LECTURE 1: INDIAN ARCHITECTURE (2,500 B.C.

– Present)

INDUS REGION - was home to the largest of the four ancient urban civilizations

A. INFLUENCES:

I. Geographical and Topographical Influences:

■ India - Bharat in Hindi
■ Seventh-largest country (3,287,240 km2) in the world and the second most populous
(1,147,995,904), after China
■ Consists of the entire Indian peninsula and portions of the Asian mainland, once included
Pakistan, and Bangladesh
■ Borders:
North - Afghanistan, Tibet, Nepal, China, and Bhutan;
South - Palk Strait and the Gulf of Mannar, which separate it from Sri Lanka, and the
Indian Ocean;
West - Arabian Sea and Pakistan;
East - Myanmar (Burma), Bay of Bengal and Bangladesh, which almost cuts off north-
east India from the rest of the country.
■ The capital of India is New Delhi, and the country’s largest city is Mumbai (formerly
Bombay).
■ Well defined geographical regions:
1. Mountain zone of the Himalayas,
2. Indo-Gangetic plain (formed by the basins of three great rivers Indus, Ganges and
Brahmaputra),
3. Central and Southern peninsula of the Deccan Plateau,
4. Western Region – divides India from Pakistan
x Kashmir
x Punjab plains
x Great Thar desert
5. Islands – Andaman and Nicobar

II. Climate:
■ Tropical to temperate zonal extremes;
■ The temperature extremes are confined largely to the slopes of the Himalaya. Except in
the more mountainous regions, most of the rest of India has a uniformly tropical climate;
■ Seasonal variations, resulting from the south-western and north-eastern monsoons,
profoundly influence temperature, humidity, and precipitation throughout the
subcontinent;
■ The seasons of India may be classified as rainy and dry.

III. Geological (Material) Influences:

1. Stone
- Fine red and cream sandstone in Agra used mainly as facing for rubble walling
- Stone of carpentry works using white marble of Rajasthan in the north
- Granite of Deccan and volcanic potstone (soapstone - metamorphic rock of talc schist)
of Halebid, center and southern part
2. Lack of building stone and the availability of timber along the Indus and Ganges valley
- Teakwood - Burma

1
 - Softwood deodar - Northern mountain ranges
- Shisham (Indian Rosewood) - hardwood found in the river valleys of the north
3. Bricks and Terra Cotta - Bengal, Uttar Pradesh and Punjab

IV. Religious Influences:

Religion plays an important role in the everyday life than in the West
• Very basis of social structure
• Bound up with human behavior and conduct of public affairs.

1. Vedism and Brahmanism

■ Polytheistic religion brought around 1500 B.C.E. by invading Aryan tribes who
gradually conquered the earlier Indus Civilization (already in its decline).
■ The Veda (knowledge) - scripture with a collection of hymns composed between
1500 and 900 B.C.E.
■ Life and earth-affirming, positive faith appropriate to battle-loving tribes whose
chieftains and gods/goddesses and heroes resemble divinities and characters.
■ Brahmanism
o Theory of Bhakti “trusting worship”
o Asceticism (yoga)
o Spiritual Knowledge (Jñana)
o Period of great epics:
1. Ramayana
2. Mahabharata which contains mystical poems, the Bhagavad Gita or
‘Song of the Blessed’
2. Hinduism
■ Hindu is derived from the river Sindhu or Indus, Santana Dharma (immemorial
tradition) – Sanskrit term
■ Sanskrit is the sacred language
■ Complex mixture of:
o Vedic philosophies,
o dogmatic Brahmanical rituals,
o yogic mysticism,
o tantric occultism,
o fertility cults,
o monastic orders,
o pagan customs and the
o belief in God who manifests as innumerable divine beings.
■ Hindu tradition acknowledges that there are many parts by which people may seek
and experience religious understanding and direction.
■ Buddhism, Jainism and Sikhism originated from Hinduism which also shares the
concept of dharma. Dharma - moral order, duty and right action
■ Brahma is the chief god, the omnipresent one who is father of the Brahman Trinity.
■ Has 4 heads, 3 of which (representing their Trinity) can be seen from any
point of view
■ Three major groupings of deities worshipped by Hindus,
o Saktas - worship a Mother Goddess
o Saivites - worship the god Siva
o Vaishnavites - worship the god Vishnu.
■ Believes in reincarnation- rebirth, kharma- person’s misfortune are the result of his or
her own misdeeds in a previous life and ahimsa- nonviolence and respect for all living
things.
■ Hindus treat the cow with great respect and is considered the mother to the Indian
people.
■ Caste System – a social group, based partly on occupation which grew up with
Hinduism
A. Brahmins – priests
B. Kshatriyas – kings and warriors
C. Vaisyas – merchants and farmers
D. Sudras – workers
E. Untouchables – outcasts

2
 3. Jainism
■ Established in the 6th c. BCE by Vardhamana, called Mahavira “the Great Hero” or
Jina, the “Victorious One”.
■ Based on asceticism and ahimsa, theory and practice of non-violence (non-injury to
all living things)
■ Without a belief in God, though there are a number of lesser deities for various
aspects of life.
■ Recognizes the fundamental natural phenomenon of symbiosis or mutual
dependence which forms the basis of modern day science of ecology. A religion
based also on cosmic principles.

4. Buddhism
■ Religion and philosophy founded in northeastern India in the 5th c. B.C.E., and based
on the teaching of Siddhartha Gautama, a Sakya prince known as Buddha the
enlightened one.
■ Adopted some ideas from Hinduism, doctrine of karma but rejected caste system
and all of its gods.
■ Divided into two branches – Theravada (Way of the Elders) and Mahayana (The
Great Vehicle)

V. Historical and Political Influences

A. Indus Valley Civilization (around 2500 BC)
■ Civilization began to develop around the Indus River in what is now Pakistan and
western India.
■ Ruins of ancient cities such as Harappa (Punjab) and Mohenjo-Daro (Sindh).
■ Writing and counting, built drainage systems that ran into brick-lined sewers and dug
canals to irrigate their farms were developed systems
■ Civilization developed by the Dravidians equaled and possibly surpassed in splendor
the civilizations of ancient Mesopotamia and Egypt.
■ Civilization is founded upon three basic concepts: the sacred, universal and ritualistic

B Vedic Period
■ Civilization emerged during the early centuries after the intermingling of Indo-Aryan
and Dravidian cultures on the subcontinent was notable in several respects.
■ The Indo-Aryans had advanced skills in various arts and sciences, including livestock-
raising, metal handicrafts, carpentry, boatbuilding, and military science.
■ Most important state was Kosala, a kingdom situated in the region occupied by modern
Oudh. Other important kingdoms were Avanti, Vamsas, and Magadha.
■ The last-named kingdom occupied the territory of modern Bihar, and in about the
middle of the 6th century BC., it became the dominant state of India.
■ During the reign of its first great King Bimbisara (reigned about 543-491 bc), Buddha
and Vardhamana Jnatiputra or Nataputta Mahavira, the respective founders of
Buddhism and Jainism, preached and taught in Magadha.
■ In 326 B.C., Alexander the Great led an expedition across the Hindu Kush into
northern India. He won several victories during his march into India, climaxing in the
Battle of Hydaspes which ended in the defeat of King Poros near the River Hydaspes
(now the Jhelum).

C Maurya Dynasty
■ In 321 B.C. Chandragupta, founder of the Maurya dynasty of Indian kings known to the
Greeks as Sandrocottos, seized control of Magadha and extended his sovereignty over
most of the subcontinent.
■ Set the empire at Pataliputra, probably the largest and most sophisticated city and
center of culture in the world.
■ The military power of the Indian Empire caused Seleucus I, one of Alexander’s
generals and the founder of the Seleucid Empire, to arrange an alliance with the
Maurya ruler. Concluded in 305 BC, the treaty was consolidated by a marriage
arrangement between Chandragupta and a daughter of the Seleucid ruler.
■ The Maurya dynasty endured until about 185 BC.

3
 ■ During the reign (273-232 BC) of Ashoka (Asoka), the greatest Maurya sovereign,
Buddhism became the dominant religion of the empire. India was a great centre of
learning with universities such as those at Nalanda, and Takshasila attracting scholars
from China and South East Asia.
■ The chief event of this period (184-72 BC) was the persecution and decline of
Buddhism in India and the triumph of Brahmanism.
■ Caste system became deeply ingrained in the Indian social structure, creating great
obstacles to national unification.

D Sunga and Kuskan Dynasty

■ Sunga endured longest, and lasting more than a century.
■ An extensive section of western India was occupied in about 100 BC by invading
Shakas (Scythians), then in retreat before the Yueh-chi of central Asia, one of their
kings, founder of the Kushan dynasty in about 40 AD.
■ One of the early Kushan monarchs established diplomatic and commercial relations
with the Roman Empire.
■ Buddhism thrived under the Kushans, and especially under the rule of Emperor
Kanishka, patron of learning and the arts.
■ Mathematics and science flourished and the medical texts of Charaka were written at
this time.
■ Rulers of the indigenous Andhra dynasty, which came to control the former Sunga
dominions in about 27 BC and endured for about 460 years, made repeated attempts
to expel the Shakas and in about 236 AD. The Shakas attained complete sovereignty
over western India.
■ Southern cultures and states although divided into rival groups were fully as rich and
sophisticated as those of the Aryan influenced north.
o Three largest political states of the south:
1. Chola
2. Pandya – largest and best preserved
3. Pallava

E. Gupta Empire, (400 AD)

■ During the 4th c, Gupta dynasty emerged and united much of northern India.
■ Hinduism became a more coherent and codified religion because of the efforts of the
Gupta kings, who fused elements of Buddhism with Hinduism and emphasized the
theistic nature of the religion, particularly the role of the god Vishnu
■ In 320 AD, Magadha raja named Chandragupta I (320-330), who had conquered the
neighboring territories, founded a new imperial regime and the Gupta dynasty. His
grandson Chandragupta II (reigned 375-413) vastly expanded, subjugating the
subcontinent north of the River Narmada.
■ Lasted for 160 years, and Indian culture reached new heights. The period was one of
sustained peace, steady economic advance, and intellectual accomplishment,
particularly in art, music, and literature. .
■ Towards the close of the 5th c, Hunnish invaders (White Huns), pushed into India from
central Asia. The Gupta Empire broke up under the attacks of these invaders, whose
supremacy went unchallenged for nearly a century. Among the contemporary
descendants of the Huns who remained in India are certain tribal groups of Rajasthan
state.
■ Another powerful kingdom was founded in northern India in 606 by Harsha, the last
Buddhist monarch of consequence in Indian history. Harsha’s reign emulated the
Gupta period in its patronage of the arts, and the cultural achievements of this period
can be seen in the chronicles of the great Chinese pilgrim, Xuangzang (Hsuan-tsang or
Tripitaka). During his reign, Harsha secured control of almost the entire mainland and
attempted, without success, to conquer the Deccan.

F Muslim and Mongol Invasions

■ The prolonged period of internal strife drew to a close as a new power, solidly united
under Islam, arose in western Asia. This new power was Khurasan, previously a
Samanid province which had been transformed into an independent kingdom by
Mahmud of Ghaznī (reigned 999-1030). A capable warrior whose sovereignty over
Khurasan had been recognized by the caliph of Baghdad, Mahmud in 1000 launched
the first of 17 consecutive expeditions across the Afghan frontier into India. These

4
 incursions were marked by victories over the disunited Indians. By 1025 Mahmud had
sacked many western Indian cities, including the fabulously wealthy port of Somnath,
and had annexed the region of Punjab to his empire.
■ The most successful of the Muslim rulers after Mahmud was Muhammad of Ghur,
whose reign began in 1173.
■ Another capable Muslim, Ala-ud-Din (reigned 1296-1316), was the second ruler of the
succeeding Khalji dynasty.
■ In 1398, when the Mongol conqueror Tamerlane led his armies into India, he met little
organized resistance. Tamerlane completed his victorious invasion by sacking and
destroying Delhi, and massacring its inhabitants. He withdrew from India shortly after
the sack of Delhi, leaving the remnants of the empire to Mahmud (reigned 1399-1413),
the last of the Tughluqs. Mahmud was succeeded in 1414 by the first of the Sayyids, a
dynasty that was later driven from power by Bahlol (reigned 1451-1489), founder of the
Lodi line of kings.
■ In that year Babur, a descendant of Tamerlane and the founder of the great Mughal
dynasty, carried out a series of raids into India which ended with the defeat of the Lodi
army. Babur occupied Agra, the Lodi capital, and proclaimed himself emperor of the
Muslim dominions. Within four years of his initial victory, Babur controlled a large part
of the Indian mainland.

G Mughal Empire (1700)

■ Ruled much of India in the 16th and 17th c; its rulers developed a stable, centralized
form of government that served as a model for later Indian rulers.
■ The empire reached its greatest extent in the latter half of the 17th c under Aurangzeb
(ruled 1656-1707), who extended the borders south beyond the Deccan.
■ Akbar, Babur’s grandson, was the greatest Mughal sovereign. During his reign (1556-
1605), he subdued rebellious princes in various regions, including the Punjab,
Rajputana (modern Rajasthan State), and Gujarat. He added Bengal to his realm in
1576, conquered Kashmir between 1586 and 1592, and annexed Sind in 1592. The
Mughal Empire reached its cultural peak under Shah Jahan, Akbar’s grandson.
■ Shah Jahan’s reign (1628-1658) coincided with the golden age of Indian Saracenic
architecture, best exemplified by the Taj Mahal. He was driven from the throne in 1658
by his son, Aurangzeb, who took the title of Alamgir (“Conqueror of the World”).
■ The Mughal regime suffered a disastrous blow in 1739 when the Persian king Nadir
Shah led an army into India and plundered Delhi.
■ In 1764, the Mughal Emperor regained his throne. With the defeat of the Marathas and
the Sikhs, the possibility of the reunification of India into a strong, single state had
vanished—and the country fell increasingly under British domination.

B. ARCHITECTURAL CHARACTER
■ Monolithic
■ Monumental
■ Free standing construction
■ Rock-cut buildings
Laid down by Brahmanism (Barabar) and by Jainism (Udayagiri and Khandagiri).
Buddhist - magnificent development and artistic character

1. INDUS CIVILIZATION
• Began to develop around the Indus River in what is now Pakistan and western India.
• Two principal cities planned systematically:
1. Harappa, Punjab – elevated citadel (urban center)
2. Mohenjo-Daro, Sindh - town proper consisting of houses and market palaces
• Dholavira – another significant site, which has some of the best preserved stone
architecture.
- Had several large reservoirs, and an elaborate system of drains to collect water
from the city walls and house tops to fill these water tanks.

5
 System of Construction:
• Cities were well planned with wide streets, public and private wells, drains, bathing
platforms and reservoirs.
• Houses of the city were constructed of bricks and consisted of apartments built around an
open courtyard
o Alternating a course of headers (also known as English bond)- method of brick
construction
o Corbelled arch obtained by schematic arrangement of bricks so as to leave an empty
space resembling the shape of an arch.

2. BUDDHIST ART AND ARCHITECTURE:

• Designed for congregational use
• Monumental and sophisticated

A. Stambhas or Laths
■ Monumental pillars standing free without any structural
function, with circular or octagonal shafts.
■ Inscriptions carved on the shaft.
■ Polished sandstone or metal some as high as 60 or 70
ft.
■ Pillar symbolizes the world axis
■ Columns crowned with bell-shaped capitals based on
Persepolis and decorated with one or more animals
joined together.
■ Hellenistic Iran influence
■ Symbolic forms:
1. Lotus – divinity/ man’s salvation
2. Wheel – cycle of life, death and rebirth/ teaching of
Buddha
3. Four animals – 4 quarters of the compass
Lion Capital, Column
4. Lion – Sakyamuni Buddha known as the Lion of the Sakya erected by Emperor Asoka
Clan. (272-232 BC)

B. Rock-Cut Sanctuaries/Cave Temples

• First rock cut technique was initiated by Asoka
• The Barabar and Nagarjuni caves excavated were hewn out of the granite rock
• Other names given to the structure:
1. Chaityagrihas/Chaitya – place worship, assembly halls
Chaitya hall consists of:
a. Ornamental façade
b. Central hall divided by means of pillars into a nave and aisles
c. Rock-cut stupa at the rear end of the hall with enough space around it for
performing the rite of circumambulation (pradakshina patha)
2. Vihara – monasteries
Consisted of cell and one or more small chapels
• Plan of a rock-cut chamber - facilitate religious services around the principal symbol
of worship - stupa

Examples:
1. Chaitya Hall, Karli, 100 AD
• Nave of 59 ft. (17.7 m.) high, 121 .5 ft. (36.45 m.) long and 43 ft. (12.9 m.) wide.
Leads to a monolithic stupa in the apse
• Aisle formed by a series of massive columns crowned with male and female
riders on elephants

6
 STUPA

2. Ajanta Caves
• Contains 29 caves
• Most magnificent examples of rock cut architecture and cave paintings which
dates back to the 5th c.
• The paintings and sculptures of major events in the life Buddha are considered
masterpieces of Buddhist religious art.

3. Ellora Caves

• Excavated from the solid rock and symbolizes the three faiths of Hinduism,
Buddhism and Jainism.
• 350 AD to 700 AD, finest examples of rock cut cave - temple architecture houses,
detailed facades and exceptionally carved interiors.
• 34 caves:
o 12 caves to the south are Buddhist,
o 17 in the centre are Hinduism,
o 5 caves to the north are Jainism.

C. Stupa
• Beginnings were traced back to the funerary customs of the Vedic age
• Dome-shaped mound that mimics the funerary mounds used to mark the graves of
great kings
• Contain holy relics to indicate the sacred character of the place or commemorate an
important event associated with Buddha
• Spatial characteristics:
o Stupa plans develops symmetrically about a central point - centrality
o Stupa volume develops symmetrically about an axis that rises vertically from
the central point- axiality
o Stupa mass is oriented in accordance with the directions of space.-
orientation

7
 Axis Mundi, Umbilicus Mundi, Sun
E

N S

• Free standing architecture built out of stone and bricks

• Hemispherical mound consisting of 3 main parts:

Northern Stupa at Sanchi

(D) Medhi – first part in the circular base

(B) Anda – base supports a hemispherical dome
(C) Harmika – pedestal crowned by an apex

Other parts:
(A) Vedika- railing composed of a framework consisting of vertical posts and cross
bar
(E) Sopana – staircases going to the terrace

Pradakshina-patha (circumambulation) - the faithful would use this to circle the stupa to pay
homage to the Buddha. Motion was always clockwise, since this kept one's right side
(considered better) toward the relics.

8
 x The perimeter wall has a gateway
at each cardinal direction, and the
carvings on these illustrate events
from the Buddha's life and past
lives.

Torana (Gateway) – circular

stone gateways around the whole
structure (on all four sides)
• 34 ft. (10.2 m.) in height with
2 pillars and architraves
(Sanchi)

• Symbols:
a) Lotus or Elephant (Birth):
x Lotus - Indian symbol of spiritual growth, since the lotus seed germinates in the muck
at the bottom of a pond, then the stem grows as long as is necessary (2, 4 to 10 ft) so
that the flower can blossom above the surface of the water (symbolizing
transcendence of earthly circumstances).
x Elephant - connected with the story of the Buddha's conception, in which his mother
became pregnant when a white elephant appeared in a dream and tapped her on the
abdomen with the lotus it was holding in its trunk. The traditional account of his birth
highlights the miraculous elements: the Future Buddha emerged from his mother's
side, rather than a normal delivery; upon hitting the ground he took seven steps
toward the east and announced that he would be enlightened in that lifetime, and
there were various celestial signs--rain and flowers falling from a clear sky, a cool
breeze, melodious sounds, disabled people regaining their faculties, and many, many
others.
b) Tree (Enlightenment): most important of the four events, since this is what made him the
Buddha ("Enlightened One").
x According to tradition, the Buddha renounced his home after seeing the Four Signs:
an old man, a sick man, a corpse, and a wandering monk.
x Old age, illness, and death are inevitable parts of life--and for the Buddha seemed to
have been a shorthand for all of life's unsatisfactory elements--whereas the fourth was
a hint that these could be transcended.
x He then sat down underneath a ficus tree in Bodh Gaya (modern Bihar), and began to
meditate on the question of birth-and-death with a focused mind.
x His analysis eventually revealed the causal chain that leads to rebirth, known as
pratityasamutpada (Interdependent Origination), in which each element provides the
cause for the one that follows.
c) Wheel (Preaching the First Sermon) - symbolizes the 3rd great event in the historical
Buddha's life, in which he "turned the wheel of dharma" by preaching his first sermon (The
Four Noble Truths) at Sarnath, near modern Benares. It represents his career as a
teacher.
d) Stupa (Parinirvana): Even though after he became enlightened the Buddha passed
beyond being subject to birth and death (or rather ensured that he would not be reborn
after his present life), his body was like any other human body. At the age of 80, he ate a
bad meal (either pork or mushrooms), got dysentery, and died of dehydration.

Examples:
1. Sanchi Stupa in Madhya Pradesh- best specimen of stupa art.
2. Amaravathi, Andhra Pradesh – finest Buddhist stupa in South India
3. Stupas in Nagarjunakonda, Jaggayapetta and Ghantasala in South India.

Buddhist Ornaments
• Restrained both in character and extent.

9
 • Painted wall decoration was widely used and ranged from purely architectural forms
to very elaborate genre paintings - cave walls at Ajanta.
• Provide invaluable social and architectural records of the period.
• Female form in its most voluptuous - common motif used in architectural sculpture.

3. HINDU ART AND ARCHITECTURE

• Architecture (sthapatya) is classified as one of the crafts (silpa) - first passed down to
mankind by Visvakarman, the famous demigod builder of the universe.
• Foreign invaders including Greeks, Bactrians, Parthians, Kushans and Sakas have
influenced Indian architecture.

A. Temples
• Residence for the god and not a hall for congregational worship.
• Symbol of the purusha or primordial man.
• Mandala - generic name for any plan or chart which symbolically represents the
cosmos (magic diagram of the cosmos). An expression of sacred geometry.
• Vastu Purusha Mandala
• An indispensable part of vastu shastra and constitutes the mathematical
and diagrammatic basis for generating design.
• Metaphysical plan of a building that incorporates the course of the
heavenly bodies and supernatural forces.
• Purusha refers to energy, power, soul or cosmic man.
• Associated with the Earth and its movable and immovable basic elements
of nature, such as the earth, water, fire, air and space; just as a human
being does.
• Visualized in the basic plan of a Hindu temple, house and even in the city
planning.
• Accurate laying out of the temple ground plan in relation to the cardinal
directions and the heavens. Meeting ground of heaven and earth.
• Consists of intersection of:
1. Square shape – symbol of earth, signifying the four directions which
bind and define it. (four castes; the four Vedas etc.).
2. Circle - metaphor for heaven without beginning or end, signifying
timelessness. eternity and perfection.

Earth is a living organism, with life

and energy. That living energy is
symbolized as a person; he is the
Vastu Purusha.
The site for the proposed
construction is his field; Vastu
Purusha Mandala. The site plan, is
his body; and it is treated as
such. His height extends from the
South West corner (pitrah) to the
North East corner (Agni).
The Vastu Purusha Mandala also
depicts the origin of the effects on
the human body.

10
 ■ The center of the mandala is called the station of Brahma, the first of beings
and the engineer of universal order. Surrounding Brahma are the places of
twelve other entities known as the sons of Aditi, who assist in the affairs of
universal management. The remaining empty squares represent the akasha

■ The temple itself should always face east as that is considered the most
auspicious direction-the place of origin of the sun. From the east appears the
rising sun, the destroyer of darkness. The sun is the giver of life. It brings joy
and happiness and is the watchful eye of the "Cosmic Being.

■ Temple are made of hard crystalline rock with carvings on it or soft stone
covered with countless figures.
– Granite
– Sandstone

• PARTS OF A HINDU TEMPLE:

1. Dome and Steeple
• Steeple of the dome is called ‘shikhara’ or sikhara (summit), represents
the mythological ‘Meru’ or the highest mountain peak.
• Shape of the dome varies from region to region and the steeple is often in
the form of the trident of Shiva.
2. Inner Chamber ‘Garbhagriha’ or ‘womb-chamber’ - where the image or idol of
the deity ‘murti’ is placed.
• Small unlit shrine for the cult image or symbol crowned with spire-shaped
sikhara roof.
• Only the temple priests are allowed inside.
• Thick walls and heavy ceiling to protect the deity.
• Doorway for the devotee to enter – the only architectural necessity.
3. Temple Hall
• Most large temples have a hall for audience to sit, called ‘nata-mandira’
(hall for temple-dancing) where women dancers or ‘devadasis’ used to
perform dance rituals.
• Devotees use the hall to sit, meditate, pray, chant or watch the priests
perform the rituals.
• Usually decorated with paintings of gods and goddesses.
5. Reservoir:
• If the temple is not in the vicinity of a natural water body, a reservoir of
fresh water is built on the temple premises.
• Water is used for rituals as well as to keep the temple floor clean or even
for a ritual bath before entering the holy abode.

11
 6. Walkway
■ Most temples have a walkway around the walls of the inner chamber for
circumambulation by devotees around the deity as a mark of respect to the
temples god or goddess.

Three Styles:
1. DRAVIDIAN (southern) style
• Found between the Krishna river and Cape Comorin.
• South-Indian Hindu temples are often like miniature towns. A broad open courtyard
(prakaram) surrounds the temple and mandapa (porch) on all sides.
• The roof contains a vaulted octagonal or domical structure.
• Complex is composed of:
1. Vimana
• Sanctuary, the actual temple, square in plan, and surmounted by a
pyramidal roof of one or more stories; and contains the cell in which the
image of the god or his emblem is placed.
2. Mantapams/Mandapas (porches) - which always cover and precede the door
leading to the cell.
3. , Gopurams (Gate-pyramids/sculptured gateway)
• Principal features in the quadrangular enclosures that surround the more
notable temples.
4. Chaultris/Chawadis (Pillared halls) - used for various purposes, and which are
the invariable accompaniments of these temples.

Vertically represents the god’s body with the sikhara as the head and the garbhagriha as
the neck, mandapa as the body and gopura as the feet.

• Seven kingdoms and empires stamped their influence on architecture during

different times:
1. PALLAVA
• Ruled from 600-900 AD
• Greatest constructed works are the single rock temples in
Mahabalipuram and their capital Kanchipuram located in Tamilnadu.
• Pioneers of south Indian architecture. .
2. CHOLA
• Ruled from 900 -1150 AD
• Reached apex of South Indian Architecture

12
 • Temples:
o Brihadeshvara temple
o Siva temple of Thaniavur – largest and tallest
o Gangaikondacholapuram – one of the two great temples
• Remarkable for its sculptures and bronzes.
3. BADAMI CHALUKYAS
• Ruled from 543-753 A.D.
• Most enduring legacy – art and architecture.
• Rock-cut temples of Pattadakal a UNESCO World Heritage Site,
Badami and Aihole- most celebrated monuments.
• Two of the famous paintings at Ajanta cave no. 1, "The Temptation of
the Buddha" and "The Persian Embassy" are attributed to them -
beginning of Chalukya style of architecture and a consolidation of
South Indian style.
4. RASHTRAKUTA
• Ruled the Deccan in the period 753-973 AD.
• Rock-cut shrines at Ellora and Elephanta, situated in present day
Maharashtra
o 34 rock-cut shrines, but most extensive is the Kailasanatha
temple at Ellora.
• The architectural style used was dravidian - does not contain the
Sikharas common to the Nagara style and built on the same lines as
the Virupaksha temple at Pattadakal,
5. WESTERN CHALUKYA
• Ruled from 973-1180 AD.
• Art of Western Chalukyas is called the “GADAG style" after the
number of ornate temples.
• Well known for ornate stepped wells (Pushkarni) - served as ritual
bathing places, found in Lakkundi. Their stepped well designs were
later incorporated by the Hoysalas and the Vijayanagara empire.
• Over 50 temples exists
o Kasi Vishveshvara, Lakkundi, Mallikarjuna, Kuruvatii,
Kalleshwara temple, Bagali and Mahadeva, Itagi - finest
examples
6. HOYSALA
• The finest examples of their architecture are the
o Chennakesava temple, Belur,
o Hoysaleswara temple,
o Halebidu and Kesava temple, Somanathapura.
• The Hoysala architecture style is described as Karnata Dravida as
distinguished from the traditional Dravida and considered an
independent architectural tradition with many unique features.
7. VIJAYANAGAR
• Ruled from 1343- 1565 AD
• Combination of the styles developed in South India in the previous
centuries.
• Yali columns (pillar with charging horse), balustrades (parapets) and
ornate pillared manatapa are their unique contribution.
• Ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa
(open pillared halls) and the Rayagopura (tower).
• Used of hard granite - durable since the kingdom was under constant
threat of invasion.
• Vijayanagara open air theatre of monuments – UNESCO World
Heritage Site.

2. Vesara or mixed style

• Found between the Krishna and Vindhyas is circular in plan.
• In its later evolution, adopted the square for the sanctum, circular or stellar plan
was retained for the vimana.

13
 • The vesara, which came to prevail mostly in western Deccan and south Karnataka
was a derivation from the apsidal chapels of the early Buddhist period which the
Brahmanical faith adopted and vastly improved.

3. Nagara (northern) style

• Found between the Vindhyas and Himalayas.
• Use of a square or cruciform plan but the walls are sometimes so broken up that
the tower often gives the impression of being circular.
• Prasada or vimana rises vertically from its base in a curvilinear form.
• Characterized by a beehive shaped tower made up of layer upon layer of
architectural elements such as:
o kapotas and gavaksas,
o topped by a large round cushion-like element called an amalaka.

