2025 年 13 巻 1 号 p. 190-208
Traditional architectural heritage and craftsmanship face global preservation challenges. This study explores transforming Cai Family Houses in Quanzhou, China, into an open-air museum to preserve and showcase traditional craftsmanship. Employing spatial syntax analysis, observational studies, and a craftsmanship inventory, the research reveals significant potential for museum development. Existing spatial configurations align well with anticipated visitor patterns, requiring minimal structural alterations. The site houses a rich array of traditional skills and artifacts suitable for exhibition. An 'Open-air Museum' concept was developed, emphasizing community engagement and adaptive reuse, offering a sustainable conservation model that balances preservation with modern visitorship needs. This approach provides a promising solution for conserving Cai Family Houses and associated cultural heritage, with potential applications to similar sites globally.
The preservation of traditional architectural heritage and craftsmanship has become increasingly critical in the face of global urbanization and modernization. This transition marks a significant departure from historical production methods, particularly in China. For nearly two millennia, beginning with the first handicraft workshops of the Western Han Dynasty, China's production model centered around skilled artisans (Hay, 2010). Even during the Ming Dynasty, when craftsmen designed intricate patterns for porcelain, they were not mere designers in the contemporary sense. Instead, they were integral to the entire production process, imbuing their creations with a distinctive artistic character that profoundly reflected their cultural identity (A. X. Wang, 2021).
Quanzhou, a city with craft traditions dating to the Song and Ming dynasties (Brown, 2023; Cheng, Zhang, et al., 2024) and a pivotal point on the Maritime Silk Road, epitomizes this rich craftsmanship legacy (R. Li, Wang, et al., 2016). The Cai Family Houses in Quanzhou stand as a tangible embodiment of the region's architectural traditions, recognized as “A key cultural relic under state protection” in 2001 (Ke and Wu, 2021), and part of a UNESCO-listed "Chinese traditional village" (UNESCO, 2023). This complex offers a unique opportunity to explore innovative heritage conservation approaches.
The traditional craftsmanship integral to the Cai Family Houses represents an invaluable intangible cultural heritage (Figure 1). However, its preservation faces contemporary challenges, including artisan scarcity, evolving economic structures, and physical site degradation (Ke and Wu, 2021; R. Li, Wang, et al., 2016; Zhao, Luo, et al., 2024). This study proposes the application of the open-air museum concept as a potential solution for preserving and showcasing this craftsmanship. These museums, also known as "ethnographic museums" or "folk museums," represent a special category of museums that display collections of historical rural buildings in open-air settings, typically located in rural and non-urban landscapes (Pawlikowska-Piechotka, Łukasik, et al., 2015; Rychnová, Maturkanič, et al., 2022). For example, some of the world-renowned open-air rural museums include the Norsk Folkemuseum near Oslo (opened in 1881) and the Edo-Tokyo Open Air Architectural Museum in Tokyo. This type of museum holds broad applicability and is relevant to the protection and renewal of historic areas. To develop this proposal, the study employs a mixed-methods approach, integrating urban spatial analysis based on the existing space syntax study of the Cai Family Houses, observational studies of visitor behavior patterns, and an inventory of traditional craftsmanship elements within the complex. The authors identified key findings from the analysis and formulated a new framework for developing open-air museums that align spatial design with the preservation of craftsmanship, offering a model for sustainable heritage tourism. This study contributes to heritage conservation and sustainable urban development by proposing an innovative framework for transforming historic Chinese residential complexes into open-air museums, emphasizing the preservation of traditional craftsmanship. It introduces a novel methodological approach and offers practical strategies for balancing heritage preservation with contemporary needs, potentially informing policy and practice in similar contexts across China and beyond.
The intricate relationship between traditional craftsmanship and spatial planning in Chinese architecture has become a focal point of scholarly inquiry, particularly in the context of urban conservation and sustainable development.
