“Each house that is built is, in a certain sense, a reenactment of the creation of the world.” Mircea Eliade.

Topping-Off rituals has been practiced all over the world and we saw some of it in China in our last trip, but the Europeans like the Romanian, the French and the German do them as well.

The Chinese version is to burn some incense, make a lot of noise like doing drums, letting off fire crackers and lion dance and then paste lucky charms or talismans on the beams and rafters like the picture showed below taken in Dali by Michael Rapp.

In Romania, when the top of the rafters is installed, it is adorned with a fir tree or a green branch decorated with paper flowers or ribbons. In France, the ridge beam bouquet is still sometimes carried out, hung by the youngest member of the crew, and in Germany, where I am living now; the Richtfest is still practiced, and often accompanied by a Spruch (a poem read aloud by the head craftsperson). The picture showed below is the result of a Richtfest I downloaded from one of the Internet sites.

Are rituals like these considered superstitious? It is not a religious practice, it is like a celebration of things well done without any mishaps. More importantly, it affirms the house is the center of the world for the occupants. It is a pity more and more building rituals are dying out both in China and the West. May be we just take things for granted?

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Richtfest

Being architects, my wife Gyda Anders and I, have a different approach to Feng Shui, and the other day I picked up a book written by a PhD candidate in the History Department of Beijing University, where he wrote about a new approach to the study of Feng Shui in Mainland China. I think what he described fits ours very closely as well, so I have roughly translated his words as a reference to our own thinking.

The author name is Wang Hao 王浩 and the book is called “Shen Suan – Zhongguo Shushude  Mimi” (神算 – 中國術數的秘密), which I have translated as “Divine Calculations – The Secrets of the Chinese Art of Numbers”.

“In recent years, a group of specialists and scholars from the architectural field has declared openly that their in-depth study and research have revealed that the core content of Feng Shui is in fact essentially the same as the principles used in ancient Chinese architecture and planning. They reckon by using Feng Shui one can resolve the thousand years old riddle relating to how the architectural space is managed in our environment and how the man-made and the natural landscape are integrated in large or small-scale projects in ancient time. From this point of view, Feng Shui can be seen as a multi-disciplined and unified architectural theory that incorporated the study of geography, ecology and philosophy etc. as well as landscape and architectural design. Although this approach cannot fully explain all the mysteries attributed to Feng Shui, nevertheless it is a surprising but valid approach worth pursuing.”

Wang Hao

I just had a great time teaching a four-days Garden Feng Shui workshop and a single day one on the Daoist Talisman organized by Kristiina Mantynen and Paivi Vilkki of the Finnish Feng Shui Association:

http://www.fengshui.fi/english.htm 

It is the first time I came across a house sitting right on the Da Kong Wang line between the Xun and Li trgrams but we managed to overcome the problem and designed a Feng Shui garden for our client in one day! I will post our solution when the scan becomes available.

We also had a lot of fun doing the talisman class and below are photos of some of the students and their work, thank you everyone for the pleasure and also for showing me around your wonderful city. 

Photos by Kristiina M.

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Skyping with my Anna
Berlin, May 29, 2009.

Seeing her smile with
Bright eyes and a
Mouth like mine
Is enough to bring
Tears to my eyes.

“How are you doing?”
“How is your love life?”
“Work is going well”
“No man for a while”
“But I am fine, Dad”
“Really, I am fine.”
“And you, what’s new?”

“In my second 60 Jiazi cycle”
“I have learned something new”
“I did not know”
“How to love your Mum”
“When I was young”
“But now I know”
“It is not that difficult”
“All I have to do is to”
“Make a commitment”
“Be monogamous”
“Be honest and”
“Be myself”
“Trust and respect will follow.”

“That doesn’t sound very romantic.”
“No, it is not, but then”
“Love is not romance”
“I looked for the wrong thing”
“When I was young.” 

Seeing her smile with
Bright eyes and a
Nose like mine,
Is enough to bring
Tears to my eyes.

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I have been looking for a translation of what Wang Bi 王弼 has said about reading the Yijing 易經 in a chapter entitled Ming Xiang 明象 (Understanding the Images) appeared at the end of his commentaries, Zhouyi Zhu 周易註,  finally I saw one in one of  my friend Boyler’s postings and would like to share it here with everyone:

“Images are the means to express ideas. Words are the means to explain the images. To yield up ideas completely, there is nothing better than the images, to yield up the meaning of the images; there is nothing better than words.

The words are generated by the images, thus one can ponder the words and so observe what the images are. The images are generated by ideas, thus one can ponder the images and so observe what the ideas are. The ideas are yielded up completely by the images, and images are made explicit by the words.

Thus, since the words are the means to explain images, once one gets the images, he forgets the words, and since the images are means to allow us to concentrate on the ideas, once one gets the ideas, he forgets the images.

Similarly, ‘the rabbit snare exists for the sake of the rabbit; once one gets the rabbit, he forgets the snare. And the fish trap exist for sake of fish; once one gets the fish, he forgets the trap.’ If this is so, the words are snares for the images, and images are traps for the ideas.

Therefore someone who stays fixed on the words will not be one to get the images, and someone who stays fixes on the images will not be one to get the ideas.

The images are generated by the ideas, but if one stays fixed on the images themselves, then what he stays fixed on will not be images as we mean them here. The words are generated by the images, but if one stays fixed on the words themselves, then what he stays fixed on will not be words as we mean them here.

If this is so, then someone who forgets the images will be the one to get the ideas, and someone who forgets the words will be one to get the images.

Getting the ideas is in fact a matter of forgetting the images, and getting the images is in fact a matter of forgetting the words. Thus, although the images were established in order to yield up ideas completely, as images they may be forgotten.

Although the number of strokes were doubled in order to yield up all innate tendencies of things, as strokes they may be forgotten…”

Often we get caught up with words and images and forgot what the idea is all about, worse still, we read them too literally when the ancient Chinese used correlative thinking to deliver their ideas.

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Some photos of the push hands we did in Munich last weekend (24-25 May).  We took photos using a high speed camera showing students pushing me and then I push them and compare the two sets together to see how important it is to maintain one’s structural integrity as we push:

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1st. May 2009

Today on top of this castle tower showed below* we came to study the “Xing Shi” (Form and Configuration) of this defence stronghold as part of the Unit 2 Feng Shui Professional Practitioners Course. Lidia Sarek, our Polish host, told us a funny story about modern understanding of Feng Shui.

She said she went to see a client earlier this year, the husband said to her, “So you do Feng Shui for a living, you know, I don’t believe in this superstitious rubbish!” Lidia tried her best to be polite and replied, “Oh, is that so? What do you do for a living?” The man replied, “I do something very different, I look for potential sites for MacDonald.”

Being a good-natured person Lidia just smiled. Little did the man know he is in the same profession as Lidia and if he bothers to study a little bit of Feng Shui, it might even improve his professional skill! 

* Lipowiec Castle – built at the end of 13th. century, by Cracow bishop Jan Muskata. The fortress was intended to be the church’s administration centre and at the same time a frontier watchtower. It sits on a solid Black Turtle to the north and has a closer and higher Azure Dragon to the left and a lower and broader White Tiger to the right, overlooking a wide Mingtang to the south with the distant mountains holding the qi back towards the Xue, the Feng Shui Spot – a classic Siling model in the landscape.

