞůĞƌLJtĂŶŚŽƚƐƚǁŽĨĂŵŝůŝĞƐĂŶĚƐŝdžŐƵĞƐƚƌŽŽŵƐ ƚ ŝƐ ĐůŽƐĞůLJ ĐŽŶŶĞĐƚĞĚ ƚŽ ƚŚĞŵƵĐŚďŝŐŐĞƌĂŝ ampĂŵŝůLJtĂŶĞŚŝŶĚ ƚŚĞŐƵĞƐƚŚŽƵƐĞƐĂƚŚŝĐŬďĂŵŐƌŽǀĞǁĂǀĞƐŝŶƚŚĞĂƵƚƵŵŶĂůďƌĞĞnjĞĐĂƐƟŶŐƐŚĂĚ-ŽǁƐŽŶƚŚĞƐƚŽŶLJǁĂůůƐĂŶĚŐƌŽƵŶĚƐ

dŚĞƉŝŶĞƐŚĞůƚĞƌĞĚƉĂƚŚŽŶƚŚĞƐŵĂůůŚŝůůĨƌŽŵĞůĞƌLJtĂŶŽƉĞŶƐƵƉƚŽĂŝĨĂŵŝůLJtĂŶůĂƌŐĞŐƌŽƵƉŽĨŚŽƵƐĞƐƐŝƚŽŶŽƉĞŶŐƌŽƵŶĚŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞƚĞƌƌĂĐĞƐĐƌŽƐƐƚŚĞƌŝǀĞƌ ƚŚĞůĂƌŐĞŇĂƚĮĞůĚƐŽĨƌŝĐĞůŽŽŬĂůŵŽƐƚŐŽůĚĞŶŝŶƚŚĞƐƵŶdŚĞƉĞĂŬŽĨgtŽƵŝ^ŚŝŝƐĂůƐŽǀŝƐŝďůĞŝŶƚŚĞďĂĐŬŐƌŽƵŶĚdŚĞŐƵĞƐƚĐĂŶƚĂŬĞĂƐƚƌŽůůĂŵŽŶŐƚŚĞŐĞŶƚůĞƚĞƌƌĂĐĞƐďĞůŽǁƚŚĞŚŽƵƐĞƐĂƌĞŐƌŽǁŶǁŝƚŚƌŝĐĞĂŶĚǁŚĞĂƚƐŽŵĞƟŵĞƐƐŽLJďĞĂŶĂŶĚĐŽƌŶ

92

centcent

ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

96

100

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1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

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SECTION 1200

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EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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ampĂƌƚŚĞƐƚĨƌŽŵƚŚĞďƌŝĚŐĞƚŚĂƚĐŽŶŶĞĐƚƐƚŽƚŚĞŵĂŝŶƌŽĂĚdŚĞhƉƉĞƌĂŶĚgtŽǁĞƌKůĚŽƵƐĞtĂŶŚĂƐĂŐĞŶƚůĞƚĞƌƌĂŝŶŝĚĞĂůĨŽƌŐƌŽǁŝŶŐƐƚĂƉůĞĐƌŽƉƐdŚĞƐŵĂůůŚŝůůƐĂƌĞƉůĂŶƚĞĚǁŝƚŚĂŵŝdžŽĨĨƌƵŝƚƚƌĞĞƐůĂƌŐĞƉŽŶĚƐŝƚƐŝŶƚŚĞhƉƉĞƌtĂŶĨĂƌŵŝŶŐƚŚĞĚĞůŝĐĂƚĞDĂŶĚĂƌŝŶĮƐŚ ŝŶƚŚĞŵŽƵŶƚĂŝŶƐƉƌŝŶŐǁĂƚĞƌ ŐƵĞƐƚĐĂŶƐŝƚ ŝŶƚŚĞƐŚĂĚŽǁƐŽĨƚŚĞĨƌƵŝƚƚƌĞĞƐďLJƚŚĞĞĚŐĞŽĨƚŚĞƉŽŶĚĂŶĚĮƐŚĨŽƌŽŶĞƐĚŝŶŶĞƌ

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1500 PLAN

Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

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SECTION 1200

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EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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Exisiting farmerrsquos houses

Extensions of guesthouses

Communal vegetable gardens

Orchard on the hill

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EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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SECTION 1200

c

c

c

d

a

a

ď

EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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EXISTING AGRICULTURAL COLLECTIVES

Ŷ zŝŶŐƐŚĂŶ ƚŚĞ ƐŵĂůů ƐĐĂůĞ ĂŶĚ ƐĐĂƩĞƌĞĚŶĂƚƵƌĞ ŽĨ ĨĂƌŵƐƵŶĚĞƌ ƚŚĞZ^ ĂĚ-ǀĞƌƐĞůLJ ĂīĞĐƚĞĚ ŽŶ ĂŐƌŝĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ dŚĞ ƐŵĂůů ĨĂƌŵƐ ůĂĐŬ ĂƉƉƌŽƉƌŝĂƚĞŝŶǀĞƐƚŵĞŶƚƐĂŶĚƐĞƌǀŝĐĞƐĂŶĚĨĂĐĞĐŚĂůůĞŶŐĞƐĂƌŝƐŝŶŐĨƌŽŵĐŚĂŶŐĞƐ ŝŶŶĂƟŽŶĂůĚĞŵĂŶĚƉĂƩĞƌŶƐĂŶĚĂŶŝŶĐƌĞĂƐŝŶŐůLJƐƚƌŽŶŐŝŶƚĞƌŶĂƟŽŶĂůĐŽŵƉĞƟƟŽŶdŚƵƐĂƐĂ ƉƌŽƉŽƐĞĚ ƐŽůƵƟŽŶ ŶĂƟŽŶĂů ƉŽůŝĐŝĞƐ ĞŶĐŽƵƌĂŐĞ ŐƌŝĐƵůƚƵƌĞ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶͿ ŝŶ ƚŚĞ ĨŽƌŵƐŽĨ ĂŐƌŝĐƵůƚƵƌĂů ĞŶƚĞƌƉƌŝƐĞƐ ŬŶŽǁŶĂƐ ƌĂŐŽŶĞĂĚŶƚĞƌƉƌŝƐ-ĞƐƐͿĂŶĚZƵƌĂůŽƵƐĞŚŽůĚƐƐŽĐŝĂƟŽŶƐZƐͿ1sĂƌŝŽƵƐƐƵĐŚŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞďĞĞŶŽƉĞƌĂƟŶŐŝŶzŝŶŐƐŚĂŶĨŽƌŵŽƌĞƚŚĂŶĂĚĞĐĂĚĞĂƐĞĚŽŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐƐƵĐŚĂƐƚĞĂĂŶĚŚŽĞůĞŶĂĨƵŶŐƵƐƵƐĞĚŝŶŚŝŶĞƐĞŵĞĚŝĐŝŶĞĂŶĚĨŽŽĚͿƚŚĞĞŶƚĞƌƉƌŝƐĞƐƵƐƵĂůůLJƉƌŽǀŝĚĞƉƌĞͲƉƌŽĚƵĐƟŽŶƉƌŽĚƵĐƟŽŶĂŶĚƉŽƐƚͲƉƌŽĚƵĐƟŽŶƐĞƌǀŝĐĞƐĂŶĚƉƌŽŵŽƚĞƚŚĞƵƐĞŽĨŵŽĚĞƌŶƚĞĐŚŶŽůŽŐŝĞƐĞƋƵŝƉŵĞŶƚĂŶĚǀĂƌŝĞƟĞƐƌƵĐŝĂůůLJ ƌƵƌĂůŚŽƵƐĞŚŽůĚƐĐŽŶƟŶƵĞƚŽƉƌŽĚƵĐĞƵŶĚĞƌƚŚĞĨƌĂŵĞǁŽƌŬŽĨƚŚĞZ^ďƵƚŽƌŐĂŶŝƐĂƟŽŶƐƐƚĞƉŝŶƚŽďƌŝĚŐĞďĞƚǁĞĞŶƚŚĞŶƵŵĞƌŽƵƐƐŵĂůůͲƐĐĂůĞĨĂƌŵĞƌƐĂŶĚĂ ůĂƌŐĞĐŚĂŶŐŝŶŐŵĂƌŬĞƚ ŶŵĂŶLJƉůĂĐĞƐŽƌŐĂŶŝƐĂƟŽŶƐŚĂǀĞ ŝŶƚĞŐƌĂƚĞĚƐĐĂƩĞƌĞĚůĂŶĚďĂƐĞĚŽŶĂƐŝŶŐůĞƉƌŽĚƵĐĞŝŶŽƌĚĞƌƚŽĂĐŚŝĞǀĞƐĐĂůĞŝŶƉƌŽĚƵĐƟŽŶdŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽǀŝĚĞĐůƵĞƐŽĨƚŚĞŵĞĐŚĂŶŝƐŵƐŽĨƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶƚŽƌĞĂů-ŝƐĞƚŚĞƉƌŽƉŽƐĞĚŶĂƌƌĂƟǀĞĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐ

^ŝŵŝůĂƌůLJ ĂƌƌĂŶŐĞŵĞŶƚƐŐŽŝŶŐďĞLJŽŶĚĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚƐĐŽƵůĚƉƌŽǀŝĚĞĂďĂƐŝƐĨŽƌƚŚĞŶĞǁŝŶƐƟƚƵƟŽŶŶĞǁŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĞŵĞƌŐŝŶŐŝŶƚŚĞƵƌŽƉĞ-ĂŶĐŽƵŶƚƌLJƐŝĚĞƐĞƌǀĞƐĂƐĂƌĞĨĞƌĞŶĐĞƉŽŝŶƚdŚĞƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐŝŶƐƚĞĂĚŽĨĨŽĐƵƐŝŶŐŽŶĂƐŝŶŐůĞĂŐƌŝĐƵůƚƵƌĂůƉƌŽĚƵĐƚĂƌĞĞƐƐĞŶƟĂůůLJůĂŶĚďĂƐĞĚĂŶĚĐĂŶƚŚĞƌĞĨŽƌĞ ŝŶĐůƵĚĞĂůůĞĐŽŶŽŵŝĐĂĐƟǀŝƟĞƐǁŝƚŚŝŶĂĐŽůůĞĐƟǀĞůLJĂŐƌĞĞĚ ƚĞƌƌŝƚŽƌLJ dĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐĂŝŵĂďŽǀĞĂůůƚŽƐƚƌĞŶŐƚŚĞŶĂŶĚĚĞǀĞůŽƉƚŚĞƋƵĂůŝƟĞƐŽĨĂŶĂƌĞĂĂŶĚƚŚĞƌĞƐŽƵƌĐĞƐŝƚĐŽŶƚĂŝŶƐŝŶĐůƵĚŝŶŐĞŶǀŝƌŽŶŵĞŶƚĂůƋƵĂůŝƚLJ ůĂŶĚƐĐĂƉĞďŝŽĚŝǀĞƌƐŝƚLJ ƐŽĐŝĂůǁĞůůͲďĞŝŶŐƐĞƌǀŝĐĞƐĂŶĚĞŵƉůŽLJŵĞŶƚůĞǀĞů2

KŶƚŚĞƉƌŽƉŽƐĞĚƐŝƚĞĂƚĞƌƌŝƚŽƌŝĂůĐŽůůĞĐƟǀĞĐĂŶďĞĞƐƚĂďůŝƐŚĞĚdŚŝƐǁŝůůƌĞƋƵŝƌĞŝŶǀĞƐƚŽƌƐ ƚŽ ĐŽǀĞƌ ƚŚĞ ŝŶŝƟĂů ĐŽƐƚƐ ĂƐ ŝŶ ƚŚĞ ĞŶƚĞƌƉƌŝƐĞƐ gtŽĐĂů ĨĂƌŵĞƌƐ ĐĂŶƚŚĞŶ ũŽŝŶ ƚŚĞĐŽůůĞĐƟǀĞďLJ ŝŶƚĞŐƌĂƟŶŐƚŚĞŝƌĞdžŝƐƟŶŐďƵŝůĚŝŶŐƉůŽƚƐĂƌĂďůĞ ůĂŶĚŽƌĐŚĂƌĚƐĂŶĚŵĂŶĂŐĞĚĨŽƌĞƐƚƐǁŚŝůĞƚŚĞůĞŐĂůůĂŶĚďŽƵŶĚĂƌŝĞƐĂƌĞƵŶĂīĞĐƚĞĚWůĂŶŶĞƌƐĂŶĚĂƌĐŚŝƚĞĐƚƐǁŝůůďĞĚƌĂǁŶŝŶĂƐĐŽŶƐƵůƚĂŶƚƐŽƌƐŚĂƌĞŚŽůĚĞƌƐƚŽĂƐƐĞƐƐƚŚĞĞdžŝƐƟŶŐ ůĂŶĚƐĐĂƉĞĂŶĚďƵŝůĚŝŶŐƐ ŝŶ ƚŚĞŶĞǁ ƚĞƌƌŝƚŽƌŝĞƐ ĂŶĚĚĞƐŝŐŶ ĐĂŶďĞĚƌĂǁŶĂĐĐŽƌĚŝŶŐůLJdŚĞĚĞƐŝŐŶǁŝůů ƚŚĞŶďĞ ŝŵƉůĞŵĞŶƚĞĚďLJ ůŽĐĂů ĨĂƌŵĞƌƐǁŝƚŚtechnical support from experts

ůƚŚŽƵŐŚŝƚǁŝůůƌĞƋƵŝƌĞƐƵďƐƚĂŶƟĂůĮŶĂŶĐŝĂůŝŶǀĞƐƚŵĞŶƚĨƌŽŵŝŶǀĞƐƚŽƌƐĨŽƌƐƵĐŚŝŶƐƟƚƵƟŽŶďƵŝůĚŝŶŐƐƉĞĐŝĂůŝƐƚƐĞƌǀŝĐĞƐĂŶĚĐŽƐƚŽĨĐŽŶƐƚƌƵĐƟŽŶƚŚĞĐŽƐƚĨŽƌůĂŶĚƚƌĂŶƐĨĞƌ ŝƐ ĞůŝŵŝŶĂƚĞĚ ĐŽŵƉĂƌŝŶŐ ƚŽ ƐŝŵŝůĂƌ ƐĐĂůĞ ĚĞǀĞůŽƉŵĞŶƚ ĂƐ ƚŚĞ ůĂŶĚ ŝƐŝŶǀĞƐƚĞĚďLJĨĂƌŵĞƌƐĂƐƚŚĞŝƌƐŚĂƌĞ ŝŶƚŚĞĞŶƚĞƌƉƌŝƐĞ^ƵĐŚƐĂǀŝŶŐ ŝƐƐƵďƐƚĂŶƟĂůĐŽŶƐŝĚĞƌŝŶŐƚŚĞĐŽƐƚŽĨƌĞůŽĐĂƟŶŐůŽĐĂůĨĂŵŝůŝĞƐĂŶĚůĂŶĚƵƐĞĨĞĞƐƚŽůŽĐĂůŐŽǀĞƌŶ-ŵĞŶƚampƵƌƚŚĞƌŵŽƌĞĂůĂƌŐĞƉŽƌƟŽŶŽĨůŽĐĂůĨĂƌŵĞƌƐǁŚŽŚĂǀĞĚĞǀĞůŽƉĞĚƚŚĞŝƌƐŬŝůůƐŝŶƚŚĞĐŽŶƐƚƌƵĐƟŽŶŝŶĚƵƐƚƌLJŝŶƚŚĞĐŝƟĞƐĐĂŶĂůƐŽĐŽŶƚƌŝďƵƚĞůĂďŽƵƌƚŽƚŚĞĐŽŶƐƚƌƵĐƟŽŶŽĨƐƵĐŚƉƌŽũĞĐƚƐdŚĞĐŽŽƉĞƌĂƟǀĞǁŝůůĨƵŶĐƟŽŶĂƐĂŶŝŶƚĞŐƌĂƚĞĚĞŶ-ƚĞƌƉƌŝƐĞǁŚĞƌĞƌĞŵƵŶĞƌĂƟŽŶǁŝůůďĞďĂƐĞĚŽŶŝŶƉƵƚŝŶĐůƵĚŝŶŐůĂŶĚůĂďŽƵƌĂŶĚĐĂƉŝƚĂůŽŶƚƌĂƌLJ ƚŽĞdžŝƐƟŶŐĞdžƉĞƌŝŵĞŶƚĂů ůĂŶĚ ƐŚĂƌĞŚŽůĚŝŶŐ ĐŽŽƉĞƌĂƟǀĞƐĞůƐĞ-ǁŚĞƌĞŝŶŚŝŶĂŝƚĚŽĞƐŶŽƚŝŶǀŽůǀĞƚŚĞƚƌĂŶƐĨĞƌŽĨůĂŶĚƌŝŐŚƚƐƚŽĞŶƚĞƌƉƌŝƐĞƐĂŶĚůŽĐĂůƐƚĂƚĞƐĂŶĚƚŚĞƌĞĨŽƌĞǁŝůůďŽůƐƚĞƌĨĂƌŵĞƌƐƉŽƐŝƟŽŶŝŶƚŚĞĐŽŽƉĞƌĂƟǀĞƐ3

ϭ ^ƵƐĂŶŶĞgtŝŶŐŽŚƌͲtŽůĨ ŶĚƵƐƚƌŝĂůŝƐĂƟŽŶĂŶĚZƵƌĂůgtŝǀĞůŝŚŽŽĚƐŝŶŚŝŶĂŐƌŝĐƵůƚƵƌĂůƉƌŽĐĞƐƐŝŶŐŝŶ^ŝĐŚƵĂŶgtŽŶĚŽŶZŽƵƚůĞĚŐĞϮϬϭϯͿƉϭϮ ĂŶŽƵǁĞWĞĂƐĂŶƚƐdĞƌƌŝƚŽƌŝĂůŽŽƉĞƌĂƟǀĞƐĂŶĚƚŚĞŐƌĂƌŝĂŶYƵĞƐ-ƟŽŶŝŶZƵƌĂůdƌĂŶƐĨŽƌŵĂƟŽŶƐĂŶĚĞǀĞůŽƉŵĞŶƚ in ŚŝŶĂŝŶŽŶƚĞdžƚdŚĞǀĞƌLJ-ĚĂLJůŝǀĞƐŽĨWŽůŝĐŝĞƐĂŶĚWĞŽƉůĞĞĚďLJEŽŵĂŶgtŽŶŐĞƚĂůŚĞůƚĞŶŚĂŵĚǁĂƌĚůŐĂƌ ϮϬϭϬͿƉϱϰϯ ŚĂŽƉϭϮϮ

Specialised cooperative village in tea pro-duction where smaller plantations have been integrated into a scaled production

PROPOSAL OF TERRITORIAL COLLECTIVES

107

108 109

CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

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CHALLENGE OF INSTITUTION BUILDING

ŶŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚĂƐĂďŽǀĞǁŝůůƌĞƐƵůƚŝŶƌƵƌĂůƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚƐƚŚĂƚĂƌĞůŽĐĂƚĞĚŝŶŝŶĚŝǀŝĚƵĂůĨĂƌŵƐǁŚŝůĞĐŽŽƌĚŝŶĂƚĞĚŽŶĂůĂƌŐĞƌƐĐĂůĞĞĞƉůLJƌŽŽƚĞĚ ŝŶ ůŽĐĂůĂŐƌŝĐƵůƚƵƌĂůƉƌĂĐƟĐĞƐ ƚŚĞŶĞǁƚĞƌƌŝƚŽƌŝĞƐǁŝůůďĞĐŽŵĞƉƌŝŵĂƌLJƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶƐƚŚĞŵƐĞůǀĞƐďLJŽīĞƌŝŶŐĂĚĞƐŝŐŶĞĚĞŶǀŝƌŽŶŵĞŶƚďŽƚŚƐĐĞŶŝĐĂŶĚƉƌŽĚƵĐƟǀĞƚĂůƐŽĂĚĚƌĞƐƐĞƐƚŚĞŝŵďĂůĂŶĐĞŽĨƉŽǁĞƌƐĞĞŶŝŶůĂƌŐĞƐĐĂůĞĚĞ-ǀĞůŽƉŵĞŶƚ ŝŶzŝŶŐƐŚĂŶŽƵŶƚLJďLJĞůŝŵŝŶĂƟŶŐƚŚĞƚƌĂŶƐĨĞƌŽĨ ůĂŶĚƌŝŐŚƚƐDŽƌĞŝŵƉŽƌƚĂŶƚůLJ ƚŚĞ ƌĞƐƵůƟŶŐ ƐƉĂƟĂů ƋƵĂůŝƟĞƐ ŽĨ ƌƵƌĂů ƚŽƵƌŝƐŵ ĚĞǀĞůŽƉŵĞŶƚƐ ǁŝůůŵĂŝŶƚĂŝŶƚŚĞƌƵƌĂůŝƚLJŽĨƚŚĞǀŝůůĂŐĞ

ŽǁĞǀĞƌ ƚŚĞďƵŝůĚŝŶŐ ŽĨ ƐƵĐŚ ĂŶ ŝŶƐƟƚƵƟŽŶĂů ĂƌƌĂŶŐĞŵĞŶƚǁŽƵůĚ ďĞ ƚŚĞďŝŐ-ŐĞƐƚĐŚĂůůĞŶŐĞŝŶƐƵĐŚĚĞǀĞůŽƉŵĞŶƚƐdŚĞůĂĐŬŽĨŝŶƐƟƚƵƟŽŶƐŝŶƌƵƌĂůŚŝŶĂŚĂƐďĞĞŶŽďƐĞƌǀĞĚďLJƵŝůŝĂŶŐdŚĞƌĞ ŝƐŶŽĞīĞĐƟǀĞ ĨŽƌŵĂůƉŽůŝƟĐĂůŵĞĐŚĂŶŝƐŵƚŚĂƚĞŶĂďůĞƐĐŽůůĞĐƟǀĞĂĐƟŽŶŝŶƌƵƌĂůŚŝŶĂĚĞƐƉŝƚĞƚŚĞĂƩĞŵƉƚƐĂƚĚĞŵŽĐƌĂƟƐ-ŝŶŐĂƚůŽĐĂůůĞǀĞůdŚĞǀŝůůĂŐĞĞůĞĐƟŽŶƐŝŶzŝŶŐƐŚĂŶŽŌĞŶďĞĐŽŵĞƐĂƉĂŶƚŽŵŝŵĞĂƐ ůŽĐĂů ŐĂŶŐƐďĞĐŽŵĞĐŽŵƉůŝĐŝƚǁŝƚŚ ƚŚĞĂƉƉŽŝŶƚĞĚƉĂƌƚLJ ƐĞĐƌĞƚĂƌLJĂŶĚ ƐŬĞǁƚŚĞĞůĞĐƟŽŶƐƵŽďƐĞƌǀĞĚƚŚĂƚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐŝŶƐŽŵĞƌƵƌĂůƉůĂĐĞƐŝŶŚŝ-ŶĂŚĂǀĞďĞĐŽŵĞĂďƌŽŬĞƌŝŶŐŵĞĐŚĂŶŝƐŵďĞƚǁĞĞŶƚŚĞůŽĐĂůƉĞŽƉůĞĂŶĚƚŚĞůŽĐĂůstate power1 dŚĞĞŵĞƌŐŝŶŐ ŝŶĨŽƌŵĂů ŝŶƐƟƚƵƟŽŶƐĂƌĞƉƌŽŵŝƐŝŶŐ ŝŶĂŽƉĂŶĚŝ ĂƐĂďƌŽŬĞƌĂŐĞƚŽĂĐŚŝĞǀĞƐƵĐŚŝŶƐƟƚƵƟŽŶĂůĂƌƌĂŶŐĞŵĞŶƚŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂƌĞĞƐƐĞŶƟĂůůLJƚƌĂĚŝƟŽŶĂůŝŶƐƟƚƵƟŽŶƐƚŚĂƚƐƵƌǀŝǀĞĚĂŶĚƌĞͲĞŵĞƌŐĞĚŝŶƌƵƌĂůŚŝŶĂƌĞ-ĐĞŶƚůLJƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝƚƌĂĚŝƟŽŶĂůƌĞůŝŐŝŽŶĨĂŵŝůLJĐůĂŶŚŽƵƐĞƐƐƚĂƌƚĞĚƚŽƌĞͲĞŵĞƌŐĞĂŌĞƌƚŚĞƚƌĂƵŵĂƟĐĚĞƐƚƌƵĐƟŽŶŝŶƚŚĞĐƵůƚƵƌĂůƌĞǀŽůƵƟŽŶ

^ƵĐŚŝŶĨŽƌŵĂůŝŶƐƟƚƵƟŽŶƐĂůƌĞĂĚLJĞdžŝƐƚŝŶŝƚƐƉƌŝŵĂƌLJĨŽƌŵƐŝŶŵĂŶLJŽĨƚŚĞĐůƵƐƚĞƌƐŽŶƐŝƚĞampĂŵŝůŝĞƐǁŚŽůŝǀĞŝŶƚŚĞƐĂŵĞĐůƵƐƚĞƌĂƌĞůŝŬĞůLJƚŽďĞĨƌŽŵƚŚĞƐĂŵĞĨĂŵŝůLJĐůĂŶĂĐŚĐůƵƐƚĞƌ ĐĂŶďĞĚĞǀĞůŽƉĞĚ ŝŶĚĞƉĞŶĚĞŶƚůLJǁŚĞŶĞǀĞƌĂŶĂŐƌĞĞŵĞŶƚ ŝƐƌĞĂĐŚĞĚǁŝƚŚĂůůƚŚĞĨĂŵŝůŝĞƐƌĞƐŝĚĞǁŝƚŚŝŶdŚĞŶƵŵďĞƌŽĨĨĂŵŝůŝĞƐƌĂŶŐĞƐĨƌŽŵϰͲϭϱŝŶƚŚĞĮǀĞĐůƵƐƚĞƌƐƌŐƵĂďůLJ ĨŽƌŵŝŶŐĐŽŽƉĞƌĂƟǀĞƐǁŝƚŚŝŶĂƌĞůĂƟǀĞůLJƐŵĂůůƐĐĂůĞŽĨƚŚĞĐůƵƐƚĞƌƐŝƐůĞƐƐĚŝĸĐƵůƚƚŚĂŶǁŝƚŚŝŶĂůĂƌŐĞƌƐĞƩůĞŵĞŶƚKŶĐĞĂŶŝŶŝƟĂůĐŽŽƉĞƌĂƟǀĞďĞĐŽŵĞƐŽƉĞƌĂƟŽŶĂůŝƚǁŝůůďĞĐŽŵĞĂŵŽĚĞůĨŽƌŽƚŚĞƌƐƚŽĞŵƵůĂƚĞ