Gottfried Semper's provides a theoretical foundation for understanding how craft influences spatial organization in architecture. Semper's theory, which posits that architectural forms evolved from technical arts and crafts (Semper, 1878), offers valuable insights into the spatial logic of Chinese traditional buildings. This perspective, partly inspired by Chinese and Indian craftsmanship observed at the 1851 Great Exhibition in London (Herrmann, 1984), highlights the role of craft in shaping architectural spaces.
(Hay, 2010) expands on this concept in "Sensuous Surfaces," demonstrating how Chinese craftsmen integrated textiles and ceramics into the built environment, effectively blurring the lines between decorative arts and spatial design. (Xu, 2013) corroborates this view, noting the consistency of aesthetic principles across various mediums in Chinese art and architecture, which influences the spatial composition of buildings and urban layouts.
The global impact of Chinese craft traditions on spatial planning is explored by (A. X. Wang, 2021), who traces the development of "Chinoiserie" in Western architecture. This cross-cultural exchange not only influenced decorative elements but also impacted spatial concepts in European urban design, underscoring the potential of craft traditions to shape urban morphology on a global scale.
In the realm of contemporary urban planning and sustainable development, Chinese craft traditions offer several key insights. For example, Knapp (2000), Suling, Ying, et al. (2016), and Shaiq, Aiuby, et al. (2024) examine how traditional Chinese craft techniques, which often use locally renewable materials such as bamboo and wood, inform sustainable spatial planning practices. They explore how preserving and adapting craft traditions in architecture plays a crucial role.
In a different context, the work of W. Zhang, Walker, et al. (2022), Suling, Ying, et al. (2016), Qin and Leung (2021) and Dayoub (2024b) illustrates how traditional crafts can be integrated into modern urban planning to create culturally resonant spaces.
In the field of economic development, Xie, Gu, et al. (2020), Li and Dai (2022), Dayoub (2024c) and Abdo (2022) emphasize how revitalizing traditional crafts in urban renewal projects can create economic opportunities and support local communities. Their studies suggest that incorporating craft workshops and exhibition spaces into urban plans can contribute to the economic sustainability of heritage sites and their surrounding areas.
Space Syntax Analysis in Preserving Architectural Craft TraditionsSpace Syntax theory, developed by Hillier and Hanson (1984), provides a quantitative framework for analyzing urban spatial configurations, conceptualizing space through isovists, axial spaces, and convex spaces. The theory employs both local and global measures to quantify urban morphology, with key metrics such as connectivity, integration, and intelligibility offering insights into spatial organization and movement patterns within urban environments (Palaiologou and Griffiths, 2019). Notably, Hillier and Hanson (1984), Dettlaff (2014) and Okenmuo and Ewemoje (2023) argue that spatial structure is a cultural artifact, reflecting societal spatio-temporal manifestations. This perspective allows for the quantitative description of place-specific cultural values through topological and geometrical analysis.
Moreover, Space Syntax analysis has been widely applied to various urban studies, including pedestrian movement patterns, crime prediction, retail potential, and building design, where it has been lauded for its ability to predict human behavior in space and inform urban planning decisions (Dettlaff, 2014; Koohsari, Oka, et al., 2019). The growing application of Space Syntax in heritage studies underscores its versatility; for example, Huang, Kang, et al. (2024) demonstrated its utility in analyzing the West Street historic district in Quanzhou, revealing relationships between spatial configuration, pedestrian movement, and the distribution of commercial activity.
Similarly, Sherlia, Jordan, et al. (2021) utilized space syntax theory with Depthmap software to analyze the connectivity, integration, and choice within observed networks in Balikpapan city. Their study effectively defined the spatial configuration of both old and new development centers, identifying higher scores in main connectors and lower scores in local streets, thus providing valuable insights into movement patterns and accessibility.