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Qi and Yin and Yang

(Extract taken from Gyda Anders’ paper presented at the 4th International Conference on Scientific Feng Shui and the Built Environment, entitled “Feng Shui Criteria for Planning and Design”)

The principle of Yin and Yang forms the basis for Feng Shui. “ Once Yin, once Yang is called the Dao, the Dao of Kan Yu can not be separated from Yin and Yang”. Yin and Yang generate each other. In within Yin there is Yang, in within Yang there is Yin. If Yin reaches source for all being “ The so called dragon is enabled by the mutual transformation, the mutual transformation is enabled by Yin and Yang.” (Wang Yude 王玉德 (1995). “Zhonghua Kanyu Shu” 中华堪舆术. 文津出版社. Taiwan, p78ff)

All being derives from and is defined by the interplay of Yin and Yang. The balance of Yin and Yang define the quality of Qi. To investigate the Qi structure of a place, the qualities and tendencies of a given situation, its Yin Yang balance has to be recognized. To distinguish Yin and Yang 分陰陽 is the premise for the understanding and development of a place and by that for any building activity. Referring to Chinese Classic like the ”Zhou Yi”, the” Dao De Jing” or the Song Dynasty work “地理發微“(Gross And Subtle Principles Of Earth resp. Feng Shui by Cai Yuanding 蔡元定 1135 – 1198, picture showed below) Prof. Wang Yude and author Zhong Yiming 鐘義明 point out the most prominent aspects of Yin and Yang (辯陰陽) to be distinguished

1. Investigate hard and soft 推刚柔

2. Distinguish between substantial and unsubstantial 辯有無

3. Understand movement and stationary 明動靜

4. Distinguish between mountain and water 辯山水

5. Observe gathering and dispersing 觀聚散

6. Distinguish between form and configuration 辯形勢

7. Examine front and back 審向背

8. Distinguish strong and weak 變強弱

9. Differentiate the going along and going against 分順逆

10. Be aware of alive and dead 識生死

11. Inquire the subtle and prominent 察微著

12. Distinguish between stems and branches 辯秓幹

13. Study carefully the parts and the whole 究分合

14. Analyze appearance and essence 別浮沉

15. Determine shallow and deep 定淺深

16. Adjust abundance and reduction 正饒減

17. Particularize the accelerating and avoiding 詳趨避

18. Know about the diminishing and completing 知裁成

19. Regard female and male 觀雌雄

20. Ascertain the origin of mutual resonance 原感應

A system of variance gets established, serving as a frame or structure for the differences. The two complementary antipodes are opposed to each other. They constitute the extreme wherein everything develops. A meticulous inventory of the diversity is raised. With endless patience the being of the situation gets investigated, to find out the essence (本性) to draw its secret.

With this typology, a downright system of coherence is captured. This system is based on the oppositional- complementary relations of yin and yang. Each item or aspect is designed in reference and answer to another. Relevance evolves from their (inter)relation. The objective/aim is to make the specific potential perceptible and operant through grouping and configuration by developing and diversifying the interplay of Yin and Yang.

cai-yuanding

Many student shave trouble working out the directionality (Sitting and Facing) of a building, often it is not because of their lack of abilities but it is caused by the house location and internal layout not responding appropriately to the context of the site. I have devised a checklist of 16 points for consideration to help them in the process.

From outside looking in – consider how the environment is affecting the building:

1) Consider the direction of the coming dragon, the coming side is the sitting and the going side is the facing.

2) Consider the topography of the land, the higher side is the sitting and the lower side is the facing.

3) Consider the location of the nearest watercourses; closer to the waterside is the facing and further away is the sitting.

4) Consider the nearest roadwork, closer to the road is the facing, further away is the sitting.

5) Consider the nearest open space (mingtang) and view, the more open and the better view is the facing, less open and lack of a view is the sitting.

6) Consider vehicular and pedestrian movements, the more active side is the facing and the more passive side is the sitting.

7) Consider neighbouring buildings, the taller and closer side is the sitting and the lower and further away is the facing.

8) Consider tress and shrubs, the side with higher and denser planting is the sitting and the side with shorter and sparser planting is the facing.

From inside looking out – consider how the building is responding to the environment:

9) Consider the different heights that made up a building, the taller side is the sitting and the shorter side is the facing.

10) Consider the proportion and shape of a building, the longer side is the facing and the shorter side is the sitting.

11) Consider the different levels within a building, the higher level is the sitting and the lower level side is the facing.

12) Consider sunlight and shade, the more sunny side is the facing, shadier side is the sitting.

13) Consider the internal spatial arrangement, the more active side (e.g. Living area) is the facing and the more passive side (e.g. sleeping areas) is the sitting.

14) Consider windows and openings, the side with more is the facing, the side with less is the sitting.

15) Consider the connection from inside to outside, the side with more connection is the facing and the side with less connection is the sitting.

16) Consider the location of the front door, where it is located is the facing and the opposite is the sitting.

By considering these 16 ways of contrasting the yin and the yang, we can better determine the directionality of a building, the general guideline is the more active and less substantial is the facing and the less active and more substantial is the sitting.

earliest-daofu

According to Prof. Ge Zhao-Guang 葛兆光 of the Department of History, Tsinghua University Beijing, the two Talismans shown above with their accompanying inscription are the two earliest known specimen excavated by archaeologists in China so far.

They were written in red Mercury Sulphide (Zhu Sha 朱砂 or Cinnabar) on a “Jie Zhe Ping” 解謫瓶, a ceramic bottle/vase that is suppose to have contained the deceased’s Yin soul which is to be taken up to heaven to rejoin with his Yang soul and his living sins absolved by the talismans (為死者解謫, 生人除罪過) (refer note at the end on Chinese concept of the soul)

The discovery was made in an Eastern Han 東漢 tomb in a village called Zhujiabao 朱家堡 in Huxian County 戶縣 Shaanxi Province 陝西 in 1972. The deceased’s surname was Cao and the inscription on the vase next to the talismans said he was buried in the 8th Moon of the Second Year in the Reign of Yang Jia 陽嘉二年 (133 AD) when Liu Bao 劉保 was the Emperor.

Experts like Prof. Ge and Prof. Wang Yu-Cheng 王育成 have made attempts to decipher their meanings and below are some of their findings:

The first talisman to the right is composed of the characters Tu (earth), Ri (sun), Yue (moon), Wei (tail) and Gui (ghost).  The Tu (earth) with the five Ri (sun) have the implication of being a Dou , representing the Big Dipper in a commanding position of the Chinese sky. The Ri (sun) and the Yue (moon) together form the boundary of the entire heaven and the Wei (tail) with the Gui (ghost) could refer to the “life” and “death” parts of the 28 Lunar Mansions. They all have to do with the heavenly bodies and hidden within the characters and difficult to see is the character Shi or time (as in being timely).

So the aim of this talisman could have been drawing on the power of the heavenly bodies and the heavenly spirits to assist the world in regulating matters of life and death, fortune and misfortune. (凭借天上星辰以及天上神鬼的力量对世间生死祸福进行调节) When the time is right, the Yin and the Yang are again harmonized by the power of the talismans, so the dead will continue to live in peace in the other world.

The second talisman to the left is less obvious in its writings, one can recognize the character Yun (to allow and to permit), covering the whole talisman. In the middle below is a star formation in the shape of a Y, with the characters Tai , Tian and Yi recognizable at the top of the Y figure. Tai Tian Yi can be read separately as Tai Yi and Tian Yi 天一, which are two stars in the Purple Palace Constellation above the Big Dipper, according to Prof. Qian Bao-Cong 錢寶琮.

However, Prof. Wang Yu-Cheng was more inclined to link the Y star formation and the characters Tai Tian Yi to a military formation called Tai Yi Feng 太一鋒 (“feng” is the cutting edge of a sword) to evade the enemies, except in this old illustration to avoid the enemies (Bi Bing Tu 避兵圖 discovered in another early Han archeological dig ) the Y figure is reversed.

The characters Zhu (a master), Zhu (chase, expel), Sha (evil spirit) and Gui (ghost) are also recognizable with three others uncertain below and to either side of the Y.  The general conclusion the experts drawn is this talisman ws used to protect the burial site 鎮安塚墓, but they also realized within the Daoist religion, only the initiated of the time are capable of fully understanding the symbolic meanings of these figures written during the funeral rite. They are written under strict spiritual guidance and strict ritual rules with deep inner sincerity to communicate with the Daoist Deities above. At the time of the writing, the Daoist priest is in a state of total communion with his counterparts in Heaven.

心与神合,神与气合,气与真合,阴与阳和,阳同日耀,阴同月耀

The Heart is in harmony with the Spirit, the Spirit is in harmony with the Qi, the Qi are truly harmonized (with each other), (thus) the Yin and the Yang are in peace, (while) the sun illuminated the Yang and the moon illuminated the Yin.

以道之精气安镇五方

Using the Essence and the Qi of the Dao, to pacify and to protect the Five Directions. 