ŶĮĞůĚǁŽƌŬŝƚŝƐŽďƐĞƌǀĞĚƚŚĂƚŵĂŶLJƐŵĂůůŚŽůĚŝŶŐƐŽĨĂŽƉĂŶĚŝǁĞƌĞůĞŌƵŶĐƵů-ƟǀĂƚĞĚƚŚƌŽƵŐŚŽƵƚƚŚĞLJĞĂƌǁŚĞŶƚŚĞĨĂƌŵĞƌƐůĞŌƚŽǁŽƌŬŝŶĐŝƟĞƐdŚĞĨĂƌŵĞƌƐŚŽǁĞǀĞƌ ǁĞƌĞ ƌĞůƵĐƚĂŶƚ ƚŽ ƚƌĂŶƐĨĞƌ ƚŚĞŝƌ ůĞĂƐĞƐ ƚŽŽƚŚĞƌ ĨĂƌŵĞƌƐǁŚŽ ƐƚĂLJĞĚDŽƐƚĨĂƌŵĞƌƐǁĞƌĞĐŽŶƐĞƌǀĂƟǀĞŽŶĚĞĐŝƐŝŽŶƐŽĨůĂŶĚƚƌĂŶƐĨĞƌƐĂŶĚǁĞƌĞƐĞĞŵ-ŝŶŐůLJ ŝƌƌĂƟŽŶĂůƌĂƚŚĞƌƚŽ ůĞĂǀĞƚŚĞŝƌƐŵĂůůŚŽůĚŝŶŐƐƵŶĐƵůƟǀĂƚĞĚƚŚĂŶŐĂŝŶŝŶŐĂŶŝŶĐŽŵĞĨƌŽŵƐƵďůĞĂƐĞdŚĞŝƌĚĞĐŝƐŝŽŶƐĐĂŶďĞĞdžƉůĂŝŶĞĚďLJƚŚĞƚŚĞŽƌLJŽĨƚŚĞĞĐŽ-ŶŽŵŝĐƐŽĨƐƵďƐŝƐƚĞŶĐĞĞƚŚŝĐƐ2ŚŝŶĞƐĞĨĂƌŵĞƌƐǁŚŽǁŽƌŬĂƐŵŝŐƌĂŶƚǁŽƌŬĞƌƐŝŶƚŚĞĐŝƚLJĂƌĞƵŶĚĞƌƐƵďƐŝƐƚĞŶĐĞŝŶƐĞĐƵƌŝƚLJ ĂƐƚŚĞLJŚĂǀĞŶĞŝƚŚĞƌŐƵĂƌĂŶƚĞĞŽĨůŽŶŐƚĞƌŵĞŵƉůŽLJŵĞŶƚŶŽƌĂĐĐĞƐƐƚŽƚŚĞǁĞůĨĂƌĞƐLJƐƚĞŵŝŶƚŚĞĐŝƟĞƐĞŐŚŽƵƐŝŶŐĞĚƵĐĂƟŽŶĨŽƌĐŚŝůĚƌĞŶĂŶĚŚĞĂůƚŚĐĂƌĞͿƐĂƌĞƐƵůƚƚŚĞĐŚŽŝĐĞƐĂŶĚǀĂůƵĞƐĂĚŽƉƚ-ĞĚďLJƚŚĞŵǁŝůů ĨĂǀŽƵƌƐƚĂďŝůŝƐĂƟŽŶŽĨ ŝŶĐŽŵĞŽǀĞƌĂĐŚŝĞǀŝŶŐĂŚŝŐŚĞƌĂǀĞƌĂŐĞŝŶĐŽŵĞdŚĞƵŶĐƵůƟǀĂƚĞĚƐŵĂůůŚŽůĚŝŶŐƐĂƌĞƚŚĞůĂƐƚƌĞƐŽƌƚƐĨŽƌƚŚĞŵŝŐƌĂŶƚǁŽƌŬ-ĞƌƐĂŶĚƚŚĞŝƌĨĂŵŝůŝĞƐŝŶĐĂƐĞŽĨƚŚĞŝƌƵŶĞŵƉůŽLJŵĞŶƚŝŶƚŚĞĐŝƚLJdŚĞƌĞĨŽƌĞŵĂŝŶ-ƚĂŝŶŝŶŐƚŚĞĞdžŝƐƟŶŐďŽƵŶĚĂƌŝĞƐŽĨůĂŶĚůĞĂƐĞƵŶĚĞƌZ^ŝŶŽƌĚĞƌƚŽŵĂŝŶƚĂŝŶƚŚĞƐĂĨĞƚLJŵĞĐŚĂŶŝƐŵĞƐƉĞĐŝĂůůLJƚŚŽƐĞŽĨĂƌĂďůĞůĂŶĚŝƐŽĨƵƚŵŽƐƚŝŵƉŽƌƚĂŶĐĞƚŽƚŚĞƐƵĐĐĞƐƐŽĨƉƌŽĐƵƌŝŶŐƚŚĞƉƌŽũĞĐƚĂƐŝƚƌĞŵŽǀĞƐĂŶŝŶŚĞƌĞŶƚƌŝƐŬĨĂĐĞĚďLJĨĂƌŵĞƌƐŝŶƌĞůĂƟŽŶƚŽƚŚĞŝƌƐƵďƐŝƐƚĞŶĐĞ

1 Biliang Hu Informal Institutions and Rural Developemnt in China (London Routledge 2007) p 122 James C Scott The Moral Economy of the Peasant Rebellion and Subsi-tence in Southeast Asia (London Yale University Press) p 18

MORAL ECONOMY OF THE PEASANT

Revival of informal institutions in Yingshan

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

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ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 48: 20140808 ran xiao thesis in spreads compressed

The initial development of the collectives proposes to accommodate tourists in a agrarian community and landscape only subtlety transformed for its need Tourism income subsidises agricultural practices on site and the agricultural landscape provides the attraction for tourism

This narrative can be strengthened by a second phase of development of spe-cialised amenities that will serve not only the tourists but also local commu-nities These specialised amenities will be built on constructional plots on the Ƥlocation undesirable due to lack of road access The development of specialised amenities will serve to bring road and irrigation infrastructure to the higher ter-ǡƤǤ

The specialised amenities will strengthen the attraction of the site as a tourist destination further supporting its agricultural practices They will also serve as Ƥǡ-posed institution

Evolution of the Narrative

MASTERPLAN OF THE SITE INCLUDING THE SPECIALISED FACILITIES

Restaurant Thermal Spa Tea House Sport Centre

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ေ㣶dŝůĞĚŽƵƐĞtĈŶ

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 49: 20140808 ran xiao thesis in spreads compressed

115

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 50: 20140808 ran xiao thesis in spreads compressed

117116

centǤǤƤcentǡǤǤǤǤǡ-ƤǤ

ǡǤǡǤǡǤǡǤƤƪǤ

ǡ-ǤǤǡǡǡǤ

ǡƤǤǡǡǤ

Restaurant

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 51: 20140808 ran xiao thesis in spreads compressed

RestaurantPlan 1500Section 1200

a

b

c

d

e

f

Retaurant

Smokehouse

Kitchen

Courtyard

Pond

Animal Farm

a

b

c

d

e

f

f

f

f

da

c

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 52: 20140808 ran xiao thesis in spreads compressed

121

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 53: 20140808 ran xiao thesis in spreads compressed

122 123

ǤǡǤ ǡǤ- Ǥ ǤǡǤ

Thermal Spa

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 54: 20140808 ran xiao thesis in spreads compressed

Thermal SpaPlan 1500Section 1200

a

b

c

d

e

f

g

Entrance

Front garden with lotus pond

Changing rooms

Bar

Pools

Massage pavilion

Bamboo grove

a

b

c

d

e

ee

e

f

b de

f

g

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 55: 20140808 ran xiao thesis in spreads compressed

129

centǡǡǤǤǡǤ

ƤǤǤǡǤǤ ǡǤ ƤǤǡǤ

Tea House

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 56: 20140808 ran xiao thesis in spreads compressed

Tea HousePlan 1500Section 1200

a

b

c

d

e

f

Tea workshops

Shop

LibraryTea house

Private tea rooms

Lotus pond

Ƥ

a

b

c

d

e

f

a

a d d

f

d

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 57: 20140808 ran xiao thesis in spreads compressed

135

centǡ centre appear to be less prominent The entrance hall hosts a reception a gym and changing rooms under a green roof Through a small courtyard one arrives ǡ Ǥƪof outdoor stairs the small hall is roughly half the size of the large hall Both halls are partly natural lit and naturally ventilated as part of the wall under the eave and above the ground remains open As the halls are not weather tight the grounds are drained from the periphery The halls will not only serve as sport arenas but will also become a public gathering space for the territorial collec-tives for meetings and events

Sports Centre

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 58: 20140808 ran xiao thesis in spreads compressed

136

Sport CentrePlan 1500Section1200

a

b

c

d

e

Gym

Changing rooms

Large Hall

Small Hall

Green Roof

b

c

e c

a

d

d

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 59: 20140808 ran xiao thesis in spreads compressed

141

DĂŶLJ ůŽĐĂů ĨĂƌŵĞƌƐ ŝŶ ĂŽƉĂŶĚŝ ǁŽƌŬ ŝŶ ůĂƌŐĞ ĐŝƟĞƐ ĂƐ ĐŽŶƐƚƌƵĐƟŽŶ ǁŽƌŬĞƌƐƚŚƌŽƵŐŚŽƵƚ ƚŚĞLJĞĂƌ Ŷ ƚŚĞƉƌŽƉŽƐĞĚ ƚĞƌƌŝƚŽƌŝĂů ĐŽŽƉĞƌĂƟǀĞƐŶĞǁƚŽƵƌŝƐŵĂĐ-ĐŽŵŵŽĚĂƟŽŶǁŝůůďĞďƵŝůƚďLJƚŚĞĨĂƌŵĞƌƐŽŶĞdžŝƐƟŶŐŚŽƵƐŝŶŐƉůŽƚƐďĂƐĞĚŽŶĂŶĂŐƌĞĞĚŵĂƐƚĞƌƉůĂŶĂŶĚĚĞƐŝŐŶƉƌŽǀŝĚĞĚďLJƐƉĞĐŝĂůŝƐƚƐŽǁĞǀĞƌ ĂƐŝƚŝƐŽďƐĞƌǀĞĚŝŶĂŽƉĂŶĚŝĐŽŶƐƚƌƵĐƟŽŶƋƵĂůŝƚLJŝƐŽŌĞŶůŽǁĂŶĚŝŶĐŽŶƐŝƐƚĞŶƚĂƐŵĂŶLJĨĂƌŵĞƌƐŚĂĚŽŶůLJďĂƐŝĐ ƚƌĂŝŶŝŶŐ ŝŶ ƚŚĞĐŝƟĞƐWŽŽƌĐŽŶƐƚƌƵĐƟŽŶ ŝŶ ƐĞůĨďƵŝůƚŚŽƵƐĞƐ ŝƐĂƉƌŽŵŝŶĞŶƚƌŝƐŬŝŶĂŶĞĂƌƚŚƋƵĂŬĞƉƌŽŶĞĂƌĞĂƐƵĐŚĂƐƚŚĞĂďŝĞDŽƵŶƚĂŝŶƐƚŝƐĂĐŚĂůůĞŶŐĞĨŽƌƚŚĞĐŽŽƉĞƌĂƟǀĞƐƚŽƌĂŝƐĞƚŚĞĞdžŝƐƟŶŐůĞǀĞůŽĨĐŽŶƐƚƌƵĐƟŽŶďĂƐĞĚŽŶůŽĐĂůƐŬŝůůƐĂŶĚƉƌĂĐƟĐĞ^ƚĂŶĚĂƌĚŝƐĂƟŽŶŽĨƐĞůĨďƵŝůĚĐŽŶƐƚƌƵĐƟŽŶƉƌŽĐĞƐƐƚŚĞƌĞ-ĨŽƌĞǁŝůůďĞŝŶƚƌŽĚƵĐĞĚĂƐƉĂƌƚŽĨƚŚĞĚĞƐŝŐŶŽĨƚĞƌƌŝƚŽƌŝĂůĐŽŽƉĞƌĂƟǀĞƐ