Additionally, K. Wang and Liu (2023) applied machine learning alongside space syntax theory to analyze rural spaces in Jilin Province, aiming to identify patterns in spatial forms that can inform future rural development. This approach is paralleled by Zhao, Luo, et al. (2024) quantitative analysis of the spatial characteristics of the Cai’s ancient residential buildings in Quanzhou —our study area— where space syntax and abstract topological relations were used to reveal significant insights.
Open-Air MuseumsAn open-air museum is a special type of museum and belongs to the category of outdoor museums (Eman and Aljumaily, 2020; Rychnová, Maturkanič, et al., 2022). It is an old form of traditional museums, over 100 years old (Zheng, 2020). This method of exhibiting a village or various farms as a museum is very popular in some countries (Pan, He, et al., 2012). An open-air museum is defined as a collection of buildings and facilities that align with specific themes in an outdoor area, carefully restored and displayed in their original state. This means that a particular type or series of cultural heritage is concentrated in one place to better showcase the local cultural character and social features (Eman and Aljumaily, 2020).
In 1985, the concept of the open-air museum was introduced to China as an "eco-museum" by An Laishun, and it has been in use ever since (Jixiang, 2023; Pan, He, et al., 2012). The practices of the eco-museum theory in previous years have predominantly appeared in relatively underdeveloped areas of China. The purpose of these practices is to protect the local human and natural environmental characteristics. In 2007, Professor Wang Fang argued that the current operational model of the eco-museum is not suitable for adaptation in economically advanced cities or regions. He emphasized that the application of the eco-museum concept in China needs expansion, as the Chinese translation is misleading; it seems to imply a natural ecological museum or ecological architecture (F. Wang and Liu, 2009). Consequently, the concept of the open-air museum was proposed to be implemented in some villages in southern China by Pan, He, et al. (2012), aiming to protect authenticity and promote active and dynamic participation by residents. Shan (2023) provides a comprehensive analysis of China's decade-long experience in cultural heritage protection, offering valuable insights into both successful and less satisfactory practices. Their book emphasizes the significance of cultural distinction in urban planning and the evolving role of museums in modern society. Particularly relevant to the development of open-air museums in traditional villages, Shan's work discusses the challenges of protecting historical communities and heritage sites while integrating them into contemporary urban life. Recent scholarship has further expanded our understanding of open-air museums and their multifaceted roles. Olinsson (2023) emphasizes their reliance on intangible heritage resources, positioning them as both pedagogical tools and sustainable cultural products. This perspective aligns with Balen and Vandesande (2021) and bin Saleh, bin Ghazali, et al. (2023) who argue that cultural heritage should be viewed as a resource enhancing broader sustainability efforts, rather than merely an instrument for development. Their Sustainable Management and Development framework addresses the social and economic dimensions of heritage conservation while prioritizing sustainable local development.
The integration of heritage management with spatial planning, as examined by van der Stoep (2005), underscores the importance of balancing preservation goals with contemporary development needs. Their case study in the Netherlands highlights the value of incorporating both expert and local knowledge in cultural planning processes, a practice often embodied in open-air museums.
Global examples further illustrate the versatility of the open-air museum concept. The case of Sciacca in Italy demonstrates how this approach can enhance local cultural heritage through experiential and sustainable tourism (Eurocities, 2023). Similarly, the American Open Air Museums and the Edo-Tokyo Open Air Architectural Museum showcase diverse approaches to preserving and presenting architectural heritage while encouraging public engagement and artistic exploration (Akima, Ando, et al., 2024; Tonc, 2016).
This study is motivated by several key factors emerging from the literature review. Firstly, while open-air museums have been recognized for their role in heritage preservation, there is a need to further explore their potential in sustainable urban and regional development, particularly in the context of traditional Chinese architecture and craftsmanship. Secondly, the integration of spatial syntax analysis with heritage conservation presents an innovative approach to understanding and preserving historical spaces. Lastly, the challenges faced by Cai Family Houses, as highlighted in the literature, call for novel strategies that balance preservation with contemporary needs and community engagement.