Reference:

葛兆光 神授天书不立文字

王育成《东汉道符释例》

“In the…bodily existence of the individual…are…two… polarities, a p’o soul (or anima) and a hun soul (animus).  All during the life of the individual these two are in conflict, each striving for mastery.  At death they separate and go different ways.  The anima sinks to earth as kuei (gui), a ghost-being.  The animus rises and becomes shen, a spirit or god.”

[Cary Baynes, ed.; Richard Wilhelm and C.  G.  Jung, The Secret of the Golden Flower, (Harcourte Brace Jovanovich, 1962), p.64]

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I am

Just about

To step out of the door

These words held  me back

It is or may be that is

Just how

I feel

 

I am bland

But not empty

I am emptied

But not blank

I am filled and bland

Emptied but not empty

But not blank

 

Make no sense

But it is

Just how

I feel.

 

 

A new book written in Chinese by Lin Zhi-Rong 林志榮, a Taiwanese Feng Shui master has just came on the market, showing how Master Tan Yuan-Wu’s 談養吾 Xuan Kong Liu Fa 玄空六法 works in theory and in practice.

At the end of the book, he gave three work samples and I found one of them particularly interesting from a FS architect point of view, because he first amended the original design in a sensible way and then use the Liqi theories to support his redesign.

Below showed the work sample in question and if we look at them carefully we can see the core idea of Liu Fa is to “fen ci xiong” 分雌雄 and “na sheng qi” 納生氣 of the period by paying special attentions to the location of the Ling Shen and Zheng Shen for timeliness by lining up the furniture, windows and doors. The concept of “one item, one Taiji” is also evident at work and once the principles, and there are six of them are known, the applications are relatively easy to carry out.

 

 

 

 

 

 

 

 

 

 

Illustration 7.4 showed the original layout of an old public housing type, which has poor planning and inefficient use of space and circulation.

 

 

 

 

 

 

 

 

 

 

Illustration 7.5 showed the revised layout after Form analysis. The front door has been relocated to the right side and the bedrooms are grouped in the middle part of the house with a central corridor. All the windows and doorways are located in such a combination that they are in the Ling Shen position in relationship to the furniture, so as to na qi  (take in or receive the sheng qi).

 

 

 

 

 

 

 

 

 

 

Illustration 7.6 showed if the centre of the house is used to Li-ji, then the relocated front door is to the NW1 (Xu) and the facing windows are also to the west, which are all Ling Shen directions for Period 8, hence they are auspicious, because Ling Shen should have movement and Zheng Shen should have stillness.

 

 

 

 

 

 

 

 

 

 

Illustration 7.7 and 7.8 showed if the user is used to Li-ji, then when the user is sitting on the sofa of the Living Room, he can “na” the auspicious sheng qi of the front door in the southwest (it should be northwest, the Qian direction as pointed out by Kit Hau), and when the occupant is lying in his or her bed, located in such a way that the doors are all in the Ling Shen directions to na sheng qi again.

I just finished teaching a weekend workshop in Nantes, France, on the Yang Family Sword Form and the Five Animals Qigong Form. Some of the students have been with me since 2001 and it is satisfying from a teacher’s point of view, that some of them have improved noticeably in the last couple of years.

I was talking to one of the workshop participants in the train from Nantes to Paris and it was good to hear that he praised one particular senior students being so solidly rooted and powerfully connected, that no matter how he tried, he was sent flying in push hands! Now he is hooked with what we are doing.

My daughter Anna is turning 30 (we are celebrating the occasion in Paris) and that is how long I have been learning Feng Shui, but I studied Taijiquan, Choy Lee Fut and Qigiong long before Feng Shui; so what do I have to show for nearly 45 years of learning? Nothing much, except vitality and happiness and the fact that I still get a kick out of doing them every morning and that is what matters most to me.

Look at all my students in the photos below, they are all smiling and having fun and they do stick around, we are more like a family then a school and I learned just as much from my students as I have taught them, so what more would a teacher wish for?

I think Heaven and Thierry, my friend and organizer, for this privilege.

 

 

 

 

 

 

 

 

First International Congress on Scientific Feng Shui and the Built Environment, Politecnico di Torino.

“The big picture is without form.” Lao Tze. 

Flying into Turin over the Alps must be one of the most breathtaking aerial approaches on earth: comparable to Hong Kong or Nice. As my plane descended, the undercarriage felt as if it might scrape the roof of the Superga, the magnificent Savoy palace that stands like a sentinel above the city which is itself divided by the winding River Po. This is real feng shui: real mountains, real wind and real water. Turin is a location that has commanded the Italian peninsula since at least the 1st millennium BCE.

Sarawaggi is what keynote speaker Derek Walters called it: the mysterious quality that brings pilgrims to a location – Stonehenge, the Taj Mahal, Angkor Wat, standing stones lost in the wilds of Armenia – for no quantifiable reason.

I had a little trouble with the Turin Airport security X-rays which found my clear quartz wand, along with my trusty moldavite fragment in my jacket pocket.

“You write with this?” the baffled security officer asked, brandishing it like a stylus.

“No I point it,” I replied and he shrugged and waved me on as only an Italian can.

Whatever it is, sarawaggi enticed several hundred to Turin the weekend of  the 18th September including some of the most fascinating, creative and authoritative thinkers on feng shui. These included designers, practitioners, writers, healer, enthusiasts and above all architects, all there to see how their various disciplines might marry to design a sustainable world for the future.

Principal among these was feng shui architect Howard Choy who may lead the world in linking these two spheres. Howard opened proceedings with a deft introduction that placed feng shui and architecture right away into their appropriate relationship with the tao (or way) This was typically both definitive and clear. The Chinese character for “think,” he informed us, differs from that for “observe” by the addition of the ideogram for “heart.” So to think is to observe with heart.

“We don’t say,” he said, inviting us to both think deeply and observe “That feng shui is a science but that we can study it scientifically.”

Attilio Andreini followed with a discussion of the traditional tale of Zhuang Tze and the jumping fish which led to a lively end-of-session panel discussion. How did Zhuang Tze know how the fish felt? You had to be there.

Welsh-born Jill Lander who practices feng shui on the Chinese mainland, graciously tolerated an introduction as English and gave a masterful and visually impressive exposition of the feng shui of Hong Kong, the fragrant harbour, and the threats and opportunities that may lie in its future. Was the Lippo Centre doomed from the start? What will be the future of Lantau Island? This was among the most talked-about speeches.

As was that of Mauro Aresu and Arianna Mendo who next told of their discovery in Sardinia of stone structures holding measurable healing energies. This exercise in the marriage of architecture, archaeology and feng shui in practice, caught the imagination of the audience which again led to a series of questions in the panel discussion.

Equally ground-breaking was Anthony Ashworth’s absorbing account of his field research into the geomancy of sub-Saharan Africa and his meetings with Credo, the mutwa, or holder of ancient knowledge. Who knows where this may lead?  He was followed by Manuela Gatti who had put her money where her mouth was by building business premises of sustainable materials in keeping with feng shui principles. Next Vastu Shastra Master Giulia Bellentani’s account of basic Vastu was so sensitive, thorough and expert, it was hard to believe she was both so young and born in Italy. Namaste! 

As the conference drew on it became more and more clear that Turin, World Design Capital 2008 was the logical venue. Set in the Po valley among the foothills of the Alps, themselves studded with the historic  palaces of the Italian Kings, the streets of Torino are laid out in a grid much like Paris or Washington DC. If you look all the way along them in any direction your eye catches distant green hills. The prescient Savoys also incidentally, knowing that being in the shadow of the Alps made for above-average rainfall, arranged for pavements throughout the city centre to be sheltered with cloisters so that (as long as you don’t cross a road) you can shop all day without getting wet.

Turin native and Co-organiser Carlo Amedeo Reyneri di Lagnasco’s beautifully illustrated presentation argued convincingly for connections between the power of the Savoy family and the Piemontese landscape.

Papers followed from authorities in disciplines as diverse as semiotics, martial arts and urban planning. Civil engineer Livio Dezzani (who brought Italian design to the Chinese eco-city of Caofeidian) and architect Claudio Greco (who gave us an overview of the evolution of the Beijing Olympic facilities) both showed how European design like feng shui, can be applied  anywhere in the world.