AMALAKA
• Flattened fluted melon shaped massive stone member
crowning the top of sikhara
• Distinctive circular piece of stone which is shaped like a
clogged wheel, with bead-like mouldings along the
periphery.

Examples:
1. Temples at Khajuraho
2. Surya temple at Modhera - exquisitely carved
3. Orissa - most outstanding examples of nagara architecture
• Region of Orissa is an important landmark in the temple building activity in
India.
• Parasuramesvara temple at Bhubaneswar in Orissa - consisting only of a
shrine and a hall
• Composed of two portions:
1. Central shrine
2. Porch in front, raised on a square ground-plan.
• Orissan builders tried to symbolize the human body in the composition of the
vertical sections of the body.
• Temple is made to look like a tabernacle of the Godhead

Parts of an Orissan Temple (after the Lingaraja Temple at Bhuvaneswar)

■ The temple is made to look like a tabernacle of the Godhead.
1. Bada – foot, the lower portion of the human body. It is composed of
horizontal mouldings ensuring stability of the structure.

14
 2. Gandi – trunk, main body of the human being. The trunk is decorated
with the motifs of miniature
3. Mastaka – apex which corresponds to the head portion of the human
body.The crown is decorated by a beautiful fluted disc (Amalaka).

DRAVIDIAN STYLE
• Octagon in plan NAGARA STYLE VESARA STYLE
• Square in their plan • Apse or circle in plan
• Vimanam (Sikhara) - in the
• Sikhara curvilinear, or • Sikhara - combines both
form of truncated pyramids
beehive tower styles

4. JAIN ART AND ARCHITECTURE

• Concept of `mountains of immortality’ – building of temple-cities on hills.
• Temples - militant aura around them, surrounded by embattled walls
• Divided into wards similar to fortified cities with parapets and niches to repel armed
aggression.
• Considered richest temples in the world, surpassing even Mughal buildings in grandeur
and material wealth.
• Temples - Jina idols along with demigods and goddesses are kept on stone or marble
made altar under aesthetic beauty.
• Richness of sculptural detail and material, especially
Solanki temple style of Gujarat in Dilwara Temples, Mt. Abu
Ananthanatha Swami Temple, Puliyarmala, outside Kalpetta
• Temples sometimes have a stupa (tope)
Hastinapur, Mathura etc.
• Free standing pillars called vanity-subduing pillars
• Examples:
1. Dilwara Temples, Rajasthan (11th - 13th c. AD)
2. Kharatara Vsahi ( Parshvanatha Temple) of different style

5. ISLAMIC ART AND ARCHITECTURE (To be discussed in detail later)

• Impact of Islam in the 8th c.
o Arabs, Turks, Afghans, and Mughals
• Great builders
• Excellence in paintings, miniatures, music, dance, poetry
• Art took place during the reign of Shah Jehan between 1628-1659
• Capitals of Agra, Delhi and Lahore - display great buildings and structures.
• Use of white marble and the red sandstone.
• Great Islamic gardens – Shalimar Garden in Lahore, one of the finest surviving
ensembles

• Taj Mahal (Palace of the Crown) of Agra also known as the pearl of India represents
absolute perfection .
o Erected by Shah Jahan in memory of his beloved queen, Arjumand Banu Begum,
called Mumtaz Mahal (Mausoleum)
o Year after her death in 1631, 22 years to complete,
o 20,000 workers, costing 32 million rupees
o Combines elements of Persian, Central Asian, and Islamic architecture
o Complex is comprised of five main elements:
1. Darwaza (main gateway)
2. Bageecha (garden) - fascinating feature with its water channels, lotus
pools and colourful flowerbeds and trees
3. Masjid (mosque)
4. Naqqar Khana (rest house)
5. Rauza (Taj Mahal mausoleum)
 Indian style Hindu and Buddhist temples were constructed abroad in ancient times,
o Cambodia's Angkor Wat
o Java's Prambanan.

World Heritage List:

Sites must be of outstanding universal value and meet at least one out of ten selection criteria.

1. to represent a masterpiece of human creative genius;

2. to exhibit an important interchange of human values, over a span of time or within a cultural
area of the world, on developments in architecture or technology, monumental arts, town-
planning or landscape design;
3. to bear a unique or at least exceptional testimony to a cultural tradition or to a civilization
which is living or which has disappeared;
4. to be an outstanding example of a type of building, architectural or technological ensemble or
landscape which illustrates (a) significant stage(s) in human history;
5. to be an outstanding example of a traditional human settlement, land-use, or sea-use which is
representative of a culture (or cultures), or human interaction with the environment especially
when it has become vulnerable under the impact of irreversible change;
6. to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs,
with artistic and literary works of outstanding universal significance. (The Committee
considers that this criterion should preferably be used in conjunction with other criteria);
7. to contain superlative natural phenomena or areas of exceptional natural beauty and
aesthetic importance;
8. to be outstanding examples representing major stages of earth's history, including the record
of life, significant on-going geological processes in the development of landforms, or
significant geomorphic or physiographic features;
9. to be outstanding examples representing significant on-going ecological and biological
processes in the evolution and development of terrestrial, fresh water, coastal and marine
ecosystems and communities of plants and animals;
10. to contain the most important and significant natural habitats for in-situ conservation of
biological diversity, including those containing threatened species of outstanding universal
value from the point of view of science or conservation.

Cultural
1. Agra Fort (1983)
2. Ajanta Caves(1983)
3. Buddhist Monuments at Sanchi (1989)
4. Champaner-Pavagadh Archaeological Park(2004)
5. Chhatrapati Shivaji Terminus (formerly Victoria Terminus) (2004)
6. Churches and Convents of Goa (1986)
7. Elephanta Caves (1987)
8. Ellora Caves (1983)
9. Fatehpur Sikri (1986)
10. Great Living Chola Temples (1987)
11. Group of Monuments at Hampi (1986)
12. Group of Monuments at Mahabalipuram (1984)
13. Group of Monuments at Pattadakal (1987)
14. Humayun's Tomb, Delhi (1993)
15. Khajuraho Group of Monuments (1986)
16. Mahabodhi Temple Complex at Bodh Gaya (2002)
17. Mountain Railways of India (1999)
18. Qutb Minar and its Monuments, Deli (1993)
19. Red Fort Complex (2007)
20. Rock Shelters of Bhimbetka (2003)
21. Sun Temple, Konârak (1984)
 22. Taj Mahal (1983)

Natural
1. Kaziranga National Park (1985)
2. Keoladeo National Park (1985)
3. Manas Wildlife Sanctuary (1985)
4. Nanda Devi and Valley of Flowers National Park (1988)
5. Sundarbans National Park (1987)

BIBLIOGRAPHY

Books:
Auboyer, Jeannie. Landmarks of the World Art: The Oriental World. India and South-East Asia.
Mc. Graw-Hill Book Company, New York, Toronto. 1967.
De la Croix, Horst and Richard Tansey. Gardner;s Art Through the Ages. Ancient, Medieval and
Non-European Art. 7th ed. Harcourt Brace Jovanovich, Inc. USA. 1976.
Harris, Cyrill M. Historic Architecture Sourcebook. Von Hoffman Press, Inc. 1977
Palmes, J.C. Sir Banister Fletcher’s A History of Architecture. 18th ed.The Athlone Press,
University of London. London
Snodgrass, Adrian. The Symbolism of the Stupa. Studies on Southeast Asia. Cornell University, Ithaca,
New York. 1985
Tadgell, Christopher… History of Architecture - India and Southeast Asia, The Buddhist and Hindu Tradition.
Ellipsis, London. 1988

Westwell, Ian. Timeless India. Chartwell Books, Inc., New Jersey, USA. 2007
JAPANESE ARCHITECTURE PART 1

What is JAPAN?

x is an island country of East Asia in the northwest Pacific Ocean

x Borders the Sea of Japan to the West and extends form the Sea of Okhotsk in the north to the
East China Sea and Taiwan in the south.
x part of the Pacific Ring of Fire and comprises an archipelago of 6,852 islands covering 377,975
square kilometers
x TOKYO is the country’s capital and largest city; other major cities – Osaka and Nagoya
x One of the most densely populated countries in the world
x 84%-96% of the Japan population subscribe to Buddhism or Shinto
x 73% of Japan is forested, mountainous and unsuitable for agricultural, industrial, or residential
use. Habitable zones – coastal areas, have extreme high population densities.
x The name for Japan in Japanese is written using KANJI and pronounced Nippon or Nihon. Before
it was adopted in the early 8th century, the country was known in China as WA and in Japan by
the endonym YAMATO.
-Nippon, original Sino-Japanese reading of the characters, is favored today for official
uses.
x Is substantially prone to earthquakes, tsunami and volcanoes because of its location along the
Pacific Ring of Fire. It has 108 volcanoes, result of large oceanic movements. Destructive
earthquakes, often resulting in tsunami, occur several times each century.
x Divided into 47 Prefectures, each overseen by an elected governor, legislature, and
administrative bureaucracy.

OVERVIEW OF JAPANESE ARCHITECTURE

x Austere construction methods, lightweight materials, and porous boundaries between inside
and outside are all hallmarks of traditional Japanese architecture.
x “If you see Japanese temples made of wood, you can see how the architecture is made up. They
have a clear construction and transparency, and they are quite simple” (Ryue Nishikawa)
x “While Western architects would battle the elements.” Historian Daniel Boorstin wrote in the
Creators, “The Japanese, admiring their power, have sought ways to exploit their charms.”
x Western architects over the centuries have traditionally chosen strong, resistant stone to
overpower nature to produce monumental and towering structures while Japanese architects
aimed to be more in harmony with nature and chose wood as their predominate building
material.
x Western architecture has often featured spires and other vertical features that intended to
show the power of God and man over nature, JAPAN TEMPLES AND SHIRINES usually stressed
the horizontal and were often relatively small and hidden by trees and other natural objects.
x Japan is credited inventing MINIMALIST DESIGN. Japanese focused on making their structures
sublime and mysterious on a horizontal level.
x It has been said that with traditional Japanese architecture you start with one room and take a
great effort to get that right before moving on to the next room.

EARLY HISTORY OF JAPANESE ARCHITECTURE

x Japan was influenced by CHINESE ARCHITECTURE. Differences: Chinese buildings-exposed wood

is painted, included the use of chairs ---- Japanese Buildings – exposed wood is not painted, and
Japan people sat on the floor.
x ASUKAMURA, Asuka, Nara Prefecture - Japan’s first Buddhist temple
x In the late 7th century four temples ---- Azukadera, Kawadera, Yakushji, and Daikandaiji were
built. It was financed by the government and built by skilled construction workers and sculptors
formed in to teams.
x In 710, when the capital of Japan was moved 18.4 km from Fujiwara-kyo to present day Nara
City, a unprecedented construction boom ensued. Yakushji, Asukadera (now Gangoji) and
Daikandaiji (now Daianji) were moved to new sites and Kofukiji was built by Fujiwara Fuhito, the
nobleman who orchestrated the move to Nara.
x Nara itself was modeled after Changan, the capital of Tang Dynasty China. The city was divided
into a western capital and eastern capital, which measured 4.9 km from north to south and 4.3
from east to west. Geyoko, and extension of the eastern side of the eastern capital, was 2.1
kilometers from north to south and 1.6 km from east to west.

DEVELOPMENT OF JAPANESE ARCHITECTURE

x Architecture in Japan has also been influenced by the CLIMATE.

x Summers in most Japan are long, hot, and humid, a fact that is clearly reflected in the way
homes are built.
x The traditional house is raised so that air can move around and beneath it. Wood was the
material of choice because it is cool in summer, warm in winter, and more flexible when
subjected to earthquakes.
o SIX PRINCIPAL CLIMATIC ZONES
ƒ Hokkaido – humid continental climate with long cold winters and very warm
summers.
ƒ Sea of Japan – winter winds bring heavy snowfall. During summer, the region is
cooler than the Pacific area, sometimes it experiences extremely hot temp.
because of the foehn wind.
ƒ Central Highland – typical inland humid continental climate, and between day
and night; precipitation is light, though winters are usually snowy.
 ƒ Seto Inland Sea – seasonal winds, bringing mild weather year-round.
ƒ Pacific Ocean – humid subtropical climate that experiences milder winters with
occasional snowfall and hot.
ƒ Ryukyu Islands – subtropical climate, with warm winters and hot summers.
6 ELEMENTS OF JAPANESE TRADITIONAL ARCHITECTURE

x WOOD
- most prominent feature of traditional Japanese building.
- Preferred over stone and other materials because of
ever-present risk of earthquakes
- Old Japanese houses, wood was given great respect
and not concealed by paint or other coatings
- Used in its natural form so that the grain could be
appreciated
- Some buildings, nails have not even been used –
developed alternative ways of connecting parts of the
house. The roof, which tends to be thatch (older) or
tile (more modern)
- Japanese carpenters have traditionally lavished as
much attention on the frames of their buildings as
Westerners gave to their furniture.
- Japanese carpenter’s tool chest contained 179 items,
mostly wood-working tools.
- Japanese and Asian carpenters tend to saw and plane
towards the body rather than away from it.
- Traditional Japanese wood structure have few nails.
- Japanese carpenters and architects use their skills not
to decorate wood surface but rather maximize the
effect of unadorned wooden surfaces.
- There is no textbook on shrine and temple carpentry.
Skills are passed down through the apprenticeship
system.
x SCREENS AND SLIDING DOORS
- Old Japanese houses relied on movable screens (shoji) and sliding doors (fusuma) to
divide, and re-divide rooms as needed.
- The screens tend to be light and papered, allowing some natural light (and shadows)
into the rooms.
- Heavier shutters were sometimes used to close off the outside of the house.
- Glass windows were not a feature.
- The screens and sliding doors, still used in houses today, were some of the first
architectural exports from Japan to gain popularity in the West
 x TATAMI
- Made of rice straw at the centre, with a
covering of soft rush straw.
- Used for a large part of the flooring in houses,
providing a soft surface on which to sit and
sleep (cushions and futons were used in lieu of
chairs and beds).
- Subtle scent of tatami beds with wood to create
unique smell that defines traditional Japanese
houses.
- Remained popular today
- BASIC STRUCTURE OF TATAMI ; Doko (base),
Omote( cover), Heri (border)
x VERANDA
- Older Japanese houses tend to have a raised wooden veranda that runs around the
outside edge of the house
- Called an engawa and is like an outdoor corridor
- It was sometimes sealed off by the heavy storm shutters
x GENKAN
- Sunken space between the front door and the rest of the house.
- This area, which is considered dirty, separates the home from the outside and is where
shoes are placed before entering.
- Has long been a practical way of keeping the family living space clean
x RELATIONSHIP WITH NATURE
- Japan’s Shinto and Buddhist beliefs, with buildings reflecting a strong emphasis on
humans’ relationship with nature
- Evident in the focus of natural light in old houses, as well as the use of wood in its raw
form.
- Strategic design of houses to offer good views into the natural world and the change of
seasons therein.

FEATURES OF JAPANESE ARCHITECTURE

- Post-and-lintel structures provide

traditional Japanese buildings with strength
over a wide area.
- Instead of laying cornerstone to dedicate a
new building, builders plant a decorative
and symbolic ridgepole in an important
ceremony that gives thanks to the gods.
- Cypress, important factor that shaped
Japanese wood architecture. It is a soft
wood with grains running straight along the
length of a tree, makes it easy to cut. It has
an appealing texture and fragrance.
- Traditional Japanese interior features a multitude of
partially screened, geometrically arranged rooms with
sliding doors that can be opened to create large spaces
or closed to create a private room.
- Translucent paper walls between the rooms allowed
people to see shadows in the next rooms but not clearly
see what was making the shadows.
- ROOF – most expressive element of Japanese
architecture. It tends to hang over the building like a
shaggy wig and stress its smallness and horizontal plane
o “The beauty of the building is most conspicuously
the beauty of the roof, with its curves and sweeps
and sculptural modeling”
o “ The style of Shinto architecture, then are
distinguished by their roofs, and their hierarchy of
Japanese building is fixed not by their height but
by their roof design”
- THE ROOF, is made of heavy timbers placed at right
angles and the sheer weight of it is what keeps structure
in place.
- Castles are built without nails. Instead the use of various
kinds of joinery and tounge and groove construction.

TRADITIONAL JAPANESE HOUSE

- Influenced by Zen Buddhism, the traditional Japanese home is simple and austere yet
elegant. Common features include a fluid floor plan created by movable screens and the use
of indigenous woods, straw, bamboo, and paper. Large homes have courtyards surrounded
by walls for privacy and protection.
- Unique styles of Japanese architecture took shape in the Heian Period (794-1185). The
mansions and homes built during this period had elaborate receiving rooms, sculptured
gardens with huts, and thatch roofs with Japanese cypress tree beams resting on wooden
pillars and beams. The interior had wooden floors with fixed room dividers. Single-leaf and
folding screens, tatami and other light materials made it possible to define the living space
freely.
- The traditional Japanese house as we know it today has its origins in homes of rich farmers
in the early Edo Period (1603-1868) and were built with tools and methods imported from
Korea and China for building palaces and temples. The interior had wooden floors with fixed
room dividers.
- The interior of Japanese houses in the past was virtually open, without even screens to
partition off individual spaces. Gradually, as more thought was given to particular areas and
their functions, such as eating, sleeping, or dressing, self-standing screens (byobu) came into
use. Shoji and fusuma, which are still privacy and can be removed to open up the entire
space (except, of course, for the columns that support the house). Shoji also admit light.
- “The way in which Japanese view the interior and the exterior of the house is another key
aspect of traditional design. Instead of seeing the inside and outside as two distinctly
different environments, they are thought of as being continous elements. This concept is
embodied in the Japanese veranda (engawa), which acts as a kind of transition space from
inside to outside the house. The nure-en, which is fixed to the side of the house and gets
wet when it rains, is a variation of the engawa. From an aesthetic standpoint, the traditional
house is designed for the people who are seated on the floor, not standing. Doors, windows,
and alcoves are placed to that both artwork in the house and the garden outside can be
viewed appropriately from a sitting position.
- “Despite the changes the modernization has bought to the style of houses, the traditional
Japanese style has not vanished. Even in the Westernized houses, it is still usual to find a
room whose floor is covered over with tatami, and it is the custom for people to remove
their shoes before entering the house.
- A traditional Japanese today is made of wood and has tatami mat floors (floor coverings
made of two-inch thick pressed straw, covered panels of tightly woven reeds), sliding shoji
doors, wooden walls, lacquer doors, clay walls, coffered ceiling, sliding doors, a tile roof,
lath-and-plaster walls, wood or metal rain shudders, and tokonama (display alcoves).
- The Japanese invented sliding doors and sliding walls. Traditional houses have heavy paper
sliding partitions that separate one room from another and can be pushed wide open or
removed to create a single room. Some homes have thick winter walls are can be replaced
with thin summer ones. Windows facing the outside are often glazed and have grills and
curtains so people can’t see in.
- The tokonoma is an alcove in a traditional Japanese home intended for displaying a flower
arrangement, a work of Zen-style art or a calligraphy scroll. Many modern homes are built
without tokonoma. The genkan is the traditional threshold, entrance area, where people
leave their shoes.
- Many homes have small Shinto and Buddhists altars. On visiting a Japanese home, one of
the first things a host or hostess often does is show their guests pictures of living family
members and dead ancestors on the Buddhists altar that is often in or near the tokonama.
- The Japanese traditionally would speak to guests in the entrance hall or else show them to a
reception hall or living-room-dining-room area. It very unusual for a visitor to came in the
kitchen or the bedrooms and have a look around the house.
- Many traditional Japanese have shoji (sliding paper screens) instead of walls. One Japanese
artist told National Geographic that shoji creates a “good feeling” because “behind the shoji
screen we cannot really see you, but we can know your actions, whether or not you are
lively.” Shoji windows infuse traditional homes with a soft natural light. “The best condition
of paper is between eye and light,” one papermaker said. “I can feel the life of the fiber. I
can hear it. Perhaps we respond because of our own veins and arteries. We are knitted and
connected, like the fiber.”
DEVELOPMENT OF JAPANESE ARCHITECTURE

x JOMON PERIOD
- Typical Jomon house was a pit house that had a
main pillar, whose hole was dug the widest and
deepest into the ground, that was surrounded by
other wooden upright supporting posts.
- Earlier house, tend to be conical or have floors
that were circular
- Later house, had square or rectangular floors with
rounded corners
- Roof, supported by five or six posts and a central
pillar, were thatched with kaya (miscanthus) grass
that delped drain off rainwater into the
surrounding ditches.
- The earthen floors tamped hard, were sometimes
sunk half a meter into the ground, or sometimes
covered in flagstone.
- Indoor fireplaces were common as were storage
pits and smoking ditches.
- Apart from the common pit dwelling houses, some
settlements had raised buildings that were
probably storage houses or warehouses.
- Hundreds of these raised storage houses and more
than 800 pit houses were found at the site of the
Sannai Maruyama Village
- large buildings with huge columns is an
outstanding architectural feature of the Dannai-
Maruyama ruins.
- LONGHOUSES were built in the largest
settlements of the JOMON ERA. At the Aizu-
Wakamatsu site in Fukushima prefecture,
longhouses were excavated from a ring-
shaped settlement sorrounded by drainage
ditches that was of the Middle Jomon period
between 4,000 to 5,000 years ago. 3
Fireplaces fit one Longhouse.
- Woodworking was an important craft or skill
for the Jomon people, used for making
dugout canoes, wooden vessels and espcially
for building.
x YAYOI PERIOD
- Several architectural advances were
made in their buildings.
- Built many elevated buildings or
buildings that were raised above the
ground, with the buildings supported by
six or seven posts.
- This advanced type of architecture – was
built with wooden beams made of
planks of a regular shape with floors,
doors and slanted supporting poles.
- Buildings with their raised floors, had
ladders carved of a single piece of wood.
They also had wooden discs that were
protective devices against rats attached
to the posts.
- Other Yayoi architecturally advanced
forms ere the buildings that had
irimoya thatched roofs that flared out
at the sides. This flared roof style
became the style for residences or
palaces (miya) for shaman leaders,
chiefs and other elite tribal members of
the society.
- Humber dwellings were built over
shallow pits like homes of the earlier
Jomon perios. However, it did not have
indoor fireplaces and so must have
been colder residences.
- Pit Houses were 2 Kinds: Round Pit
Houses (building styles in the Korean
Peninsula) and Square Pit Houses (
continued in the Jomon Tradition.)
- At Yoshinogari, the largest of Yayoi sites in
Japan, there is evidence that many large
residences for local chiefs and leaders,
meeting and ceremonial halls, raised floor
granaries were constructed. It is though
tha tmany structures such as watchtowers
and the enclosing palisades (fences with
sharp stakes) had been constructed for
defensive purposes.
x KOFUN PERIOD
- Lasted from AD 250 – 538. Marked by the
feverish fad of tumuli-building activity
that began in Japan from around late 3rd
century which did not end till AD 170.
- Large to very large tumuli known as Kofun
in Japanese, were built for prominent
deceased elite rulers and kings. There are
about 30,000 known Kofun tomb mounds.
Over 5,000 of these can still be visited in
Japan today.
- Kofun mound-builders. The irrigation
techniques of the day were extremely
advanced; tombs were min-blowing,
getting massive and monumental. Daisen Kofun, the largest of all Kofun
- The period is protohistoric, means that while Japan did yet have its own written
language, there were historical records by neighboring people on the Chinese continent
and Korean Peninsula, described events and happenings of the Kofun Period.

x ASUKA PERIOD

- Marked an era when Buddhism

blossomed in Japan.
- Tumulus-building activities of
the earlier age were replaced
by temple and capital building
efforts.
- The feverish Buddhism-driven
construction activities
transformed Asuka,
transformed Japan. They built
temples and Buddhist cloisters,
Chinese-style compounds. They
built tall imposing pagodas and
palaces.
- The buildings with their white
walls and vermillion painted
columns, white walls and green
windows, and grand roof tiles HORYUJI TEMPLE
made a striking sight for all who
lived or visited the capital.
 - In the 7th century, a group of buildings comprised seven
basic structures: the pagoda, main hall, lecture hall, bell
tower, repository for sutras, dormitory and dining hall.
- Relied heavily on the influence of Chinese Architecture.
- The Japanese greatly admired Chinese culture, which
became very influential. In Japan, the planning and
construction techniques of China’s Tang dynasty were
studied and applied to Japanese Architecture.
- Architecture did not completely imitate the architecture of
China. Many variables dictated a significant difference in
aesthetics and style.
- They were constructed of wood and many have burned
down or been destroyed by war. HORYUJI TEMPLE PAGODA
-
x NARA PERIOD
- New temples were constructed in the city rather
than out in the rural areas out in plains as they
had during Asuka period so that the temple’s
with funding.
- Result increase in attention from rich patrons
and the Imperial family, temples from this
period exhibited monumental scale and
grandeur that had never been seen and would
not be approached again until modern times.
- Relied heavily on the outside influences, such as
TODAI TEMPLE: GREAT BUDDHA HALL
Korea, but predominantly China.
- Shinto architecture, the traditional Japanese
style of architecture was beginning to be
swayed by the influence of Buddhist temple
architecture as Buddhism rose to become the
main religion of Japan. Both temples and
shrines were becoming far more elaborate and
decorative than the traditional Japanese
architecture where simplicity and natural
materials were deemed more expressive.
- Power and influence Buddhism grew under the KOFUKUJI TEMPLE AND PAGODA
supervision of Buddhist monks who had studied
in and returned from Tang China.
x HEIAN PERIOD
- It used natural and locally available materials.
- Heian period marked the re-emergence of Japan’s own
unique architectural style.
- Strived to create the architectural equivalent of
monumental Chinese architecture, the idea of simplicity
in design was ignored in favor of a more elaborate
design.
- Increasing size of buildings in the capital led to an
architecture reliant on columns regularly spaced in
accordance with the ken, a traditional measure of
Used as a proportion for the intervals between
both size and proportion. the pillars of traditional style buildings
- Shinden-zukuri refers to the style of domestic
architecture developed for palatial or aristocratic
mansions built in Heian-kyo (today’s Kyoto).
- Shinden-zukuri - detached teahouse type
architecture.
- Buke-zukuri – housing for military family
PARTS OF SHINDEN-ZUKURI
o Shinden – sleeping place; the main building;
north-south axis.
o Tai-no-ya - two subsidiary buildings; opposing
rooms;
Note: The Tai-no-ya and the shinden are
connected by two corridors called respectively SHINDEN-ZUKURI
sukiwatadono and watadono
o A Chumon-ro – central gate corridor at the half-
way points of the two corridors that lead to a
south courtyard.
o From the Watadono, narrow corridors extend
south and end in tsuridono, small pavilions that
travel in a U-shape around the courtyard.
o Moya- the room at the core of the shinden
surrounded by a (one ken wide) roofed aisle
called hisashi.

MINKA HOUSE
- Minka (house of the people) – are vernacular
houses constructed in any of several traditional
Japanese building styles.
- Dwellings of farmers, artisans, and merchants.
- Characterized by their basic structure, their roof
structure, and their roof shape.
- Come in a wide range of styles and sizes. MINKA
-
FOUR CLASSIFICATIONS OF MINKA HOUSE
o Noka – farmhouses
o Machiya – town houses
o Gyoka – fishermen’s dwellings
o Sanka – mountain dwellings
- Temples of this period moved back into the
many mountains and hills of Japan to escape
the city. The capital city was moved from Nara
because the temples were becoming too
politically influential.
- Jodo, Tendai and Shingon Buddhism- newly KOZENJI TEMPLE
introduced esoteric systems of Buddhism.
- New mountain temples abandoned the strict
symmetrical plan in favor much more uneven
and convoluted plan, that stemmed from the
lack of smooth topography.
- The topography also contributed to the smaller
size of temples from this period, because larger
ones simply would not fit anywhere. Many of
the temples of this era had buildings placed at
irregular intervals and were supported by
rocks or wood trestles on the uneven ground. AMIDA BUDDHA TEMPLE
- Heavy materials were abandoned as building
elements, with simple wooden floors and
partitions becoming prevalent.
- Native species like cedar ( sugi) were popular as
an interior finish because of its prominent grain,
while pine (matsu) and larch (Akamatsu) were
common for structural uses.
- Brick roofing tiles and a type of cypress called
hinoki were used for roofs.
- Hidden roof, a uniquely Japanese solution to
roof drainage problems, was adopted. HIDDEN ROOF
- Indigenous Shinto Architecture and the
domestic architecture of aristocrats and other
wealthy people developed simultaneously.