The primary focus of this study is the Cai’s Ancient Folk Houses, located in Zhangzhouliao Natural Village, Zhangli Village, Quanzhou City, Fujian Province. It is 20km away from the historical and cultural city of Quanzhou in the northeast and 80km away from the special economic zone of Xiamen in the southwest (see Figure 2). Known as the "grand view garden of Minnan architecture" (Ke and Wu, 2021), this site represents a significant example of traditional Chinese residential architecture and craftsmanship.
Key characteristics of the study area include:
1. The site is considered the oldest existing ancient dwelling in Quanzhou and a starting point of the "Maritime Silk Road" (Brown, 2023).
2. Listed as a "Key Cultural Relics Site under State Protection" in 2001 and part of a UNESCO-listed "Chinese traditional village" since 2013 (UNESCO, 2023).
3. The red brick buildings of South Fujian, represented by the Cai's Ancient Folk Houses, are included in the preparatory list of China's world cultural heritage (Qiang, 2020).
Spatial Organization and Evolution of the Cai Family HousesThe Cai’s family residential complex, was constructed during the Qing Dynasty and built by Cai Qichang, the first ancestor of the Cai clan, and his son Cai Zishen. This rectangular compound, covering approximately 16,300 square meters (200m E-W, 100m N-S), comprises five rows of 23 mansions containing over 500 rooms (Qi, 2003).
The complex's construction followed a distinct east-to-west progression, reflecting increasing prosperity. The eastern segment features 10 large houses along a central axis, interspersed with 2-meter-wide passageways for circulation, fire protection, and drainage. The western segment consists of 13 large houses, divided into South and North Blocks, with the South Block extending along Shicheng Avenue (Zhao, Luo, et al., 2024).
The construction sequence notably correlates with Cai Zishen's business success in the Philippines, as evidenced by the progressively larger and more ornate western houses. This pattern not only reflects the family's increasing wealth but also manifests a clear architectural hierarchy within the complex (Dai and Xie, 2005; R. Li, Wang, et al., 2016).
The inclusion of these diverse elements underscores the multifaceted nature of the complex, serving residential, ceremonial, educational, and commercial functions. This comprehensive approach to spatial organization reflects the traditional Chinese emphasis on family-centered living and the integration of various aspects of daily life within a single compound (Qi, 2003) (Figure 2).
The complex's layout and function distribution embody the hierarchical ethical system of Chinese feudal society. The main room, protective room, and hall reflect Confucian traditions of social order and ancestor worship. Room allocation follows strict rules based on familial hierarchy, creating a self-sufficient, defensive living space that epitomizes the traditional clan concept (Ke and Wu, 2021).
Challenges in Preserving and Developing the Cai's HousesThe preservation and development of the Cai’s Houses face significant challenges due to a protection model that has marginalized resident involvement, leading to diminished community engagement and ownership. Complex maintenance and renovation procedures have further discouraged resident participation, resulting in neglected properties susceptible to theft and damage. Tourism development has been limited, constrained by concerns over potential negative impacts and unresolved ownership issues within the dispersed Cai family, resulting in minimal interpretive infrastructure and accessibility (Pan, He, et al., 2012).
Ke and Wu (2021) argue that an overemphasis on preserving physical structures, without adequate consideration of intangible cultural heritage, risks reducing historical buildings to mere empty shells, disconnected from the living culture they were originally intended to embody and preserve.
These challenges highlight the need for a more holistic, community-centered approach to heritage preservation that integrates the conservation of physical structures with the evolving needs of residents and the safeguarding of intangible cultural heritage.
This study employs a mixed-methods approach to investigate the role of traditional craftsmanship in the Cai Family Houses and evaluates its potential for development as an open-air museum (Figure 3).
Data Collection Methods
The Cai Family residential complex exemplifies the rich architectural heritage of southern Fujian, showcasing a sophisticated interplay of traditional materials and techniques. The structures, built in the "Chuandou" wooden frame style with "Yingshan" roofs, feature distinctive swallowtail designs at the roof edges, imparting a sense of vitality to the complex (Qi, 2003).