The Hollywood-based Simona Mainini quoted Frank Lloyd Wright: “Form follows function,” she told us and added that “Function follows the energy.” Simona, a long-time student of Feng Shui Master Larry Sang, served her architectural apprenticeship with Eric Lloyd Wright, grandson of Frank, whose holistic vision of course predated this Congress by more than half a century. Simona  went on to show how good drafting and strict adherence to the traditional meanings of flying star patterns could lead to almost supernatural results.

Joseph Yu alumnus Silvia Sacchi did something similar a little later with the addition of her own distinctive spiritual insight. Bernardino Chiaia showed how nature’s mastery of the right design for the right function was a perfect model for the architect and Ermanno Bellucci made silicon sound sexy.

All the way from British ColumbiaTeresa Min Yee Hwang by showing how a professional feng shui consultant does her job, inspired many who aspire to her skills.

Among other outstanding presentations were Roberto Marrocchesi (described by the absent Jon Sandifer as a true gent, a very special soul) and his moving account of the use of feng shui in rebuilding a family’s life after the death of a child brought tears to the eyes of many. Francesco Rossena took events to new heights by having the audience physically practice tai chi with him and the sheer energy of Madhu Patel brought a standing ovation.

Other highlights were the irrepressible Priscilla Braccesi who spoke with enormous enthusiasm and authority, without notes about the feng shui of Milan, past, present and future. The youthful Master Jin Peh explained the differences between the various types of luo pan with such clarity that when Derek Waltersshowed one on a slide the next day, whispers could be heard saying “Sam He…no. Zong He”.

Master Derek, sometimes called the Godfather of Feng Shui because of his seminal books on the subject, gave two talks linked by the title Mirrors of the Heavens and showed why many continue to consider him the leading edge in the understanding of the 28 Lunar Mansions and indeed Chinese Astrology.

With great clarity, Gyda Anders posed important questions about the role of traditional feng shui in modern architecture as did Munich-based Michael Rappwho explained movingly how feng shui had put him back in touch with why he had become an architect and demonstrated how a small number of subtle changes could transform workmanlike architecture into homes that put human wellbeing first.

Again and again this theme of mutual learning arose and it was in the examination of it that this gathering truly caught fire as healers, earth acupuncturists and interior designers found common ground. If this world threatened by over-consumption, inequitable distribution of wealth, global warming and a plethora of philosophical conflicts is to emerge into the 1st century let alone flourish, it may be that the connections made here in Turin over this weekend will prove to be key to it.

This point was emphasised by Richard Creightmore, perhaps the world’s leading authority on geopathic stress, who dazzled not so much with his knowledge of the problem as with his concentration on doing whatever it took to heal the stricken planet.

Co-organiser Richard Ashworth took his reputation in both hands by making predictions for 2009 based on Four Pillars theory, evincing an appropriate combination of respect and bafflement. Then on the Sunday, as planned, Jon Sandifer failed to turn up, appearing on a big screen explaining the principles of Nine Star Ki so as to show why he as a 2 Earth, could not safely have made a flight to Turin at this time.

Giulio Mondini from the Faculty of Architecture wound the Congress up with encouraging words about the lessons learned and possible future gatherings.

Congratulations are due to Richard Ashworth and Carlo Reyneri for putting this together as well as thanks to Silvia Sacchi for her supportive role and Laura di Stefano and her OSC team for the flawless administration. Also to be mentioned in despatches are Carlo’s tireless partner Marietta whose multiple contributions included recruiting and coordinating with OSC.

Thanks are also due to Barefoot Flooring magnate Dawn Gibbins and to Lillian Too for their invisible but indispensable support.  Last but not least, we would also like to thank:  Dianella Mancin, who is the fund raiser who obtained the important patronage of Citta di Torino, Provincial di Torino e Regione Piemonte.

 

A scene from the Congress

A scene from the Congress

 

Meeting up with new and old friends

Meeting up with new and old friends

 

Carlo and Gyda, two Feng Shui Architects

Carlo and Gyda, two Feng Shui Architects

 

 

 

 

 

 

 

 

 

 

 

 

Since the core competency of a Feng Shui practitioner is to read and analyze Qi and to work with Qi, we need to know the different meanings of Qi used by the Chinese in different context. There are at least four ways of looking at the meaning of Qi:

 1) “Qi” seen as a “concrete thing” – a definite object in contrast to the Dao, which has neither spatial restriction nor physical form, that which is manifested. For example, the weather (Tian Qi) or our breath (Qi) are forms of manifested qi.

 2) “Qi” seen as a “subtle, incipient, actuating force” which is not yet visible – that which is hidden. For example, the term “Xing Qi” in Feng Shui where ‘Xing’ is refer to the physical form of an object and “Qi” is its formless quality hidden behind the form.

 3) “Qi” seen as a “material force” that has both matter and energy, as opposed to the concept of “Li” or Principle. For example, in TCM, Qi denotes the psycho-physiological power associated with blood and breath – Vital Qi that keeps us alive.

 4) “Qi” seen as a “concept of synergy” – a “field” of different things that are not related but finally connected together. So when we say this house has “Sheng Qi” it means a certain set of conditons is being satisfied to make the place come alive. 

The Chinese often add an extra character to the character Qi to give it a more precise meaning. For example, the ones I mentioned: “Sheng Qi”, “Vital Qi”, “Xing Qi” and “Tian Qi”. Onr has to be careful in what context or situation the word Qi is used, for example, the term “shen qi” mentioned ealier, it could mean being angry when you are having an argument with your girlfriend or it could mean a field of life enhancing qi when you are doing a Feng Shui consultation.

Every time I go to teach Feng Shui in Krakow Poland I also take the opportunity to teach a small group of my Taiji students. We don’t meet all that often so it is not easy to find a place to practise, but last week we have been lucky and went to a very nice Wing Chun School run by Sifu Andrezj Szuszkiewicz (www.wingchunkungfu.pl). We thank him for his generosity and he also took the pictures of our training below.

The first picture shows us beginning to train in push hands and the usual way is to start with static push to the body, to train the students how to use the body as a conduit to transfer the opponent’s force to the ground by being “fang song” (letting go of the tension in the body). The second picture shows me getting on my knees to show the finer points of posture integrity while the others looked on. The third picture shows a group shot of my dedicated students who gave up their Saturday night to train with me. The last picture show me with Sifu Andrzej in front of a painting of Grandmaster Yip Man. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

 

 

 

 

I have been reading the work of Daoist scholar Chen Ying-Ning 陳櫻寧, in an anthology published on his 20th anniversary, called “Daoism and Health Preservation” 道教與養生. Chen Daoshi promoted the study of Daoist Philosophy of Immortality (Xian Xue 仙學) all his life and wrote many books and articles on the subject. I have found this little piece on Absolute Truth quite interesting.

Once a student of philosophy asked him this question, “What constituted Absolute Truth in this world?” and he answered:

“ Absolute Truth happens when there is a mouth and no speech; when there is a mind and no thought. Once you open your mouth, once you start to think, it falls on two sides, it changes to mutual opposites and no longer is absolute. Therefore to seek the (Absolute) Truth in written and spoken words are all a waste of efforts. You studied philosophy, maybe it is because in philosophy you cannot find the Truth, and so you asked me this question. To be honest, there is no (Absolute) Truth as such in this world and it is not worthwhile searching for it. But let’s say you have somehow discovered the (Absolute) Truth, what good will it do (for you)?  When (you are) old and sick, when (you) have no cloths and food and when (you are) in suffering and despair, will the (Absolute) Truth that you have found get rid of them?”

Many people these days cannot tell the difference between Absolute Truth and relative truth, so they became intolerant and pedantic. According to Chen Ying-Ning, if we want the Absolute Truth, then just sit quietly, don’t think and say nothing. Given time, we might even have a chance of becoming an Immortal.