Byodo-in (Phoenix Hall), built in 11th century

 - Aristocratic Architecture had been developing
independent religious architecture to suit the
needs of the Imperial family.
- Temple layouts began to center around
landscaped gardens and ponds, a practice
previously found in villas, but adapted for use in
temples
- The Evolution of Buddhism to the new Jodo
Buddhism appealed to aristocrats because of the
belief that praying towards an image of Buddha
was the most essential component towards
salvation. Danjo-garan on Mount Koyo
- Build their own prayer halls on their villas or
manor and from there evolved many of the
temples of this period.
- private prayer hall and manor could easily be
converted into a monastery and would also
virtually guarantee the noble’s passage towards
salvation and rebirth into the Western paradise.

x SHINTO ARCHITECTURE CHION-IN, the highest temple of Jodo-shu

- composition of a Shinto Shrine is extremely
variable, and none of its possible features are necessarily present.
- SACRED – surrounded by a fence made of stone or wood called tamagaki, while access
is made possible by an approach called sando.
- the entrances are straddled by gates called torii, which are therefore the simplest way
to identify a Shinto Shrine.
- A shrine may include within its grounds several structures, each destined to a different
purpose. Among them are the honden or sanctuary, where kami are enshrined, the
heiden, or hall of be seats for worshipers.
- Honden – a building that contains the shintai, literally, “the sacred body of the kami”
- temizuya (or chozuya), the fountain where visitors cleanse their hands
- Shamusho-the office that supervises the shrine
- Hokur-very small Shinto Shrine (roadside)
- Sesha- auxiliary shrine
- Masha-branch shrine
-
x KAMAKURA PERIOD
- When technology was becoming more involved with architecture, technological
advances was made
- Genpei War had a big impact on the architecture. People re-build shrines, which came
out to be much simpler and down to earth.
- The Defense and protection that the buildings provided became a top priority, which
meant that all the buildings were thatched under one big roof, than scattered around
the garden.
- Chashitsu – “tea houses” became popular during this period, to reduce tension and
stress. They were very small spaces, hed up by pillars and conservative materials.
Decorations were only calligraphy scrolls and flowers
- Fusuma – vertical panels that can slide from side to side
 - Shoji – a door, window, or room divider made with translucent sheets and lattice frame.
- Buke-zukuri – style of houses built for military families, similar to shinden-zukuri.
- Yagura or tower – was built and torches were scattered around the gardens so they
could be lit as quickly as possible.
- Hiro-bisashi (spacious roo under the eaves) – were built grouped around the shinden
- Zensho – “kitchen” built bigger in order to accommodate the required people needed to
cook all the food for the soldiers and members of the household.

x MUROMACHI PERIOD
- Represents the period in which the
architecture of Japan is finally
completely free of influence from
outside cultures
- relied heavily on the influence of
domestic architectural design, even
more so than during Heian Period.
- Zen Buddhism Characteristics
o Mokoshi – decorative pent
roofs
o Katomado – pronouncedly
curved main roofs
o Earthen floors and paneled
doors
- Erected on stone podium YELLOW- mova, RED – mokoshi, WHITE - hisashi
- Karesansui – Japanese rock garden
or dry landscape. Often called as ZEN GARDEN
o creates a miniature stylized landscaped through carefully composed
arrangements of rocks , water features, moss, pruned trees and bushes, and
uses gravel or sand that is raked to represent ripples in water.
- Zen Garden - relatively small,
surrounded by a wall, and is usually meant to be
seen while seated from a single viewpoint
outside the garden, such as the porch of the
hojo, the residence of the chief monk of the
temple or monastery.
- Classic Zen Gardens – created at
temples of Zen Buddhism in Kyoto during the
Muromachi period. They were intended to
imitate the intimate essence of nature, not its
actual appearance, and to serve as an aid to
meditation about the true meaning of existence.

Islam as a Religion
Etymology
• Islam is the verbal noun that means
"submission" or "surrender".
• Muslim, the word for an adherent of
Islam, is the active participle of the same
verb form, and means "one who submits"
or "one who surrenders".
• Trading played an important role in the • Islam upholds that God is one and
spread of Islam in several parts of the
world, the Atlantic, and Pacific Regions,
notably southeast Asia.
• Muslims consider the Quran as it to be
• Islam is a Abrahamic monotheistic
religion articulated by the Quran, a text
considered by its adherents to be the
verbatim word of God (AllƗh), and, for the • Religious concepts and practices include
vast majority of adherents, by the
teachings and normative example (called
the sunnah, composed of accounts
(called hadith) of Muhammad (c. 570–8
June 632 CE).
• It is the world's second-largest religion
and the fastest-growing major religion in
the world, with over 1.7 billion followers
or 23% of the global population, known
as Muslims.
• Muslims believe that Islam is the original,
complete and universal version of a
primordial faith that was revealed many
times before through prophets including
Adam, Noah, Abraham, Moses, and
Jesus.
ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
Background & History: The Spread of “Recite: In the name of thy Lord who
Belief created, Created man from a clot of
blood.” (Quran 96:1-2)
• Islam was founded by the Prophet • Mohammed proclaimed Allah as the one
Muhammad. true god and rejected the idol worship of
Mecca, and Khadijah, his wife, was
• Mecca, the original site of Kaabah Mohammed first convert to Islam.
(shrine of ancient origins), became an
important center of 6th century trade with • Earlier generations of European scholars
such powers as the Sassanians believed that conversions to Islam were
(Iranians), Byzantines, and Ethiopians. made at the point of the sword, and that
conquered peoples were given the choice
of conversion or death.
• About the year 590, Muhammad, then in
his twenties, entered the service of a • The expansion of the Arab Empire in the
merchant widow named Khadijah and years following Muhammad's death led to
• Believers demonstrate submission to
later on married her. the creation of caliphates (political-
God by serving God, following his
commands, and rejecting polytheism. religious successor to the Islamic
• In his forties, he began to retire to Prophet), occupying a vast geographical
meditate in a cave on Mount Hira, just area and conversion to Islam was
outside Mecca, where the first of the boosted by missionary activities
great events of Islam took place. particularly those of Imams, who easily
intermingled with local populace to
• One day, as he was sitting in the cave, propagate the religious teachings
he heard a voice, later identified as that
of the Angel Gabriel, which ordered him
to:
ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
Precedents of Islam
incomparable and that the purpose of
existence is to worship God.
both the unaltered and the final
revelation of God.
the five pillars of Islam, which are
obligatory acts of worship, and following
Islamic law, which touches on virtually
every aspect of life and society, from
banking and welfare to the status of
women and the environment.
• Five Pillars of Islam (core beliefs and
practices of the religion & religious)
• Profession of Faith (shahada)
-to declare one’s faith in God
and belief in Muhammad
• Prayer (Salat)
- to pray five times a day
• Alms (Zakat)
- to give to those in need “An architectural continuity that ran parallel with the history of western architecture
• Fasting (sawm) from the second century BC” (Fletcher, 1996)
• Pilgrimage (hajj)

• No other architectural style is designated • The incursions (raids) of the Seleucids
by concordance with a religion.
• Islamic Architecture may be seen as the
one great product of two streams of
development – Mediterranean, and
South Central Asia (Middle East).
• Mediterranean – Greek Architecture
rising in Periclean Athens to an
extraordinary level of perfection,
and echoed and repeated in the
west for ages.
• South Central Asia – Achamaenid • Trade routes traversed the regions
(1st Persian Empire) traditions
culminating in the great royal
palace of Persepolis demonstrate a
powerful and separate evolutionary
pattern of trabeated building.
ISLAMIC ARCHITECTURE
(Alexander’s Generals) halted an
evolution of native styles for several
hundreds of years in the Iranian Plateau
(formerly Persia) until the time of Christ.
• Parthian dynasty (Ancient Iran’s Political
and Cultural power) focused a from many other styles in being the
nationalism that allowed the East to
confront the West militarily with thrust
and counterthrust across Asia Minor
followed by incursions of Roman into
Mesopotamia and Persia.
carrying skilled men and slaves between
opposing Empires and an important
channel of influence arose in a new and
pervasive religion – Christianity
• Great royal palaces and buildings
demonstrated an architectural revolution
which provided a basis for much that
followed in the Architecture of Islam (the
dome and iwan).
Islam as an Architectural Style
I. Influences
Geographical Influence
• Islamic / Saracenic architecture differs
product of a religion which had no
special country.
Note: The term Saracen was that
employed by the Greeks and Romans for
the tribes occupying the deserts west of
the Euphrates. It was derived from the
Arabic term “Sahra” meaning desert. It was
a name given to the followers of
Mohammad.
Geological Influence
• As the geological formation differed in
each country, local materials and
methods of building were employed, and
marble, stone, brick, plaster and wood
were all employed.
ISLAMIC ARCHITECTURE
• Domes were frequently constructed of
brick plastered externally and internally,
or of stone (India).
• In Spain, brick and plaster were the
principal materials responsible for the
peculiar decorative surface treatment.
• In Northern and Central India, marble
and red sandstone were available, and a
more monumental type was evolved,
richness in surface decoration being
obtained by the inlay of precious stones.
Climatic Influence
• The buildings, being for the most part in
Eastern or Southern climates have small
openings, and no large entrances or
window surfaces, although a special
treatment of monumental entrance
gateways was evolved in India

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

Religious Influence
• In Syria, Persia, Egypt, North Africa and
Spain, independent Caliphs reigned,
accentuating the differences of style.
• Intricate form of geometrical surface
decoration known as Arabesques were
employed, and was partly influenced by
Byzantine art.
• For the Muslims, the present was
everything, and such a condition often
helped to the erection of non-permanent
buildings decorated with pleasing forms
and colors with poor materials such as
plaster. However, Local conditions and
variety of temperament affected such
treatment (e.g Egyptian tombs were
permanent)
• The Muslims separate the sexes, and for
royal personalities, separate tomb
houses were often designed.
Social and Political Influence
• The war of conquest by which Islam was
to subjugate the world bears an
important relation to the evolution of the
style.
• Each Caliph being a spiritual and
temporal ruler was responsible for the
many religious buildings erected
• Architecture was continually receiving an
impetus because of the building of new
capitals, and consequent on the change
of dynasties.
• The position of women in the social
system influenced the planning and
design of palaces and houses, in
consequence of the isolation of the
harem (domestic space reserved for
wives, or concubines, and female
servants in a Muslim household)
Historical Influence • Persia was conquered from A.D. 632-
651. Saracenic architecture of that
• Syria was conquered by the Saracens country was then largely founded on and
A.D. 632-639. influenced by the architecture of the
Sassanian empire (1st Persian Emmpire)
• Egypt fell in 638 (A.D. 226-641)
• North Africa was brought under • In Turkey, Constantinople was conquered
subjection between the years A.D. 647- in A.D. 1453 by the Seljuk Turks. This
709, marks the period of Byzantine influence
on later Saracenic architecture. Hagia
• Spain was overrun by the Moors in A.D. Sophia, the great Byzantine cathedral, is
710-713, and the independent Caliphate henceforth the motif of the style.
of Cordova was established. Spain was
later divided into four small kingdoms • The Indian States began to fall into the
namely: Seville, Granada, Toledo and hands of Islamic invaders in A.D. 1000.
Valentia, which were gradually
recovered by the Christians in 14th and • The Mogul Empire (1526-1857) was
15th Centuries. founded by Babar, who consolidated the
Muslim Empire by the gradual absorption
• Sicily was occupied by the Moors in the of small kingdoms. The Capital was then
eighth century ; they grafted their style transferred from Delhi to Agra, and Shah
on to the Christian architecture. Sicily Jahan (1628-1658) erected buildings in
was recaptured by the Christians in North India, forming splendid memorials
1090. of the Mogul dynasty as the "Taj Mahal"
and the "Pearl Mosque" at Agra.
 ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
II. Construction Methodologies & • Decorative marble slabs and grilles, plate • Colored external surfaces were achieved • Wood-working techniques and wood
Techniques traceries, and mosaics were common in first with mosaic but later on medieval engineering were used in the earlier
most buildings. potters produced brilliant colors in glazed period for the construction of roofs, and
“lslamic architecture, is a product of a major earthenware. domes.
historic event - the rapid conquest of diverse • Most masonry structures of importance
territories by people with no architectural were in arched, vaulted, or domed forms • The Architecture of Islam must be seen
tradition and the conquest synthesis of styles continuing the Byzantine and Roman primarily as a matter of arcuated
under one philosophy but in many different forms of building traditions. masonry construction in which its
circumstances.” (Salvan, 1986)
artisans achieved the highest levels of
• Voussoirs were used for curved shapes finish and invention
• Brick-making and walling in mud brick
and interlocking voussoirs guarded
were almost universal in alluvial plains.
against earthquake. • The presence of earthquake in most part
• The “art” of selecting and quarrying were of the Muslim world gave particular
well established in the stone-bearing • Cements, plasters, and stucco (plaster importance to the inventive skills of
areas. decoration) were used for bas-relief masons and resulted in the employment
carvings, and the highly decorative of specialized structural techniques.
• Marble was generally available usually in muqarnas technique employed in domes,
trades and used for most parts of a vaults, and arches. • The construction techniques used to
building. • Complex patterns were achieved in the meet climatic conditions contributed
earlier times by making or cutting to the significantly to the character of the
• Lime and gypsum were generally used for necessary shapes tiles of a single color. building – small window openings, thick
mortars and plasters. walls, wind scoops.
• In 15th Century a method of firing was
• Areas with rich variety of building stones developed which enabled tiles of regular
have suspended roofs and floors of stone size to be produced which bears a
planks, stone window shutters, and painted pattern.
interlocking stone rings used to structurally
tie in the haunches of stone domes.

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

Architectural Character Pointed Arch Calligraphy

Generally Islamic Architecture is:

• Warrior like
• Masculine
• Demands submission
• Reflects missionary and
militaristic devotion to Allah
• Sublte tranquility (e.g. White
Mosque, Djerba, Tunisia)
White Mosque, Djerba, Tunisia
The style have:
Horseshoe Arch
Colored Tiles
• Varied nature and
• Religious influence with local Floral Patterns
architecture of a place.

Notable Characteristic features / Elements:

• Pointed Arch • Geometric Patters

• Horseshoe Arch • Multi-centered
• Calligraphy tracery
Blue Mosque, Mazar e Sharif, North Afghanistan • Colored Tiles • Trefoil
• Floral Patterns • Multi-foil
• Onion Shaped • Minaret
Domes (Qubba) • Water
 ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
Geometric Patterns Trefoil Minaret • Islamic architecture was influenced by
Roman, Byzantine and all other lands
which the Muslims conquered in the 7th
and 8th centuries.

• Islamic Architecture was also influenced

by Chinese and Indian architecture as
Islam spread to Southeast Asia.

Principal Islamic Architectural

Typologies:

• Mosque
• Palace
Multi-centered Tracery Multi-foil Water • Dwelling Houses
• Tomb
• Fort
• Garden

• Islamic architecture is derived and used

for other buildings such as public baths,
and fountains.

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

Mosque
• Masjid – Arabic word for mosque
• Are more internal than external in their
architecture, thus resembling the
Egyptian temples.
• Mosques have elaborate domes,
minarets, and prayer halls, in varying
styles of architecture.
• Serves as a place where Muslims can
come together
• Place of prostration - believers bow their
heads to the ground in veneration to God
and as part of a well-defined ritual of
prayer as an expression of their faith.
Three Types of Mosque:
• Famimasjid (Friday Mosque) –
public worship
• Madrasa (Collegiate Mosque)
• Tomb Mosque (e.g. Taj Majal)
Three Common Types of Mosque Example of Hypostyle Mosque
Planning
The Great Mosque of Kairouan
1. Hypostyle Mosque
• The mosque was built in the ninth
• Inspired by the house of Prophet century by Ziyadat Allah
Muhammad which was the first worship
place of Muslims. • The mosque was built on a former
Byzantine site, and the architects
repurposed older materials, such as the
columns—a decision that was both Sahn (Courtyard) and minaret, Great Mosque of
practical and a powerful assertion of the Kairouan, Tunisia, c. 836-75
Islamic conquest of Byzantine lands. • The hypostyle plan’s characteristic forest
of columns was used in different
• It is a large, rectangular stone mosque mosques to great effect.
with a hypostyle (supported by columns)
hall and a large inner sahn (courtyard). The Great Mosque of Cordoba, Spain
• The three-tiered minaret is in a style
known as the Syrian bell-tower, and may
have originally been based on the form
of ancient Roman lighthouses.
• The interior of the mosque features the
forest of columns that has come to
define the hypostyle type.
Diagram reconstruction of the Prophet's House,
Medina, Saudi Arabia Interior of the Great Mosque of Cordoba, Spain, 8th-
10th centuries
 ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
2. The Four-iwan Mosque Example of Four-iwan Mosque 3. The Centrally-planned Mosque

Iwan - a vaulted space that opens on one The Great Mosque of Isfahan • Invented by the Ottoman Empire
side to a courtyard. Architects who were strongly influenced
• The mosque began its life as a hypostyle by Hagia Sophia in Istanbul, the greatest
• Emerged in the 11th Century in Iran mosque, but was modified by the Seljuqs of all Byzantine churches and one that
of Iran after their conquest of the city of features a monumental central dome high
• The iwan developed in pre-Islamic Iran Isfahan in the 11th century. over its large nave.
where it was used in monumental and
imperial architecture. Example of Centrally-planned Mosque

• Strongly associated with Persian Mosque of Selim II

architecture, the iwan continued to be View of three (of four) Iwans, Great Mosque of Isfahan,
used in monumental architecture in the Iran, 11th - 17th centuries, looking toward the south
Islamic era. (qibla) iwan

• Became widespread in the 12th century,

has maintained its popularity to the
present.

• In this type of mosque the qibla (direction

that a muslim should face when praying)
iwan, which faces Mecca, is often the
• Considered as the masterpiece of the
largest and most ornately decorated.
greatest Ottoman, Mimar Sinan & the
greatest masterpiece of Ottoman
• The four-iwan plan would become the new
Architecture. It represents a culmination
plan for mosques all over the Islamic word
replacing the hypostyle mosque in many of years of experimentation with the
Plan of the Great Mosque of Isfahan, Iran, showing
places. iwans opening onto the sahn (court) Iwan, Great Mosque of Isfahan, Iran centrally-planned Ottoman mosque.

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

Other Types of Mosque in different parts Parts of a Mosque (Exterior)
of the World
• Minaret

• A slim tower which is a distinctive

traditional feature of a mosque.

• Varies in height, style, and number.

Minarets may be square, round, or
octagonal and are usually covered
with a pointed roof

• They were originally used as a high

point from which to make the call to
prayer

• Was primarily a visual beacon

indicating Muslim community or as
in the Arabian sanctuaries of Mecca
and Medina as possible location of a
holy place.

• Considered the place from which the

faithful are called to prayer by a
muezzin

• Serves as a powerful visual

reminder of the presence of Islam.

• Dome (Qubba)
• Many mosques are decorated with a
dome rooftop, particularly in the
Middle East.
• The interior of a dome is usually
highly decorated with floral,
geometric and other Patterns
• Symbol of Heaven with God at the
center.
• Locus (place) of the Divine Throne,
passive to the intellect, maternal in
gender and sublimely times in form.
• Fountain (Fawwara or Meda)
• Located at the center of sahn for the
purpose of ablution (ritual washing
and spiritual purification before
prayer)
• Regarded curative for ills of both
body and Spirit
• Also the town's main water supply
ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
• Cupola • Courtyard (Sahn)
• A light structure on a dome or roof, • Most traditional mosques have a
serving as a belfry, lantern, or large central sahn, which is
belvedere surrounded by a riwaq or arcade on
all sides.
• Lantern
• Consists of a dome-shaped or • In traditional Islamic design,
quadrilateral-shaped ornamental residences and neighborhoods can
structure located on top of a have private sahns.
larger roof or dome, often used
as a lookout or to admit light
and provide ventilation.
ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
• Iwan • Riwaq / Liwanat Parts of Mosque (Interior)
• Vaulted hall or space, walled on • A colonnaded or arcaded hall of the • Prayer Hall (Musalla)
three sides, with one end entirely mosque.
open. • Bare; no furniture is needed; large
• Often serves as the transition space open space.
• Trademark of the Sassanian between interior and outdoor
Architecture of Persia, later adopted spaces. • Few chairs or benches to assist
in Islamic architecture. elderly or disabled worshippers who
• it provides shade and adjustment to have difficulty with mobility.
• Usually decorated with calligraphy sunlight in hot climates, and cover
bands, glazed tilework, and from rain in any locale. • Along the walls and pillars of the
geometric designs. prayer hall, there are usually
bookshelves to hold copies of the
• The formal gateway to the iwan is Quran, wooden book stands (rihal),
called pishtaq, a Persian term for a other religious reading material, and
portal projecting from the facade of a individual prayer rugs.
building.
 ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
• Pulpit (Minbar) • Mihrab • Dikka Examples of Mosques

• Stands next to mihrab which dates
back to the Prophet Muhammad.
• Most decorated part of the building,
most often with lamps symbolizing
the divine presence and the
universality of the Muslim message
• Raised platform from which the Masjid Al-Haram
respondents (qadi) repeat the ritual
postures of the imam and speak the
responses so that the stages of
prayer may be transmitted to larger
congregations.

• Qibla

• Direction of the prayer which

commemorates the presence of the
Prophet.

• Muslims all praying towards the

same point is traditionally
considered to symbolize the unity of • Known as the Sacred Mosque, and the
all Muslims worldwide, under Sharia Grand Mosque or Great Mosque of
(Law of God). Mecca, it is the most sacred site in Islam

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

• It is the largest mosque in the world and
surrounds Islam's holiest place, the
Kaaba, in the city of Mecca, Saudi
Arabia.

• The current structure covers an area of

356,800 square metres (88.2 acres)
including the outdoor and indoor praying
spaces and is open at all times.

• It serves as the common direction

towards which Muslims pray, and is the
primary destination for pilgrimages.

• The Haram is the focal point of the Hajj

• It is also referred as Al Kaaba Al

Musharrafah (The Holy Kaaba), a
building at the center of Islam's most
sacred mosque.

• It is considered the "House ofAllah"

 ISLAMIC ARCHITECTURE
• Wherever they are in the world, Muslims
are expected to face the Kaaba when
performing salat (prayer).
• During the Hajj and Umrah, Muslims are
to go around the Kaaba 7 times (most
sacred site in Islam), in a the Shahada, the Islamic declaration of
counterclockwise direction.
• The circling is believed to demonstrate
the unity of the believers in the worship
of the One God, as they move in
harmony together around the Kaaba,
while pleading to God.
FLOOR PLAN OF THE KAABA
ISLAMIC ARCHITECTURE
Jawatha Mosque Great Mosque of Kufa
• located in the village of Al-Kilabiyah, • Also known as the Masjid-al-Azam
about 12 km northeast of Hofuf, Al-Ahsa, located in Knjfa, Iraq, built in the 7th
Saudi Arabia. century, is one of the earliest mosques in
the world.
• It was the earliest mosque built in east
Arabia and most of the original structure
is in ruins.
• The site is still used for prayer
ISLAMIC ARCHITECTURE
• Kiswa is a black silk and gold curtain
• Black Stone is the eastern cornerstone of
which is replaced annually during the
the Kaaba, the ancient stone building
Hajj pilgrimage.
located in the center of the Grand
Mosque in Mecca, Saudi Arabia. It is
• Two-thirds of the way up is a band of
revered by Muslims as an Islamic relic
goldembroidered Quranic text, including
which, according to Muslim tradition,
dates back to the time of Adam and Eve
faith.
• The building is opened twice a year for a
ceremony known as "the cleaning of the
Kaaba.“
• Washing of the Kaaba is done twice a
year with a mixture made from the
Zamzam water, Taif rosewater and
expensive Oud oil that is traditionally
used in Arabian perfumes
ISLAMIC ARCHITECTURE
Great Mosque of Samarra Umayyad Mosque
• A ninth-century mosque in • It is also known as the Great Mosque of
located
Samarra, Iraq. Damascus, located in the old city of
Damascus (Syria), is one of the largest
• The mosque was commissioned in 848 and oldest mosques in the world.
and completed in 851 by the Abbasid
caliph Al- Mutawakkil who reigned (in • It is considered by some Muslims to be
Samarra) from 847 until 861. the fourth-holiest place in Islam
• The Great Mosque of Samarra was, for a
time, the largest mosque in the world; its
minaret, the Malwiya Tower, is a spiraling
cone 52 meters high and 33 meters wide
with a spiral ramp.

Great Mosque of Kairouan
• It is one of the most important mosques
in Tunisia, situated in the UNESCO
World Heritage town of Kairouan.
• The mosque is spread over a surface
area of 9,000 square meters and it is one
of the oldest places of worship in the
Islamic world
• The Mosque of Uqba is one of the
masterpieces of both architecture and
Islamic art.
• The university, consisting of scholars
who taught in the mosque, was a center
of education both in Islamic thought and
in the secular sciences
ISLAMIC ARCHITECTURE
Shah Mosque
• It is regarded as one of the masterpieces
of Iranian architecture and an excellent
example of Islamic era architecture of
Iran
• Its construction began in 1611, and its
splendor is mainly due to the beauty of
its seven-color mosaic tiles and
calligraphic inscriptions.
• a huge structure, said to contain 18
million bricks and 475,000 tiles, having
cost the Shah 60,000 tomans to build.
ISLAMIC ARCHITECTURE
Al-Zaytuna Mosque
• The mosque is the oldest in the Capital of • a shrine located on the Temple Mount in
Tunisia and covers an area of 5,000
square meters (1.2 acres) with nine
entrances.
• It has 160 authentic columns brought
originally from the ruins of the old city of
Carthage.
• The mosque is known to host one of the
first and greatest universities in the
history of Islam.
ISLAMIC ARCHITECTURE
Dome of the Rock
the Old City of Jerusalem. The Dome of
the Rock is in its core one of the oldest
extant works of Islamic Architecture
• It was initially completed in 691 CE, built
on the site of the Roman temple of Jupiter
Capitolinus
• The original dome collapsed in 1016 and
was rebuilt in 1021.
• According to some Islamic scholars, the
rock is the spot from which the Islamic
prophet Muhammad ascended to Heaven
accompanied by the angel Gabriel.
• The Dome of the Rock has inspired the
architecture of a number of buildings.
These include the octagonal Church of St.
Giacomo in Italy, the Mausoleum of
Sultan Suleiman the Magnificent in
Istanbul, the octagonal Moorish Revival
style Rumbach Street Synagogue in
Budapest, and the New Synagogue in
Berlin, Germany.
ISLAMIC ARCHITECTURE
 ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
Palace Dwelling Houses Islamic Gardens
Types of Islamic Garden
• Complexity in plan and design is traced from • Planned with interior courts on to which the • Islamic Garden is a cool place of rest and
Islamic rituals and beliefs principal rooms face. reflection, and a reminder of paradise. • Charbagh is a Persian-style garden
layout.
• Separation of Sexes required living quarters • The windows towards the street are small • The Qur'an has many references to
for men and women: and strongly barred in the lower stories, • The quadrilateral garden is divided
gardens, and the garden is used as an
those to the upper stories being often by walkways or flowing water into
earthly analogue for the life in paradise
• Harem – Wives, Concubines, and ornamented with lattice work four smaller parts
female servants which is promised to believers
• Special regard is paid to privacy in the • Bustan was the garden of the inner court
• Dar – Men’s apartment planning of the corridors and in the isolation Elements of an Islamic garden:
of a house, a formal garden with pools
of the harem or women's apartments. and water channels.
• Selamuk – Men’s guest quarter • Water – fountains, pools, and flowing
• There is generally a principal court, watercourses and the greenery.
• Considered to be a seat for learning, • Jannah was an orchard with palms,
approached from the entrance, in which is
armories, and barracks placed a summer-house and fountain. • Walls or screens which make the oranges, and vines irrigated by canals.
garden an enclosed rectangle,
• Elements adapted from Mosques were • Plain outside, but have the ornamentation mysterious and private. • Rawdah referred in particular to the
employed (e.g. Domes, Minarets, lavished on the porticos, walls, and vegetable garden that produced foods for
Arabesque Ornamentation) pavements, of the interior. the cooks.
• A lay-out in harmonious symmetry,
using beautiful geometric shapes for
pools, paths, pavilions or flowerbeds

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

• Surface ornament in various planes, known
Charbagh Jannah Islamic Ornamentation as "superposed“

• Chiefly surface ornament, bounded by flat • In these designs endless variety is obtained
planes, and regulated, as far as motif was by the joining together of straight and curved
concerned, by the rules of the Koran, lines, forming geometric figures of all
which prohibited the copying of natural conceivable forms.
objects
• The straight lines never forming a right angle
• Muslims were led to evolve and perfect a at their junction.
scheme of decoration in which the science
of geometry was an important factor. • Arabesque (Arabian-like)

• They covered their buildings with • Surface decorations based on rhythmic

geometric intertwining designs, which, in linear patterns of scrolling and interlacing
addition, they treated with gorgeous foliage, tendrils, and mathematically
Bustan Rawdah
coloring in red, white, blue, silver, and complicated, elaborate geometric and
interlace patterns whether in plaster or
gold, producing a most brilliant fretted
painted tiles.
surface, or “ carpet-like“ effect.
• Stalactite decoration
Types of Islamic Ornaments
• Primarily used to form the pendentives of
• Mnemonic ornament (Calligraphic domes, and was afterwards used
Inscriptions) decoratively in door-heads, capitals, and on
walls generally.
• Consisting of inscriptions from the
Koran, worked into decorative panels,
and composed either of lettering in
the older style, known as Kufic.