gtŽĐĂůďƵŝůĚŝŶŐƉƌĂĐƟĐĞƐĂůƌĞĂĚLJƵƟůŝƐĞĂĨŽƌŵŽĨƉƌĞĨĂďƌŝĐĂƟŽŶdŚĞŵŽƐƚƌĞĐĞŶƚĨĂƌŵĞƌƐ ŚŽƵƐĞƐ ĂƌĞ ƐĞůĨͲďƵŝůƚ ŝŶ ƌĞŝŶĨŽƌĐĞĚ ĐŽŶĐƌĞƚĞ ĨƌĂŵĞ ĐŽŶƐƚƌƵĐƟŽŶ ǁŝƚŚďƌŝĐŬĞŶǀĞůŽƉĞĂŶĚƉĂƌƟƟŽŶƐampƌŽŶƚĨĂĕĂĚĞƐĂƌĞƵƐƵĂůůLJƚƌĞĂƚĞĚǁŝƚŚƐƉĞĐŝĂůĐĂƌĞwith classical styled cornices and columns moulded in glass reinforced concrete ŶĂďŝĚƚŽďƌŝŶŐĐŽŚĞƌĞŶĐĞƚŽƚŚĞƐĞůĨďƵŝůƚŚŽƵƐĞƐŽŶĂůĂƌŐĞƌƐĐĂůĞůŽĐĂůƉůĂŶŶŝŶŐĂƵƚŚŽƌŝƟĞƐ ŝƐƐƵĞĚ ŝŵĂŐĞƐŽĨ ĐůƵƐƚĞƌƐ ŽĨ ŚŽƵƐĞƐǁŝƚŚ ĂƵŶŝĨŽƌŵůLJ ƐƚLJůŝƐĞĚ ĨƌŽŶƚfacade as a planning guidance Each house uses the same moulds for the stylised ĞůĞŵĞŶƚƐ ƐƵĐŚĂƐ ĐŽƌŶŝĐĞƐǁŝŶĚŽǁƐŝůůƐ ĂŶĚĐŽůƵŵŶƐŽŶ ƚŚĞ ĨƌŽŶƚ ĨĂĐĂĚĞ ƌĞ-ƐƵůƚĞĚŝŶĂĐŽŶƐŝƐƚĞŶƚƐƚƌĞĞƚƐĐĂƉĞŶƚŚŝƐŝŶƐƚĂŶĐĞƚŚĞŵŽƵůĚƐƵƐƵĂůůLJŵĂĚĞŝŶĮďƌĞŐůĂƐƐŽƌWsƉƌŽǀŝĚĞĂƐƚĂŶĚĂƌĚŝƐŝŶŐŵĞƚŚŽĚŝŶƐĞůĨďƵŝůĚƉƌŽĐĞƐƐ

ŵŝdžĞĚƐLJƐƚĞŵŽĨƉƌĞĨĂďƌŝĐĂƚĞĚƐƚƌƵĐƚƵƌĞĂŶĚƚƌĂĚŝƟŽŶĂůĂƌƚĂŶĚĐƌĂŌŝƐĚĞǀĞů-ŽƉĞĚdŚĞƐƚƌƵĐƚƵƌĞƐŽĨ ƚŚĞŶĞǁďƵŝůƚĂƌĐŚŝƚĞĐƚƵƌĞ ŝƐďĂƐĞĚŽŶƉŽƌƚĂů ĨƌĂŵĞĂƐLJƐƚĞŵƚŚĂƚŝƐƵƐĞĚŝŶŵŽĚĞƌŶĂŐƌŝĐƵůƚƵƌĂůďƵŝůĚŝŶŐƐƉĂƌƚĨƌŽŵŝƚƐŵŽĚĞƌŶĐŽŶ-ŶŽƚĂƟŽŶŝƚŝƐĂůƐŽĂƌĞĨĞƌĞŶĐĞƚŽƚŚĞƉĂƌĂůůĞůǁĂůůƐLJƐƚĞŵŽĨƚŚĞǀĞƌŶĂĐƵůĂƌŚŽƵƐĞdŚĞƐĐĂůĂďŝůŝƚLJŽĨƚŚĞƉŽƌƚĂůĨƌĂŵĞŵĞĂŶƐƚŚĂƚŝƚĐĂŶďĞĂƉƉůŝĞĚƚŽďŽƚŚƚŚĞƐŵĂůůĂĐĐŽŵŵŽĚĂƟŽŶƐĂŶĚƚŚĞůĂƌŐĞƐƉĂŶŽĨƚŚĞƐƉŽƌƚƐŚĂůůdŚĞƐLJƐƚĞŵŝŶƵƐĞǁŝůůďĞƉƌĞͲƐƚƌĞƐƐĞĚƉƌĞĐĂƐƚĨƌĂŵĞƐdŚŝƐŚĂƐƚŚĞďĞŶĞĮƚŽĨŚĂǀŝŶŐĂƐůĞŶĚĞƌƉƌŽĮůĞdŚĞƉƌĞĐĂƐƚĨƌĂŵĞƐĂƌĞĐŽŶŶĞĐƚĞĚĂƚƚŚĞƉŝŶŶĂĐůĞǁŝƚŚďŽůƚƐdŚĞƐŵĂůůĞƌĨƌĂŵĞƐĐĂŶƉŽƚĞŶƟĂůůLJďĞĂƐƐĞŵďůĞĚǁŝƚŚŽƵƚĂĐƌĂŶĞǁŚĞŶƉƵůůĞLJƐĂƌĞƵƐĞĚdŚĞĨƌĂŵĞƐĂƌĞǀĞƌLJĞĂƐŝůLJĂĚĂƉƚĂďůĞŶƚŚĞĞdžƚĞŶƐŝŽŶƐŽĨƚŚĞŚŽƵƐĞƐĞĂĐŚďĂLJĐĂŶďĞĂƐƐŝŐŶĞĚƚŽǀĂƌŝŽƵƐƵƐĞ ŝŶĚĞƉĞŶĚĞŶƚůLJĂLJƐ ƚŚĂƚĂƌĞĞŵƉƚLJĐĂŶďĞƵƐĞĚĂƐĂ ƐŚĞůƚĞƌĞĚƐĞŵŝͲŽƵƚĚŽŽƌƐƉĂĐĞƚĂůƐŽŐŝǀĞƐƚŚĞƉŽƐƐŝďŝůŝƚLJŽĨĨƵƚƵƌĞĞdžƉĂŶƐŝŽŶŽĨƚŚĞƐLJƐƚĞŵǁŝƚŚŽƵƚŝŶƚĞƌĨĞƌĞŶĐĞƚŽŶĞŝŐŚďŽƵƌŝŶŐďĂLJƐdŚĞŝŶĮůůƐŽĨƚŚĞǁĂůůƐǁŝŶĚŽǁƐĚŽŽƌƐĂŶĚƌŽŽĨƐǁŝůůďĞĐŽŶƐƚƌƵĐƚĞĚƵƐŝŶŐůŽ-ĐĂůƚĞĐŚŶŝƋƵĞƐĂŶĚĐƌĂŌƐdŚĞĐŽŶƐƚƌƵĐƟŽŶǁŝůůŝŶĐůƵĚĞĐĂƌƉĞŶƚƌLJŽĨŵĂŬŝŶŐŝŶĮůůǁĂůůƐƐŚƵƩĞƌƐĚŽŽƌƐĂŶĚǁŝŶĚŽǁƐŵĂƐŽŶƌLJĨŽƌƚŚĞŇŽŽƌĂŶĚǁĂůůƐĂŶĚďĂŵǁĞĂǀŝŶŐĨŽƌŝŶƚĞƌŝŽƌƐƵƌĨĂĐĞƐ

ŽŵŵŽŶŝŶĚƵƐƚƌŝĂůŵĂƚĞƌŝĂůƐƐƵĐŚĂƐƐƚĞĞůĂŶĚĐŽŶĐƌĞƚĞĂƌĞƵƐĞĚĞdžƚĞŶƐŝǀĞůLJŝŶůŽĐĂůĐŽŶƐƚƌƵĐƟŽŶƉĂƌƚĨƌŽŵƚŚĞƉƌĞĐĂƐƚƉƌĞƐƚƌĞƐƐĞĚƉŽƌƚĂůĨƌĂŵĞƐLJƐƚĞŵƐƉĞ-ĐŝĂůĂƩĞŶƟŽŶŝƐĚƌĂǁŶƚŽƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨůŽĐĂůŵĂƚĞƌŝĂůƐƐŝŶĐĞƚŚĞƵƐĞůŽĐĂůŵĂƚĞƌŝĂůƐŝŶƚŚĞƉƌŽũĞĐƚǁŝůůŶŽƚŽŶůLJĞŶŚĂŶĐĞƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞďLJĞdžĞƌƟŶŐĂƐĞŶƐĞŽĨ ůŽĐĂů ŝĚĞŶƟƚLJ ƐƵƉƉŽƌƟŶŐ ůŽĐĂůĐƌĂŌďƵƚĂůƐŽƌĞĚƵĐŝŶŐ ŝƚƐĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵ-pact