 

I am having a day off teaching Garden Feng Shui here in Santiago Chile, while there is a city council election going on. All the restaurants are closed this Sunday so I am eating my custard apples (best Chilean fruit, so I was told) for my dinner on the terrace of my apartment hotel and this is what I saw when I looked up, even nature can be beautiful in a concrete jungle like this as the sun is going down, and these words came to me… 

The sun

Is going down,

But I don’t feel sad,

Cos my love just Skyped me and

She said she missed me,

So why would I miss

The Sun?

I Just found out a Chinese Feng Shui Architecture site has posted my paper presented at the last International Conference on Scientific Feng Shui and the Built Environment held in Hong Kong. You can read and down load it by clicking onto the title “The 15 Core Principles of Feng Shui” listed on the right hand side of their home page:

http://www.dnfsxh.com/

01 November, 2009

We are half way through the Luopan Compass workshop and I am grateful that there is many students from different part of South America who have already studied with other teachers still want to come and listen to my points of view.

The Garden Workshop in the previous week was also great, the South Americans have a zest not only for learning but also for life, it seems singing and dancing are in their blood. Coming back from the practical workshop in the bus, they nearly rocked the bus off the road with their songs and jumping up and down. OK I admit, nearly half of them were Brazilians!

The food here is great too, I really love the Chilean Chirimoya, and you can eat it, drink it and make it into a delicious dessert.

The only downside for me was being cheated by a Taxi driver one night coming back from the restaurant. I gave him a 1000 and a 5000 Peso notes, and right in front of my eyes, he shuffled the two notes and they became two 1000 Pesos! He insisted that I should pay him another 4000 and with my students sitting in the back seat, I did not want to punch him in the nose and complied, looking him straight in the eyes to let him know that I knew what he was doing. He smiled back weakly but still took the extra cash.

I look forward to return to Santiago again next October. Thank you Lucia for doing the organisation to make it possible for an enjoyable experience.

My Luopan Class in Santiago Chile

My Luopan Class in Santiago Chile

 

 

 

 

 

 

 

 

 

An old colonial courtyard, reminiscent of my Hong Kong days

An old colonial courtyard, reminiscent of my Hong Kong days

 

 

 

 

 

 

 

 

 

 

 

 

Marcos and Renata, Feng Shui architects from Brazil

Marcos and Renata, Feng Shui architects from Brazil

 

 

 

 

 

 

 

 

 

 

 

 

Tucking into my Custard Apple dessert!

Tucking into my Custard Apple dessert!

It is good to know sometimes, that our students do appreciate our work, here is an example from Samuel’s blog:  

http://www.raumfuersleben.ch/

It roughly translated as follows:

“For some years Howard Choy teaches a “Professional Practitioners Course for Feng Shui Consultants” in Switzerland supported by his wife, the Berlin Architect Gyda Anders, who not only teaches also does the translation from English to German very professionally!

The seminars with Howard Choy and Gyda Anders are very different, they are alive and practice-oriented. Since they are both architects, their approach to Feng Shui is both functionally and aesthetically orientated.

The two are a super team – I can only recommend it highly, especially for professionals such as architects, interior decorators, town planners and landscape gardeners etc.!”

Thank you, Samuel, for the kind words.

Photo of Gyda and Howard by Samuel Frankauser

Photo of Gyda and Howard by Samuel Frankauser

Being elegently simple, “Ya-Dan”  雅淡 in Chinese, is no longer fashionable and if you want to be famous you have to be really clever:

Herzog de Meuron’s VitraHaus near Hamburg (top picture) burrowed from earlier Sou Fujimotto’s Tokyo Apartments (below). I know one thing for sure, they are not Feng Shui architecture!

 

vitrahaus1soufujimotto

41c6bflkpml_sl500_aa240_

 

 

 

 

 

 

 

 

 

 

We had a great discussion on Joseph Yu’s blog concerning the following classic phrase and the Five Elements:

一命
二運
三風水
四積陰德
五讀書

(1) Destiny
(2) Cycle
(3) Feng Shui
(4) Accumulation of hidden virtuous deeds
(5) Study books

In the end it is about the role of Feng Shui plays in our fate and destiny (Ming, fate, Heaven’s decreed or mandate), which brought me to Wing-Tsit Chan again with his comment on Mencius in page 78 of his “A Source Book in Chinese Philosophy”, which I think every student of Chinese Metaphysics (Xuan Shu) should read.

Mencius said, “He who exerts his mind to the utmost knows his nature. He who knows his nature knows Heaven. To preserve one’s mind and to nourish one’s nature is the way to serve Heaven. Not to aloow any double-mindedness regardless of longevity or brevity of life, but to cultivate one’s person and wait for (destiny to takes its own course) is the way to fulfill one’s destiny”

Chan’s comment, “In ancient China there were five theories about destiny or the Mandate of Heaven. The first was fatalism: the Mandate of Heaven is fixed and unchangeable. The second was moral determinism: Heaven always encourage virtue and punishes evil; therefore man can determine his reward and punishment through moral deeds. The third was anti-fatalism, advocated by the Moist School. The fourth was naturalistic fatalism, which means that destiny is not controlled by Heaven in the sense of an anthropomorphic God but by Nature and works automatically. Lastly, there was the Confucian theory of “waiting for destiny”. According to this doctrine, man should exert his utmost in moral endeavor and leave whatever is beyond our control to fate. It frankly admits that there are things beyond our control but that is no reason why one should relax in his moral endeavor. The tendency was definitely one of moralism and humanism. The Confucian theory represents the conviction of enlighten Chinese in general”.

In view of the above, the study and the use of Feng Shui (and other branches of Xuan Shu for that matter) straddles the boundary between destiny and free-will, we should use these ancient knowledge as a tool to help use do our utmost  and only after we have tried our best, will our destiny be a correct one and not to fall into the abyss of fatalism and determinism of all kinds.

Woke up this morning and the first thing on my mind was Manu’s question last night while we were having dinner (I am teaching the Bazhai module for Manu Butterworth’s Golden Gate School of Feng Shui in Marin County near San Francisco right now).

“Why in the Bazhai Mingjing system we work with the Ming Gua of a person first and not with the Zhai Gua of a house”

I thought about the answer I gave him, “There is a house and there is a person living in the house. A house is inert whereas a person has a will and a consciousness. When the house Gua Qi is not supportive and a person cannot change the orientation nor the “three requirements” (the door, the bed and the stove), then what is left is the human awareness and the will to make the changes for the better through the Gua Qi of a person, a house is not capable of doing this on its own.

“What if the Wuxing “jiehua” (“cures”) of the person clashed with that of the house? What is good for the person may be bad for the house.”

My answer was, “These are two different layers of Gua Qi, one for the person and one for the house, if an E4 (W4) person is not able to live in an E4 (W4) house, then one can make it better through the will and the consciousness of a person via the Ming Gua. But at the same time, one should and must improve the environment of the house, so the potential negative influence of the Gua Qi of the house will not be able to express itself.

There is always the interplay between the “mind” of a person and the “body” of a house, when the body cannot be changed, then a person can adjust his or her mind set to make the difference through mutual resonance between a person and his or her environment, that is how Feng Shui works through the Gua Qi or the Qi of the Trigrams.

Gua Qi is formless and intangible but one can connect to its symbolic and correlative meaning through understanding and awareness, then use them to connect to the objects in the environment and use them as symbolic remainders of our needs and prioritie , thus one goes from the form to the formless and back to the form again to complete the Feng Shui process.”  

From the classic “Bazhai Mingjing” (The Bright Mirror of Eight Houses”), “A house has a sitting and facing direction, a person’s life can be East or West, if one is concerned only with the sitting mountain and not with the Ming, it is most harmful. If one is concerned with the Ming and not with the facing mountain, then it is less harmful.”

bazhai-notes

While teaching the Jiu Xing Pai Water Method 九星派水法 in Krakow Poland last weekend, I told my students that many of the old Liqi methods (the Compass methods) in Feng Shui were invented for a pre-urbanized China and when urbanization came, these methods went from being real and physical to being virtual and psychological.

A good example is the Five Ghosts Transporting Wealth Water Method (Wu Gui Yun Cai) 五鬼運財 from the Jiu Xing Pai or the Nine Stars School made popular by Taiwanese Feng Shui Master Wang De-Xun 王德薰, where the original aim is to use the Liqi calculations to locate a house near water and have it coming from a safe direction.

