新加坡南生花园中国特征的移植与本土化（英文）_冯立燊.pdf

008VOLUME 10/ISSUE 4/AUGUST 2022https:/doi.org/10.15302/J-LAF-1-020068The Replanting and Localizing of Chineseness in Whampoas Garden of Singapore*CORRESPONDING AUTHORAddress:4 Architecture Dr,Singapore 117566,Singapore Email:FENG Lishen*National University of Singapore,Singapore 119077,SingaporeHIGHLIGHTSReconstructing the layout of Whampoas Garden,a renowned historical Chinese garden in SingaporeRevealing its morphological connection with the gardens in the owners hometownScrutinizing the owners selection of Chineseness for different purposesRECEIVED DATE 2022-07-29KEYWORDS Singapore;Colony;Hoo Ah Kay;Overseas Chinese;Whampoas Garden;ChinesenessGRAPHICAL ABSTRACTWhampoas Garden in SingaporeWhampoa Village near GuangzhouA prominent figure in the colonyA plant lover in Singapores Agri-Horticultural SocietyA Chinese consul in SingaporeAn eminent holder of high-ranking Chinese official titleGarden ideas and techniques from ChinaChinese elements being more symbolic than authenticHoo Ah Kays cultural background Layout reconstruction of the lost gardenGarden design analysesChanges of the garden layout in Seah Liang Seahs possessionConstraints and needs in SingaporeContinuous Western and Malay influences on its designsLANDSCAPE ARCHITECTURE FRONTIERS/PAPERS0091 IntroductionFor two centuries,affluent immigrants from Europe,China,and other parts of Asia have been creating impressive mansions and gardens in Singapore,developing styles that reflect not only features from their home countries but also distinctive differences.The art and ideas of Chinese gardens have been disseminated throughout Southeast Asia since the 19th century.Gardens,in contrast to the formulaic temples and homes circumscribed by Chinese custom,are more receptive to non-Chinese ideas while facing other constraints such as plant species and climate.Local conditions,Western influences and selected Chineseness1 intermingle with each other,shaping the uniqueness of the Chinese gardens in Southeast Asia.The earliest well-documented example of Chinese gardens in Singapore is Whampoas Garden in the northeast suburb,purchased by Hoo Ah Kay(胡亚基 or 胡璇泽,18161880),aka Mr Whampoa,in 1840.2 Hoo was a Cantonese business leader and the first Chinese Consul in Singapore.Whampoas Garden is significant in the garden history of overseas Chinese for Hoos status and the social activities that took place there.It served as a pleasure garden where the owner met and entertained his guests,some of whom had left us records of the garden.In Chinese,Whampoas Garden was known by several names.The one that local Chinese are most familiar with is Nam Sang Fa Un Nan Sheng Garden(南生花园),derived from Nan Sheng Hao(南生号),the Chinese brand of Whampoas company.3 In written sources,Whampoas Garden is also referred to as Ying Yuan(英园)4,Hu Shi Yuan Hoos Garden(胡氏园),and Dou Kou Yuan Nutmeg Garden(豆蔻园)5.The origin of the first is unknown,but the last was apparently named after the cash crop that had been planted on the site prior to Hoos conversion of it into his private villa.2 On an 1846 map,the site of Whampoas Garden was hatched with a pattern representing nutmeg trees.A nutmeg plantation still existed in the right of Hoos property when Pan Feisheng visited Singapore in 1887 and 1890,according to Khoo Seok Wan(邱菽园).6The various names of Whampoas Garden indicate its popularity among visitors of all kinds in the past.However,it has received little attention in the field of architectural and landscape history,as existing studies of Chinese homes and historical landscapes in ABSTRACT Private Chinese gardens in 19th-century Singapore were rarely designed in the same way as their contemporary counterparts in China,though there were a few authentic Chinese mansions in the city.In response to this phenomenon,this paper attempts to use Whampoas Garden,the finest and earliest private Chinese garden on the island,as an example,to explain how and why garden owners selectively adopted certain Chinese features while designing the rest of their gardens in a way deviating from Chinese traditions.The study of Whampoas Garden begins with a sketchy introduction to the career and cultural background of the gardens owner,Cantonese businessman Hoo Ah Kay,addressing his social connections,personal hobbies,and cultural identities.As the garden no longer exists,a study of available pictorial and written EDITED BY Tina TIAN,WANG Ying,GAO Yutingrecords from Chinese and Western sources is conducted in order to reveal the spatial layout and other designed features of the garden,some of which may have facilitated the display of Chineseness.Contemporaneous gardens from Hoos hometown will be compared to unveil hidden linkages between Whampoas Garden and Chinese garden ideas.Furthermore,the relationship between the selection of Chinese symbols and the identities of their audience is examined as an approach to studying what affected how Chineseness was presented and how the landscape of south China was transplanted to