Types of Arches
• For almost 400 years Byzantine
architectural artifacts such as the church
of Hagia Sophia served as models for
many of the Ottoman mosques.
• Ottomans mastered the technique of
building vast inner spaces confined by
seemingly weightless yet massive
domes, and achieving perfect harmony
between inner and outer spaces, as well
as articulated light and shadow.
• The mosque was transformed from being
a cramped and dark chamber with
arabesque covered walls into
sanctuary of aesthetic and technical
balance, refined elegance and a hint of
heavenly transcendence.
ISLAMIC ARCHITECTURE
Other forms of IslamicArchitecture
Ottoman Architecture (1299 – 1922)
Ottoman Empire
• Also known as the Turkish Empire,
Ottoman Turkey, was an empire founded
at the end of the thirteenth century in
northwestern Anatolia in the vicinity of
Bilecik and Sö÷üt by the Oghuz Turkish
tribal leader Osman.
ISLAMIC ARCHITECTURE
• Overall, Ottoman architecture has been
described as Byzantine architecture
synthesized with architectural traditions
of the Mediterranean and the Middle
East.
Examples of Ottoman Architecture
Grand Mosque of Bursa
• Built in the Seljuk style, it was ordered by
the Ottoman Sultan Bayezid I and built
between 1396 and 1399.
a
ISLAMIC ARCHITECTURE
• After 1354 the Ottomans crossed into • The Empire's defeat and the occupation
Europe, and with the conquest of the of part of its territory by the Allied Powers
Balkans (South-Eastern Europeans) the in the aftermath of World War I resulted in
Ottoman Beylik was transformed into a its partitioning and the loss of its Middle
transcontinental empire Eastern territories, which were divided
between the United Kingdom and France.
• The Ottomans ended the Byzantine
Empire with the 1453 conquest of • The successful Turkish War of
Constantinople by Mehmed the Independence against the occupying
Conqueror Allies led to the emergence of the
Republic of Turkey in the Anatolian
• During the 16th and 17th centuries, at the heartland and the abolition of the
height of its power under the reign of Ottoman monarchy and caliphate
Suleiman the Magnificent, the Ottoman
Empire was a multinational, multilingual Ottoman Architecture
empire controlling much of Southeast
Europe, Western Asia, the Caucasus, • It is the architecture of the Ottoman
North Africa, and the Horn ofAfrica Empire which emerged in Bursa and
Edirne in 14th and 15th centuries.
• With Constantinople as its capital and
control of lands around the • The architecture of the empire developed
Mediterranean basin, the Ottoman from the earlier Seljuk architecture and
Empire was at the center of interactions was influenced by the Byzantine
between the Eastern and Western worlds architecture, Armenian architecture,
for six centuries. Iranian as well as Islamic Mamluk
traditions after the conquest of
Constantinople by the Ottomans
ISLAMIC ARCHITECTURE
• The mosque has 20 domes and 2
Sultan Ahmed Mosque
minarets.
• It is the largest mosque in Bursa and a
landmark of early Ottoman architecture
which used many elements from the
Seljuk architecture.
• Inside the mosque there are 192
monumental wall inscriptions written by
the famous Ottoman calligraphers of that
period.
• The mosque has one of the greatest
examples of Islamic calligraphy in the • Located in Istanbul, Turkey, The Blue
world. Mosque, as it is popularly known, was
constructed between 1609 and 1616
during the rule of Ahmed I.
• Magnificent hand-painted blue tiles adorn
the mosque’s interior walls, and at night
the mosque is bathed in blue as lights
frame the mosque's five main domes, six
minarets and eight secondary domes.
• The design is the culmination of two
centuries of Ottoman mosque
development.
 ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE
Moorish Architecture Elements of Moorish Architecture Examples of Moorish Architecture

• The architectural tradition of the Moorish • Muqarnas Mosque-Cathedral of Cordoba

cultures in the Maghreb (North-West
Africa) and Iberian (South-Western
Europe) Peninsula.
• Horseshoe Arches
• Voussoirs • Also known as the Great Mosque of
• Domes Córdoba whose ecclesiastical name is the
Cathedral of Our Lady of the Assumption, is
• Crenellated Arches
the Catholic cathedral of the Diocese of
• Lancet arches
Córdoba dedicated to the Assumption of the
• Ogee arche Virgin Mary and located in the Spanish
• Courtyards region of Andalusia.
• Decorative tile works
• The structure is regarded as one of the most
accomplished monuments of Moorish
architecture.

• When Muslims conquered Spain in 711, the

church was first divided into Muslim and
Christian halves.

Crenellated Arches

ISLAMIC ARCHITECTURE ISLAMIC ARCHITECTURE

Alhambra
Mughal Architecture Mughal Architecture
• A palace and fortress complex located in
Granada, Andalusia, Spain. Moghul Empire • an architectural style developed by the
Mughals in the 16th, 17th and 18th
• It was originally constructed as a small • It was an empire in the Indian centuries throughout the ever changing
fortress in AD 889 on the remains of subcontinent, established and ruled by a extent of their empire in Medieval India.
Roman fortifications, and then largely Muslim dynasty of Chagatai Turco-
ignored until its ruins were renovated and Mongol origin from Central Asia. • It was an amalgam (mixture or blend) of
rebuilt in the mid-13th century by the Islamic, Persian, Turkic and Indian
Moorish emir Mohammed ben Al-Ahmar • The dynasty though ethnically Turco- architecture.
of the Emirate of Granada, who built its Mongol, was Persianate in terms of
current palace and walls. culture. • Mughal buildings have a uniform pattern
of structure and character, including:
• It was converted into a royal palace in • The Mughal empire extended over large
1333 by Yusuf I, Sultan of Granada. parts of the Indian subcontinent and • large bulbous domes
Afghanistan. • slender minarets at the corners
• Alhambra evolved organically over a • massive halls
period of several centuries from the • The empire was the second largest to • large vaulted gateways
ancient hilltop fortress defined by a have existed in the Indian subcontinent, • delicate ornamentation.
narrow promontory carved by the river spanning 4 million square kilometers at
Daro and overlooking the Vega or Plain of its zenith. • Examples of the style can be found in
Granada as it descends from the Sierra India, Afghanistan, Bangladesh and
Nevada Pakistan.
• Resembles many medieval Christian
strongholds in its threefold arrangement
as a castle, a palace and a residential
annex for subordinates.

Examples of Moghal Architecture
Cheraman Juma Mosque
• A mosque in Methala, Kodungallur Taluk,
Thrissur District in the Indian state of
Kerala.
• Built in 629 AD, it is the first mosque in
India
• It was built by Malik Deenar, an Arab
propagator of Islam and a follower and
contemporary of Islamic Prophet
Muhammad.
• Construction of the mausoleum was
essentially completed in 1643 but work
continued on other phases of the project
for another 10 years.
• The construction project employed some
20,000 artisans under the guidance of a
board of architects led by the court
architect to the emperor, Ustad Ahmad
Lahauri.
• Constructed using materials from all over
India and Asia. It is believed over 1,000
elephants were used to transport building
materials.
• The translucent white marble was
brought from Makrana, Rajasthan, the
jasper from Punjab, jade and crystal from
China. The turquoise was from Tibet and
the Lapis lazuli from Afghanistan, while
the sapphire came from Sri Lanka and
the carnelian from Arabia.
• In all, twenty-eight types of precious and
semi-precious stones were inlaid into the
white marble.
ISLAMIC ARCHITECTURE
Wazir Khan Mosque
• A Mughal era mosque in the city of Lahore,
• capital of the Pakistani province of Punjab.
• The mosque was commissioned during the
• reign of the Mughal Emperor Shah Jahan
in 1634 C.E., and completed in 1642.
• Considered to be the most ornately
decorated Mughal-era mosque because of
its intricate faience tile work known as
kashi-kari, as well as its interior surfaces
that are almost entirely embellished with
elaborate Mughal-era frescoes.
ISLAMIC ARCHITECTURE
ISLAMIC ARCHITECTURE
Jama Masjid Taj Mahal
• Also known as the Jama Masjid of Delhi,
is one of the largest mosques in India.
• It was built by Mughal emperor Shah
Jahan between 1644 and 1656 at a cost
of 1 million rupees, and was inaugurated
by an imam from Bukhara (Uzbekistan)
• The mosque was completed in 1656 AD
with three great gates, four towers and
two 40m high minarets constructed of
strips of red sandstone and white marble • It is an ivory-white marble mausoleum on
the south bank of the Yamuna river in the
Indian city of Agra.
• It was commissioned in 1632 by the
Mughal emperor, Shah Jahan (reigned
1628–1658), to house the tomb of his
favorite wife, Mumtaz Mahal.
• The tomb is the centerpiece of a 17-
hectare (42-acre) complex, which
includes a mosque and a guest house,
and is set in formal gardens bounded on
three sides by a crenellated wall.
ISLAMIC ARCHITECTURE
Islamic Architecture in East and South- Niujie Mosque
East Asia
• It is the oldest mosque in Beijing.
China
• It was first built in 996 during the Liao
Great Mosque of Xi’an Dynasty and was reconstructed as well
as enlarged under the Kangxi Emperor
• It is the oldest and mosque in China (r. 1661-1722) of the Qing Dynasty.
• The majority of the mosque was built • The local Muslim community
during the early Ming dynasty. constructed the mosque using
traditional Chinese architecture, with the
• It now houses more than twenty buildings exception that it displays Arabic
in its five courtyards, and covers 12,000 calligraphy in the interior.
square meters.
 ISLAMIC ARCHITECTURE
Id Kah Mosque Indonesia

x It is the largest mosque in China. Demak Great Mosque

x Every Friday, it houses nearly 10,000 • It is one of the oldest mosques in

worshippers and may accommodate up Indonesia, located in the center town of
to 20,000. Demak, Central Java Indonesia.

• The mosque was built by Saqsiz Mirza in • The mosque is a classic example of a
ca. 1442 (although it incorporated older • traditional Javanese mosque.
structures dating back to 996) and covers
16,800 square meters. • Unlike mosques in the Middle East it is
built from timber.

• Rather than a dome, which did not

appear on Indonesian mosques until the
19th century, the roof is tiered and
supported by four saka guru teak pillars
 INDIAN ARCHITECTURE TIMELINE

INDIAN ARCHITECTURE TIMELINE INDIAN ARCHITECTURE TIMELINE

INDIAN ARCHITECTURE TIMELINE
INTRODUCTION
The architecture of India includes present day India,
Pakistan, Bangladesh and Sri Lanka. These countries
later on got separated by political boundaries but,
still share a common cultural heritage. The diversity
of Indian culture is represented in its architecture.
Indian architecture comprises a blend of ancient
and varied native traditions, with building types,
forms and technologies from west, central Asia, and
Europe
INDIAN ARCHITECTURE TIMELINE
INTRODUCTION
Indian architecture has influenced the surrounding regions
of the world, especially eastern Asia, due to the spread of
ideas with Buddhism. A number of Indian architectural
features such as the stupa (temple mound), sikhara
(temple spire), pagoda (temple tower), torana (and
temple gate), have become famous symbols of Hindu-
Buddhist culture, used extensively in East Asia and South-
East Asia. Early Indian architecture is the story of how
powerful and popular religions celebrated their beliefs
through monumental design.
 FORMATION AND DEVELOPMENT FORMATION AND DEVELOPMENT
Geographical condition:
Geological condition
The rivers Indus and Ganges • Timber was available in plenty in Indus and Ganges valleys

The Himalayas • Stone was rare c In some part of India white marble is available
The Everest mountain • In some parts of india rock-cut temples were also available
Surrounded by seas and Climatic condition
Indian ocean •More than half the country lies in Tropic Cancer
Many cities were founded •The climate therefore varies widely
on the banks of rivers
• Wet in winter and dry in summer
•Buildings built to adapt the climate
•In north flat roofs were common, but steep pitched roofs were used in
West coast due to heavy rain

FORMATION AND DEVELOPMENT

Religious condition – Hindu, Buddhism, Jainism
X Hinduism - The religion has evolved due to the combination of faiths of
Aryans and Dravidians
X Jain - founded by Mahaveer or Vadhaman who was himself a Brahman,
he was born around 599B.C. c According to him the goal is ‘Nirvana’ or a
state of pure rest without rebirth but no total destruction c The religion
teaches avoidance of injury to life, to observe truth, honesty, abstinence
from worldly desire, gentleness, holiness, self-punishment, and restraint of
mind tongue and body
X Buddhist - Siddhartha (Gautama), the first Buddha - the religion teaches
against animal sacrifice, to observe oneness, humanity, the deliverance
from sorrow and all trouble and from ignorance through enlightenment
to the ultimate ‘Nirvana’
INDUS VALLEY CIVILIZATION

- The earliest known civilization in the Indo-Pak region

of South Asia.
- The Indus valley civilization is dated around 3000 B.C.
- Comprises many urban settlements, including the
large cities of Harappa and Mohenjo Daro.
- Characterized by a variety of house types, many of
which had private baths connected to public
drainage systems.

The arch, a cornerstone of world architecture, was

first developed by the Indus valley civilization, and
would later be a staple of Indian architecture. The
earliest production in the Indus Valley Civilization was
characterized by well planned cities and houses
where religion did not seem to play an active role.
The presence of drainage systems and public baths
showed advanced standards of hygiene and
sanitation and ingenious planning.
Their residential houses were typically 2 to 4 stories, and
A WATER WELL IN LOTHAL
all had indoor plumbing and baths. Larger cities like
Mohenjo Daro also had civic, public baths, with rows of
private change rooms. City supervised and maintained
covered sewers led from each house, feeding into a GREAT BATH, MOHENJO- DARO
main covered drain, and out of the city precincts in a
variety of underground drainage designs.
 ELEMENTS OF INDIAN
ARCHITECTURE

Dholavira - Sophisticated Water Reserving

Shikhara,
(Sanskrit: “mountain
Stupa
peak”)also Buddhist
spelled shikara, also commemorative
called shikar, in North monument usually
Indian temple housing sacred relics
architecture, the associated with
superstructure, tower, or
spire above the sanctuary
the Buddha or other
and also above the saintly persons. The
pillared mandapas hemispherical form
(porches or halls); it is the of the stupa appears
most dominant and to have derived from
characteristic feature of pre-Buddhist burial Stupa III and its single gateway, Sanchi,
the Hindu temple in the Madhya Pradesh state, India
north.
mounds in India.
 Ajanta Caves
The cave architecture in
India is believed to have
begun during the ancient
time. These caves were
used by Buddhist and Jain
monks as places of worship
and residence. Initially the
caves were excavated in
the western India. Some
examples of this type of
cave structure are Chaityas
and Viharas of Buddhists.
The great cave at Karle is
also one such example,
where great Chaityas and
Viharas were excavated by Ellora Caves
hewing out rocks.

HINDU TEMPLES

Elephanta Caves
 Kandariya Mahadeo Temple (11th century) at Khajuraho (Madhya Pradesh, India)

Chennakesava Temple, Somanathapura 'Panchchura' temple, Bishnupur

 North Indian Temples
(Nagara)
There were three major styles of temple architecture: The Nagara style which
the northern or Nagara style, the southern or Dravida and the developed around the fifth
Vesara or hybrid style but the most common are the Nagara century is characterized by a
and the Dravida. beehive shaped tower called
a shikhara .
The plan is based on a square
They are distinguishable by the shape and decoration of but the walls are sometimes
their shikharas or superstructures. so broken up that the tower
often gives the impression of
being circular

Sun Temple, KonarakThe Sun Temple (Surya

Deul) at Konarak, Orissa (Odisha), India.

South Indian Temples (Dravida) Vesara (or Karnataka

Dravida or Chalukyan or
From the seventh century the Deccan style) is a type
Dravida or southern style has a of Indian architecture
pyramid shaped tower primarily used in temples
consisting of progressively lying in the region
smaller storeys of small between the Vindhyas
pavilions, a narrow throat, and and the river Krishna (VK
a dome on the top The Agnihotri, Indian History,
repeated storeys give a p. B-34). The two other
horizontal visual thrust to the prominent styles are
southern style. Dravida and Nagara.

ColūĤvara temple at Kilaiyƈr, Tamil

Nadu, India, late 9th century AD
 INDO ISLAMIC ARCHITECTURE

Humayun's tomb is the

tomb of the Mughal
INDO ISLAMIC ARCHITECTURE
Emperor Humayun in
Delhi, India. The tomb
Influence of Islam and the Mughal Architecture was commissioned by
With the arrival of Islam, the previous Indian Humayun's first wife
architecture was slightly adapted to allow the traditions and chief consort,
of the new religion, but it remained strongly Indian at its Empress Bega Begum,
in 1569-70, and
heart and character. Arches and domes began to be
designed by Mirak
used and the mosque or masjid too began to form part Mirza Ghiyas and his
of the landscape, adding to a new experience in form son, Sayyid
and space. Muhammad, Persian Humayun’s Tomb
architects chosen by Historical landmark in New Delhi, India
her
The Tomb of Shah Rukn-e-Alam Buland Darwaza,
(Urdu: ϡϟΎϋ ϥ̯έ ϩΎη ϩέΑϘϣ (located or the "Door of victory",
in Multan, Pakistan, is
the mausoleum of
was built in 1601 A.D. by
the Sufi saint Sheikh Rukn-ud- Mughal emperor Akbar
Din Abul Fateh. The shrine is to commemorate his
considered to be the earliest victory over Gujarat. It is
example the main entrance to the
of Tughluq architecture, and is Jama Masjid at Fatehpur
one of the most impressive
shrines in the Indian
Sikri, which is 43 km from
subcontinent. Agra, India.

Tomb of Shah Rukn-e-Alam (built 1320 to 1324) in Multan, Pakistan

 HISTORY OF ARCHITECTURE 3

ARCHITECTURE IN
CHINA GEOGRAPHY

GEOGRAPHY GEOGRAPHY
GEOGRAPHY GEOGRAPHY
• Most part of the country is mountainous
THREE GREAT RIVER SYSTEMS: Mountains in Anhui Province located in the east China

• Yellow River (Huang He)

- 2,109 mi (5,464 km)
long;

• Yangtze River (Chang

Jiang) - the third-longest
river in the world at 2,432
mi (6,300 km)

• Pearl River (Zhu Jiang) –

848 mi (2,197 km) long

GEOGRAPHY GEOGRAPHY
• Gobi Desert lies at the north
NORTH CHINA
• winds are capable of generating huge yellow clouds of suspended
dust which based on the direction of the prevailing wind can be sent
out to sea • Dominated by the alluvial plain
along the yellow river

• Mostly flat and the soil is well-suited

for agriculture

Fields in the Yellow River Plain, north of China

 GEOGRAPHY GEOGRAPHY
SOUTH CHINA TIBETAN PLATEAU IN SOUTHWEST CHINA

• Region drained by the yangtze • Occupies about ¼ of the land

(yangzi) river area of the PRC

• Hillier than north china • Mountains and massive highlands,

averaging between 4,000 and
• Climate: warm and humid 5,000 meters (13,000 to 15,000 feet)
above the sea level

GEOGRAPHY GEOGRAPHY
YUNNAN-GUIZHOU PLATEAU IN THE SOUTHWEST
MOUNT EVEREST (Known in chinese as
mount zhumulangma)

• Highest point along the tibetan

plateau

• Highest mountain in the world

• Located on the sino-nepalese

border and rises 8,848 meters
(29,028 feet) above sea level
 CLIMATE

• extreme cold to almost tropical

CLIMAT • cold strong winter winds from

Mongolia of 50: mountain
E ranges in the north

• warm with winter – south

• northeast and southwesterly

monsoons: summer and winter

CLIMATE

• China is geographically situated north of the equator and the climate

is, cold in the winter for most part and warm in the summer

• Geographical and climatic conditions = diversity in the architecture of

SOCIETY AND ECONOMY
various regions in China
SOCIETY AND ECONOMY SOCIETY AND ECONOMY

• DYNASTIES - rule the country under

one family
• CONFUCIANISM was a new code of
social conduct and philosophy of life
• EMPERORS - (Chinese rulers) based
(Middle Way)
their government on the Confucian
model

CONFUCIUS
CHINESE EMPEROR

SOCIETY AND ECONOMY COSMOLOGICAL CONCEPTS

COSMOLOGICAL CONCEPTS
• FENG SHUI (GEOMANCY)
• TAOISM
• Indian Context: MANDALA
• Chinese Context: FENG SHUI
evolved based on the belief that
forces exist in every locality which
acts on all types of buildings,
towns and cities for good or ills
and sites were chosen or
adopted accordingly
 COSMOLOGICAL CONCEPTS COSMOLOGICAL CONCEPTS
YIN - YANG
YING YANG
• Opposing qualities bound
together as parts of a mutual NEGATIVE POSITIVE
whole; dynamic equilibrium FEMALE MALE
NIGHT DAY
• Black and white within the circle PASSIVE ACTIVE
- interaction of two energies, MOON SUN
which causes everything to INTUITIVE LOGICAL
happen. COLD HOT
SOFT HARD

COSMOLOGICAL CONCEPTS COSMOLOGICAL CONCEPTS

FENG SHUI FENG SHUI
• Door gods displayed on doorways to ward off evil and
encourage the flow of good fortune
• Screen walls to face the main
entrance of the house, which
stems from the belief that evil
things travel in straight lines.

• Talismans and imagery of

good fortune:
COSMOLOGICAL
FENG SHUI
CONCEPTS COSMOLOGICAL CONCEPTS
• Three anthropomorphic figures representing Fu Lu Shou stars FENG SHUI
are prominently displayed, sometimes with the • Animals and fruits that symbolize good fortune and
proclamation "the three stars are present”. prosperity, such as bats and pomegranates, respectively.
The association is often done through rebuses

COSMOLOGICAL CONCEPTS COSMOLOGICAL CONCEPTS

FENG SHUI FENG SHUI

• One way to summon

good fortune is to invoke
FU DOGS – Guards against the character FU, seen on
negative energy the wall to the right. Fu
can be translated as
"happiness," "good
fortune," "blessings," or
"luck."
COSMOLOGICAL CONCEPTS COSMOLOGICAL CONCEPTS
FENG SHUI FENG SHUI
FIRE
A PICTURE OF A TIGER WITH
THE EIGHT TRIGRAMS. WIND EARTH

• This is often hung above doors

in some parts of China, the
word for tiger is pronounced
THUNDER LAKE
"fu." The eight trigrams are
thought to ward off evil
influences. In combination with
the tiger's fierce face, this
image makes a powerful MOUNTAIN HEAVEN
amulet(element of good luck).
WATER

COSMOLOGICAL CONCEPTS COSMOLOGICAL CONCEPTS

FENG SHUI FENG SHUI
COSMOLOGICAL CONCEPTS COSMOLOGICAL CONCEPTS
FENG SHUI FENG SHUI

• A stylized form of shou can • Another character thought

be seen in the middle of
the door-Because Chinese
people honor age and
desire long life, the
character representing
longevity shou is also often
seen on Chinese houses.
to express longevity is wan
which means "ten
thousand." This character is
often represented
stylistically as a backwards
swastika.

COSMOLOGICAL CONCEPTS
FENG SHUI

• Orienting the structure with its

back to elevated landscape
and ensuring that there is
water in the front. HISTORY
• Considerations are also made
such that the generally
windowless back of the
structure faces the north,
where the wind is coldest in
the winter
HISTORY HISTORY
ANCIENT CHINA
• DYNASTIES/ERA
• Neolithic
• ANCIENT CHINA
• Xia Dynasty
• EARLY IMPERIAL CHINA
• Shang Dynasty
• LATTER IMPERIAL CHINA
• Zhou Dynasty

HISTORY HISTORY
NEOLITHIC EARLY IMPERIAL CHINA
• first evidence of human presence in
the region was found at the • Qin Dynasty
Zhoukoudian cave • Han Dynasty
• Three Kingdoms
• Homo erectus, commonly known as
• Sui Dynasty
the Peking Man estimated to have
lived approximately from 300,000 to • Tang Dynasty
550,000 years ago. • Five Dynasties
• Northern and Southern
Song Dynasty
HISTORY HISTORY
QIN DYNASTY (221– 206 B.C.) QIN DYNASTY (221– 206 B.C.)
• first Chinese empire • public works projects were also
• united China in a legalist government undertaken
seated in Xiangyang, however it only
lasted for 12 years • Great Wall was built in the north,
• standardized the language and writing to protect against invasions,
• its currency as a circular copper coin later developed by the Ming
with a square hole iin the middle Dynasty

Emperor Qin Shi Huang,

• roads and irrigation canals were
First Chinese sovereign to built throughout the country
proclaim himself emperor
The Great Wall of China

HISTORY HISTORY
Terracotta Warriors (Mausoleum of the First Qin Emperor) HAN DYNASTY (207 – 220 B.C.)
• Around 8,000 TERRA COTTA warriors in 3 main chambers . • Liu Bang, a commoner overthrew the
Qin emperor

• The country embracing Confucianism

• expansion of the empire led to the

establishment of extensive trading
links along the Silk Road

PERIOD OF PROSPERITY
Emperor Liu Bang
HISTORY HISTORY
TANG DYNASTY (618-907 A.D) FIVE DYNASTIES (907-960 A.D.)
• Return to prosperity, but ended in
• Attacked time and again by the
huang chao (a warlord) capturing
khitans and the turks
guangzhou in 879 A.D. Killing 200,000
inhabitants
• Important development was in the
field of printing
• Distinction of having had the only
female empress
• Practice of binding women's feet also
began during this time
• A concubine of the t’ai-tsung and
kao-tsung, named wu chao reigned
as emperor

EMPRESS WU CHAO FEET BINDING TRADITION

HISTORY
FIVE DYNASTIES (907-960 A.D.)
• foot binding was first practiced among
the elite and only in the wealthiest
parts of China, which suggests that
binding the feet of well-born girls
represented their freedom from
manual labor.
HISTORY
NORTHERN AND SOUTHERN
SONG DYNASTIES (960 – 1279 A.D)
• Great advances made: areas of
technological invention, material
production, political philosophy,
government, and elite culture
• Use of gunpowder as a weapon in
warfare

• Neo-Confucianism was developed during

this time, especially during the Southern
FEET BINDING TRADITION Song dynasty
HISTORY HISTORY
NORTHERN AND SOUTHERN
LATTER IMPERIAL CHINA
SONG DYNASTIES (960 – 1279 A.D)
• Education, and the examination • Yuan Dynasty
system became central to the
upper class. • Ming Dynasty
• Foreign trade expanded greatly,
and the Chinese had the best ships • Qing Dynasty
in the world

HISTORY HISTORY
YUAN DYNASTY (1206 – 1368 A.D.) MING DYNASTY (1368 – 1644)
KUBLAI KHAN
• first of only two times that the entire • one of the greatest eras of orderly
area of China was ruled by government and social stability in
foreigners - the Mongols human history

• established by Kublai Khan, he had • last dynasty in China ruled by ethnic

his grandfather Genghis Khan Hans
placed on the official record as the
founder of the dynasty • revival and expansion of the Chinese
culture
GENGHIS KHAN

EMPEROR XIZONG
HISTORY HISTORY
MING DYNASTY (1368 – 1644) QING DYNASTY (1644 – 1911 A.D.)

• restoration of the Grand Canal • instituted changes in the dress of the

Chinese
• repair and completed the Great Wall
of China • ordered all Chinese men to have theirr
pigtail hairstyle with the front of their
• establishment of the Forbidden City in heads shaved.
Beijing during the first quarter of the
15th c.

THE FORBIDDEN CITY

HISTORY
QING DYNASTY (1644 – 1911 A.D.)
• forbid writing against the government.
CHINESE ART
• ordered the most complete dictionary of Chinese characters
AND
• two opium (Anglo-Chinese) wars erupted and lasted from 1839 to
1842 and 1856 to 1860, the climax of a trade dispute between the ARCHITECTURE
British Empire

• British smuggling of opium from British India into China in defiance

of China's drug laws erupted into open warfare
 CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
FIVE MAIN CHARACTERISTICS • TEMPLES
Traditional Chinese buildings are
LATER PERIODS OF MING AND QING DYSNASTIES (1368-1911) always found in pairs or groups,
• IMPERIAL PALACES whether they are residences,
temples or palaces.
• Unity of structure with architectural art • ALTARS

• OFFICIAL RESIDENCIES
• Good anti-seismic function

• FOLK HOUSES
• A high degree of standardization

ARCHITECTURAL CHARACTER
CHINESE ART AND ARCHITECTURE ARCHITECTURAL CHARACTER
CHINESE ART AND ARCHITECTURE
• Homogeneous traditional architecture repeated over the • Most prominent feature: tile-covered gabled roofs, with widely
centuries in structures overhanging and upward curving eaves resting on complex
multiple brackets
HORIZONTAL
CHINESE ARTEMPHASIS
AND ARCHITECTURE HORIZONTAL
CHINESE ARTEMPHASIS
AND ARCHITECTURE
• most important feature • in contrast to Western architecture, which tends to grow in height and depth,
Chinese architecture stresses the visual impact of the width of the buildings
of Chinese Architecture:
emphasis on the axis, in
particular the
construction of a heavy
platform and a large
roof that floats over this
base, with the vertical
walls not as well
emphasized.

BILATERAL
CHINESE SYMMETRY
ART AND ARCHITECTURE
• emphasis on articulation
and bilateral symmetry
or balance, from palace
complexes to humble
farmhouses, even for
renovations and
extensions
ENCLOSURE
CHINESE ART AND ARCHITECTURE
• traditional Chinese
architecture involves
constructing buildings or
building complexes that
take up an entire property
but encloses open spaces
within it
• enclosed spaces come in
two forms: the open
courtyard and the sky well
CHINESE ART AND ARCHITECTURE
ENCLOSURE HIERARCHICAL
CHINESE ART AND ARCHITECTURE
• hierarchy and importance; and uses of buildings based on the strict
placement of buildings in a property/complex

• buildings with doors facing the front of the property are considered
more important than those that faces the sides; buildings facing away
from the front of the property are the least important

• buildings in the rear and more private parts of the property held in
higher esteem and reserved for elder members of the family

HIERARCHICAL
CHINESE ART AND ARCHITECTURE HIERARCHICAL
CHINESE ART AND ARCHITECTURE
LESS IMPORTANT HEAD OF THE
FAMILY MEMBERS FAMILY • front facing buildings at the back of properties used particularly for
rooms of celebratory rites and for the placement of ancestral halls
and plaques

• in multiple courtyard complexes, central courtyards and their

buildings considered more important than peripheral ones, latter
typically used as storage or servant’s rooms or kitchens
RECEPTION ROOM LESS IMPORTANT
AND SERVANT’S FAMILY MEMBERS
DWELLING
 HIERARC
CHINESE ART AND ARCHITECTURE
HICAL
MAIN HALL
INNER COURTYARD IS
HIERARCHICAL SOUTH FACING STRUCTURE
CEREMONIAL ROOM SHARED PRIVATE
SLEEPING SPACE SPACE FOR ADULTS SIDE HALLS OF OUTER
COURTYARD ARE
BEDROOMS FOR SONS
AND DAUGHTERS

FLOWERY GATE INTERIOR

INTERRIOR IS NOT
VISIBLE THROUGH
MAIN ENTRY

CHINESE ART AND ARCHITECTURE

HIERARCHICAL CHINESE
CHINESEGEOMANCY
ART AND ARCHITECTURE
• use of certain colors, numbers and cardinal directions in traditional
Chinese architecture reflected the belief in a type of immanence
CHINESE ART AND ARCHITECTURE
CHINESE GEOMANCY CHINESE
CHINESEGEOMANCY
ART AND ARCHITECTURE
• The dragon represents the Emperor while
• Nine is a lucky the phoenix represents the Empress
number in China.
The color yellow orr
red is reserved for
emperor or the
Imperial family.