It is interesting to note that when one looks at the results of the calculations, they always end up with a house that has the Coming Dragon at the back (that is a higher at the back for better drainage and protection), the Five Ghosts (the Lian Zhen star) at the facing and the nearby water comes from the Heavenly Doctor (the Ju Men star) at an angle, either to the left or to the right. In a traditional Chinese village, there is a physical advantage in living near a water- course and having it meandering towards the site where the facing is always the same as the front door.An easy access to a safe body of water would have a greater chance of gaining wealth and that is the rationale behind the Five Ghosts Transporting Wealth Water Method.

However, when urbanization came to China and the roads are built to carry traffic and often in straight lines, this connection to the life giving Sheng Qi water is lost and a new way to connect to the auspicious water is done with a pathway from the front door to a straight road instead of a meandering water course.

Later still, when high rises are built to accommodate the ever increasing density of urban living, the connection to the water became fully virtual, although one still use the same calculations to obtain the results. A fish tank or an electrically operated water wheel, located somewhere to the left or to the right front corner of a living room or an office, now replace a watercourse.

The modern emphasis is on using human intention to entice wealth, rather than the physical production of wealth in an appropriate environmental setting. Without knowing this type of historical development, one might think Feng Shui, especially the Compass part, is all about “cures” and intention and nothing else practical.

traditional-fs-school

History and Philosophy of Feng Shui (for a sound foundation to build your Feng Shui career).

25 – 29 March 2009, Berlin Germany

Bilingual 5-days workshop in English with German translations (class size limited to 8 students)

Teachers: Cai Hong (Howard Choy) and Gyda Anders, Feng Shui Architects

Some of the course content includes:

-       The history of Feng Shui

-       A survey of Feng Shui classics

-       The influence of religion and philosophy on Feng Shui

-       Different meanings of Qi in Feng Shui

-       Different ways of thinking in East and West.

-       The Feng Shui paradigm

-       The San Cai Methodology

-       The theory and practice of Qi Energetics like Yin Yang, Wuxing, Early and Later Heaven Bagua, Luoshu, Hetu, Stems and Branches, Purple White Nine Stars, etc.

-       Ming Shu, Yun Shu and Zhai Shu (Numbers for fate, cycles and houses)

-       Different ways of calibrate time

-       Different ways of calibrate space

-       Different schools of Feng Shui, what they are and how they differ to each other

-       Learn to recognize and write 30 essential Chinese characters

-       Core competency to be a Feng Shui consultant and how to obtain them.

For further inquiries, please contact either Cai (English) or Anders (German)

fengshuiarchitect@hotmail.com, anders@arqitektur.de

Blog and website: http://howardchoy.wordpress.com, www.arqitektur.com

Do you want to become a Feng Shui professional or just want to improve the skill you already have? Come and join us in a stimulating face to face learning experience where the theory and practice of Feng Shui come together, taught by two Feng Shui architects with more than 40 years of experience between them, one from the old China and the other from the new Germany. You will not be disappointed, where the East meets the West next to the old Berlin Wall! 

sixiang3

 

                  

At the end of the Qing Dynasty and the beginning of the Republic era in China there were six major schools of Xuan Kong, they were the Wu Chang Pai (無常派), the Xiang Chu Pai (湘楚派), the Dian Nan Pai (滇南派), the Su Zhou Pai (蘇州派), the Guan Dong Pai (廣東派), and the Shang Yu Pa (上虞派).     

Out the six schools only the Wu Chang Pai, that is the Feixing Pai 飛星派 or the Flying Stars Schools as we know it today, headed by Zhang Zhong Shan 章仲山 at the time, flies the stars in the way that is genuinely Xuan Kong. The others did not really survived or at least they are not practiced much any more, with the exception of the Shang Yu Pai originated by Zhang Xin-Yin 張心言, and is popularly known nowadays the Yi Gua Pai 易卦派 or  Xuan Kong Da Gua 玄空大卦, where it divided the 360 degrees of the western compass into 64 Hexagrams of approx 5.6 degrees each.

Because everyone is very secretive, it is difficult to known exactly how the other four school worked, except they tended to be static and don’t fly the stars. Some don’t worry about sitting or facing; they take Period 1 as Kan Qi, Period 2 as Kun Qi and Period 3 as Zhen Qi etc. (that is, using the Early Heaven Trigrams and matched them with the Luoshu numbers instead of using the Later Heaven Trigrams like Flying Stars do).

Some fixed the stars in a particular palace, like the Qian palace as the Sheng Qi palace, and the opposite Xun palace is the Tong Gua Qi (Connected Gua Qi), therefore a house that sits or faces these two directions are always auspicious.

Some chose a different way to fly the stars, for example the Fu Mu Gua (the Parent Gua) always fly reverse ending up always a reversed house.

Some used the facing as the Period Plate and the sitting as the period 5 plate, that is the sitting is always Period 5 and only the facing flies according to the period the house was built.

Some used the Hetu paring to work the period, for example if it is Period 1 then add 6 a to do the chart. It was a confusing time.

There are no connection between these schools and the Taoist sects; they are practiced more by region (eg Suzhou Pai and Guangdong Pai, etc), rather than by religion.

The most authentic and traditional was the Wu Chang Pai and still survived today, thanks to Master Shen Zhu-Nai, who cracked their secrets and wrote books on them to pass down to us.

There were six schools of Xuan Kong and only one was genuine, because Zhang Da-Hong, the lineage holder of the Xuan Kong system, insisted that their art be kept secret from the public, so many not belonging to the lineage, tried their best to interpret Zhang’s writing to come up with their own interpretations that are often incorrect.

Most teachers don’t mention the other four schools because they don’t existing at all as far as the general public is concerned, especially in the West, so there is no need to say anything about them, with the exception of Da Gua of course. It is usually distinguish from the Flying Stars by name and teaching.

Some do mix some of the other schools techniques in their interpretations, but it is seldom the case and if they do, they would call themselves a special name, like the Imperial School of Feng Shui or the Central China School of Feng Shui (Zhong Zhou Pai).

Gradually, Feng Shui is opening up in the West, so the chance of being ripped off by the charlatan teachers is getting less and less. But nevertheless be extremely careful in choosing the right teacher and course to begin your Feng Shui study, as your first teacher always has a deeper influence on your future development then other teachers who come after.

Below shows a Liji Ruler used by the Xuan Kong Feixing School.

xuan-kong-liji-ruler4

One of my students works for an interior design magazine and she wants to know just before Christmas last year how to use Feng Shui to predict the color and material trend for the coming year.

I told her Feng Shui prediction is done through correlative thinking, and one of the most widely used method is to associate the color and material with the elements of the coming year’s Stem and Branch and use the Wuxing Sheng-ke relationships to do the predictions.

It is more desirable to match the year’s elements; then use a good dose of generate-in, less dose of control-in, and avoid generate-out and control-out, unless one deems necessary. But she must also do the three following things as well:

One is to find out the trend for the current and past couple of years so she has a good sense of continuity from the past to present then she has a better chance of projecting her thoughts into the future.

Two is have a thorough understanding of the current social, political and economical situation of the world, in particular the country and the audience she writes for. The audience’s needs, fears and longings in a particular situation and time frame, should be addressed as fitful as possible in her predictions.

Three is to be general and not too specific in her predictions, and try not to pick a choice that will alienate too many people, but she has to be creative and slightly controversial at the same time to generate “ganying” (mutual response). 

She asked me for an example, so I gave her the following practice piece, telling her this is a rough sketch because I have not done my proper research yet and my writing skill is geared for someone who knows a bit about how Feng Shui works and not for a more general audience. Her editor can help her better than I can in this aspect. 

“With Yin Earth on Yin Earth, a receptive gray/yellow/brown organic earthy tone pallet will be the dominant Feng Shui color theme for the next year of the Ox. The accent is on a return to authentic and sustainable materials that makes one feels cool, protected and stable.

Next year’s color choice should make one feels nurtured and cared for. They are colors of hibernation deep deep down in the damp earth, but with a generous amount of fire red (generate in) accent to keep us warm and a little bit of wood green accent to keep us awake (control in).