The most striking feature is the predominant use of red brick, giving rise to the "red in southern Fujian" architectural style. This chromatic theme extends beyond walls to include red-tiled roofs, cylindrical tiles, brick-made roof ridges, and square floor tiles, symbolizing prosperity and good fortune in Chinese culture (Figure 4 and Figure 5).
The complex's decorative elements reflect the Cai family's wealth and status through various techniques:
1. Stone Carving: Despite its expense, stone carving is prevalent in external decorations such as lintels, doors, eaves, and column bases. Techniques include linear, relief, semi-transparent, and openwork carving, with notable examples in the "Cai Qian" house's stone windows.
2. Brick Carving: This technique enhances the artistry of red bricks, as seen in the gateways of "Zuijingtang," "Shishuangchu," and "Shiyouchu." Carvings depict auspicious symbols like qilin, phoenix, and tigers. Glazed red bricks in various shapes (hexagons, octagons, circles) create intricate patterns on external walls.
3. Wood Carving: Primarily used in beams, window lattices, and eaves, these carvings feature geometric patterns, flowers, birds, and figurative scenes. In main halls, wooden lattice carvings are often gilded, highlighting the owners' wealth.
4. Clay Sculpture: Combined with painting, clay sculptures adorn interior and exterior eaves, creating lifelike landscapes, figures, and nature scenes. Clay is also used for decorative roof ridge elements.
5. Cut-and-Paste Technique: This unique local method involves using broken ceramic bowl pieces to decorate clay sculptures, particularly on roof ridges like the gate of "Douchu."
Additionally, the old Cai family houses contain more than 200 poems and 1,500 words, through which we can glimpse how the ancestors of this family lived, their thoughts, hopes, and happiness.
A previous spatial syntax analysis of the Cai family's historical residential complex, conducted by Zhao, Luo, et al. (2024), provided a comprehensive understanding of its spatial dynamics. The researchers identified a tripartite spatial structure comprising nodal spaces (exemplified by the ancestral hall and academy), linear spaces (alleyways and gated courtyards), and planar spaces (theater square and village square). This typology reflects an organically interconnected network-type spatial morphology, where discrete architectural units are integrated through nodes (large, free-standing structures), axes (fire escapes and stone-paved courtyards), and planes (open spaces formed by the confluence of nodes and axes) (Figure 6).
The study employed several methodological tools, including axial maps to represent space using minimal and maximal lines of sight and movement; connectivity graphs to illustrate spatial interrelationships; and justified graphs to visualize the depth of visual fields in relation to specific spatial configurations. The analysis utilized four primary syntactic measures: connectivity - quantifying direct spatial adjacencies; depth - measuring topological distances between spaces; control value - assessing a space's influence over access to adjacent areas; and integration - evaluating a space's connectedness within the overall system, both locally and globally.
Table 1 presents the findings of spatial syntax analysis of Cai family houses.
| Space Type | Specific Area | Quantitative Measures | Key Characteristics |
|---|---|---|---|
| Point Spaces | Ancestral Temple | Depth value: ≤ 6 steps - Integration degree: 5.85437 | Core of visual space, High visual attraction |
| Academy | Depth value: ≤ 7 steps - Integration degree: 5.85437 | High status, Well coordinated with entryway | |
| Linear Spaces | Alleyways | Global integration: 1.9118 | Excellent spatial accessibility, Visual coherence, Acts as divider in residential group |
| Gate Courts | Average integration: 1.8761 | Connecting bridge within group | |
| Surface Spaces | Village Square | Visual integration: 5.7629 - Axial integration: 1.9118 | Excellent spatial accessibility, Attracts visually oriented participants |
| Theater Square | Axial integration: 1.11053 | Suitable for professional activities | |
| Overall Complex | Comprehensibility R² value: 0.73 | High overall comprehensibility, Defensive characteristics, Orderly and self-sufficient, Emphasizes family concept and clan sense |
This study employed a systematic observational approach to examine visitor behavior and space utilization within the Cai Family Houses complex, with the aim of informing open-air museum development strategies. The research design was guided by a priori power analysis (G*Power 3.1), which indicated a required sample size of 200 visitors to detect medium effect sizes (d = 0.5) with 80% power at α = .05.