MATERIALS CONSTRUCTION
CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
• using even number of columns in a building to produce odd
• Timber – principal material
• bamboo number of bays, with the inclusion of a main door to a building in
• pine the center bay, to maintain symmetry
• Persea nanmu: tallest and straightest of all
trees in China

• Bricks
roofs were covered with clay tiles, colored
and glazed with symbolic colors (black, red,
azure, white and yellow)

• limestone and sandstone

fit for use in thresholds, stairs, balusters,
engineering works
CONSTRUCTION
CHINESE ART AND ARCHITECTURE CONSTRUCTION
CHINESE ART AND ARCHITECTURE
• Flat roofs are uncommon while gabled roofs are almost omnipresent in traditional
Chinese architecture
• Use of large structural timbers for
primary support of the roof of a
building; wooden members, usually
large trimmed logs, are used as
load-bearing columns and lateral
beams for framing buildings and
supporting the roofs

CHINESE ART AND ARCHITECTU RE

ORGANIZATION OF SPACES AXIAL PLANNING
CHINESE ART AND ARCHITECTURE
The Jian
• symmetrical and orthogonal
• unit of spatial organization structuring of the plan and
elevation
• a rectangular room or space defined by
walls or columns which separate it from
• longitudinal axis considered to
adjoining rooms or spaces
be the major axis and the
• Chinese used the jian for many purposes: horizontal axis the minor
a ting (hall) could serve as a living space,
an office, a study, a Buddhist worshipping
hall, or even a throne hall
AXIAL PLANNING
CHINESE ART AND ARCHITECTURE ORIENTATION
CHINESE ART AND ARCHITECTURE
• Buildings – except for those designed for special requirements or
Central-building layout conditions – faced the south or a little to the east.
• composition based upon the
perpendicular axes, placed • Feng Shui (wind and water)
the main building at the
intersection of the two axes; - rooms facing east or west are usually minor rooms
the whole group was -according to Feng Shui, not only buildings faced south, but cities and
surrounded on all sides by tombs
minor halls, verandahs and -in Feng Shui, it was believed that a site should be surrounded on
other buildings three sides by higher land, to provide protection from inclement
Symmetrical along both longitudinal weather or an enemy
and horizontal axes

WOODEN
CHINESE CONSTRUCTION
ART AND ARCHITECTURE WOODEN
CHINESE CONSTRUCTION
ART AND ARCHITECTURE
Tai-Liang or Raised Beam
Construction
• DOUGONG - a unique structural
element of interlocking
• Beams are placed on wooden brackets, one of the
top of columns erected most important elements in
along the depth of a traditional Chinese architecture
building, shorter beams
are placed on top of
the struts on the lower
and longer beams
WOODEN
CHINESE CONSTRUCTION
ART AND ARCHITECTURE
DOUGONG (ᩯᣗ)
• System of brackets inserted
between the top of a column
and a crossbeam
• Appeared during the Western
Zhou dynasty (1027-770 BC)
CHINESE ART AND ARCHITECTURE
WOODEN
CONSTRUCTION
DOUGONG (ᩯᣗ)
WOODEN
CHINESE CONSTRUCTION
ART AND ARCHITECTURE
DOUGONG (ᩯᣗ)
• Each bracket formed of a
double bow-shaped arm
called “GONG” which supports
a block of wood called “DOU”
on each side.
CHINESE ART AND ARCHITECTURE
WOODEN
CONSTRUCTION
DOUGONG (ᩯᣗ)
 CHINESE ART AND ARCHITECTURE
RE
FUDIAN ROOF (HIP ROOF)
ARTICULATION OF • used only for important buildings
CLASSICAL CHINESE according to a regulation
instituted during the Yin Shang
ARCHITECTURE dynasty

• characterized by an inward curve

and upturned corners

REN ZI ROOF (Gable Roof)

CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
• REN in Chinese writing resembles the form of a gable end, so the gable roof was
CUAN JIAN ROOF (Conical Roof) called ‘Ren’

• used in less important buildings such as the house of the common people
• can be placed on top of almost
any compact symmetrical
building plan
COLUMN
CHINESE ART AND ARCHITECTURE TAIZI (Podium)
CHINESE ART AND ARCHITECTURE
• The pillars for palaces or temples were painted vermilion or red, and • Important buildings in China generally sit on a wide podium
those of houses where painted a chestnut color

THE FORBIDDEN CITY

CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE

BUILDING EXAMPLES HOUSE
• Traditional Dwellings • Represents a
• Imperial Palaces microcosm of
• Temples Chinese private life,
• Mausoleums also influenced by
• City Walls Confucian doctrine
• Pagodas
• Pailou (Paifang)
 CHINESE ART AND ARCHITECTURE

IMPERIAL PALACES CHINESE ART AND ARCHITECTURE

THE FORBIDDEN CITY

• Imperial Palace in Beijing,

known as Forbidden City,
located in the center of the
city of Beijing

• largest ancient palatial

architecture in the world is
now home to the Palace
Museum

THE FORBIDDEN CITY

CHINESE ART AND ARCHITECTURE

CHINESE ART AND ARCHITECTURE
THE FORBIDDEN CITY
DAQINGMEN
THE GATEWAY TO THE INNER CITY OF
BEIJING
• Emphasizes on symmetry, which connotes a sense of
grandeur.

• The style of the roof shows the power of the sovereign,

with the ridges engraved with the immortal or beasts
symbolizing stateliness.
CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
TIANANMEN DUANMEN
THE MAIN GATE TO THE IMPERIAL CITY THE GATE OF CORRECT DEMEANOUR

CHINESE ART AND ARCHITECTURE

WUMEN (MERIDIAN GATE)
THE MAIN ENTRANCE TO THE FORBIDDEN
CITY
OUTER
COURTS
CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
TAIHEDIAN ZHONGHEDIAN
(THE HALL OF SUPREME HARMONY) (THE HALL OF CENTRAL HARMONY)

CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE

BAOHEDIAN WENHUADIAN
(THE HALL OF PRESERVED HARMONY) (THE HALL OF LITERARY GLORY)
CHINESE ART AND ARCHITECTURE
WUYINGDIAN CHINESE ART AND ARCHITECTURE
(THE HALL OF MARTIAL VALOR)
WENHUADIAN
Served as a study for the Crown Prince.

WUYINGDIAN
A place for the Emperor to receive his ministers

CHINESE ART AND ARCHITECTURE

QIANQINGGONG
(THE PALACE OF CELESTIAL PURITY)

INNER
COURTS
CHINESE ART AND ARCHITECTURE
KUNNINGGONG CHINESE ART AND ARCHITECTURE
(THE PALACE OF TERRESTRIAL UNION)

QIANQINGGONG
& KUNNINGGONG
Contains the Emperor’s and Empress’s bedchambers.

CHINESE ART AND ARCHITECTURE

DONGLIUGONG
(THE SIX EASTERN JINGRENGONG
COURTYARDS) (PALACE OF GREAT BENEVOLENCE)

I. The palace of great benevolence

II. The palace of celestial favour
III. The palace of eternal harmony
IV. The palace of great brilliance
V. The palace of purity
VI. The palace of lasting happiness
CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
CHENGQIANGONG JINGYANGGONG
(PALACE OF CELESTIAL FAVOUR) (PALACE OF GREAT BRILLIANCE)

CHINESE ART AND ARCHITECTURE

YANXIGONG CHINESE ART AND ARCHITECTURE
(PALACE OF LASTING HAPPINESS)
JINGRENGONG
Residence for the emperor’s concubines

CHENGQIANGONG
Residence for high ranked imperial concubines in the Ming Dynasty

YONGHEGONG
Residence for imperial concubines in both Ming and Qing Dynasties
 Inner Court
(8) Hall of Heavenly Purity @
Four Main Entrances
Hall of Union and Peace @
CD Meridian Gate @ Tower of Enhanced Righteousness

® Gate of Divine Prowess @ Tower of S t a t e Benevolence Hall of Earthly Tranquility @

@ Hall of Military Prowess Imperial Garden
® West Flowery Gate
© East Flowery Gate @ Hall of Literary Glory @ Garden of Benevolent Peace
CHINESE ART AND ARCHITECTURE Outer Court
@ Palace of Benevolence Peace
JINGYANGGONG @ Gate of Supreme Harmony
@ Imperial Kitchen
© Hall of Superme Harmony
Residence for imperial concubines in the Ming Dynasty (j) Hall of Central Harmony
® Hall of Preserved Harmony

® Gate of Heavenly Pur it y

ZHONGCUIGONG
For imperial concubines and was the place where the crown prince
lived during the Ming Dynasty

YANXIGONG @ Southern Three Halls (Princes' Studies) @ Palace of Prolonged Happiness

@ Nine Dragon Screen Palace of Eternal Harmony
Contains an absurd-looking unfinished building in western style. @ Hall of Mental Cultivation
® Palace of Sunlight
Shufang Lodge
@ Hall of Honesty and Respect @ North Five Halls
@ Palace of Longev it y and Peace @ Palace of Great Benevolence @ Imperial Study
@ Hall of Braveness and Splendor
® Palace of Bearing Heaven ® Gate of Imperial Supremacy
@ Hall of Double Brilliance
® Palace of Gathering Essence ® Hall of Imperial Supremacy

@ Hall for Ancestry Worship @ Hall of Character Cultivation

CHINESE ART AND ARCHITECTURE

YINTAIDI CHINESE ART AND ARCHITECTURE
IV. RESIDENCE OF ORDINARY PEOPLE
NINGBO

• Ordinary people could not afford buildings as decent

as those of the wealthy or officials.

• The houses were very simple.

• Doors and windows were much smaller

 Gate into the Siheyuan
Siheyuan belonging to the wealthy
usually featuring an elaborate doorway
CHINESE ART AND ARCHITECTUREAbelonging to commoner.
ARCHITECTURAL TYPES

• IMPERIAL ARCHITECTURE

• RELIGIOUS ARCHITECTURE

• COMMONER ARCHITECTURE

IMPERIAL IMPERIAL
ARCHITECTURE ARCHITECTURE
PALACE (GONG) PAVILLION (TING)

• The Chinese word for "palace" is Gong
• The word Gong was reserved exclusively for
naming imperial and religious buildings.
• The temples of Taoist priests are generally called
Sanging gong (palace of triple purity).
• The Chinese pavilion (ting, which means
also a kiosk) is built normally either of
wood or stone or bamboo with any of
several shapes
• The wayside pavilion is called Liangting
(cooling kiosk) to provide weary wayfarers
with a place for rest.
 IMPERIAL
ARCHITECTURE
TERRACE (TAI)
• The Tai was an elevated
terrace with a flat top.
• could be an observatory,
watch towers, military
purposes or beacon (fire)
towers.
IMPERIAL
ARCHITECTURE
STOREYED PAVILION (GE)
• Ge has a door and windows only
on the front side with the other
three sides being solid walls
• Used in ancient times for the
storage of important articles and
documents
• The Ge is also used to describe
the towers which shelter the
colossal statues in great
monasteries.
IMPERIAL
ARCHITECTURE
STOREYED BUILDING (LOU)
• A Lou is a building of two or
more storeys with a
horizontal main ridge.
IMPERIAL
ARCHITECTURE
PAGODA (TA)
• A pagoda can also be seen as a symbol
for a monastery.
• The word "pagoda" derives from the
Sanskrit word bhagavat , "holy".
• Most pagodas contain relics of the
Buddha or at least a statue of the
Enlightened.
CHINESE ART AND ARCHITECTURE IMPERIAL
ARCHITECTURE
TEMPLES TEMPLE OF HEAVEN

• literally the Altar of Heaven

• a complex of religious
buildings situated in the
southeastern part of central
Beijing

TEMPLE OF HEAVEN

IMPERIAL CHINESE ART AND ARCHITECTURE

ARCHITECTURE
TEMPLE OF HEAVEN
MAUSOLEUMS
• complex visited by the
Emperors of the Ming and
Qing dynasties for annual
ceremonies of prayer to
Heaven for good harvest

• regarded as a Taoist temple,

although Chinese Heaven
worship, especially by the
reigning monarch of the
day, pre-dates Taoism
MAUSOLEUM OF QINSHIHUANG
 IMPERIAL IMPERIAL
ARCHITECTURE ARCHITECTURE
MAUSOLEUM OF MAUSOLEUM OF
QINSHIHUANG QINSHIHUANG
• Mausoleum of the First Qin • located in the southwest of
Emperor the inner city and faces east

• constructed over 38 years, • main tomb chamber housing

from 246 to 208 BC the coffin and burial artifacts
is the core of the architectural
• situated underneath a complex of the mausoleum
76-meter tall tomb mound

CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE

CITY WALLS CITY WALLS

XI'AN CITY WALL

XI'AN CITY WALL

 CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
CITY WALLS CITY WALLS

GREAT WALL OF CHINA

NANJING ANCIENT CITY WALL

CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE

CITY WALLS PAGODAS

GREAT WALL OF CHINA

QIYUN PAGODA
CHINESE ART AND ARCHITECTURE CHINESE ART AND ARCHITECTURE
PAGODAS PAILOU (PAIFANG)

REFERENCES
• A History of Architecture by Sir Banister Fletcher

• The Complete Handbook of Architecture by Patrick Nuttgens

with Richard Weston

• The Story of Architecture From Antiquity to the Present by Jan

Gympel

• Visual Dictionary of Architecture by Francis D. K. Ching

• Center for the Designed Environment Professions (CDEP)

 GEOGRAPHY

Japan consists of several thousands of islands, of which Honshu, Hokkaido, Kyushu

JAPAN ARCHITECTURE and Shikoku are the four largest. Japan's closest neighbors are Korea, Russia and
China. The Sea of Japan separates the Asian continent from the Japanese archipelago.
There are many volcanoes in Japan because the country lies in an area where several
continental plates meet.

GEOGRAPHY GEOLOGY

Japan lies in one of the most earthquake active regions of the world and this has had a
A positive side effect is a large number of hot springs. The most famous volcano is profound effect on building development. Practically the whole of Japan is rugged hill
Mt.Fuji, which is the highest point of Japan and one of the most beautiful country and some four-fifths of the entire area are covered by forest and wild vegetation.
mountains in the world. It can be seen from Tokyo when the weather is clear. The land however is one of great natural beauty.
 GEOGRAPHY GEOLOGY

http://socyberty.com/history/facts-on-japan-2/ http://ojisanjake.blogspot.com/2011/10 http://www.unframedworld.com/travel-photos/

•
Scattered plains and inter-montane basins (in which the population is

concentrated) cover only about 25%.

http://classes.uleth.ca/200701/idst2008a/notes/Geographical%20features%20of%20Japan(1).pdf

http://www.flickr.com/photos/ippei-janine/3071338220/ http://outdoorjapan.com/magazine/story_details/268

•
Long coastlines vary in characteristics - rocky shores of saw-toothed

coastline, sand hill shores, and coral reef shores

GEOLOGY GEOLOGY

http://www.treehugger.com/sustainable-product-design/wood-under-pressure.html

Wood CYPRESS
• Traditional structural materials came from coniferous trees such as cedar, pine, Resistant to moisture, strong, and has an attractive grain. Preferred wood for
cypress and fir. structural members such as posts, beams and flooring.
• Over 90% of the ancient Japanese islands were covered with forests.
 GEOLOGY GEOLOGY

Cedar (Sugi)
• Softer and damages easily but it has a more attractive grain and coloration. Deciduous TREES - oak and chestnut were used for furniture and fixtures.
• Cut easily, ideal for the construction of moveable interior partitions MULBERRY PAPER - sliding paper shoji that forms a "movable wall".
http://en.wikipedia.org/wiki/Tatami

GEOLOGY GEOLOGY

http://www.mca-tile.com/products_oriental.htm

STONE - mainly of volcanic origin:

Foundation work for posts and pillars or in polygonal form for the lower partition of
http://www.flickr.com/photos/peter_anthony/4108979102/
walling.
BAMBOO - wall lathing coated with a mixture of clay, sand and straw fibers, or with a • Granites and porphyries
variety of hydrated lime made of LIMESTONE or oyster SHELLS. • Lime and sandstone
Rice STRAW CLAY - used extensively, not only for the entire castle wall (core to final coating) but also
Tatami mat - floor covering for producing roof tiles.
 CLIMATE CLIMATE

Houses wherever faces south:

• Deeply projecting eaves to give protection against the sun
• High court yard walls screen the northern part from cold wind of winter
• Cherry Blossom

RELIGIOUS INFLUENCE RELIGIOUS INFLUENCE

http://www.nihonsun.com/2008/11/25/shinto-priests-at-meiji-jingu/

SHINTO, KAMI-NO-MICHI
• Indigenous religion which started around 660
BCE
• Way of the Gods (KAMI) with the sun as the most important god
• Mix of nature worship, fertility cults, divination techniques, hero worship (ancestors SUMO
and famous people), and shamanism Important ritual dance at the imperial court where a human is said to wrestle with a kami.
• DAY TO DAY LIFE
 RELIGIOUS INFLUENCE RELIGIOUS INFLUENCE

ZEN BUDDHISM
BUDDHISM- 6TH CENT A.D. • Observe the Buddhist's teachings in everyday life through the arts - poetry,
Pure Land Buddhism - follows Amida Buddha, considered as godly and of infinite good, painting, calligraphy, and garden design.
which focuses mainly on humility, devotion, and charitable work rather than personal • “One is supposed to be aware of emptiness in everything and its connections with
enlightenment. life.”
w.kcpstudentlife.com/fun/free-stuff-in-tokyo/

Tokyo
RELIGIOUS INFLUENCE HISTORY

http://www.artsales.com/ARTistory/Xavier/Xavier_1.html

Christianity - introduced in 1549 by St. Francis Xavier

 HISTORY HISTORY
Tomb Mound
Jomon Yayoi 300 CE- 710
10000-300 BCE 300BCE -300 CE (overlaps with later period)

Ancient Japan
Classical Japan
Buddhism was introduced Heian Nara Hakuh Asuka
Strong Japanese state and the Golden Age 794- 1185 710- 794 645- 710 538- 645
Reached the peak of Imperial Court
Feudal Japan
Transition of Medieval era
Warring period Kamakura Muromachi Momoya Edo Meiji
Military reunification under a single ruler 1185-1333 1333-1573 1573-1600 1600- 1868 1868-1912
Centralized in the hands of a hereditary shogunate that took control of religion
Empire of Japan
Political, economic, and cultural transformations as a state
Contact with the west

SOCIAL INFLUENCE SOCIAL INFLUENCE



A combination Confucianism, developed

mbination of Shinto and Confucianism ped a code of conduct or way of the
th
FEUDALISM warrior (SAMURAI) which is bravery and chivalry.


 ARCHITECTURE ARCHITECTURE

ARCHITECTURE ARCHITECTURE

Tateana jkyo
Pit Dwellings
Haichi jkyo
Flatland Dwellings
PREHISTORIC STRUCTURES Yoshinogari is a very large Yayoi site containing 2 smaller areas.
JMON (1000-300BCE) Reconstructed in 1986
 ARCHITECTURE ARCHITECTURE

Prehistoric Pit Structures

Ground-level Structure with Walls

ARCHITECTURE ARCHITECTURE

YOSHIMURA HOUSE
Habikino City, Osaka Prefecture
Mid – Edo Townhouse (former Kawakami family house) – oldest extant machiya
• Built in 1615,one of the oldest extant farmhouses.
in Toyama Prefecture.
• Built in the Yamtomune style with thatched roof and tiled extension.
 ARCHITECTURE ARCHITECTURE

YOSHIMURA HOUSE Takayuka shiki- dwellings elevated used mainly for storehouses used to protect rice,
Habikino City, Osaka Prefecture eventually developed into early Shinto shrine.

ARCHITECTURE ARCHITECTURE

NATURAL MATERIALS AND SETTINGS
1. Use of wood (cypress and cedar) – suitable for Japanese climate
2. Other materials – reeds, barks, and clay used for roofing
3. Stone for supporting pillars, surfacing building platforms and holding down board
roofs
• Wooden construction - interior wood columns receive the loads, while the thin exterior
walls are of woodwork and plaster.
• Framing is almost exclusively a system of uprights and horizontals.
• Refined curvatures in the column outlines, rafters and brackets, and especially in the
overhanging roofs.
 ARCHITECTURE ARCHITECTURE

Upper part of the roof is terminated by I’rimoya gable placed vertically above the end
Roofs bear a general resemblance to Chinese – simpler in treatment and more subtle and
walls while the lower part of the main roof is carried round the ends of the building in a
refined in outline
hipped form.

ARCHITECTURE ARCHITECTURE

ROOF COMPONENTS

• Unlike Chinese architecture, traditional Japanese architecture tends to be simple and

dignified.

• Japanese house roof typically has a shallow pitch without curves or garish
ornamentation.

• Clay roof tiles are often used in combination with copper roofs.
Roof coverings can be thatch, shingles or tiles and Roof Types
 ARCHITECTURE ARCHITECTURE

Roof coverings can be thatch, shingles or tiles and Roof Types ROOF TYPES AND STYLE

ARCHITECTURE ARCHITECTURE

1. Emphasis upon straight lines, asymmetry, simplicity of design and

Basic Tile Types: understatement
Hongwara buki – round tile fitting tightly over the seam between two slight curves • Pre-Buddhist Shinto shrines
pieces • Farmhouses
Sangawara buki – rounded and curved portions integrated for greater strength • Teahouses
 ARCHITECTURE ARCHITECTURE

3. Attention to detail:
2. Appreciation of exuberant colors and complexity of form in contrast to the A. Technology - Intricate joinery of a traditional building allowed it to be with
restrained tradition with its simplicity and asymmetry. assembled without nails and to be disassembled periodically for repairs.
B. Design features – interlocking eave supports of a Buddhist temple

ARCHITECTURE ARCHITECTURE

4. Creatively blending different influences into new style that express basic Creatively blending different influences into new style that express basic
Japanese values and aesthetic preferences. Japanese values and aesthetic preferences.
Influences which came from China and Korea from Europe and United States. Influences which came from China and Korea from Europe and United States.
 ARCHITECTURE ARCHITECTURE

KEN- UNIT OF MEASUREMENT

Zen
Shrine (Butsudan)

5.0 x 5.0
ken
across externally
3.0 x 3.0
ken
core (moya),
surrounded by a 1-ken
aisle
(hisashi)
5. Preserving the Past 6. Proportion for intervals between the pillars of traditional-style buildings -
• Regular renewal involves the custom, associated with early Shinto shrines of BAY.
periodically making a more or less exact copy of the building after which the • Traditional Buildings
original is torn down. 3.0 x 3.0 m or 5.0 x 5.0 m
• Recycled materials - lumber and tiles from buildings have collapsed, partially • Temple gate (Romon)
destroyed by fire or war or intentionally torn down. 5.0 x 2.0 m, 3.0 x 2.0 to 1.0 x 1.0

ARCHITECTURE ARCHITECTURE

OGIMACHI
A FARM VILLAGE
• Spread along the Shgawa river deep in the mountains of Gifu Prefecture.
• Gassh style houses (hands folded in prayer) - steeped thatched roof.
• Traditional domestic architecture which dates back to late Jomon period.
ARCHITECTURE ARCHITECTURE

ARCHITECTURE ARCHITECTURE

• Ogimachi, located on the steep mountains of Japan’s Chubu area receives some of the
heaviest snowfalls – up to 4 m. a year
• Large thatched roof help reduced the weight of the heavy snow.
 ARCHITECTURE ARCHITECTURE

MINKA MINKA
RURAL HOUSE RURAL HOUSE
Vary according to region. Vary according to region.

ARCHITECTURE ARCHITECTURE

There is no set design for garden gates and they can be made with a variety of materials
 ARCHITECTURE ARCHITECTURE

ARCHITECTURE ARCHITECTURE
• Chigi (Forked Finials)-
protecting barge
couples at the end of
the ridge

Katsuogi.(10) - shor t
circular billets placed at right
angles to the ridge

Hirairi style


• Shimmei style of Pre-Buddhist style.
• Raised rectangular structure 3 bays wide by 2 bays deep made
of hinoki (Japanese cypress or white cedar)
• Unpainted wood for beams and walls.
• Use of thatch for roof and exposed. Main Sanctuary at the Naiku
• Sacred posts stands in the middle. Ise Jingu Shrine
 ARCHITECTURE ARCHITECTURE

• Rebuilt for 61 times in 1993

• Rebuilt every 20 years and begun by Emperor Temmu in 685.
• Involved replacing 65 structures and around 1600 artifacts.
• Rebuilding program commences 12 years after the completion Naiku
which takes 8 years to complete. Ise Jingu Shrine

ARCHITECTURE ARCHITECTURE

• Accompanied by 32 rituals - cutting of trees

ARCHITECTURE ARCHITECTURE

Every 20 years the buildings at ISE are torn down and new ones are built
on an immediately adjacent site.


• site is purified and building materials renewed while preserving the original
design from the third and fourth centuries.
• new shrines, however identical with the old ones, are not considered a replica
of Ise, but are "Ise re-created."
• the recreation process reveals Shinto's understanding of nature which does
not make monuments, but "lives and dies, always renewed and reborn." Status and function

Differences in architectural styles provide a material expression of the differences
(William Alex, Japanese Architecture.) in ranks.
Contrast between architecture

• Elite - palaces and villas as well a shrines and temples patronized by rulers
• Common people - farmhouses and shop dwellings of merchants.

ARCHITECTURE ARCHITECTURE

Izumo Shrine
• Shimane Prefecture Other Religious Architecture
• Pre-Buddhist Shrine in Taisha
style
• Religious architecture of China came to Japan with the introduction of Buddhism in
• Situated on a high platform reach
the 6th c. by the Koreans (Asuka Period 538-645).
by steps
• Gateway, temple, and pagoda remained practically untouched until the 20th c., when
• Orginally 96 m. but was later
they were faithfully restored.
reduced to 48 m. and then to
• Buildings illustrate the first epoch of Japanese architecture (6th–8th c.),
24 m. - due to the tendency to
characterized by gravity, frankness of construction, and simple, vital compositions,
collapse.
sparsely ornamented.
ARCHITECTURE ARCHITECTURE

Consists of:

• Main Hall • Gate
• Lecture hall • Temple bells
Hryji Temple
• Pagoda • Cemetery Buddhist Temple South gate, pagoda and Main Hal

ARCHITECTURE ARCHITECTURE

Post and linter technique in which the eaves are cantilevered over the verandah by
brackets that rest on lintels.
Example: Main Hall of Todaiji in Nara Moya (central space) consists of an odd number of bays in width by two in depth
Surrounding the moya are areas one bay in width known as hisashi
ARCHITECTURE ARCHITECTURE

Pagoda (Butto)

Structure that evolved from the Indian stupa

LECTURE HALL Pagodas store remains of the Buddha such as a tooth, usually in form of a
Used for meetings and lectures and often also display objects of worship. representation.
Example: Lecture hall of Toji in Kyoto. Example: 3-storied pagoda of Kofukuji in Nara

ARCHITECTURE ARCHITECTURE

Evolution of the Temple Styles

Between the founding of the Sukadera Temple in 596 and the
inauguration of the Todaiki Temple in 752 there were several changes in
Buddhist architecture and layout:

Pagoda (Butto)

1. Increase in the size of main hall and pagoda

2. Pagoda was moved to a more peripheral location
 ARCHITECTURE ARCHITECTURE

• GATES (Mon)

• Mark the entrance to the temple grounds.

• Usually one main gate, and possibly several additional gates, along the temple's
3. Increase in the complexity of the roof bracketing system as roofs grew larger and main approach.
heavier • Example: Sanmon Gate of Kenchoji in Kamakura.

ARCHITECTURE ARCHITECTURE

• Temple Bell • Cemetery

• On New Year's Eve, temple bells are rung 108 times, corresponding to the • Most cemeteries in Japan are Buddhist and are located at a temple.
Buddhist concept of 108 worldly desires. • Japanese visit their ancestors' graves on many occasions during the year,
• Example: Great Bell of ain Kamakura. especially during the obon week, the equinoctial weeks and anniversaries.
 ARCHITECTURE
• TOJI (Eastern Temple)
• Founded as the city's guardian temple in the year 794, the same year in which
Kyoto became Japan's new capital.
• Toji is well known for its five storied pagoda, Japan's tallest with a height of 57
meters, and the Buddhist sculptures that are displayed in the temple's large
main hall (kondo) and lecture hall (kodo).
• Toji is one of Kyoto's many UNESCO world heritage sites.
ARCHITECTURE
Reconstruction of the original Nara Period Temple based on a model in the current
Main Hall , still the largest wooden building in the world under one roof
ARCHITECTURE
• Kofukuji Temple
• Used to be the family temple of the Fujiwara, the most powerful family clan during
the Nara and Heian Periods.
• Established in Nara at the same time as the capital in 710. At the height of
Fujiwara power, the temple consisted of over 150 buildings.
• The 5 storey pagoda is one of Japan's tallest and the symbol of Nara.
ARCHITECTURE
ARCHITECTURE ARCHITECTURE

Todaiji (Great Eastern Temple)

• One of Japan's most famous and historically significant temples and a landmark of
Nara.
• Constructed in 752 as the head temple of all provincial Buddhist temples of Japan
and grew so powerful that the capital was moved from Nara to Nagaoka in 784
in order to lower its influence on government affairs. Todaiji Temple

ARCHITECTURE ARCHITECTURE

POST- BUDDHIST SHINTO SHRINE Ujigami Shrine, Uji

Todaiji (Great Eastern Temple) Nagare style, most common type

Bell Tower, which houses a bell dating back to 752 Entrance is on the long side as in the Shimmei style but the roof is extended over the
Rebuilt in the Kamakura period steps to provide shelter for worshippers.
ARCHITECTURE ARCHITECTURE

POST- BUDDHIST SHINTO SHRINE

Kasuga style, 2nd most common type Kashihara Jing, an example of state Shinto architecture with buildings covered
Entrance is on the end and a separate roo covers the steps. corridors and large graveled areas reminiscent of Imperial Palace in Kyoto

ARCHITECTURE ARCHITECTURE

TORII
SHINTO GATE (where
the birds are)

• Gate without doors - entrance to a Shinto shrine precinct.