If you ever dream of building a mud brick home, this is the year to do it, you don’t need to go and see your bank manager, just pick up a shovel and dig up the earth on your land to do it.

Make sure you mix the dirt with plenty of hay and water, don’t use corrugated iron for the roof, it will weaken the Earth, use an earth covered roof and grow grass on it for insulation instead.Don’t use metal windows either, use wooden ones instead and let them go gray naturally.

As for flooring material, it should be burnt clay or naturally exposed grayish concrete. Think Yin Earth with a little bit of warm Fire and naturally weathered Wood, being receptive and nurturing in your choice and you can’t go wrong in a Yin Earth on Yin Earth year of the Ox.”

Everything goes in cycles, I would like to think our 230 years old timber and mud farmhouse show below is trendy again in the year of the Ox. Come and spend a few days there, if you have the time:

http://www.fewo-direkt.de/Deutschland/urlaub-ferienwohnung-Uckermark/p501698.htm

cimg0269

The Fourth International Conference on Scientific Feng Shui and the Built Environment is about to take place in Hong Kong this weekend (20-21 Febfruary 2009). The monograph from previous conferences is now available for purchase, below is a description of the content and how you can get hold of a copy. Be quick because these are a limited edition prints.

“Research in Scientific Feng Shui and the Built Environment”

Paper Back, 304 pages 190 x 235 mm

ISBN: 978-962-937-172-2

Publication Date: Feb 2009

List Price USD 27.00

Special price during conference USD 21.00 

Editors:

Dr. Michael Y. Mak Lecturer in the School of Architecture and Built Environment,

University of Newcastle, Australia

Dr. Albert T. SO Adjunct Professor, Department of Building & Construction,

City University of Hong Kong

Contributors:

Gyda ANDERS, Bixia CHEN, Michael CHIANG, Howard CHOY, Wei DONG,

Genji KURIMA, Kok Hoo LOO, Michael Y MAK, Yuei NAKAMA, Michael PATON,

Albert T SO, Ellen VAN GOETHEM, Derek WALTERS, Fook Tsan WONG,

Hong-key YOON, Rachel ZUEHL

Feng Shui practice has become an important reference for the planning and design of buildings, monuments and even entire cities. In fact Feng Shui is an evolved study of the natural and built environment. By utilizing the natural elements and practical environmental changes, we may improve upon our well-being, relationships, prosperity, health and living environment. People in many advanced countries seek to establish a deeper understanding of these relationships between human and natural environment. Architects from around the world also begin to recognize Feng Shui as a broad ecologically and architecturally connected paradigm.

To remove the shadow of superstition for Feng Shui practice, it is essential to use a scientific approach in the hope of combining and fusing ancient wisdom with modern knowledge in building science. Scientific Feng Shui has two meanings, namely (1) the verification of Feng Shui principles scientifically and (2) studying Feng Shui logically in a scientific way. This volume comprises 13 high-quality essays, which were well-organized into four parts to reflect the current trends and the future development of the research undertaken in the built environment.

This book will address the growing demand for architects, building professionals and other property practitioners to apply the concepts of Feng Shui in the built environment.

Content

Introduction: Scientific Research in Feng Shui

Michael Y MAK and Albert T SO

Part I Research in Compass School 

1 The Role of the Twenty-eight Xiu in Feng Shui

Derek WALTERS

 2 Observations Linking Megalithic Monuments to the Chinese Luopan

Derek WALTERS

 3 An Assessment into the Basics of Eight Mansions Feng Shui Theory

Fook Tsan WONG

Part II Research in Form School

4 Feng Shui and the Energy of the Land

Michael PATON 

5 Tracing Rational Aspects of Feng Shui (Geomancy)

Hong-Key YOON

6 The Core Principles of Feng Shui

Howard CHOY

7 A Conceptual Framework of Feng Shui Knowledge Structure

Michael Y MAK

Part III Research in Feng Shui and the Built Environment

8 Feng Shui Design and Planning of Ming and Qing City of Beijing

Michael CHIANG

9 Tracing Feng Shui in Ancient Japanese Capitals—Case Study: Nagaoka, Japan’s Forgotten Capital

Ellen VAN GOETHEM

10 A Study on Feng Shui Village Landscape Structure in the Ryukyu Islands

Bixia CHEN, Yuei NAKAMA and Genji KURIMA

Part IV Future of Research in Feng Shui and the Built Environment

11 Feng Shui and Contextualism in Western Architecture

Gyda ANDERS

12 The Comparison and Contrast between Green Design and Feng Shui

Wei DONG and Rachel ZUEHLl 

13 Sustainable Feng Shui Eco-house

Kok Hoo LOO 

Epilogue: Problems and Future of Research in Feng Shui

Albert T SO and Michael Y MAK

How to order

(1) You may mail your orders to the City University of Hong Kong Press, City University of Hong Kong, Tat Chee Avenue, Kowloon Tong, Hong Kong by accompanying a bankdraft or an international money order denominated in US Dollars and made payable to the City University of Hong Kong.

(2) For orders paid by VISA, please fax the order form to us at (852) 2779 3071, or mail it to us direct. If you wish to pay by VISA, please convert the total into Hong Kong currency using the rate US$1=HK$7.8.

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I have heard from at least one well-known teacher referred to the Zhai Gua (the Trigram of a house) as dealing with the location in a house and the Ming Gua (the trigram of a person’s life) as dealing with the direction in a house. This is not quite correct when we read the classic “Baizhai Mingjing carefully.

For this reason, I have translated the following two sections in the book and made some commentaries to show that both the Zhai Gua and the Ming Gua deal with location and direction at the same time:

Section 31 – Room Allocation

“Room allocation concerns with finding a suitable room position for the grandparents, grand children, fathers and sons, uncles and brothers, whether they sometimes cook and eat together or not, (unless) they have a suitable room within the four cardinal and the four diagonal directions, otherwise it would be harmful, whether the house is a single building or has one or two, large or small, light wells, if (the allocation) matches the Ming (Gua) of a person, then it is auspicious. Therefore a younger brother with an East Ming should live in the east, and an older brother with a West Ming should live in the west, without exception they will be prosperous and live a long life, otherwise poverty and early death will be unavoidable, the same applied whether (the room) is on the ground or upper level.” 

In this section, one is advised to choose a room located in one of the eight directions according to a person’s Ming Gua and is not according to the favourable Zhai Gua direction of a house.

Section 32 – The Bed Position

“Of all the different concerns of a house, moving the bed is the easiest and there are four ways to establish (it’s position): (1) the most (desirable) is to match auspiciousness of the Ming, (2) also to match the auspiciousness of the room allocation, (3) also to match the auspiciousness of the Sitting Mountain, (4) also to match the auspiciousness of a room to the door as mentioned in (the book) “Zhao Shui Jing”. Obvious it is different to have all four, then matching according to the person’s auspiciousness will suffice, no matter which order comes first.  If one wants to be meticulous in arrangement, then move the bed according to the person, and have the others to assist, (then) it is as easy as turning one’s palm to have children and wealth.

If the Sitting Mountain of the main house does not match a person’s life, then one can match the Ming of a person in the adjacent room or an addition to the main house and arrange the bed accordingly. But if the main house and the rooms; match both the parent and the children, with the room and the bed arranged accordingly, then there is prosperity without any disaster for everyone.”

In this section, one is advised to arrange the bed in four ways: 1) the bed should match the four auspicious directions of a person. 2) The bed should be in a room that matches the Ming Gua of a person.  3) The bed should match the four auspicious directions of a house. 4) In the room, the door should match the bed according to the four auspicious stars for the person.

The ideal condition would be to have an East Four person living in an East Four house, with the bedroom located in the East Four direction and have the bed located in the room according to the East Four also have an East direction, plus the door to the room and the bed position Four relation; the same applies for a West Four person. 

Gyda and I have just returned from travelling and teaching with 15 participants in our Feng Shui study tour of southeast China. The role of being a teacher/mentor, friend/travelling companion and husband/wife (there were three couples on tour) all merged together in a full on 24 hourly cycles.