| Area | Mean Visitors/Hour (95% CI) | Mean Dwell Time in Minutes (SD) | Primary Activities | Notable Observations |
|---|---|---|---|---|
| Gated Courts | 35.2 (32.7, 37.7) | 25.5 (6.2) * | Extended viewing, cultural activities, photography | Most frequented area, longest dwell time, highest engagement |
| Village Square | 30.5 (28.1, 32.9) | 10.5 (3.2) | Orientation, map reading, photography | Main entry point, high traffic area |
| Theater Square | 25.3 (23.0, 27.6) | 15.2 (4.1) | Resting, group discussions, occasional performances | Popular rest area, potential for more programming |
| Ancestral Hall | 18.7 (16.8, 20.6) | 20.3 (5.2) | Guided tours, cultural explanations, photography | High craft engagement, significant historical importance |
| Academy | 17.9 (16.0, 19.8) | 12.7 (3.8) | Viewing exhibits, reading information panels | Moderate engagement, opportunity for enhanced interpretation |
| Alleyways | 12.4 (10.9, 13.9) | 5.3 (2.1) ** | Transit, occasional photography | Key connective spaces, least frequented |
*Significantly higher than other areas (p < .05) **Significantly lower than other areas (p < .05)
Note: CI = Confidence Interval; SD = Standard Deviation; N = 200 observed visitors; Observation period: One week, including weekdays and weekend; ANOVA results for dwell time differences across areas: F (5, 594) = 23.67, p < .001, η² = 0.17
Observations were conducted over a one-week period, encompassing both weekdays and weekends, with two daily 2-hour sessions (10 AM - 12 PM and 2 PM - 4 PM) to account for diurnal variations in visitor patterns. Data collection involved systematic counting of visitors in predefined areas at 15-minute intervals, documentation of primary activities, and recording of dwell times for randomly selected visitors. Special attention was paid to visitor interactions with craft elements. Measures were implemented to maintain visitors’ anonymity.
Analysis of the observational data revealed significant variations in visitor behavior across different areas of the complex. A one-way ANOVA showed significant differences in visitor dwell times across the six primary areas (F (5, 594) = 23.67, p < .001, η² = 0.17). Post-hoc Tukey HSD tests indicated that dwell times in the Gated Courts (M = 25.5 min, SD = 6.2) were significantly longer than in other areas (p < .05).
The Gated Courts emerged as the most frequented area with a mean visitor count of 35.2 per hour (95% CI [32.7, 37.7]), followed by the Village Square (M = 30.5, 95% CI [28.1, 32.9]). The Theater Square saw moderate traffic (M = 25.3, 95% CI [23.0, 27.6]), while the Ancestral Hall and Academy experienced lower but consistent visitation (M = 18.7, 95% CI [16.8, 20.6] and M = 17.9, 95% CI [16.0, 19.8] respectively). The alleyways saw the least traffic (M = 12.4, 95% CI [10.9, 13.9]) (Table 2).
The integration of spatial syntax analysis and visitor behavior observations provides a multifaceted framework for transforming the Cai Family Houses into an engaging open-air museum that celebrates traditional craftsmanship. This comprehensive approach reveals unique opportunities for aligning the site's spatial characteristics with observed visitor patterns and the rich tapestry of local craft traditions.
The Gated Courts emerge as the focal point of visitor interest, showing both the highest frequency of visitors (35.2 per hour) and the longest dwell time (25.5 minutes). This high engagement contrasts interestingly with their moderate average integration (1.8761) in the spatial syntax analysis. These courts, with their historical significance and architectural integrity, are exhibitions in themselves. The existing houses in this area serve as authentic representations of traditional Minnan architecture, offering visitors a pure, unadulterated glimpse into the past.