• Provide a dividing line between the exterior world and interior sacred space of the
kami.
• Wood, stone or metal and sometimes painted red.
 ARCHITECTURE ARCHITECTURE

‘Floating' Torii (temple gate) An

avenue of contiguous torii
(ceremonial orange gates) at the
Fushimi Inari shrine in Kyoto.
‘Floating' Torii (temple gate) on Miyajima Island, near Hiroshima.

ARCHITECTURE ARCHITECTURE

Heian Period (794-1185) began when the capital was moved from Heijky
(Nara) to Heianky (present day Kyoto)
Kyoto had all the requirement according to the Chinese principles of geomancy
for a paradise on earth :
Temple and shrine gates - 1. River (Kamogawa river) on the east (Home of the Seiryu, dragon god), for
Indicated by the size and complexity providing pure drinking water
2. Road (Sanyd road) on the west (home of Byakko, white tiger god) for bring
in food
3. Body of water (Ogura Pond) to the south (Home of Suzaki, vermillion phoenix)
Single storey gate god) to provide unobstructed access to sunshine
Karamon with curved Chinese style roof and ornate decorations. 4. Mountain (Mount Funaoka) to the north (home of Genbu, snake god curled
around a turtle) for protection.
ARCHITECTURE ARCHITECTURE

EDO PERIOD (1615–1867) - two particularly palaces were erected in and near
Kyoto, both constructed on an asymmetrical and flexible plan.
PALACES AND CASTLES 1. Nijo palace - noted for carved wood, black lacquer, gold decorations, and
• Important development of the late 16th c. arose as a result of feudal warfare. screen paintings.
• Fortified castles, of which one still exists at Himeji, were based on the European 2. Katsura palace - simple and elegant and its merging of outdoor and indoor
donjon and were erected on high bases formed of enormous stone blocks. spaces.

ARCHITECTURE ARCHITECTURE

• Principal style of Japanese dwelling of the upper class - refined and simple.
• Interior posts form a supporting skeleton for the roof.
• The exterior walls usually consist of movable panels that slide in grooves.
• Wood panels (used at night or in rainy weather) alternate with screens of mounted
rice paper (used in warm weather).

• Interior of the house is flexibly subdivided by screens (shoji) into a series of airy
spaces.
• Important rooms are provided with a tokonoma, an alcove for the display of a
flower arrangement and a few carefully chosen objects of art.
 ARCHITECTURE ARCHITECTURE

A traditional Japanese interior features a multitude of partially-screened,

geometrically-arranged rooms with sliding doors that can be opened to create large
spaces or closed to create private rooms. The translucent paper walls between the
rooms allowed people to see shadows in the next rooms but not clearly see what was
making the shadows.

ARCHITECTURE ARCHITECTURE

CASTLES
• Constant warfare during the
decentralized feudalism.
• Symbolize power of the lord and
provide luxurious living quarters
for living and entertaining.
• Reached its height in the
Momoyama Period (1573-1600).
 ARCHITECTURE ARCHITECTURE

TYPES OF CASTLES:


2. Flatland Mountain
Castles (Hirayamajiro)
Built on a hill or high plateau
in the middle of a lord’s
domain with residences.
TYPES OF CASTLES: Require special fortification


such as stone walls, moats
1. Mountain Top castles and earthworks
(Yamashiro)

Examples:
Protected by the rough
Hikone Castle in Shiga Prefecture (1606)
terrain as well as the Himeiji Castle in Hyogo Prefecture (1609)
Inuyama Castle in Aichi Prefecture (1601,
reluctance of Japanese to expanded in 1620)
Hirosaki Castle in Aomori Prefecture
attack the habitat of spirits (rebuilt in 1810)
associated with nature. Kumamoto Castle in Kumamota Prefecture,
Kyushu

ARCHITECTURE ARCHITECTURE

TYPES OF CASTLES:


3.Flatland Castles (Hirajiro)
Erected on plains where surrounding
castle towns could be built to serve as
administrative centers.
Examples:
Matsumoto Castle n Nagano Prefecture


4. Water Castles (Mizushiro) DECLINE OF CASTLE CULTURE
Jut out into a body of water
Examples:
Azuchi Castle, built around Lake Biwa by Oda • Edo Period with the consolidation of power under the Tokugawe shogunate
Nobunaga in 1579. • They continued to exist to serve as symbols of authority rather than as defensive

structures.

• Each province should only have one castel to serve as locus of power for the local

warlord (daimyo)
ARCHITECTURE ARCHITECTURE

OSAKA CASTLE
• Built by Hideyoshi in 1583 on the ruins of
Ishiyama Honganji headquarters of the
Ikko sec of Jodo Shinshu Buddhism.
• Burned in battle, damaged in war and
HIMEJI CASTLE restored
• Largest stone used in the wasll is over 59
Situated on a hill, steep at the back and sloping toward the
surrounding plain in front. sq. m. and weighs 130 tons.
• 70-90 m. wide moats and 20 m. high walls .

ARCHITECTURE ARCHITECTURE

Loopholes, stonedrops and arrowports in the outer walls and walls of the donjon
allowed a variety of missiles to be directed at the enemy.
ARCHITECTURE ARCHITECTURE

Noh Stage, Nara

Combines acting, a chorus and orchestra used by shrines and temples to
explain religious concepts to common people.

ARCHITECTURE ARCHITECTURE

Kabuki Theater
Bunaraku Stage
Actors with painted faces and extravagant costumes perform traditional stories
Telling stories with puppets and music
to the accompaniment of chanting and shamisen music.
Raised platform is called Yuka
Woodblock print by Okumura Masanobu
ARCHITECTURE ARCHITECTURE

Sumo Ring
covered with Shinto Roof suspended by 22 mm. thick cable from ceiling of the
large stadium

ARCHITECTURE

References:


• De la Croix, Horst and Richard Tansey. Gardner’s Art Through the Ages.
Ancient, Medieval and Non-European Art. 7th ed. Harcourt Brace Jovanovich,
Inc. USA. 1976.
• Goepper, Roger. Landmarks of the World’s Art. The Oriental World. Mc. Graw-
Hill Book Company, New Yorkl – Toronto. 1967.
• Harris, Cyril M. Historic Architecture Sourcebook. Mac Graw Hil, Inc. USA.
1977.
• Kazuo, Nishi, and Hozumi Kazuo. What is Japanese Architecture? Kodansha
International Ltd., and Shokokusha Publishing Co., Ltd. 1985. Japan
• Palmes, J.C. Sir Banister Fletcher’s A History of Architecture. 18th ed.The
Athlone Press, University of London. London


Other Sources:
• Pictures and data from Internet Sources
 *HRJUDSK\
• /ŶĚŽŶĞƐŝĂŝƐƚŚĞůĂƌŐĞƐƚĐŽƵŶƚƌLJŝŶ^ŽƵƚŚĂƐƚƐŝĂ͘/ƚŝƐŵĂĚĞƵƉ
ŽĨŽǀĞƌϭϴ͕ϬϬϬнŝƐůĂŶĚƐ
• dŚĞŝƐůĂŶĚƐƐƉƌĞĂĚďĞƚǁĞĞŶƚŚĞ/ŶĚŝĂŶĂŶĚWĂĐŝĨŝĐŽĐĞĂŶƐ
ůŝŶŬŝŶŐ ƚŚĞ ĐŽŶƚŝŶĞŶƚ ŽĨ ƐŝĂ ĂŶĚ ƵƐƚƌĂůŝĂ
ůŝŶŬŝŶŐƚŚĞĐŽŶƚŝŶĞŶƚŽĨƐŝĂĂŶĚƵƐƚƌĂůŝĂ
• ϱŵĂũŽƌŝƐůĂŶĚƐ;^ƵŵĂƚƌĂ͕:ĂǀĂ͕<ĂůŝŵĂŶƚĂŶ͕^ƵůĂǁĞƐŝ͕/ƌŝĂŶ
:ĂLJĂͿ͕ĂŶĚϯϬƐŵĂůůĞƌŐƌŽƵƉƐ
• ϴϭйŽĨ/ŶĚŽŶĞƐŝĂĐŽŶƐŝƐƚŽĨƐĞĂ
• >ĂŶĚĐŽŶƐŝƐƚŵŽƐƚůLJŽĨƌŝĐŚƚƌŽƉŝĐĂůƌĂŝŶĨŽƌĞƐƚĂŶĚĨĞƌƚŝůŝƚLJŽĨƐŽŝů
ĞŶƌŝĐŚĞĚďLJǀŽůĐĂŶŝĐĞƌƵƉƚŝŽŶƐ͕ĞŐ͘:ĂǀĂ͘

*HRJUDSK\²² ,QIOXHQFHWR$UFKLWHFWXUH
*HRJUDSK\ *HRJUDSK\²² ,QIOXHQFHWR$UFKLWHFWXUH
*HRJUDSK\
• ƵŝůĚŝŶŐŚŽƵƐĞƐŽĨĨƚŚĞŐƌŽƵŶĚĂůůŽǁƐďƌĞĞnjĞƐƚŽŵŽĚĞƌĂƚĞ • /ŶŚŽƚĂŶĚŚƵŵŝĚůŽǁͲůLJŝŶŐ
ƚŚĞŚŽƚƚƌŽƉŝĐĂůƚĞŵƉĞƌĂƚƵƌĞƐ͖ŝƚĞůĞǀĂƚĞƐƚŚĞĚǁĞůůŝŶŐ ĐŽĂƐƚĂůƌĞŐŝŽŶƐ͕ŚŽŵĞƐĐĂŶŚĂǀĞ
ĂďŽǀĞƐƚŽƌŵǁĂƚĞƌƌƵŶŽĨĨĂŶĚŵƵĚ͖ŝƚĂůůŽǁƐŚŽƵƐĞƐƚŽďĞ ŵĂŶLJǁŝŶĚŽǁƐƉƌŽǀŝĚŝŶŐŐŽŽĚ
ďƵŝůƚŽŶƌŝǀĞƌƐĂŶĚǁĞƚůĂŶĚŵĂƌŐŝŶƐ͖ŝƚŬĞĞƉƐƉĞŽƉůĞ͕ŐŽŽĚƐ ĐƌŽƐƐͲǀĞŶƚŝůĂƚŝŽŶ͕ǁŚĞƌĞĂƐŝŶ
ĂŶĚĨŽŽĚĨƌŽŵĚĂŵƉŶĞƐƐĂŶĚŵŽŝƐƚƵƌĞ͖ůŝĨƚƐůŝǀŝŶŐƋƵĂƌƚĞƌƐ
ĚĨ ĚĨ Ě Ě ŝƚ ůŝĨƚ ůŝ ŝ ƚ ĐŽŽůĞƌ ŵŽƵŶƚĂŝŶŽƵƐ ŝŶƚĞƌŝŽƌ
ĐŽŽůĞƌŵŽƵŶƚĂŝŶŽƵƐŝŶƚĞƌŝŽƌ
ĂƌĞĂƐ͕ŚŽŵĞƐŽĨƚĞŶŚĂǀĞĂǀĂƐƚ
ĂďŽǀĞŵĂůĂƌŝĂͲĐĂƌƌLJŝŶŐŵŽƐƋƵŝƚŽƐ͖ĂŶĚƌĞĚƵĐĞƐƚŚĞƌŝƐŬŽĨ
ƌŽŽĨĂŶĚĨĞǁǁŝŶĚŽǁƐ͘
ĚƌLJƌŽƚĂŶĚƚĞƌŵŝƚĞƐ͘ dƌĂĚŝƚŝŽŶĂůďƵŝůĚŝŶŐƐŝŶ/ŶĚŽŶĞƐŝĂ
• dŚĞƐŚĂƌƉůLJŝŶĐůŝŶĞĚƌŽŽĨĂůůŽǁƐƚŚĞŚĞĂǀLJƚƌŽƉŝĐĂůƌĂŝŶƚŽ ĂƌĞďƵŝůƚŽŶƐƚŝůƚƐǁŝƚŚŽǀĞƌƐŝnjĞĚ
ƋƵŝĐŬůLJƐŚĞĞƚŽĨĨ͕ĂŶĚůĂƌŐĞŽǀĞƌŚĂŶŐŝŶŐĞĂǀĞƐŬĞĞƉǁĂƚĞƌ ƐĂĚĚůĞƌŽŽĨƐǁŚŝĐŚŚĂǀĞďĞĞŶƚŚĞ
ŽƵƚŽĨƚŚĞŚŽƵƐĞĂŶĚƉƌŽǀŝĚĞƐŚĂĚĞŝŶƚŚĞŚĞĂƚ͘ ŚŽŵĞŽĨƚŚĞĂƚĂŬ ĂŶĚƚŚĞdŽƌĂũĂ͘
6XPPDU\RI.LQJGRPV
• ^ƌŝǀŝũĂLJĂ͕ϳͲϭϯƚŚ ĞŶƚƵƌLJ͕:ĂǀĂ͕^ƵŵĂƚƌĂΘDĂůĂLJ
WĞŶŝŶƐƵůĂ͘
• ^ĂŝůĞŶĚƌĂƐ͕ϴʹ ϵƚŚ ĞŶƚƵƌLJ͕ĞŶƚƌĂů:ĂǀĂ͘
• DĂƚĂƌĂŵ͕ϴϯϮʹ ϭϬϰϮ͕ĞŶƚƌĂů:ĂǀĂ͘
• :ĂŶŐŐĂůĂ͕ϭϬϰϮʹ ϭϮϮϮ͕ĞŶƚƌĂů:ĂǀĂ͘
• <ĞĚŝƌŝ͕ϭϬϰϮʹ ϭϮϮϮ͕ĞŶƚƌĂů:ĂǀĂ͘
• ^ŝŶŐŚĂƐĂƌŝ͕ϭϮϮϮʹ ϭϮϵϮ͕:ĂǀĂ͕^ƵŵĂƚƌĂΘ^ƚƌĂŝƚƐ͘
• DĂũĂƉĂŚŝƚ͕ϭϮϵϮʹ ϭϰϬϮ͕dŚĞtŚŽůĞdŚŝŶŐ͘
6XPPDU\+LVWRULFDO7LPHOLQH
• 7UHDW\RI7RUGHVLOODV GLYLGHGWKHQRQ(XURSHDQZRUOG
EHWZHHQ6SDLQ 3RUWXJDO
• 3RUWXJXHVHFRQTXHU0HODND IRUPHUO\0DODFFD WKH
JUHDW0DOD\WUDGLQJSRUWRQWKH6WUDLWVRI0HODND3RUWXJXHVH
J \ JS J
SRVWVDOVRHVWDEOLVKHGLQWKH6SLFH,VODQGVRI(DVWHUQ,QGRQHVLD
• 6SDLQXQGHU)HUGLQDQG ,VDEHOODVSRQVRUHG
0DJHOODQöVYR\DJH+HUHDFKHGWKH3KLOLSSLQHV (DVW
,QGRQHVLD

6XPPDU\+LVWRULFDO7LPHOLQH 6XPPDU\+LVWRULFDO7LPHOLQH
• 6SDQLVKHVWDEOLVKHGVHWWOHPHQWLQWKH3KLOLSSLQHV • 7KH %ULWLVKFRQVROLGDWHWKHLUøVSKHUHRILQIOXHQFHùLQWKH0DOD\
%ULWLVK
3HQLQVXOD %ULWLVK0DOD\D  %XUPD XVHPLJUDQWODERXU
• 6SDQLVKFDSWXUHRI0DQLODó WKH\GHFLGHGWRVWD\LQWKH
3KLOLSSLQHV &KLQHVH ,QGLDQVLQ0DOD\D ,QGLDQVLQ%XUPD WRGHYHORS
WKHH[SRUWHFRQRP\
• %\WKFHQWXU\WKH6WDWHVXSSRUWHG'XWFK(DVW,QGLD
&RPSDQ\ 92& EHFDPHWKHGRPLQDQW(XURSHDQSRZHULQ
E K G • WKH)UHQFK
WK ))UHQFKHVWDEOLVKFRQWUROLQ9LHWQDP&DPERGLD
)UHQFKK W EOL K W O L 9L W & E GL /DRV /
6RXWKHDVW$VLD͘ • )UHQFK,QGRFKLQD 
• WKFHQWXU\ZHDNHQLQJRI92&SRZHU GHIHDWE\WKH • WKH'XWFK
'XWFKH[WHQGWKHLUFRQWURORYHU,QGRQHVLD
'XWFK WKH1HWKHUODQGV
(QJOLVKLQWKH$QJOR'XWFK:DU (DVW,QGLHV 
• (QJOLVKJDLQHGPRUHWHUULWRULDOSRZHULQ,QGLDVXUSDVVHG
• LQWKH$PHULFDQV
$PHULFDQV øERXJKWùWKH3KLOLSSLQHVIURP6SDLQ
'XWFKLQFDUWRJUDSK\ PDULWLPHWHFKQRORJ\ LQWKH
SURILWDEOHWUDGHEHWZHHQ,QGLDDQG&KLQD IROORZLQJWKH6SDQLVK$PHULFDQ:DU
3HRSOH 3HRSOH
• /ŶĚŽŶĞƐŝĂŚĂƐĂƉŽƉƵůĂƚŝŽŶŽĨĂďŽƵƚ
ϮϭϲŵŝůůŝŽŶƐƉĞŽƉůĞ
;ϰƚŚŵŽƐƚƉŽƉƵůŽƵƐŶĂƚŝŽŶŝŶƚŚĞǁŽƌůĚͿ >E'h'
• ϱϬϬůĂŶŐƵĂŐĞƐĂŶĚĚŝĂůĞĐƚƐ
• ƚŚŶŝĐŐƌŽƵƉƐ͗:ĂǀĂŶĞƐĞϰϱй͕^ƵŶĚĂŶĞƐĞ
ϭϱй͕KƚŚĞƌƐϰϬй;ŝŶĐůƵĚŝŶŐŚŝŶĞƐĞ • dŚĞ/ŶĚŽŶĞƐŝĂ͛ƐŽĨĨŝĐŝĂůůĂŶŐƵĂŐĞ
/ Ě
/ŶĚŽŶĞƐŝĂŶĂƌŽƵŶĚϱйͿ:ĂǀĂŶĞƐĞ
ŝ Ě ϱйͿ : ʹ ůĂƌŐĞƐƚʹ
ů ƚ ŝƐ ΗĂŚĂƐĂ
ŝƐ ĂŚĂƐĂ /ŶĚŽŶĞƐŝĂ
/ŶĚŽŶĞƐŝĂ͟
ĂŶĚƉŽůŝƚŝĐĂůůLJĚŽŵŝŶĂŶƚʹ ĞƚŚŶŝĐŐƌŽƵƉ • ĂŚĂƐĂ /ŶĚŽŶĞƐŝĂŝŶĐŽƌƉŽƌĂƚĞƐ
• ZĞůŝŐŝŽŶ͗ ƐĞĚŝŬŝƚ ƵƚĐŚ͕ŚŝŶĞƐĞ͕^ĂŶƐŬƌŝƚ͕
– WƌĞĚŽŵŝŶĂŶƚůLJ/ƐůĂŵ͕ϴϳй ƌĂďŝĐĂŶĚWŽƌƚƵŐĞƐĞ͘
– ŚƌŝƐƚŝĂŶƐŵĂŝŶůLJŝŶ^ƵŵĂƚƌĂĂƚĂŬƐ͕
^ƵůĂǁĞƐŝdŽƌĂŬƐ ĂŶĚŝŶ&ůŽƌĞƐ͕
– ,ŝŶĚƵĂŶĚƵĚĚŚŝƐŵ͘

5HOLJLRQ
• dŚĞĨŝƌƐƚƉƌŝŶĐŝƉůĞŽĨ/ŶĚŽŶĞƐŝĂΖƐƉŚŝůŽƐŽƉŚŝĐĂůĨŽƵŶĚĂƚŝŽŶ͕
WĂŶĐĂƐŝůĂ͕ŝƐΗďĞůŝĞĨŝŶƚŚĞŽŶĞĂŶĚŽŶůLJ'ŽĚΗ͘
• ŶƵŵďĞƌŽĨĚŝĨĨĞƌĞŶƚƌĞůŝŐŝŽŶƐĂƌĞƉƌĂĐƚŝĐĞĚŝŶƚŚĞ
ĐŽƵŶƚƌLJ͕ĂŶĚƚŚĞŝƌĐŽůůĞĐƚŝǀĞŝŶĨůƵĞŶĐĞŽŶƚŚĞĐŽƵŶƚƌLJΖƐ
ƉŽůŝƚŝĐĂů͕ĞĐŽŶŽŵŝĐĂŶĚĐƵůƚƵƌĂůůŝĨĞŝƐƐŝŐŶŝĨŝĐĂŶƚ͘
• dŚĞ/ŶĚŽŶĞƐŝĂŶŽŶƐƚŝƚƵƚŝŽŶŐƵĂƌĂŶƚĞĞƐĨƌĞĞĚŽŵŽĨ
ƌĞůŝŐŝŽŶ͘
5HOLJLRQ
• dŚĞŐŽǀĞƌŶŵĞŶƚŽŶůLJƌĞĐŽŐŶŝnjĞƐƐŝdžŽĨĨŝĐŝĂůƌĞůŝŐŝŽŶƐ
;/ƐůĂŵ͕WƌŽƚĞƐƚĂŶƚŝƐŵ͕ĂƚŚŽůŝĐŝƐŵ͕,ŝŶĚƵŝƐŵ͕ƵĚĚŚŝƐŵ
ĂŶĚŽŶĨƵĐŝĂŶŝƐŵͿ͘
• /ŶĚŽŶĞƐŝĂŶůĂǁƌĞƋƵŝƌĞƐƚŚĂƚĞǀĞƌLJ/ŶĚŽŶĞƐŝĂŶĐŝƚŝnjĞŶŚŽůĚ
ĂŶŝĚĞŶƚŝƚLJĐĂƌĚƚŚĂƚŝĚĞŶƚŝĨŝĞƐƚŚĂƚƉĞƌƐŽŶǁŝƚŚŽŶĞŽĨ
ƚŚĞƐĞƐŝdžƌĞůŝŐŝŽŶƐ͕ĂůƚŚŽƵŐŚĐŝƚŝnjĞŶƐŵĂLJďĞĂďůĞƚŽůĞĂǀĞ
ƚŚĂƚƐĞĐƚŝŽŶďůĂŶŬ͘
• ŐŶŽƐƚŝĐŝƐŵΘƚŚĞŝƐŵ͕ĂŶĚďůĂƐƉŚĞŵLJŝƐŝůůĞŐĂů͘

5HOLJLRQ²
5HOLJLRQ² ,QIOXHQFHLQ$UFKLWHFWXUH /LIHVW\OH
• ƌĐŚŝƚĞĐƚƵƌĞŝŶ/ŶĚŽŶĞƐŝĂĨŽĐƵƐĞƐŽŶĚĞĨŝŶŝŶŐƚĞƌŵƐƚŚĂƚ t,d/EKE^/Ed͍
ƌĞůĂƚĞƚŽƚŚĞŝƌƌĞůŝŐŝŽŶƐƐƵĐŚĂƐ͖/ƐůĂŵ͕ƵĚĚŚŝƐƚ͕ĞĂƌůLJ • DŽƐƚ/ŶĚŽŶĞƐŝĂŶĞĂƚƌŝĐĞĂƐƚŚĞŵĂŝŶĚŝƐŚĨŽƌďƌĞĂŬĨĂƐƚ͕ůƵŶĐŚ͕ĂŶĚ
ĚŝŶŶĞƌ͘/ŶĨĂĐƚƐŽŵĞ/ŶĚŽŶĞƐŝĂŶƐĨĞĞůƚŚĞLJĚŽŶΖƚĞĂƚĂŵĞĂůƵŶůĞƐƐŝƚ
/ŶĚŽŶĞƐŝĂ,ŝŶĚƵ͕ĂŶĚĂůŝŶĞƐĞ,ŝŶĚƵ͘ ŝƐƌŝĐĞ
• dŚ
dŚĞLJŵĂŬĞƌĞƉƌĞƐĞŶƚĂƚŝŽŶƐŽĨƌĞůŝŐŝŽƵƐƐĐƵůƉƚƵƌĞƐ͕ĐĂƌǀŝŶŐƐ͕
Ŭ ƚ ƚŝ Ĩ ůŝ ŝ ů ƚ ŝ • ĂĐŚĂƌĞĂŝŶ/ŶĚŽŶĞƐŝĂŚĂƐŝƚƐŽǁŶƚƌĂĚŝƚŝŽŶĂůĨŽŽĚĂŶĚĐƵƐƚŽŵ͗
ĂŶĚƚĞŵƉůĞƐ͘ – ^ƵŶĚĂŶĞƐĞůŝŬĞƐƚŽĞĂƚĨƌĞƐŚǀĞŐĞƚĂďůĞƐĂŶĚƐĂŵďĂů͘dŚĞLJůŝŬĞƚŽ
ĚƌŝŶŬƚĞĂǁŝƚŚŽƵƚƐƵŐĂƌ
• ƌĐŚŝƚĞĐƚƵƌĂůŚĞƌŝƚĂŐĞŝŶĨůƵĞŶĐĞƐďLJƌĞůŝŐŝŽƵƐĂƌĞĐŽŵŵŽŶůLJ – :ĂǀĂŶĞƐĞůŝŬĞƐƚŽĞĂƚƐǁĞĞƚ͘dĞĂǁŝůůďĞƐǁĞĞƚ
ĨŽƵŶĚŝŶ:ĂǀĂ͘ – WĂĚĂŶŐ;tĞƐƚ^ƵŵĂƚƌĂͿůŝŬĞƐƚŽĞĂƚŚŽƚͬƐƉŝĐLJĨŽŽĚ
– ŚŝŶĞƐĞͲŝŶĨůƵĞŶĐĞĚĐƵŝƐŝŶĞ͘
/LIHVW\OH >/&^dz> 3ROLWLFDO 6HWWLQJ
dZE^WKZdd/KE
• dƌĂŝŶƐ
– ĐŽŶŶĞĐƚďŝŐĐŝƚŝĞƐ
• ƵƐĞƐ
– ƚŚĞŵĂŝŶƚƌĂŶƐƉŽƌƚďĞƚǁĞĞŶĐŝƚŝĞƐ
– ŝƚŝƐĐŚĞĂƉĞƌƚŚĂŶƚƌĂŝŶƐ
• dĂdžŝƐ
– ŽŶůLJĐŽŵŵŽŶŝŶďŝŐĐŝƚŝĞƐ͕ĞƐƉĞĐŝĂůůLJ:ĂŬĂƌƚĂ
– dĂdžŝƐĂƌĞƐƵƉƉŽƐĞƚŽƵƐĞŵĞƚĞƌ͖ŚŽǁĞǀĞƌƐŽŵĞƚĂdžŝƐƌĞĨƵƐĞĚƚŽ
ƵƐĞŵĞƚĞƌĂŶĚĂƐŬĨŽƌĂĐĞƌƚĂŝŶĂŵŽƵŶƚ͘
3ROLWLFDO 6HWWLQJ $UFKLWHFWXUHLQ, 1'21(6,$
• ZĞĨůĞĐƚƐƚŚĞĚŝǀĞƌƐŝƚLJŽĨĐƵůƚƵƌĂů͕ŚŝƐƚŽƌŝĐĂůĂŶĚŐĞŽŐƌĂƉŚŝĐ
• :ĂŬĂƌƚĂ ŝƐƚŚĞĐĂƉŝƚĂů ŝŶĨůƵĞŶĐĞƐƚŚĂƚŚĂǀĞƐŚĂƉĞĚ/ŶĚŽŶĞƐŝĂĂƐĂǁŚŽůĞ͘
• ƌĞƉƵďůŝĐǁŝƚŚĂŶ • /ŶǀĂĚĞƌƐ͕ĐŽůŽŶŝnjĞƌƐ͕ŵŝƐƐŝŽŶĂƌŝĞƐ͕ŵĞƌĐŚĂŶƚƐĂŶĚƚƌĂĚĞƌƐ
ĞůĞĐƚĞĚƉƌĞƐŝĚĞŶƚ ďƌŽƵŐŚƚĐƵůƚƵƌĂůĐŚĂŶŐĞƐƚŚĂƚŚĂĚĂƉƌŽĨŽƵŶĚĞĨĨĞĐƚŽŶ
• /ŶĚĞƉĞŶĚĞŶĐĞĂLJ͗ϭϳ ďƵŝůĚŝŶŐ ƐƚLJůĞƐ ĂŶĚ ƚĞĐŚŶŝƋƵĞƐ
ďƵŝůĚŝŶŐƐƚLJůĞƐĂŶĚƚĞĐŚŶŝƋƵĞƐ͘
ƵŐƵƐƚϭϵϰϱ • dƌĂĚŝƚŝŽŶĂůůLJ͕ƚŚĞŵŽƐƚƐŝŐŶŝĨŝĐĂŶƚĨŽƌĞŝŐŶŝŶĨůƵĞŶĐĞŚĂƐ
• ƵƌƌĞŶƚWƌĞƐŝĚĞŶƚ͗:ŽŬŽ
:ŽŬŽ ďĞĞŶ/ŶĚŝĂŶ͘
tŝĚŽĚŽ • ,ŽǁĞǀĞƌ͕ŚŝŶĞƐĞ͕ƌĂďͶ ĂŶĚƐŝŶĐĞƚŚĞϭϴƚŚĂŶĚϭϵƚŚ
ĐĞŶƚƵƌŝĞƐͶƵƌŽƉĞĂŶŝŶĨůƵĞŶĐĞƐŚĂǀĞƉůĂLJĞĚƐŝŐŶŝĨŝĐĂŶƚ
ƌŽůĞƐƚŽŽŝŶƐŚĂƉŝŶŐ/ŶĚŽŶĞƐŝĂŶĂƌĐŚŝƚĞĐƚƵƌĞ͘