dǁŽŵĂŝŶƐŽƵƌĐĞƐŽĨďƵŝůĚŝŶŐŵĂƚĞƌŝĂůĂƌĞĂǀĂŝůĂďůĞŝŶzŝŶŐƐŚĂŶŽƵŶƚLJĐƌŽƐƐƚŚĞĐŽƵŶƚLJ ƚŚĞƌĞĂƌĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐƚŚĂƚƉƌŽĚƵĐĞĨĂƐƚŐƌŽǁŶƟŵďĞƌƐƵĐŚĂƐƵŶŶŝŶŐŚĂŵŝĂĂƐƉĞĐŝĞƐŽĨ ƌĞĚǁŽŽĚǁŚŝĐŚĐĂŶďĞƵƐĞĚ ŝŶĐŽŶƐƚƌƵĐƟŽŶŽǁ-ĞǀĞƌ ƚŚĞŵĂŶĂŐĞĚĨŽƌĞƐƚƐ ŝŶĂďŝĞDŽƵŶƚĂŝŶƐĂƌĞƉĂƌƚŽĨĂƌĞĨŽƌĞƐƚĂƟŽŶĐĂŵ-ƉĂŝŐŶƐŝŶĐĞϭϵϴϬƐƚŚĞƌĞĨŽƌĞŵĂƚƵƌĞƟŵďĞƌƐƵƉƉůLJŝƐůŝŵŝƚĞĚhƐĞŽĨƟŵďĞƌŝŶƚŚĞƉƌŽũĞĐƚŝƐŵŝŶĚĨƵůŽĨƚŚĞƐĐĂůĞĂŶĚĚŝŵĞŶƐŝŽŶƐŽĨƟŵďĞƌƚŚĂƚŝƐĂǀĂŝůĂďůĞůŽĐĂůůLJdŝŵďĞƌŝƐŽŶůLJƵƐĞĚŝŶĐůĂĚĚŝŶŐĂŶĚŝŶĮůůĞůĞŵĞŶƚƐĂŶĚŵŝŶŽƌƐƚƌƵĐƚƵƌĂůŽŶĞƐŝŶƚŚĞƉƌŽƉŽƐĂůƌĂŶŝƚĞƋƵĂƌƌŝĞƐŚĂǀĞƐƵƉƉůŝĞĚĂŐƌŽǁŝŶŐĐŽŶƐƚƌƵĐƟŽŶŵĂƌŬĞƚ ŝŶƚŚĞzŝŶŐƐŚĂŶdŽ ĐŽŶƚƌŽů ƚŚĞ ŝŵƉĂĐƚŽĨƋƵĂƌƌŝĞƐŽŶ ƚŚĞ ůŽĐĂůĞŶǀŝƌŽŶŵĞŶƚ ƚŚĞ

^dEZ^dKE Kamp KE^dZhͳTION

DdZgt^dZdz

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 60: 20140808 ran xiao thesis in spreads compressed

143142

ůŽĐĂůŐŽǀĞƌŶŵĞŶƚĞŶĨŽƌĐĞĚƐƚĂƚĞĞŶǀŝƌŽŶŵĞŶƚĂůƌĞŐƵůĂƟŽŶƐĂŶĚĐŽŶĐĞŶƚƌĂƚĞĚĂůůƉƌŽĐĞƐƐŝŶŐĨĂĐŝůŝƟĞƐŝŶĂŶĞǁŝŶĚƵƐƚƌŝĂůƉĂƌŬƚŝƐƚŚĞƌĞĨŽƌĞŝŵƉŽƌƚĂŶƚƚŽƌĞŵĂŝŶĐĂƵƟŽƵƐĂďŽƵƚ ƚŚĞƐŽƵƌĐĞŽĨ ƚŚĞŐƌĂŶŝƚĞĂŶĚƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨ ƚŚĞƉƌŽĐĞƐƐĞƐdŚĞŵĂƚĞƌŝĂůŝƚLJŽĨƚŚĞƐƚŽŶĞŝƐĞdžƉůŽƌĞĚŝŶƚŚĞĚŝīĞƌĞŶĐĞŽĨƚŚĞƚƌĞĂƚ-ment of the surface

KůĚĞƌ ǀĞƌŶĂĐƵůĂƌŚŽƵƐĞƐ ĂƌĞĚĞŵŽůŝƐŚĞĚǁŚĞŶŚŽƵƐĞŚŽůĚƐ ĐůĞĂƌ ƐŝƚĞƐ ĨŽƌŶĞǁŚŽƵƐĞƐ ŝŶĂŽƉĂŶĚŝ ^ŽŵĞďƵŝůĚŝŶŐŵĂƚĞƌŝĂůƐ ĂƌĞ ƌĞĐůĂŝŵĞĚ ĨŽƌ ůĞƐƐĞƌƉƌŽũĞĐƚƐƐƵĐŚĂƐĂŶŝŵĂůƐŚĞĚƐampŝƌĞĚďƌŝĐŬƐƐƚŽŶĞƐĂŶĚƟůĞƐĂƌĞĐŽŵŵŽŶůLJĨŽƵŶĚŝŶŽůĚĞƌǀĞƌŶĂĐƵůĂƌďƵŝůĚŝŶŐƐdŚĞƵƐĞŽĨƌĞĐůĂŝŵĞĚŵĂƚĞƌŝĂůƐ ĨƌŽŵŽůĚďƵŝůĚŝŶŐǁŝůůŶŽƚŽŶůLJ ƌĞĚƵĐĞ ƚŚĞĞŶǀŝƌŽŶŵĞŶƚĂů ŝŵƉĂĐƚŽĨŶĞǁĐŽŶƐƚƌƵĐƟŽŶďƵƚ ĂůƐŽĞdžƚĞŶĚĂůŽĐĂůŝĚĞŶƟƚLJƚŽƚŚĞƉƌŽƉŽƐĞĚŶĞǁďƵŝůĚŝŶŐƐ

Local materials and craft

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 61: 20140808 ran xiao thesis in spreads compressed

145144

The development model proposed in this thesis can be replicated widely in the ƌĞŐŝŽŶĂƚƉůĂĐĞƐŽĨƐŝŵŝůĂƌůĂŶĚƐĐĂƉĞƚLJƉŽůŽŐŝĞƐƚǁŝůůĞŶĂďůĞĂƚƌĂŶƐĨŽƌŵĂƟŽŶĨƌŽŵĂƉŽƐƚͲƉƌŽĚƵĐƟǀĞůĂŶĚƐĐĂƉĞƚŽĂůĂŶĚƐĐĂƉĞŽĨƐLJŵďŝŽƐŝƐďĞƚǁĞĞŶƚŽƵƌŝƐŵĂŶĚĂŐƌŝĐƵůƚƵƌĞdŚĞŵŽĚĞůĂůƐŽĞŵďŽĚŝĞƐĂŐĞŶƵŝŶĞŵŽĚĞƌŶŝƐĂƟŽŶƉƌŽĐĞƐƐŝŶǁŚŝĐŚůŽĐĂůĨĂƌŵĞƌƐŐĂŝŶƐƵďũĞĐƟǀŝƚLJ^ƵĐŚƉƌŽĐĞƐƐǁŝůůŝŶƚŚĞůŽŶŐƚĞƌŵƐƵƐƚĂŝŶĂƚŽƵƌŝƐŵĂƩƌĂĐƟŽŶůƚŚŽƵŐŚŝŶƚŚŝƐƉƌŽĐĞƐƐĐĞƌƚĂŝŶĚŝīĞƌĞŶƟĂƟŽŶǁŽƵůĚŽĐĐƵƌĂĚŵŝƩĞĚůLJampŽƌĞdžĂŵƉůĞƚŚĞƌƵŶŶŝŶŐŽĨƐƉĞĐŝĂůŝƐĞĚĨĂĐŝůŝƟĞƐǁŽƵůĚŝŶǀŽůǀĞƐĞƌǀŝĐĞƐƚŚƵƐƌĞƐƵůƚŝŶƚŚĞƐĞƌǀĞĚĂŶĚƐĞƌǀĂŶƚĚŝĐŚŽƚŽŵLJŽǁĞǀĞƌ ƐŝŶĐĞƚŚĞĂƩƌĂĐƟŽŶŽĨƚŚĞĚĞǀĞůŽƉŵĞŶƚǁĂƐŶŽƚďĂƐĞĚĂĐŽŶƐƚƌƵĐƚĞĚĂƵƚŚĞŶƟĐŝƚLJ ŝƚǁŝůůŶŽƚƐƵīĞƌĨƌŽŵƚŚĞĞƌŽƐŝŽŶŽĨƐƵĐŚĚŝīĞƌĞŶƟĂƟŽŶampƵƌƚŚĞƌŵŽƌĞƚŚŝƐŵŽĚĞůƉƌŽǀŝĚĞƐĂĞŶǀŝƌŽŶŵĞŶƚƚŚĂƚŝƐƵƐĞĚďLJďŽƚŚƚŚĞĨĂƌŵĞƌƐĂŶĚƚŚĞƚŽƵƌŝƐƚƐƚŚĞƌĞ-ĨŽƌĞǁŽƵůĚƌĞĚƵĐĞƚŚĞůĞǀĞůŽĨĚŝīĞƌĞŶƟĂƟŽŶďLJŶĞŐŽƟĂƟŽŶĂŵĞĂŶŝŶŐŝŶƚŚĞprogramme for both groups

ŽŶĐĞƌŶŝŶŐƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽĨƚŚĞǁŝĚĞƌƌĞŐŝŽŶŝƚǁŽƵůĚďĞŵŽƌĞĐŽƐƚͲĞĨ-ĨĞĐƟǀĞƚŽĨŽĐƵƐƉƵďůŝĐĨƵŶĚŽŶƐŵĂůůĞƌĂƌĞĂƐĨŽƌƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐŝŶĐƵƌƌĞŶƚƉƌĂĐƟĐĞŝƚĐĂŶĨĂĐŝůŝƚĂƚĞƐŝŐŶŝĮĐĂŶƚĚĞǀĞůŽƉŵĞŶƚŝŶĂƐŚŽƌƚƟŵĞŽǁĞǀĞƌ ĂǁŝĚĞƐƉƌĞĂĚƵƉŐƌĂĚĞŽĨŝŶĨƌĂƐƚƌƵĐƚƵƌĞŝƐŶĞĞĚĞĚƚŽĨĂĐŝůŝƚĂƚĞĂĚĞĐĞŶƚƌĂůŝƐĞĚƚŽƵƌŝƐŵĚĞǀĞůŽƉŵĞŶƚĂƐƉƌŽƉŽƐĞĚŝŶƚŚŝƐƚŚĞƐŝƐŶĚƚŚĞƌĞĨŽƌĞŝƚǁŝůůƌĞƋƵŝƌĞƐŝŐŶŝĮĐĂŶƚƉƵďůŝĐŝŶǀĞƐƚŵĞŶƚƚǁŝůůĂůƐŽĂīĞĐƚƚŚĞƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐŽŶĂďŝŐŐĞƌƐĐĂůĞƐƐĞŶƟĂůůLJ ƚŚĞŵŽĚĞůƉƌŽƉŽƐĞĚŝƐƚŚĞŽƉƉŽƐŝƚĞŽĨƚŚĞĚŽŵŝ-ŶĂŶƚƉůĂŶŶŝŶŐŶĂƌƌĂƟǀĞŝŶŚŝŶĂǁŚŝĐŚŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJůĂƌŐĞĐŽŶĐĞŶƚƌĂƚĞĚĚĞǀĞůŽƉŵĞŶƚĞŶĂďůĞĚďLJůĂŶĚƚƌĂŶƐĨĞƌ dŚƵƐƚŚĞǁŝĚĞƌĂĚŽƉƟŽŶŽĨƐƵĐŚŵŽĚĞůƌĞƋƵŝƌĞƐŶŽůĞƐƐƚŚĂŶĂƉĂƌĂĚŝŐŵƐŚŝŌŝŶƐƚƌĂƚĞŐŝĐƉůĂŶŶŝŶŐ

ŽŶĐĞƌŶŝŶŐƚŚĞƉƌŽĐƵƌĞŵĞŶƚŽĨƐƵĐŚƉƌŽũĞĐƚůŽĐĂůůLJ ƉŽůŝƟĐƐĐĂŶďĞĂĚŝĸĐƵůƚLJŶĮĞůĚǁŽƌŬĚŝĸĐƵůƚLJǁĂƐĞdžƉĞƌŝĞŶĐĞĚŝŶŶĂǀŝŐĂƟŶŐƚŚĞƌĞůĂƚĞĚŶĂƟŽŶĂůĂŶĚůŽĐĂůƉŽůŝĐŝĞƐĂŶĚŽďƚĂŝŶŝŶŐƉůĂŶŶŝŶŐĚŽĐƵŵĞŶƚƐŝŶƌƵƌĂůŚŝŶĂampŽƌĞdžĂŵƉůĞĞǀĞŶŽďƚĂŝŶŝŶŐĂƐƵƌǀĞLJĞĚŵĂƉŽĨĂŽƉĂŶĚŝǁĂƐĚĞĞŵĞĚŝŵƉŽƐƐŝďůĞĂƐƐƵƌǀĞLJŵĂƉƐǁĞƌĞƌĞŐĂƌĚĞĚĂƐŶĂƟŽŶĂůƐĞĐƌĞƚƐĂŶĚŽŶůLJĂǀĂŝůĂďůĞƚŽƚŚŽƐĞǁŚŽŚĂƐĂǀĞƐƚĞĚŝŶƚĞƌĞƐƚͲĨŽƌĞdžĂŵƉůĞĚĞǀĞůŽƉĞƌƐdŚĞŵŽĚĞůƉƌŽƉŽƐĞĚĞůŝŵŝŶĂƚĞĚƚŚĞŝŵŵĞ-ĚŝĂƚĞĮŶĂŶĐŝĂůŝŶĐŽŵĞŽĨůĂŶĚƚƌĂŶƐĨĞƌĨŽƌƚŚĞůŽĐĂůŐŽǀĞƌŶŵĞŶƚůƚŚŽƵŐŚŽŶƚŚĞƐƵƌĨĂĐĞŝƚĚŽĞƐƐĞĞŵƚŚĂƚƐƵĐŚĂŵŽĚĞůŚŽůĚƐƚŚĞƉŽƚĞŶƟĂůŽĨĨƵůĮůůŝŶŐƌƵƌĂůĚĞǀĞůŽƉŵĞŶƚŽŶĂŶĂƟŽŶĂůƉŽůŝĐLJůĞǀĞůhůƟŵĂƚĞůLJ ŝƚĚĞƉĞŶĚƐŽŶǁŚĞƚŚĞƌƐƵĐŚĂŵŽĚĞůŝƐĂůŝŐŶĞĚǁŝƚŚƚŚĞŝŶƚĞƌĞƐƚƐŽĨƚŚĞůŽĐĂůƐƚĂƚĞĞŐƐŚŽƌƚƚĞƌŵĮŶĂŶĐŝĂůgain or long term sustainable development

EĞǀĞƌƚŚĞůĞƐƐƚŚĞƉƵƌƉŽƐĞŽĨƚŚĞŶĞǁŵĞƚŚŽĚŽůŽŐLJŝƐĂůƐŽƚŽĮŶĚĂƐƵŝƚĂďůĞƌĞƉƌĞƐĞŶƚĂƟŽŶŶĂƌƌĂƟǀĞƚŚĂƐďĞĞŶŝůůƵƐƚƌĂƚĞĚŚŽǁƚŚĞƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞĐĂŶďĞĞdžƚƌĞŵĞůLJƉŽǁĞƌĨƵůŝŶŝƚƐƚƌĂŶƐĨŽƌŵĂƟŽŶŶĚƚŚƵƐƚŚŝƐŝƐƚŚĞŬĞLJĐŽŶƚƌŝďƵƟŽŶƚŚĂƚĐĂŶďĞŵĂĚĞďLJĂƌĐŚŝƚĞĐƚƐĂŶĚƉůĂŶŶĞƌƐǁŽƌŬŝŶŐŝŶƌƵƌĂůŚŝŶĂLJĐŚĂŶŐŝŶŐƚŚĞǁĂLJůĂŶĚƐĐĂƉĞŝƐƌĞƉƌĞƐĞŶƚĞĚŽŶĞŚŽƉĞƐƚŽĐŚĂŶŐĞƚŚĞŝŶŚĞƌĞŶƚŝĚĞĂƐĂŶĚŶĂƌƌĂƟǀĞƐŶƚŚŝƐƌĞƐƉĞĐƚƚŚŝƐƚŚĞƐŝƐƉƌŽƉŽƐĞĚƚŽĂĚĂƉƚŽĨĂƚƌĂĚŝƟŽŶĂůĨŽƌŵĂƚǁŝƚŚŵŽĚĞƌŶǁŽƌŬŝŶŐŵĞƚŚŽĚƚǁĂƐƉĂƌƚůLJƵƐĞĚĂƐĂĐƌŝƟƋƵĞƚŽƚŚĞĐƵƌƌĞŶƚĚŽŵŝŶĂŶƚƌĞƉƌĞƐĞŶƚĂƟŽŶŽĨůĂŶĚƐĐĂƉĞdŚĞŶĂƌƌĂƟǀĞĞīĞĐƟǀĞ-ŶĞƐƐŽĨƚŚŝƐŵĞƚŚŽĚŽůŽŐLJ ŚŽǁĞǀĞƌ ƌĞŵĂŝŶƐƚŽďĞƚĞƐƚĞĚŝŶĂƌĞĂůǁŽƌůĚ

Discussion and Conclusion

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 62: 20140808 ran xiao thesis in spreads compressed

147146

Restaurant dŚĞƌŵĂů^ƉĂ dĞĂŽƵƐĞ ^ƉŽƌƚĞŶƚƌĞ

ᬤŝ㣶ĂŝampĂŵŝůLJtĈŶ

ሿ㣶ĞůĞƌLJtĈŶ

ĘƳ㣶hƉƉĞƌKůĚŽƵƐĞtĈŶ

ĪƳ㣶gtŽǁĞƌKůĚŽƵƐĞtĈŶ

˚ŝ㣶ŚĂŶŐampĂŵŝůLJtĈŶ

ᖑ㣶^ǁĞĞƚƵŵtĈŶ

ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ ĐĐŽŵŵŽĚĂƟŽŶ^ŝƚĞ

KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ KƌĐŚĂƌĚ

ampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐampůĂƚĮĞůĚƐ ampůĂƚĮĞůĚƐ

Tea terraces Tea terracesTea terracesTea terraces Tea terraces

AN OVERVIEW OF FINAL MASTERPLAN

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 63: 20140808 ran xiao thesis in spreads compressed

148 149

BibilographyAirey David and Chong King Tourism in China Policy and Development since

1949 (London Routledge 2011)

Andrews Julia F Painters and Politics in the Peoplersquos Republic of China 1949-

1979 (London University of California Press 1994)

Barnhart Richard M Peach Blossom Spring Gardens and Flowers in Chinese

Paintings (New York Metropolitan Museum of Art 1983)

Birch Cyril The Anthology of Chinese Literature vol 1 From Early Times to The

Fourteenth Century (New York Grove Press 1965)

Bolchover Joshua and Lin John Rural Urban Framework Transforming the Chi-

nese Countryside (Basel Birkhaumluser 2014)

Bolchover Joshua Lange Christiane and Lin John ed Homecoming Contextu-

alising Materialising and Practicing the Rural in China (Berlin Gestalten 2013)

Cahill James Three Alternative Histories of Chinese Painting (Kansas City

Spencer Museum of Art The University of Kansas 1988)