The longitudinal path of the Gated Courts presents a natural opportunity for hosting traditional fashion shows. This layout, reminiscent of a catwalk, can be utilized periodically for showcasing Quanzhou's rich textile heritage without permanent alterations to space. Such events would bring the area to life, echoing its historical role in community gatherings and cultural celebrations, while maintaining its architectural purity.
The Village Square, with the second-highest visitor count (30.5 per hour) and moderate dwell time (10.5 minutes), aligns well with its high visual (5.7629) and axial (1.9118) integration values. Functioning as the main entry point, it serves as an effective orientation space. Its spatial significance and visitor patterns make it an ideal location for introducing the overarching "red in southern Fujian" architectural style, setting the stage for the visitor's journey through the site's rich architectural heritage.
The Theater Square shows moderate axial integration (1.11053) and attracts a significant number of visitors (25.3 per hour) with a notable dwell time (15.2 minutes). Its popularity for resting and group discussions, combined with occasional performances, suggests potential for developing it into a dynamic space for scheduled craft demonstrations and interactive workshops.
The Ancestral Hall, despite its high integration value (5.85437) and low depth (≤ 6 steps), sees lower visitor numbers (18.7 per hour) but maintains a relatively long dwell time (20.3 minutes). This pattern indicates that while fewer visitors reach this area, those who do engage deeply with its content. The hall's spatial importance and visitor engagement patterns make it suitable for showcasing intricate craftsmanship and offering in-depth cultural explanations.
The Academy, with high integration (5.85437) but lower visitor numbers (17.9 per hour) and moderate dwell time (12.7 minutes), presents an opportunity for enhancement. Its spatial significance and current usage patterns suggest potential for developing engaging exhibits that highlight traditional techniques and historical context, aligning with its educational legacy.
The alleyways, despite high global integration (1.9118), see the lowest foot traffic (12.4 per hour) and shortest dwell times (5.3 minutes). This underutilization, juxtaposed with their spatial importance, presents an opportunity to create connective experiences that guide visitors between major areas while introducing various aspects of local craftsmanship.
External walls and roofs, while not discrete spaces in the spatial syntax analysis, are visible from multiple high-integration areas and observed by visitors moving between spaces. The red-tiled roofs, cylindrical tiles, brick-made roof ridges, and unique cut-and-paste technique on roof ridges represent significant yet often overlooked elements of craftsmanship. Developing elevated viewing platforms or implementing augmented reality experiences could highlight these features, turning transitional spaces into opportunities for engagement with architectural elements that might otherwise go unnoticed.
The overall complex, with its high comprehensibility (R² value: 0.73) and hierarchical layout, provides a natural framework for a cohesive "Craftsmanship Journey." This journey can be designed to progress from the highly frequented Gated Courts through other areas, leveraging their unique spatial characteristics and current visitation patterns to create a varied and engaging experience, a pathway through the complex, maximizing engagement and educational impact (Figure 7).
The conservation of cultural spaces is intrinsically linked to the preservation of traditional culture. The spatial syntax analysis identified vital nodes and circulation patterns within the complex, which, when combined with our observational studies of visitor behavior, guided the strategic placement of craft demonstration areas and exhibition spaces. Our detailed craftsmanship inventory further informed the content and focus of these spaces, ensuring that the most significant and representative elements of traditional craftsmanship are highlighted in areas of high visitor engagement. Spaces such as temples, ancestral halls, and public squares are vital nodes for religious practices, social gatherings, and artistic expressions. These spaces embody the "collective memory" of local residents and serve as material anchors for intangible cultural heritage. Within the context of an open-air museum, these cultural hubs should be integrated into visitor experiences, with their functions not only preserved but also enhanced through improved public amenities. This ensures that the physical structures are preserved while also maintaining the continuity of cultural practices and traditional craftsmanship.