0DWHULDOV &OLPDWH
• dŚĞĐůŝŵĂƚĞŽĨ/ŶĚŽŶĞƐŝĂŝƐĂůŵŽƐƚĞŶƚŝƌĞůLJƚƌŽƉŝĐĂů͘
FRPPRQO\ • dĞŵƉĞƌĂƚƵƌĞǀĂƌŝĞƐůŝƚƚůĞĨƌŽŵƐĞĂƐŽŶƚŽƐĞĂƐŽŶ͕ĂŶĚ
/ŶĚŽŶĞƐŝĂĞdžƉĞƌŝĞŶĐĞƐƌĞůĂƚŝǀĞůLJůŝƚƚůĞĐŚĂŶŐĞŝŶƚŚĞůĞŶŐƚŚ
XVHG ŽĨĚĂLJůŝŐŚƚŚŽƵƌƐĨƌŽŵŽŶĞƐĞĂƐŽŶƚŽƚŚĞŶĞdžƚ͘
• ƚŚĞĚŝĨĨĞƌĞŶĐĞďĞƚǁĞĞŶƚŚĞůŽŶŐĞƐƚĚĂLJĂŶĚƚŚĞƐŚŽƌƚĞƐƚ
ĚĂLJŽĨƚŚĞLJĞĂƌŝƐŽŶůLJĨŽƌƚLJͲĞŝŐŚƚŵŝŶƵƚĞƐ͘dŚŝƐĂůůŽǁƐ
ĐƌŽƉƐƚŽďĞŐƌŽǁŶĂůůLJĞĂƌƌŽƵŶĚ͘
&OLPDWH²² ,QIOXHQFH WR$UFKLWHFWXUH
&OLPDWH
• ZŽǁŚŽƵƐĞƐ͕ĐĂŶĂůƐĂŶĚĞŶĐůŽƐĞĚ
ƐŽůŝĚǁĂůůƐͲ ĨŝƌƐƚƚŚŽƵŐŚƚĂƐ
ƉƌŽƚĞĐƚŝŽŶĂŐĂŝŶƐƚƚƌŽƉŝĐĂů
ĚŝƐĞĂƐĞƐĐŽŵŝŶŐĨƌŽŵƚƌŽƉŝĐĂů
Ăŝƌ͕LJĞĂƌƐůĂƚĞƌƚŚĞƵƚĐŚůĞĂƌŶƚ
ƚŽĂĚĂƉƚƚŚĞŝƌĂƌĐŚŝƚĞĐƚƵƌĂůƐƚLJůĞ
ǁŝƚŚůŽĐĂůďƵŝůĚŝŶŐĨĞĂƚƵƌĞƐ;ůŽŶŐ
ĞĂǀĞƐ͕ǀĞƌĂŶĚĂŚƐ͕ƉŽƌƚŝĐŽƐ͕ůĂƌŐĞ
ǁŝŶĚŽǁƐĂŶĚǀĞŶƚŝůĂƚŝŽŶ
ŽƉĞŶŝŶŐƐͿ
&OLPDWH²² ,QIOXHQFH WR$UFKLWHFWXUH
&OLPDWH
• dŚĞƐŚĂƌƉůLJŝŶĐůŝŶĞĚƌŽŽĨ ĂůůŽǁƐƚŚĞ
ŚĞĂǀLJƚƌŽƉŝĐĂůƌĂŝŶƚŽƋƵŝĐŬůLJƐŚĞĞƚŽĨĨ͕
ĂŶĚůĂƌŐĞŽǀĞƌŚĂŶŐŝŶŐĞĂǀĞƐŬĞĞƉǁĂƚĞƌ
ŽƵƚŽĨƚŚĞŚŽƵƐĞĂŶĚƉƌŽǀŝĚĞƐŚĂĚĞŝŶ
ƚŚĞŚĞĂƚ͘
• /ŶŚŽƚĂŶĚŚƵŵŝĚͲůŽǁůLJŝŶŐĐŽĂƐƚĂů
ƌĞŐŝŽŶƐ͕ŚŽŵĞƐĐĂŶŚĂǀĞŵĂŶLJǁŝŶĚŽǁƐ
ƉƌŽǀŝĚŝŶŐŐŽŽĚĐƌŽƐƐͲǀĞŶƚŝůĂƚŝŽŶ͕
ǁŚĞƌĞĂƐŝŶĐŽŽůĞƌŵŽƵŶƚĂŝŶŽƵƐŝŶƚĞƌŝŽƌ
ĂƌĞĂƐ͕ŚŽŵĞƐŽĨƚĞŶŚĂǀĞĂǀĂƐƚƌŽŽĨĂŶĚ
ĨĞǁǁŝŶĚŽǁƐ͘

&OLPDWH²² ,QIOXHQFH WR$UFKLWHFWXUH

&OLPDWH &OLPDWH²² ,QIOXHQFH WR$UFKLWHFWXUH
&OLPDWH
• dŚĞ/ŶĚŽͲƵƌŽƉĞĂŶŚLJďƌŝĚǀŝůůĂŽĨƚŚĞ
ϭϵƚŚĐĞŶƚƵƌLJǁĂƐĂŵŽŶŐƚŚĞĨŝƌƐƚ
ĐŽůŽŶŝĂůďƵŝůĚŝŶŐƐƚŽŝŶĐŽƌƉŽƌĂƚĞ
/ŶĚŽŶĞƐŝĂŶĂƌĐŚŝƚĞĐƚƵƌĂůĞůĞŵĞŶƚƐĂŶĚ
ĂƚƚĞŵƉƚĂĚĂƉƚŝŶŐƚŽƚŚĞĐůŝŵĂƚĞ͘dŚĞ
ďĂƐŝĐĨŽƌŵ͕ƐƵĐŚĂƐƚŚĞůŽŶŐŝƚƵĚŝŶĂů
ŽƌŐĂŶŝnjĂƚŝŽŶƐŽĨƐƉĂĐĞƐĂŶĚƵƐĞŽĨũŽŐůŽ
ĂŶĚůŝŵĂƐĂŶ ƌŽŽĨƐƚƌƵĐƚƵƌĞƐ͕ǁĂƐ
:ĂǀĂŶĞƐĞ͕ďƵƚŝŶĐŽƌƉŽƌĂƚĞĚƵƌŽƉĞĂŶ
ĚĞĐŽƌĂƚŝǀĞĞůĞŵĞŶƚƐƐƵĐŚĂƐŶĞŽͲ
ĐůĂƐƐŝĐĂůĐŽůƵŵŶƐĂƌŽƵŶĚĚĞĞƉ
ǀĞƌĂŶĚĂŚƐ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂŶĚŝ сZĞůŝŐŝŽƵƐƐƚƌƵĐƚƵƌĞƐʹ
– ůĂƌŐĞĂŶĚƐŽƉŚŝƐƚŝĐĂƚĞĚ͕ƚŽǁĞƌͲůŝŬĞƐƚƌƵĐƚƵƌĞƐ
– ďƵŝůƚŝŶ:ĂǀĂĚƵƌŝŶŐƚŚĞƉĞĂŬŽĨ/ŶĚŽŶĞƐŝĂ͛Ɛ
'ƌĞĂƚ,ŝŶĚƵͲƵĚĚŚŝƐƚ<ŝŶŐĚŽŵƐ;ϭϴƚŚͲϭϰƚŚ
ĞŶƚƵƌLJͿ
ĞŶƚƵƌLJͿ
– ĂŶĚŝ ƌĞĨĞƌƐƚŽĂƐƚƌƵĐƚƵƌĞďĂƐĞĚŽŶƚŚĞ/ŶĚŝĂŶ
ƚLJƉĞŽĨƐŝŶŐůĞͲĐĞůůĞĚƐŚƌŝŶĞ͕ǁŝƚŚĂƉLJƌĂŵŝĚĂů
ƚŽǁĞƌĂďŽǀĞŝƚ͕ĂŶĚĂƉŽƌƚŝĐŽ͘
– dŚĞƚĞƌŵ ĂŶĚŝ ŝƐŐŝǀĞŶĂƐĂƉƌĞĨŝdžƚŽƚŚĞŵĂŶLJ
ƚĞŵƉůĞͲŵŽƵŶƚĂŝŶƐŝŶ/ŶĚŽŶĞƐŝĂ͕ďƵŝůƚĂƐĂ
ƌĞƉƌĞƐĞŶƚĂƚŝŽŶŽĨƚŚĞŽƐŵŝĐ DŽƵŶƚDĞƌƵ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂŶĚŝ
– ^ŽĞŬŵŽŶŽ͕ĂŶ/ŶĚŽŶĞƐŝĂŶ
ĂƌĐŚĂĞŽůŽŐŝƐƚ͕ŚĂƐĐůĂƐƐŝĨŝĞĚ
ƚŚĞ ĐĂŶĚŝ ƐƚLJůĞƐŝŶƚŽƚǁŽŵĂŝŶ
ŐŐƌŽƵƉƐ͗
Ɖ
• ĂĐĞŶƚƌĂů:ĂǀĂƐƚLJůĞ͕ǁŚŝĐŚ
ƉƌĞĚŽŵŝŶĂŶƚůLJĚĂƚĞĨƌŽŵďĞĨŽƌĞ
ϭ͕ϬϬϬ͕ĂŶĚ
• ĂŶĞĂƐƚĞƌŶ:ĂǀĂƐƚLJůĞ͕ǁŚŝĐŚĚĂƚĞ
ĨƌŽŵĂĨƚĞƌϭ͕ϬϬϬ͘,ĞŐƌŽƵƉƐƚŚĞ
ƚĞŵƉůĞƐŽĨ^ƵŵĂƚƌĂĂŶĚĂůŝŝŶƚŽƚŚĞ
ĞĂƐƚĞƌŶ:ĂǀĂƐƚLJůĞ

• ĂŶĚŝ 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ,ŝŶĚƵdžĂŵƉůĞͲ
WZDEE
• ůĂƌŐĞƐƚ,ŝŶĚƵƚĞŵƉůĞƐŝƚĞŝŶ
/ŶĚŽŶĞƐŝĂ͕ĂŶĚŽŶĞŽĨƚŚĞ
ďŝŐŐĞƐƚŝŶ ^ŽƵƚŚĞĂƐƚƐŝĂ͘
• /ƚŝƐĐŚĂƌĂĐƚĞƌŝnjĞĚďLJŝƚƐƚĂůů
ĂŶĚƉŽŝŶƚĞĚĂƌĐŚŝƚĞĐƚƵƌĞ͕
ƚLJƉŝĐĂůŽĨ ,ŝŶĚƵĂƌĐŚŝƚĞĐƚƵƌĞ͕
ĂŶĚďLJƚŚĞƚŽǁĞƌŝŶŐϰϳͲ
ŵĞƚƌĞͲŚŝŐŚ;ϭϱϰ ĨƚͿĐĞŶƚƌĂů
ďƵŝůĚŝŶŐŝŶƐŝĚĞĂůĂƌŐĞ

HV ² 5HOLJLRRXV$UFKLWHFWXUH
ĐŽŵƉůĞdžŽĨŝŶĚŝǀŝĚƵĂů
ƚĞŵƉůĞƐ͘

7\SHV
7\S
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• WZDEE
• ,ŝĞƌĂƌĐŚLJŽĨƚŚĞƚĞŵƉůĞ
njŽŶĞƐ͕ƐƉĂŶŶĞĚĨƌŽŵƚŚĞůĞƐƐ
ŚŽůLJƚŽƚŚĞŚŽůŝĞƐƚƌĞĂůŵƐ͘
• ĂĐŚ,ŝŶĚƵĂŶĚƵĚĚŚŝƐƚ
ĐŽŶĐĞƉƚŚĂƐŝƚƐŽǁŶƚĞƌŵƐ͕
Ś ŝ
ďƵƚƚŚĞĐŽŶĐĞƉƚƐĂƌĞ
ĞƐƐĞŶƚŝĂůůLJŝĚĞŶƚŝĐĂů͘
• ŝƚŚĞƌƚŚĞĐŽŵƉŽƵŶĚƐŝƚĞ
ƉůĂŶ;ŚŽƌŝnjŽŶƚĂůůLJͿŽƌƚŚĞ
ƚĞŵƉůĞƐƚƌƵĐƚƵƌĞ;ǀĞƌƚŝĐĂůůLJͿ
ĐŽŶƐŝƐƚƐŽĨƚŚƌĞĞnjŽŶĞƐ͗
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• WZDEE
• ŚƵǀĂƌůŽŬĂ ;ŝŶ
ƵĚĚŚŝƐŵ͗ ZƵƉĂĚŚĂƚƵͿ͕ƚŚĞ
ŵŝĚĚůĞƌĞĂůŵŽĨŚŽůLJƉĞŽƉůĞ͕
Ɖ
ŽĐĐƵƉŝĞĚďLJLJ ƌŝƐŚŝƐ͕ĂƐĐĞƚŝĐƐ͕
͕ ͕
ĂŶĚůĞƐƐĞƌŐŽĚƐ͘WĞŽƉůĞŚĞƌĞ
ďĞŐŝŶƚŽƐĞĞƚŚĞůŝŐŚƚŽĨ
ƚƌƵƚŚ͘dŚĞŵŝĚĚůĞĐŽƵƌƚLJĂƌĚ
ĂŶĚƚŚĞďŽĚLJŽĨĞĂĐŚƚĞŵƉůĞ
ƐLJŵďŽůŝnjĞƐƚŚĞƌĞĂůŵ
ŽĨ ďŚƵǀĂƌůŽŬĂ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• WZDEE
• ŚƵƌůŽŬĂ ;ŝŶ
ƵĚĚŚŝƐŵ͗ <ĈŵĂĚŚĈƚƵͿ͕ƚŚĞ
ůŽǁĞƐƚƌĞĂůŵŽĨĐŽŵŵŽŶ
ŵŽƌƚĂůƐ͖ŚƵŵĂŶƐ͕ĂŶŝŵĂůƐĂůƐŽ
ĚĞŵŽŶƐ͘tŚĞƌĞŚƵŵĂŶƐĂƌĞ
ƐƚŝůůďŽƵŶĚďLJƚŚĞŝƌůƵƐƚ͕ĚĞƐŝƌĞ
ĂŶĚƵŶŚŽůLJǁĂLJŽĨůŝĨĞ͘dŚĞ
ŽƵƚĞƌĐŽƵƌƚLJĂƌĚĂŶĚƚŚĞĨŽŽƚ
;ďĂƐĞͿƉĂƌƚŽĨĞĂĐŚƚĞŵƉůĞƐŝƐ
ƐLJŵďŽůŝnjĞĚƚŚĞƌĞĂůŵ
ŽĨ ďŚƵƌůŽŬĂ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• WZDEE
• ^ǀĂƌůŽŬĂ ;ŝŶƵĚĚŚŝƐŵ͗ ƌƵƉĂĚŚĂƚƵͿ͕
ƚŚĞŚŝŐŚĞƐƚĂŶĚŚŽůŝĞƐƚƌĞĂůŵ͕ƌĞƐĞƌǀĞĚ
ĨŽƌƚŚĞŐŽĚƐ͘ůƐŽŬŶŽǁŶĂƐ ƐǀĂƌŐĂůŽŬĂ͘
dŚĞŝŶŶĞƌĐŽƵƌƚLJĂƌĚĂŶĚƚŚĞƌŽŽĨŽĨ
ĞĂĐŚƚĞŵƉůĞƐLJŵďŽůŝnjĞƐƚŚĞƌĞĂůŵ
ŽĨĨ ƐǀĂƌůŽŬĂ͘dŚĞƌŽŽĨŽĨWƌĂŵďĂŶĂŶ
ů Ŭ dŚ Ĩ ĨW ď
ƚĞŵƉůĞƐĂƌĞĂĚŽƌŶĞĚĂŶĚĐƌŽǁŶĞĚ
ǁŝƚŚ ƌĂƚŶĂ ;ƐĂŶƐŬƌŝƚ͗ũĞǁĞůͿ͕ƚŚĞƐŚĂƉĞŽĨ
WƌĂŵďĂŶĂŶ ƌĂƚŶĂ ƚŽŽŬƚŚĞĂůƚĞƌĞĚĨŽƌŵ
ŽĨ ǀĂũƌĂ ƚŚĂƚƌĞƉƌĞƐĞŶƚĚŝĂŵŽŶĚƐ͘/Ŷ
ĂŶĐŝĞŶƚ:ĂǀĂƚĞŵƉůĞ
ĂƌĐŚŝƚĞĐƚƵƌĞ͕ ƌĂƚŶĂ ŝƐƚŚĞ,ŝŶĚƵ
ĐŽƵŶƚĞƌƉĂƌƚŽĨƚŚĞƵĚĚŚŝƐƚ ƐƚƵƉĂ͕ĂŶĚ
ƐĞƌǀĞĚĂƐƚŚĞƚĞŵƉůĞΖƐƉŝŶŶĂĐůĞ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ƵĚĚŚŝƐƚdžĂŵƉůĞ ʹ ŽƌŽďƵĚƵƌ • DĂũĂƉĂŚŝƚ ƌĂ /ŶĨůƵĞŶĐĞƐ
• >ŽĐĂƚĞĚŝŶzK'z<Zd;:ŽŐũĂŬĂƌƚĂͿ
• dŚĞƵƐĞŽĨďƌŝĐŬƐŝŶ/ŶĚŽŶĞƐŝĂ͛ƐůĂƐƐŝĐĂůƌĂ
• tŽƌůĚ͛ƐůĂƌŐĞƐƚƵĚĚŚŝƐƚƚĞŵƉůĞ
• ŵĂƐƚĞƌĞĚďLJƚŚĞDĂũĂƉĂŚŝƚ ďƵŝůĚĞƌƐ͕
• dŚĞƚĞŵƉůĞĐŽŶƐŝƐƚƐŽĨŶŝŶĞƐƚĂĐŬĞĚƉůĂƚĨŽƌŵƐ͕ƐŝdžƐƋƵĂƌĞĂŶĚ
ƵƐŝŶŐĂŵŽƌƚĂƌŽĨǀŝŶĞƐĂƉĂŶĚƉĂůŵ
ƚŚƌĞĞĐŝƌĐƵůĂƌ͕ƚŽƉƉĞĚďLJĂĐĞŶƚƌĂůĚŽŵĞ͘
ƐƵŐĂƌ
• ŚĞƚĞŵƉůĞĚĞƐŝŐŶĨŽůůŽǁƐ :ĂǀĂŶĞƐĞ ƵĚĚŚŝƐƚĂƌĐŚŝƚĞĐƚƵƌĞ͕ǁŚŝĐŚ
ďůĞŶĚƐƚŚĞ /ŶĚŽŶĞƐŝĂŶŝŶĚŝŐĞŶŽƵƐĐƵůƚŽĨ ĂŶĐĞƐƚŽƌǁŽƌƐŚŝƉ ĂŶĚ • dĞŵƉůĞƐŽĨDĂũĂƉĂŚŝƚ
ƚŚĞƵĚĚŚŝƐƚĐŽŶĐĞƉƚŽĨĂƚƚĂŝŶŝŶŐ EŝƌǀĂŶĂ͘ • ŚĂǀĞĂƐƚƌŽŶŐŐĞŽŵĞƚƌŝĐĂůƋƵĂůŝƚLJǁŝƚŚĂ
• dŚĞŵŽŶƵŵĞŶƚĐŽŶƚĂŝŶƐĂǀĂƐƚŶƵŵďĞƌŽĨŝŶƚƌŝĐĂƚĞĐĂƌǀŝŶŐƐƚŚĂƚ ƐĞŶƐĞŽĨǀĞƌƚŝĐĂůŝƚLJĂĐŚŝĞǀĞĚƚŚƌŽƵŐŚƚŚĞ
ƚĞůůĂƐƚŽƌLJĂƐŽŶĞŵŽǀĞƐƚŚƌŽƵŐŚƚŽƚŚĞƵƉƉĞƌůĞǀĞůƐ͕ ƵƐĞŽĨŶƵŵĞƌŽƵƐŚŽƌŝnjŽŶƚĂůůŝŶĞƐŽĨƚĞŶ
ŵĞƚĂƉŚŽƌŝĐĂůůLJƌĞĂĐŚŝŶŐ ĞŶůŝŐŚƚĞŶŵĞŶƚ͘ ǁŝƚŚĂŶĂůŵŽƐƚĂƌƚͲĚĞĐŽƐĞŶƐĞŽĨ
• >ŝƐƚĞĚĂƐhE^K,ĞƌŝƚĂŐĞ^ŝƚĞ ƐƚƌĞĂŵůŝŶŝŶŐĂŶĚƉƌŽƉŽƌƚŝŽŶ

7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• DŽƐƋƵĞƐ • DŽƐƋƵĞƐ
• ;ϭϱƚŚĞŶƚƵƌLJͿ/ƐůĂŵŚĂĚďĞĐŽŵĞƚŚĞĚŽŵŝŶĂŶƚƌĞůŝŐŝŽŶŝŶ:ĂǀĂ
ĂŶĚ^ƵŵĂƚƌĂ͕/ŶĚŽŶĞƐŝĂΖƐƚǁŽŵŽƐƚƉŽƉƵůŽƵƐŝƐůĂŶĚƐ͖ĂďƐŽƌďĞĚ
ĂŶĚƌĞŝŶƚĞƌƉƌĞƚĞĚ͕ǁŝƚŚŵŽƐƋƵĞƐŐŝǀĞŶĂƵŶŝƋƵĞ
/ŶĚŽŶĞƐŝĂŶͬ:ĂǀĂŶĞƐĞŝŶƚĞƌƉƌĞƚĂƚŝŽŶ͘
Ɖ
• :ĂǀĂŶĞƐĞDŽƐƋƵĞƐͲ ƚŽŽŬŵĂŶLJĚĞƐŝŐŶĐƵĞƐĨƌŽŵ,ŝŶĚƵ͕
ƵĚĚŚŝƐƚ͕ĂŶĚĞǀĞŶŚŝŶĞƐĞĂƌĐŚŝƚĞĐƚƵƌĂůŝŶĨůƵĞŶĐĞƐͲ ůĂĐŬĞĚ͕ĨŽƌ
ĞdžĂŵƉůĞ͕ƚŚĞƵďŝƋƵŝƚŽƵƐ/ƐůĂŵŝĐĚŽŵĞǁŚŝĐŚĚŝĚŶŽƚĂƉƉĞĂƌŝŶ
/ŶĚŽŶĞƐŝĂƵŶƚŝůƚŚĞϭϵƚŚĐĞŶƚƵƌLJ͕Ͳ ŚĂĚƚĂůůƚŝŵďĞƌ͕ŵƵůƚŝͲůĞǀĞů
ƌŽŽĨƐƐŝŵŝůĂƌƚŽƚŚĞƉĂŐŽĚĂƐŽĨĂůŝŶĞƐĞ,ŝŶĚƵƚĞŵƉůĞƐƐƚŝůů
ĐŽŵŵŽŶƚŽĚĂLJ
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• DŽƐƋƵĞƐ
• ;ϭϵƚŚĞŶƚƵƌLJͿͲ ƐƵůƚĂŶĂƚĞƐŽĨ/ŶĚŽŶĞƐŝĂŶĂƌĐŚŝƉĞůĂŐŽďĞŐĂŶƚŽ
ĂĚŽƉƚĂŶĚĂďƐŽƌďĨŽƌĞŝŐŶŝŶĨůƵĞŶĐĞƐŽĨ/ƐůĂŵŝĐĂƌĐŚŝƚĞĐƚƵƌĞ
• dŚĞ/ŶĚŽͲ/ƐůĂŵŝĐĂŶĚDŽŽƌŝƐŚƐƚLJůĞĂƌĞƉĂƌƚŝĐƵůĂƌůLJĨĂǀŽƵƌĞĚĂƐ
ĚŝƐƉůĂLJĞĚ ŝŶ ĂŶĚĂ ĐĞŚ ĂŝƚƵƌƌĂŚŵĂŶ 'ƌĂŶĚDŽƐƋƵĞďƵŝůƚŝŶ
ĚŝƐƉůĂLJĞĚŝŶĂŶĚĂĐĞŚĂŝƚƵƌƌĂŚŵĂŶ 'ƌĂŶĚ DŽƐƋƵĞ ďƵŝůƚ ŝŶ
ϭϴϴϭ͕ĂŶĚDĞĚĂŶ'ƌĂŶĚDŽƐƋƵĞďƵŝůƚŝŶϭϵϬϲ
• ŵŽƐƋƵĞƐŚĂǀĞƚĞŶĚĞĚƚŽďĞďƵŝůƚŝŶƐƚLJůĞƐŵŽƌĞĐŽŶƐŝƐƚĞŶƚǁŝƚŚ
ŐůŽďĂů/ƐůĂŵŝĐƐƚLJůĞƐ͕ǁŚŝĐŚŵŝƌƌŽƌƚŚĞƚƌĞŶĚŝŶ/ŶĚŽŶĞƐŝĂ
ƚŽǁĂƌĚƐŵŽƌĞŽƌƚŚŽĚŽdžƉƌĂĐƚŝĐĞŽĨ/ƐůĂŵ
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• džĂŵƉůĞDŽƐƋƵĞƐʹ 'ĂůĂDŽƐƋƵĞ͕
dĞŵďĂLJĂƚ
• ƚŚĞŽůĚĞƐƚŵŽƐƋƵĞŝŶ:ĂǀĂƚŚĂƚƐƵƌǀŝǀĞƐ
ƚŚƌŽƵŐŚƚŝŵĞ
• ŽŶĞŽĨƚŚĞĞdžĂŵƉůĞƐŽĨ/ŶĚŽ:ĂǀĂŶĞƐĞ
ĐƵůƚƵƌĞƐƚLJůĞ͞ƚŽƉŽĨƚŚĞŚŝůůďƵŝůĚŝŶŐ͟ŽŶĞ
ĐŚĂƌĂĐƚĞƌŝƐƚŝĐŽĨƚŚĞ,ŝŶĚƵͲƵĚĚŚŝƐƚ
ƌĞůŝŐŝŽƵƐďƵŝůĚŝŶŐƐŝŶ:ĂǀĂ
• ƚŚĞƚŚŝĐŬǁĂůůǁĂƐŝŶĨůƵĞŶĐĞĚĨƌŽŵ
'ƵũĂƌĂƚŝĂƌĐŚŝƚĞĐƚƵƌĞ
• ƚŚĞ͞ƚĂũƵŐ͟ǁŽŽĚĞŶͲƚŝůĞƌŽŽĨƐƚƌƵĐƚƵƌĞǁĂƐ
ĨƌŽŵ:ĂǀĂŶĞƐĞƚƌĂĚŝƚŝŽŶĂůĂƌĐŚŝƚĞĐƚƵƌĞ
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• DŽƐƋƵĞƐ
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ŚƵƌĐŚdžĂŵƉůĞʹ 'ĂŶũƵƌĂŶ ŚƵƌĐŚ
• dŚĞ ŚƵƌĐŚŽĨƚŚĞ^ĂĐƌĞĚ,ĞĂƌƚŽĨ
:ĞƐƵƐ ;/ŶĚŽŶĞƐŝĂŶ͗ 'ĞƌĞũĂ ,Ăƚŝ <ƵĚƵƐzĞƐƵƐͿ
• dŚĞĐŚƵƌĐŚǁĂƐĞƐƚĂďůŝƐŚĞĚŽŶϭϲ ƉƌŝůϭϵϮϰ
• DƵĐŚĐƌŝƚŝĐĂůĐŽŵŵĞŶƚĂƌLJŚĂƐďĞĞŶŵĂĚĞŽŶ
ŝƚƐ :ĂǀĂŶĞƐĞ ĚĞƐŝŐŶ͕ĂŶĚƚŚĞĐŚƵƌĐŚĐŽŶƚŝŶƵĞƐ
ƚŽŝŶĐůƵĚĞ :ĂǀĂŶĞƐĞĐƵůƚƵƌĞ ŝŶŝƚƐůŝƚƵƌŐLJ͘
• dŚĞƵƚĐŚƐĐŚŽůĂƌŽĨ/ŶĚŽŶĞƐŝĂ D͘͘
ZŝĐŬůĞĨƐ ŚĂƐĚĞƐĐƌŝďĞĚƚŚĞĐŚƵƌĐŚĂƚ'ĂŶũƵƌĂŶ
ĂƐƉĞƌŚĂƉƐŽŶĞŽĨƚŚĞŵŽƐƚĚƌĂŵĂƚŝĐ
ŵĂŶŝĨĞƐƚĂƚŝŽŶƐŽĨƚŚĞĂƚŚŽůŝĐŚƵƌĐŚΖƐ
ĂĐĐŽŵŵŽĚĂƚŝŽŶƐŽĨ :ĂǀĂŶĞƐĞĐƵůƚƵƌĞ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ŚƵƌĐŚ • ĂůŝŶĞƐĞdĞŵƉůĞƐ
•  WƵƌĂ ŝƐĂ ĂůŝŶĞƐĞ ,ŝŶĚƵƚĞŵƉůĞ ĂŶĚƚŚĞƉůĂĐĞŽĨǁŽƌƐŚŝƉĨŽƌ
ƚŚĞĂĚŚĞƌĞŶƚƐŽĨ ĂůŝŶĞƐĞ,ŝŶĚƵŝƐŵŝŶ /ŶĚŽŶĞƐŝĂ͘
• WƵƌĂƐ ĂƌĞďƵŝůƚŝŶĂĐĐŽƌĚĂŶĐĞƚŽƌƵůĞƐ͕ƐƚLJůĞ͕ŐƵŝĚĂŶĐĞĂŶĚƌŝƚƵĂůƐ
Ĩ
ĨŽƵŶĚŝŶ
Ě ŝ ĂůŝŶĞƐĞĂƌĐŚŝƚĞĐƚƵƌĞ͘
 ůŝ Śŝƚ ƚ
• DŽƐƚŽĨƚŚĞƉƵƌĂƐ ĂƌĞĨŽƵŶĚŽŶƚŚĞŝƐůĂŶĚŽĨ Ăůŝ͕ĂƐ,ŝŶĚƵŝƐŵŝƐ
ƚŚĞƉƌĞĚŽŵŝŶĂŶƚƌĞůŝŐŝŽŶŝŶƚŚĞŝƐůĂŶĚ͘
• DŽƚŚĞƌdĞŵƉůĞŽĨĞƐĂŬŝŚ ŝƐƚŚĞŵŽƐƚŝŵƉŽƌƚĂŶƚ͕ƚŚĞůĂƌŐĞƐƚĂŶĚ
ŚŽůŝĞƐƚƚĞŵƉůĞŝŶĂůŝ͘