Chen Kaiwen ed Yingshan Annals (Beijing Zhonghua Book Company 1998)

China National Tourism Administration and the Ministry of Agriculture of the

Peoplersquos Republic of China Guidelines on Rural Tourism Development 2009-

2015 (ucircݚཛկႺنᅡߊးuuml2009-2015) (Beijing CNTA 2009) Section 6(2)

Department of Comprehensive Statistics and Department of Rural Survey of Na-

tional Bureau of Statistic China Statistical Yearbook for Regional Economy 2012

(Beijing China Statistics Press 2012)

Dillion Micheal China A Modern History (London I B Tauris 2010)

Foster Hal The Anti-Aesthetic Essays on Postmodern Culture (New York The

New Press 1998)

Foster Hal ed The Anti-Aesthetic Essays on Postmodern Culture (New York

The New Press 1998)

Hu Biliang Informal Institutions and Rural Developemnt in China (London

Routledge 2007)

Lingohr-Wolf Susanne Industrialisation and Rural Livelihoods in China Agricul-

tural Processing in Sichuan (London Routledge 2013)

Long Norman Ye Jingzhong and Wang Yihuan Rural Transformations and De-

velopment - China in Context The Everyday Lives of Policies and People (Chel-

tenham Edward Elgar 2010)

Louie Kam ed The Cambridge Companion to Modern Chinese Culture (Cam-

bridge Cambridge University Press 2008)

Lu Andong Lost in Translation Modernist Impression of the Chinese Garden

as Experiential Space and Its Assumptions in The Journal of Architecture 164

pp 499-527

MacCannell Dean The Tourist A New Theory of The Leisure Class (London

University of California Press 1976)

Ministry of Land and Resources of the Peoplersquos Republic of China National Land

Use Planning (2006-2020) (ucircয়uuml) (Beijing State Council of the Peoplersquos

Republic of China 2008)

Mitchell William J T ed Landscape and Power 2nd ed (London University of

Chicago Press 2002)

National Peoplersquos Congress of the Peoplersquos Republic of China Rural Land Con-

tract Law (ucircӼЎuuml) (Beijing Xinhua News Agency 2002)

Oakes Tim Tourism and Modernity in China (London Routledge 1998)

Ryan Chris and Huang Songshan(Sam) ed Tourism in China Destinations

Planning and Experiences (Bristol Channel View Publications 2013)

Scott James C Seeing Like a State (London Yale University Press 1998)

Scott James C The Moral Economy of The Peasant (London Yale University

Press 1976)

Shapiro Judith Maorsquos War Against Nature Politics and the Environment in Rev-

olutionary China Studies in Environment and History (Cambridge Cambridge

University Press 2001)

Taschen Benedikt ed Chinese Propaganda Posters (Koumlln Taschen 2003)

Wu Hung ed Contemporary Chinese Art Primary Documents (New York The

Museum of Modern Art 2010)

Xu Jin ed County Annals of Yingshan (Yingshan Mao Qingyun Tang 1920)

Yeh Wen-Hsin ed Landscape Culture and Power in Chinese Society (Berkeley

Institute of East Asian Studies University of California 1998)

Zhao Yongjun Chinarsquos Disappearing Countryside Towards Sustainable Land

Governance for the Poor (Farnham Ashgate 2013)

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 64: 20140808 ran xiao thesis in spreads compressed

150

Illustration CreditPage 16Survey map of Caopandi acquired through private sources

Page 20HIstoric map of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 24Historic photo of constructing a hydraulic project in Yingshan from Chen Kaiw-en ed Yingshan Annals 1998 (See bibliography)

The Old Man Who Moved the Mountain 1940 ink and colour on paper Xubei Hong from Xu Beihong Memorial Museum

Page 32A Da Zhai Poster from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 34All but the bottom picture are from Chen Kaiwen ed Yingshan Annals 1998 (See bibliography)

Page 36Mao Tian Posters from Stefan R Landsberger collection scanned from Benedikt Taschen ed China Propaganda Posters (See bibliography)

Page 37This Land so Rich in Beauty (Draft) Fu Baoshi Colour on Paper Nanjing Museum

Page 38Eight views of Yingshan from Xu Jin ed Yinshan Annals 1920 (See bibliography)

Page 40Examples of conventional presentation in rural development in China acquired through private sources

Page 46ơ early 16th century after Ma Yuan (Chi-nese active late 12th-early 13th century) Album leaf ink on silk Freer Sackler Collection at the Smithsonianrsquos Museums of Asian Art

Page 48Screen shots of Aman Resort Website

Page 54Press release from Yingshan Governmentrsquos website

Page 58CGI of Yingshan Taohuachong resort town from ZCET architects Wuhan

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 65: 20140808 ran xiao thesis in spreads compressed

151

Appendix

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 66: 20140808 ran xiao thesis in spreads compressed

153

-415˚

+415˚

Fixed Focal Length LensE 16m F28Attached to APS-C CameraAngle of View 83˚

+34˚

-34˚

A METHODOLOGY FOR MEASURͳING AND REPRESENTING VIEWS OF LANDSCAPE

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 67: 20140808 ran xiao thesis in spreads compressed

155

View I

0˚ +5˚ +10˚ +15˚ +20˚ +25˚ +30˚ +35˚ +40˚-5˚-10˚-15˚-20˚-25˚-30˚-35˚-40˚

0˚+5

˚+1

0˚+1

5˚+2

0˚+2

5˚+3

0˚-5

˚-1

0˚-1

5˚-2

0˚-2

5˚-3

+3˚ +18˚+28˚

0 -3˚

0˚ +75˚

+28˚

-3˚

Reposition OriginComposition

2

Charting View

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 68: 20140808 ran xiao thesis in spreads compressed

157

α1 β

x

y

z

A simple geometrical formula is developed to frame the desired views with the factors derived from measurements and the distance from the frame

IfǡȽǡȾǤ

Then γȋȉȾȀȌγȉȋȽ1ήȽ2Ȍ

α2

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 69: 20140808 ran xiao thesis in spreads compressed

159

Mountain View Mountain View

Valley View

Tree View

Shadow View

Pond Views

Terrace Views

Southwestern Angle

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 70: 20140808 ran xiao thesis in spreads compressed

161

Section 150

View across Valley

View to the mountains

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 71: 20140808 ran xiao thesis in spreads compressed

163

AN ANALYSIS OF CHINESE HERMITIC LANDSCAPE PAINTINGS

Island Villas

Encircling Mountains Calm Lake

Five Deer Hermitage

Sole Bridge

View Tower

Outer Courtyard

Inner Courtyard

Meeting Room Family Quarters Servant Cottages

Porterrsquos Lodge

Private Garden

Fence

ǡƤ䕟ᎱVilla of Wang Wei in Tang Dynasty are replicated in later dynasties repeatedly The walled villas compose of courtyards con-nected by colonnades Bridges and ferry pavilions are elements that narrate the sense of enclosure and the approaching experience The physical setting of the island is a symbol of spiritual detachment from outside world Its extensive buildings and farms on the island imply a luxury living seemingly independent on its own The boats suggested that despite being a hermit the master still held an active social life with close friends

1 2

3

3

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 72: 20140808 ran xiao thesis in spreads compressed

165

Rock

Waterside Pavilionon stilts

with vaulted roofthat resembles a boat

Cliff

River

Tree

Thatched House

Mountains in Distance

A similar but far less elaborate type of hermitage is lsquopavilion by the waterrsquo The ơon stilts above a stream The composi-tion of landscape implies a similar sense of isolation as Wangchuan Villa Howev-er its less comfortable setting suggests a stoic stance of the owner The owner is often portrayed in the picture reading meeting friend or sleeping peacefully ƤǤơǡwhile the open stream suggests an option of venturing out

8

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 73: 20140808 ran xiao thesis in spreads compressed

167

Guest Arrival by Boat

Host Greeting at PortalRiver

Towering Mountains

23

20 21

24

26 27 28

19

23

25

Thresholds and boundaries are important elements in composing a hermitage in land-scape As the previously discussed isolation is implied by the natural landscape The de-gree of isolation varies implied by the boundaries The natural boundaries range from ơǡǤand boundaries is important as it has social meanings In the example on the left page the towering mountain in the background suggests an isolated setting The hermitage cannot be seen but the portal which opens to a river The boat arriving is expected as the servants are preparing to welcome the arrival with doors open It suggests the private nature of the hermitrsquos life The hermit is selective in his social life and only wel-comes those whom he pleases

22

29

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 74: 20140808 ran xiao thesis in spreads compressed

169

169

A HISTORICAL ANALYSIS OF LOCAL HOUSE BUILDING

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 75: 20140808 ran xiao thesis in spreads compressed

171

Change in Building Style

Time

Architecture of self-built family houses in the region has changed with time Ǥƪand building technology

The examples of vernacular architecture are single storey long houses constructed in mud bricks on foundations of local stone They are usually inserted with timber door frames and covered by terracotta roof supported on a timber structure

More recent houses were built with a reinforced concrete frame and con-crete bricks some of which are sourced from small local factories

In general the buildings have become taller to maximise space on limited housing plot The vertical expansion was enabled by the use of reinforced concrete frame which was introduced by migrant workers who worked on building sites in urban areas They have become more decorative with stuc-co mouldings and pillars window moulding and cornices The walls were ǤǤlocally

Inco

me

Architecture of farmhouses

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament

Page 76: 20140808 ran xiao thesis in spreads compressed

173

Volume StructureProgramme

Single-storey Long Volume

Three-storey lsquoCubicalrsquo Volume

+ +

Additive Growing Programme

0

Pre-defined Static Programme

Parallel Wall Masonry Structure with Timber Roof

Reinforced Concrete Post and Frame Structure

Ambiguous Ornamental Details inConstruction (Embrasure)

Stucco Mouldings and Pillars

Ornament