In the end, everyone learned by implication that when we are teaching, “Do as we say and not as we do”. When we are not teaching, “Do as we do and not as we say” and when we are husband and wife, “Neither do as we say nor do as we do”!

It was a wonderful group because we understood, we respected and we tolerated each other. To learn is to know, to know is to tolerate and they are all part of being – the art of living.

Thank you everyone for the wonderful experience.

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One of the more strange things that we saw in the 2009 Feng Shui Study Tour of Southeast China was the reversed Houtian Bagua 後天 八卦 (Later Heaven Trigrams) picture painted on the ceiling of the Dabaoji Hall in Baisha, where the famous Baisha Murals in Lijiang (Yunan) were painted.

Baisha murals 白沙壁畫 are mostly from the Ming Dynasty (1366-1644), so this mirror reversed Bagua would have painted about the same time as well. Instead of having the usual Tijitu in the middle, it has a Tibetan prayer written there instead. The mix of Buddhism, Daoism and Lamaism may have changed the order of the Later Heaven Bagua, but as to why, we have no clue.

The picture is not very clear as it was forbidden to take photos inside, please let us know if you have a plausible explanation for this unusually laid out alternative Bagua.

On the other hand, maybe the explanation is a very simple one, instead of looking up at the ceiling, one can see the Later Heaven Bagua in its right order by looking down at a mirror!

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The last time I taught Bazhai (the Eight Houses Method) was with the Golden Gate School of Feng Shui just outside of San Francisco, and as usual, the students have difficulties in understanding how to resolve the contradictions when an East Four person is living in a West Four house or vice versa.

I thought of the following analogy to help them come to terms with the compass method as written up in the Bazhai Mingjing (the Bright mirror of Eight Houses), where the Zhai Gua (the Trigram of the house) is calculated based on the sitting direction of a house and the Ming Gua (the Trigram of a person’s life) is based on the years of birth of a person:

Imagine you are a traditional Chinese landscape painter and you have to find a place to exhibit your painting.

The most desirable place to do this would be an art gallery specialized in traditional Chinese painting and that would be like an East Four person living in an East Four house, where the Zhai Gua of the house matches the Ming Gua of a person, that is the house supports the person.

Imagine that you cannot get an art gallery no matter how hard you tried and all you can get is a restaurant, that would be like an East Four person living in a West Four house, where the Zhai Gua of the house do not support the Ming Gua of a person, because a restaurant is not a most supportive place to exhibit paintings.

But imagine the restaurant is a Chinese restaurant and the place has many large white walls to exhibit paintings, that would be like an East Four person living in a West Four house but the bedroom is located in the auspicious position for the person and the bed is located likewise.

Now imagine the restaurant is a Greek restaurant and the place is dim and dart, not suitable to exhibit paintings, be it Chinese or otherwise; that would be like an East Four person living in a West Four house with the bedroom located in an unfavourable position for the person and the bed is also orientated wrongly.

Now what can you do?

One cannot change the place but one can change one’s attitude to the place to take whatever advantage the place can offer.

For example, as an accomplished Chinese landscape painter, you can paint a series of Chinese paintings based on the Acropolis and you ask the owner to shine lights on them and use them as wall decorations for the restaurant. Now you get a chance to exhibit your painting and show how talented you are.

This would be like changing the bed to suit your personal direction, even though the location of the bedroom is not suitable and you are an East Four person living in a West Four housed. Depending on your skill and your attitude, you can still make a success of it, but you will need extra personal efforts and a nimble mind to understand the mutual effects of man and his environment and how to take advantage of what is available through the correlative contemplation of the symbolism of the Trigrams.

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“Lijing Old Town and Naxi Local Style Dwelling Houses”, 離江古城輿納西民居 Edited by Zhu Liang-Wen 朱良文

Lijiang Naxi local dwellings have four basic layouts, these are:

1)   三坊一照璧  “San Fang Yi Zhao Bi” or a house “three buildings and one screen wall”, which has one main building with two side wings plus a screen wall opposite the main block, together they formed a u-shape San He Yuan, or a three sided enclosed courtyard with the fourth side being a screen wall  (1/Diag 1)

2)   四合五天井 “Si He Wu Tian Jiang” or a “four sided courtyard house with five sky-wells” , which has a main building at the back with two side wings and another block opposite the main building forming a four-sided courtyard house. Apart from the large central sky-well (the courtyard) there are four smaller corner sky-wells for ventilation called “Lou Jiao” 漏角 or “leaking corner” (2/Diag 1)

3)   前後院 “Qian Hou Yuan” or a house with a “front and back courtyard”,  which uses the central axis measured off the main building at the back of the house to layout out two courtyards. The main courtyard is in the form of “four sides with five sky-wells” and the front garden is in the form of “three buildings with one screen wall”. The room that separated the main and secondary courtyards is called a “Hua Ting” 花廳 or a “flower lounge” (3/Diag 1).

4)   一進兩院 “Yi Jin Liang Yuan” or a “one entry with two courtyards” house which is very similar to the “front and back courtyards” house mentioned previously, with the exception that the main building is now in the central block that separates the two courtyards. (4/Diag 1).  Diagram 1 is shown below:

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The Yu Family Garden 余家花園 dwelling we visited in our last China Feng Shui study tour in Lijiang is a classic “front and back courtyards” layout, with the larger courtyard forming the heart of the arrangement.

One approaches the house and the main courtyard not through the street, but through a side gate and a passageway along one side of the house. At the end of the passageway is a blank wall and one has to turn 180 degrees to see the main door, which leads to the main courtyard of the house. When the door opens, one again faces another screen wall and the main courtyard is not visible until one turns left to see the garden fully with the main building across the courtyard.

The Yu Residence was built in 1925 with the main building facing east and all the wings are in two storeys. (Diagrams below showed Ground Floor and Upper Floor Plans and an Isometric view of the house):

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At a first glance, the directionality of this house is not clear and that is because the front courtyard in the form of a “three buildings with a screen wall” layout faces the tall boundary wall of the Mufu 木府 (Mu’s Mansion) next door not able to see the open space beyond and the screen wall has not lost its function. This is because when the building was first built the Mufu was in a state of dilapidation and the present boundary wall was missing, giving the required Ming Tang at the front, which was the garden of the Mu’s Mansion.

All in all, there are four special features common to Lijiang Naxi local dwellings, these are:

1)   Use a large sky-well in the form of a courtyard as the centre/heart to organize the various components of a house, no matter what type of layout is used. This light-well has either 3 or 4 sides covered with rooms laid out along a central axis that faces either the east or the south. A screen wall or a lower building opposite the main sitting is often used to reinforce this axial layout.

2)   The main building or sitting is often two storeys high with the sides and opposite wing in either one or two storeys.

3)   Each house has a generous amount of covered balcony or outdoor terrace and walkway for protected family activities like eating, meeting guests, rest and exercise.

4)   The corners of the house are often left open to facilitate light and ventilation. Sometimes the corners are used for entry, kitchen or storage so these spaces are not wasted.

If you ever have a chance to visit Hong Kong and would like to look for “cures”, equipments and Chinese books related to Feng Shui, please do drop into our friend Ricky Than’s shop in Kowloon. Ricky is really knowledge, having designed and made most of the Luopan compasses for the different teachers all over the world, he knows just about all the workings of different Feng Shui schools.

Thomson House, 623 Shanghai Street, Mongkok, Kowloon, Hong Kong. Tel: (852) 2396 1944

Below is a picture we have taken in his shop with Mr and Mrs Than (sitting opposite to me next to Ricky), who is always helpful when it comes to looking for books on Chinese metaphysics.  

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Below are some Tuishou photos taken in the last Taijiquan workshop in Nantes with Thierry Doctrinal (http://www.taoouest.net/), my French workshops organizer and the last picture is with Jerome Touzain (http://touzaintaichi.free.fr/topic/index.html), who met me years ago in Sydney. We have been together for close to 10 years now, on and off, so it is my pleasure to continue to train with these guys, who have become more like friends than students over the years.

Thanks Thierry and Jerome for being there with me every time I go to France, your continual presence is greatly appreciated.

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