A key element of the open-air museum concept is the emphasis on traditional craftsmanship. The preservation and promotion of these crafts are essential, and spaces dedicated to craft demonstrations, workshops, and exhibitions should be strategically incorporated into the museum's layout. These areas serve a dual purpose: they provide artisans with venues to practice and transmit their skills, while also offering visitors immersive experiences in traditional craftsmanship. By integrating craft spaces into the museum environment, traditional techniques can be revitalized, economic opportunities for local artisans can be created, and the overall authenticity of the museum experience can be enhanced.
Community engagement and ownership are also fundamental to the success of the open-air museum model. Local residents, as the inheritors and custodians of cultural heritage, play a pivotal role in the development and ongoing operations of the museum. Their cultural traditions, knowledge, and perspectives should be central to the museum's narrative, ensuring that it remains relevant to both locals and visitors. By involving the community in decision-making processes, interpretation efforts, and cultural programming, a sense of ownership is fostered, which is crucial for the museum's sustainability.
The integration of digital technologies offers innovative opportunities to enhance the visitor experience and expand the reach of the open-air museum. Metaverse technologies, such as virtual and augmented reality, can provide immersive historical reconstructions, facilitate the visualization of craft techniques, and offer interactive educational experiences (Dayoub, 2024a). These digital tools complement physical preservation efforts by allowing for the exploration of historical layers without compromising the integrity of existing structures. Additionally, Metaverse technologies can create virtual spaces for cultural exchange, enabling global audiences to engage with the site's heritage and craftsmanship traditions.
Despite the potential benefits, implementing this open-air museum concept faces several challenges. These include balancing preservation with accessibility, ensuring financial sustainability, maintaining authentic craftsmanship practices, and managing visitor impact—all while navigating regulatory requirements and community expectations.
This research has explored the potential of transforming the Cai Family Houses in Quanzhou, China, into an open-air museum that both preserves and highlights traditional craftsmanship. The study began with repeated site visits, recognizing the site's historical and cultural significance, particularly its distinctive architectural craftsmanship. Extensive literature and studies on the location were reviewed, which led to the decision to integrate the findings from spatial syntax analysis with visitor interaction data. This integration revealed significant correlations between spatial importance and visitor behavior, offering strategic opportunities for the placement of craft demonstrations and the design of a cohesive "Craftsmanship Journey" throughout the site. The study emphasizes the importance of preserving the site's authenticity while thoughtfully activating spaces to serve educational and cultural purposes.
Although this study primarily focuses on the Cai Family Houses, its implications extend to the broader context of preserving traditional craftsmanship and architectural heritage in rapidly modernizing societies. The research provides a framework for maintaining cultural assets as vibrant and relevant for future generations. Successfully implementing these findings could not only revitalize the Cai Family Houses but also serve as a global model for similar projects, demonstrating how historical residential complexes can be adapted into living museums that educate, engage, and inspire while preserving their rich cultural heritage.
However, it is important to acknowledge that this proposal would benefit from further research focusing on the interiors of the buildings, as well as the surrounding environment and accessibility. A comprehensive understanding of these elements is essential to ensure a holistic transformation into an open-air museum, addressing not only the external spatial configurations but also the internal spaces and the broader contextual environment. This additional research will refine the proposed strategies and enhance the overall effectiveness of preservation and engagement efforts.
Conceptualization, S.O.; methodology, S.O.; software, Q.Z. and Y.D.; investigation, S.O. and B.D.; resources, S.O. and B.D.; data curation, S.O.; writing—original draft preparation, S.O.; writing—review and editing, S.O. and B.D.; supervision, P.Y. All authors have read and agreed to the published version of the manuscript.
The authors declare that they have no conflicts of interest regarding the publication of the paper.
The authors would like to thank the anonymous reviewers for their constructive comments about an early version of this article.