7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ>ĂLJŽƵƚ
• WƵƌĂƐ ĂƌĞĚĞƐŝŐŶĞĚĂƐĂŶŽƉĞŶĂŝƌƉůĂĐĞŽĨǁŽƌƐŚŝƉǁŝƚŚŝŶ
ĞŶĐůŽƐĞĚǁĂůůƐ͕ĐŽŶŶĞĐƚĞĚǁŝƚŚĂƐĞƌŝĞƐŽĨŝŶƚƌŝĐĂƚĞůLJĚĞĐŽƌĂƚĞĚ
ŐĂƚĞƐďĞƚǁĞĞŶŝƚƐĐŽŵƉŽƵŶĚƐ͘
• dŚĞƐĞǁĂůůĞĚĐŽŵƉŽƵŶĚƐĐŽŶƚĂŝŶƐĞǀĞƌĂůƐŚƌŝŶĞƐ͕
dŚ ůů Ě Ě ƚ ŝ ů Śŝ ŵĞƌƵ ;ƚŽǁĞƌƐͿ͕
;ƚ Ϳ
ĂŶĚ ďĂůĞ ;ƉĂǀŝůŝŽŶƐͿ͘
• dŚĞĚĞƐŝŐŶ͕ƉůĂŶĂŶĚůĂLJŽƵƚŽĨƚŚĞƉƵƌĂ ĨŽůůŽǁƐ
ƚŚĞ ƚƌŝŵĂŶĚĂůĂ ĐŽŶĐĞƉƚŽĨĂůŝŶĞƐĞƐƉĂĐĞĂůůŽĐĂƚŝŽŶ͘
• ĂůŝŶĞƐĞdĞŵƉůůĞƐʹ
• ĞƐŝŐŶ ĂŶĚ>ĂLJLJŽƵƚ
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ
>ĂLJŽƵƚ
• DĞƌƵ ƚŽǁĞƌ Žƌ ƉĞůŝŶŐŐŝŚ ŵĞƌƵ ŝƐƚŚĞ
ƉƌŝŶĐŝƉĂůƐŚƌŝŶĞŽĨĂ ĂůŝŶĞƐĞƚĞŵƉůĞ͘
• /ƚŝƐĂǁŽŽĚĞŶƉĂŐŽĚĂͲůŝŬĞƐƚƌƵĐƚƵƌĞ
ǁŝƚŚĂŵĂƐŽŶƌLJďĂƐĞ͕ĂǁŽŽĚĞŶ
ĐŚĂŵďĞƌĂŶĚŵƵůƚŝͲƚŝĞƌĞĚƚŚĂƚĐŚĞĚ
ƌŽŽĨƐ͘
• dŚĞŚĞŝŐŚƚŽĨDĞƌƵ ƚŽǁĞƌƐƌĞƉƌĞƐĞŶƚ
ƚŚĞ,ŝŶĚƵ DŽƵŶƚDĞƌƵ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůůĞƐʹ
• ĞƐŝŐŶ ĂŶĚ>ĂLJLJŽƵƚ
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ
>ĂLJŽƵƚ
• dŚĞ ďĂůĞ
ďĂůĞŬƵůŬƵů
ŬƵůŬƵů ;ĂůŝŶĞƐĞ ΗĚƌƵŵ
ƉĂǀŝůŝŽŶΗͿŝƐĂ ĂůŝŶĞƐĞ ƉĂǀŝůŝŽŶǁŚĞƌĞ
Ă ƐůŝƚͲůŽŐĚƌƵŵ;ĂůŝŶĞƐĞ ŬƵůŬƵůͿŝƐ
ƉůĂĐĞĚ͘
ů Ě
• /ƚŝƐĞƐƐĞŶƚŝĂůůLJĂĚƌƵŵƚŽǁĞƌŽƌ
Ă ǁĂƚĐŚƚŽǁĞƌ͘
• ďĂůĞŬƵůŬƵů ĐĂŶŚĂƐĂĐŝǀŝĐĨƵŶĐƚŝŽŶ͕
ƐƵĐŚĂƐƚŚŽƐĞƵƐĞĚŝŶǀŝůůĂŐĞƐĂƐĂ
ŵĞĂŶŽĨĐŽŵŵƵŶŝĐĂƚŝŽŶ͖ŽƌĨŽƌ
ƌĞůŝŐŝŽƵƐĨƵŶĐƚŝŽŶ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ>ĂLJŽƵƚ
• dŚƌĞĞ ŵĂŶĚĂůĂ njŽŶĞƐĂƌƌĂŶŐĞĚ
ĂĐĐŽƌĚŝŶŐƚŽĂƐĂĐƌĞĚŚŝĞƌĂƌĐŚLJ͗
ϭ͘EŝƐƚĂ ŵĂŶĚĂůĂ ;ũĂďĂ ƉŝƐĂŶͿ͗ƚŚĞŽƵƚĞƌ
͕ LJ Ɖ
njŽŶĞ͕ǁŚŝĐŚĚŝƌĞĐƚůLJĐŽŶŶĞĐƚƐƚŚĞƉƵƌĂ
ĐŽŵƉŽƵŶĚǁŝƚŚƚŚĞŽƵƚĞƌƌĞĂůŵ͕ĂŶĚ
ƚŚĞĞŶƚƌĂŶĐĞƚŽƚŚĞƚĞŵƉůĞ͘dŚŝƐnjŽŶĞ
ƵƐƵĂůůLJƚĂŬĞƐƚŚĞĨŽƌŵŽĨĂŶŽƉĞŶĨŝĞůĚ
ŽƌĂŐĂƌĚĞŶƚŚĂƚĐĂŶďĞƵƐĞĚĨŽƌ
ƌĞůŝŐŝŽƵƐĚĂŶĐĞƉĞƌĨŽƌŵĂŶĐĞƐ͕ŽƌĂĐƚĂƐ
ĂŶĂĚĚŝƚŝŽŶĂůƐƉĂĐĞĨŽƌƉƌĞƉĂƌĂƚŝŽŶƐ
ĚƵƌŝŶŐƌĞůŝŐŝŽƵƐĨĞƐƚŝǀĂůƐ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ>ĂLJŽƵƚ
Ϯ͘DĂĚLJĂ ŵĂŶĚĂůĂ ;ũĂďĂ ƚĞŶŐĂŚͿ͗ƚŚĞ
ŵŝĚĚůĞnjŽŶĞŽĨƚŚĞƚĞŵƉůĞ͕ǁŚĞƌĞƚŚĞ
ĂĐƚŝǀŝƚLJŽĨĂĚŚĞƌĞŶƚƐƚĂŬĞƐƉůĂĐĞ͕ĂŶĚĂůƐŽ
ƚŚĞůŽĐĂƚŝŽŶĨŽƌƐƵƉƉŽƌƚŝŶŐĨĂĐŝůŝƚŝĞƐŽĨ
ƚŚĞƚĞŵƉůĞ͘/ŶƚŚŝƐnjŽŶĞƵƐƵĂůůLJƐĞǀĞƌĂů
ƉĂǀŝůŝŽŶƐĂƌĞďƵŝůƚ͕ƐƵĐŚĂƐƚŚĞ ďĂůĞ
ŬƵůŬƵů ;ǁŽŽĚĞŶ ^ůŝƚĚƌƵŵ ƚŽǁĞƌͿ͕ ďĂůĞ
ŐŽŶŐ ;ŐĂŵĞůĂŶ ƉĂǀŝůŝŽŶͿ͕ ǁĂŶƚŝůĂŶ
;ŵĞĞƚŝŶŐƉĂǀŝůŝŽŶͿ͕ ďĂůĞƉĞƐĂŶĚĞŬĂŶ͕
ĂŶĚ ďĂůĞƉĞƌĂŶƚĞŶĂŶ͕ƚŚĞƚĞŵƉůĞΖƐ
ŬŝƚĐŚĞŶ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ>ĂLJŽƵƚ
ϯ͘hƚĂŵĂ ŵĂŶĚĂůĂ ;ũĞƌŽͿ͗ƚŚĞŚŽůŝĞƐƚĂŶĚ
ƚŚĞŵŽƐƚƐĂĐƌĞĚnjŽŶĞǁŝƚŚŝŶƚŚĞƉƵƌĂ͘
dŚŝ
dŚŝƐĞŶĐůŽƐĞĚĂŶĚƚLJƉŝĐĂůůLJŚŝŐŚĞƐƚŽĨ
ů Ě Ě ƚ ŝ ůů Śŝ Ś ƚ Ĩ
ƚŚĞĐŽŵƉŽƵŶĚƐƵƐƵĂůůLJĐŽŶƚĂŝŶƐ
Ă ƉĂĚŵĂƐĂŶĂ͕ƚŚĞ
ƚŽǁĞƌŝŶŐ ůŽƚƵƐ ƚŚƌŽŶĞŽĨƚŚĞŚŝŐŚĞƐƚ
ŐŽĚ͕ ĐŝŶƚLJĂ ;ΗůůͲŝŶͲŽŶĞ'ŽĚΗ͕ŝŶ
ŵŽĚĞƌŶĂůŝŶĞƐĞͿ

7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ • ĂůŝŶĞƐĞdĞŵƉůĞƐʹ ĞƐŝŐŶ ĂŶĚ>ĂLJŽƵƚ
ĞƐŝŐŶ ĂŶĚ>ĂLJŽƵƚ • dǁŽƚLJƉĞƐŽĨ'd͗
• dǁŽƚLJƉĞƐŽĨ'd͗ • ƚŚĞƌŽŽĨĞĚƚŽǁĞƌŐĂƚĞŬŶŽǁŶ
• ƚŚĞƐƉůŝƚŐĂƚĞ͕ ĂƐ Ϯ͘WĂĚƵƌĂŬƐĂ Žƌ <Žƌŝ
ŬŶŽǁŶ ĂƐ ϭ͘ĂŶĚŝ
ŬŶŽǁŶĂƐ ϭ ĂŶĚŝ ŐƵŶŐ͘
ŐƵŶŐ
ĞŶƚĂƌ • ƚŚĞŬŽƌŝ ĂŐƵŶŐ ŝƐ
• ĂŶĚŝ ďĞŶƚĂƌ ŝƐ ĞŵƉůŽLJĞĚĂƐƚŚĞŐĂƚĞ
ďĞƚǁĞĞŶƚŚĞŵĂĚLJĂ
ƚŚĞŐĂƚĞƵƐĞĚ
ŵĂŶĚĂůĂ ĂŶĚhƚĂŵĂ
ŝŶƚŚĞŶŝƐƚĂ ŵĂŶĚĂůĂ ŝŶŶĞƌ
ŵĂŶĚĂůĂ ĐŽŵƉŽƵŶĚƐ͘
7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH 7\SHV
7\S HV ² 5HOLJLRXV$UFKLWHFWXUH
• ĂůŝŶĞƐĞdĞŵƉůĞƐʹ džĂŵƉůĞ • ĂůŝŶĞƐĞ
• WƵƌĂ dĂŶĂŚ>Žƚ dĞŵƉůĞƐʹ
• dĂŶĂŚ>ŽƚŵĞĂŶƐΗ>ĂŶĚ΀ŝŶƚŚĞ΁^ĞĂΗŝŶƚŚĞ ĂůŝŶĞƐĞ džĂŵƉůĞ
ůĂŶŐƵĂŐĞ • WƵƌĂ
• ƚŚĞƚĞŵƉůĞƐŝƚƐŽŶĂůĂƌŐĞŽĨĨƐŚŽƌĞƌŽĐŬǁŚŝĐŚŚĂƐďĞĞŶ
ƚŚĞ ƚĞŵƉůĞ ƐŝƚƐ ŽŶ Ă ůĂƌŐĞ ŽĨĨƐŚŽƌĞ ƌŽĐŬ ǁŚŝĐŚ ŚĂƐ ďĞĞŶ dĂŶĂŚ>Žƚ
ƐŚĂƉĞĚĐŽŶƚŝŶƵŽƵƐůLJŽǀĞƌƚŚĞLJĞĂƌƐďLJƚŚĞŽĐĞĂŶƚŝĚĞ͘
• dŚĞƚĞŵƉůĞǁĂƐƐŝŐŶŝĨŝĐĂŶƚůLJŝŶĨůƵĞŶĐĞĚďLJ ,ŝŶĚƵŝƐŵ͘
• ƚƚŚĞďĂƐĞŽĨƚŚĞƌŽĐŬLJŝƐůĂŶĚ͕ǀĞŶŽŵŽƵƐ ƐĞĂƐŶĂŬĞƐ ĂƌĞ
ďĞůŝĞǀĞĚƚŽŐƵĂƌĚƚŚĞƚĞŵƉůĞĨƌŽŵĞǀŝůƐƉŝƌŝƚƐĂŶĚ
ŝŶƚƌƵĚĞƌƐ͘

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
• ŝǀĞƌƐŝƚLJŽĨĐƵůƚƵƌĞĂŶĚƚŽƵƌŝƐŵĐŽŵďŝŶĞĚǁŝƚŚƚŚĞƵŶŝƋƵĞ • ZƵŵĂŚ ĚĂƚ
ĐŚĂƌĂĐƚĞƌŝƐƚŝĐƐŽĨĞĂĐŚůŽĐĂůĐŽŵŵƵŶŝƚLJ͘
• dƌĂĚŝƚŝŽŶĂů/ŶĚŽŶĞƐŝĂŶŚŽŵĞƐĂƌĞŶŽƚĂƌĐŚŝƚĞĐƚĚĞƐŝŐŶĞĚ͕ƌĂƚŚĞƌ
ǀŝůůĂŐĞƌƐďƵŝůĚƚŚĞŝƌŽǁŶŚŽŵĞƐ͕ŽƌĐŽŵŵƵŶŝƚLJǁŝůůƚŚĞŝƌ
ƌĞƐŽƵƌĐĞƐĨŽƌĂƐƚƌƵĐƚƵƌĞďƵŝůƚƵŶĚĞƌƚŚĞĚŝƌĞĐƚŝŽŶŽĨĂŵĂƐƚĞƌ
ďƵŝůĚĞƌĂŶĚͬŽƌĂĐĂƌƉĞŶƚĞƌ͘
• /ƚŚĂƐŝƚƐŽǁŶƵŶŝƋƵĞĨŽƌŵďĞĐĂƵƐĞ/ŶĚŽŶĞƐŝĂŚĂƐϯϯƉƌŽǀŝŶĐĞƐ͖
ĞĂĐŚŽĨ/ŶĚŽŶĞƐŝĂ͛ƐĞƚŚŶŝĐŐƌŽƵƉƐŚĂƐŝƚƐŽǁŶĚŝƐƚŝŶĐƚŝǀĞĨŽƌŵŽĨ
ƚŚĞƚƌĂĚŝƚŝŽŶĂůǀĞƌŶĂĐƵůĂƌĂƌĐŚŝƚĞĐƚƵƌĞ͕ŬŶŽǁŶĂƐ

5XPDK $GDW
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
ZƵŵĂŚ ĚĂƚ ZƵŵĂŚ ĚĂƚ
• ZƵŵĂŚ ĂĚĂƚ ŽƌƵƐƚŽŵ,ŽƵƐĞĂƌĞĂƚƚŚĞĐĞŶƚƌĞŽĨĂǁĞďŽĨ • ŚĂƌĂĐƚĞƌŝƐƚŝĐƐ
ĐƵƐƚŽŵƐ͕ƐŽĐŝĂůƌĞůĂƚŝŽŶƐ͕ƚƌĂĚŝƚŝŽŶĂůůĂǁƐ͕ƚĂƐ͕ŵLJƚŚƐ • ƚŝŵďĞƌĐŽŶƐƚƌƵĐƚŝŽŶ
ĂŶĚƌĞůŝŐŝŽŶƐƚŚĂƚďŝŶĚƚŚĞǀŝůůĂŐĞƌƐƚŽŐĞƚŚĞƌ͘ • ǀĂƌŝĞĚĂŶĚĞůĂďŽƌĂƚĞƌŽŽĨ
• dŚĞŚŽƵƐĞƉƌŽǀŝĚĞƐƚŚĞŵĂŝŶĨŽĐƵƐĨŽƌƚŚĞĨĂŵŝůLJĂŶĚŝƚƐ • ůŽŶŐŚŽƵƐĞƐŽŶƐƚŝůƚƐ
ĐŽŵŵƵŶŝƚLJ͕ĂŶĚŝƐƚŚĞƉŽŝŶƚŽĨĚĞƉĂƌƚƵƌĞĨŽƌŵĂŶLJ • ƐƚĞĞƉƐůŽƉŝŶŐƌŽŽĨƐĂŶĚ
ĂĐƚŝǀŝƚŝĞƐŽĨŝƚƐƌĞƐŝĚĞŶƚƐ͘ ŚĞĂǀLJ
• ƵŝůƚŽŶƐƚŝůƚƐĞdžĐĞƉƚĨŽƌ
:ĂǀĂ

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
ZƵŵĂŚ ĚĂƚ džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
• ŽŶƐƚƌƵĐƚŝŽŶ^LJƐƚĞŵ͗ • ĂƚĂŬĂƌĐŚŝƚĞĐƚƵƌĞ;EŽƌƚŚ
• ƉŽƐƚ͕ďĞĂŵĂŶĚůŝŶƚĞů ^ƵŵĂƚƌĂͿ
ƐƚƌƵĐƚƵƌĂů ƐLJƐƚĞŵ ǁŝƚŚ ĞŝƚŚĞƌ
ƐƚƌƵĐƚƵƌĂůƐLJƐƚĞŵǁŝƚŚĞŝƚŚĞƌ • ŝŶĐůƵĚĞƐƚŚĞďŽĂƚ
ŝŶĐůƵĚĞƐ ƚŚĞ ďŽĂƚͲƐŚĂƉĞĚ
ƐŚĂƉĞĚ
ǁŽŽĚĞŶŽƌďĂŵǁĂůůƐƚŚĂƚ :h,KD^ŽĨƚŚĞdŽďĂ
ĂƌĞŶŽŶͲůŽĂĚďĞĂƌŝŶŐ ĂƚĂŬƉĞŽƉůĞ͕ǁŝƚŚ
• ƌĂƚŚĞƌƚŚĂŶŶĂŝůƐ͕ŵŽƌƚŝƐĂŶĚ ĚŽŵŝŶĂƚŝŶŐĐĂƌǀĞĚŐĂďůĞƐĂŶĚ
ƚĞŶŽŶ ũŽŝŶƚƐĂŶĚǁŽŽĚĞŶƉĞŐƐ ĚƌĂŵĂƚŝĐŽǀĞƌƐŝnjĞĚƌŽŽĨ͕ĂŶĚ
ĂƌĞƵƐĞĚ ŝƐďĂƐĞĚŽŶĂŶĂŶĐŝĞŶƚŵŽĚĞů͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ
• dŚĞDŝŶĂŶŐŬĂďĂƵ ŽĨ ZƵŵĂŚ ĚĂƚ
tĞƐƚ^ƵŵĂƚƌĂ • dŚĞ
• ƵŝůĚƐƚŚĞƌƵŵĂŚ
ƵŝůĚƐ ƚŚĞ ƌƵŵĂŚ DŝŶĂŶŐŬĂďĂƵ
ŐĂĚĂŶŐ ;ďŝŐŚŽƵƐĞͿ͕ ŝŶŵŽĚĞƌŶ
ĚŝƐƚŝŶĐƚŝǀĞĨŽƌƚŚĞŝƌ ƐĞƚƚŝŶŐ͗
ŵƵůƚŝƉůĞŐĂďůĞƐǁŝƚŚ • DĂƚƌĂŵĂŶ͕
ĚƌĂŵĂƚŝĐĂůůLJ :ĂŬĂƌƚĂ
ƵƉƐǁĞĞƉŝŶŐƌŝĚŐĞĞŶĚƐ͘

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
ZƵŵĂŚ ĚĂƚ • dŚĞŚŽŵĞƐŽĨEŝĂƐ ƉĞŽƉůĞƐ
• dŚĞ ŝŶĐůƵĚĞƚŚĞŽŵŽ ƐĞďƵĂ ĐŚŝĞĨƐΖ
DŝŶĂŶŐŬĂďĂƵ ŚŽƵƐĞƐďƵŝůƚŽŶŵĂƐƐŝǀĞŝƌŽŶǁŽŽĚ
ǁŽŽĚ
ŝŶŵŽĚĞƌŶ ƉŝůůĂƌƐǁŝƚŚƚŽǁĞƌŝŶŐƌŽŽĨƐ͘
ƐĞƚƚŝŶŐ͗ • EŽƚŽŶůLJĂƌĞƚŚĞLJĂůŵŽƐƚ
• 'ƌĂŶĚ ŝŵƉƌĞŐŶĂďůĞƚŽĂƚƚĂĐŬŝŶĨŽƌŵĞƌ
DŽƐƋƵĞŝŶ ƚƌŝďĂůǁĂƌĨĂƌĞ͕ďƵƚĨůĞdžŝďůĞŶĂŝůͲůĞƐƐ
WĂĚĂŶŐ ĐŽŶƐƚƌƵĐƚŝŽŶƉƌŽǀŝĚĞƉƌŽǀĞŶ
ĞĂƌƚŚƋƵĂŬĞĚƵƌĂďŝůŝƚLJ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
• ZƵŵĂŚ DĞůĂLJƵ DĂůĂLJ
ƚƌĂĚŝƚŝŽŶĂůŚŽƵƐĞƐ
ďƵŝůƚŽŶƐƚŝůƚƐŽĨ
^ƵŵĂƚƌĂ͕ŽƌŶĞŽĂŶĚ
DĂůĂLJŽƌŶĞŽĂŶĚ
DĂůĂLJWĞŶŝŶƐƵůĂ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
• dŚĞĂƌĐŚŝƚĞĐƚƵƌĞŽĨĞŶƚƌĂů:ĂǀĂŝƐĐŚĂƌĂĐƚĞƌŝƐĞĚďLJƚŚĞ
ũƵdžƚĂƉŽƐŝƚŝŽŶŽĨƚŚĞŽůĚĂŶĚƚŚĞŶĞǁĂŶĚĂǁŝĚĞǀĂƌŝĞƚLJŽĨ
ĂƌĐŚŝƚĞĐƚƵƌĂůƐƚLJůĞƐ͕ƚŚĞůĞŐĂĐLJŽĨŵĂŶLJƐƵĐĐĞƐƐŝǀĞ
ŝŶĨůƵĞŶĐĞƐďLJƚŚĞ/ŶĚŝĂŶƐ͕ƚŚĞWĞƌƐŝĂŶƐĂŶĚƚŚĞƌĂďƐ͕ƚŚĞ
ŚŝŶĞƐĞ͕ĂŶĚƚŚĞƵƌŽƉĞĂŶƐ͘
• :ĂǀĂŶĞƐĞũŽŐůŽ ĂƌĞŶŽƚďƵŝůƚŽŶƉŝůĞƐ͕ĂŶĚŚĂǀĞďĞĐŽŵĞƚŚĞ
/ŶĚŽŶĞƐŝĂŶǀĞƌŶĂĐƵůĂƌƐƚLJůĞŵŽƐƚŝŶĨůƵĞŶĐĞĚďLJƵƌŽƉĞĂŶ
ĂƌĐŚŝƚĞĐƚƵƌĂůĞůĞŵĞŶƚƐ͘

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
ZƵŵĂŚ ĚĂƚ • dŚĞƵďƵŶŐĂŶ dŝŶŐŐŝ͕
• :ĂǀĂŶĞƐĞ ǁŝƚŚƚŚĞŝƌƐƚĞĞƉůLJ
ũŽŐůŽ ƉŝƚĐŚĞĚƌŽŽĨƐ͕ŝƐƚŚĞ
ůĂƌŐĞŚŽŵĞƐŽĨ
ĂŶũĂƌĞƐĞ ƌŽLJĂůƚLJĂŶĚ
ĂƌŝƐƚŽĐƌĂƚƐŝŶ^ŽƵƚŚ
<ĂůŝŵĂŶƚĂŶ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ ZƵŵĂŚ
džĂŵƉůĞƐʹ
• dŚĞZŝĂƵƌĞŐŝŽŶŝƐĐŚĂƌĂĐƚĞƌŝnjĞĚďLJǀŝůůĂŐĞƐďƵŝůƚŽŶƐƚŝůƚƐ ĚĂƚ
ŽǀĞƌǁĂƚĞƌǁĂLJƐ͘ • dŚĞ^ĂƐĂŬ ƉĞŽƉůĞŽĨ
>ŽŵďŽŬďƵŝůĚ
ůƵŵďƵŶŐ͕ƉŝůĞͲďƵŝůƚ
ďŽŶŶĞƚͲƌŽŽĨĞĚƌŝĐĞ
ďĂƌŶƐ͕ƚŚĂƚĂƌĞŽĨƚĞŶ
ŵŽƌĞĚŝƐƚŝŶĐƚŝǀĞĂŶĚ
ĞůĂďŽƌĂƚĞƚŚĂŶƚŚĞŝƌ
ŚŽƵƐĞƐ͘

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ
• ĂLJĂŬ ƉĞŽƉůĞƚƌĂĚŝƚŝŽŶĂůůLJůŝǀĞ ZƵŵĂŚ ĚĂƚ
ŝŶĐŽŵŵƵŶĂůůŽŶŐŚŽƵƐĞƐƚŚĂƚ • ĂLJĂŬ
ĂƌĞďƵŝůƚŽŶƉŝůĞƐ͘dŚĞŚŽƵƐĞƐ ŚŽƵƐĞƐ
ĐĂŶĞdžĐĞĞĚϯϬϬŵŝŶůĞŶŐƚŚ͕ŝŶ
ƐŽŵĞĐĂƐĞƐĨŽƌŵŝŶŐĂǁŚŽůĞ
ǁŚŽůĞ
ǀŝůůĂŐĞ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ
• dŽŶŐŬŽŶĂŶ ,ŽƵƐĞ ZƵŵĂŚ
•dŚĞǁŽƌĚΖdŽŶŐŬŽŶĂŶΖŝƐĚĞƌŝǀĞĚĨƌŽŵƚŚĞdŽƌĂũĂ ǁŽƌĚ ĚĂƚ
ƚŽŶŐŬŽŶ ;͚ƚŽƐŝƚ͛Ϳ͘ • dŽŶŐŬŽŶĂŶ
•dŽŶŐŬŽŶĂŶ ĂƌĞƚŚĞĐĞŶƚĞƌ ŽĨdŽƌĂũĂŶ ƐŽĐŝĂůůŝĨĞ͘dŚĞ ,ŽƵƐĞ
ƌŝƚƵĂůƐĂƐƐŽĐŝĂƚĞĚǁŝƚŚƚŚĞƚŽŶŐŬŽŶĂŶ ĂƌĞŝŵƉŽƌƚĂŶƚ
ĞdžƉƌĞƐƐŝŽŶƐŽĨdŽƌĂũĂŶ ƐƉŝƌŝƚƵĂůůŝĨĞ͕ĂŶĚƚŚĞƌĞĨŽƌĞĂůů
ĨĂŵŝůLJŵĞŵďĞƌƐĂƌĞŝŵƉĞůůĞĚƚŽƉĂƌƚŝĐŝƉĂƚĞ͕ďĞĐĂƵƐĞ
ƐLJŵďŽůŝĐĂůůLJƚŚĞƚŽŶŐŬŽŶĂŶ ƌĞƉƌĞƐĞŶƚƐůŝŶŬƐƚŽƚŚĞŝƌ
ĂŶĐĞƐƚŽƌƐĂŶĚƚŽůŝǀŝŶŐĂŶĚĨƵƚƵƌĞŬŝŶ͘

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ
ZƵŵĂŚ ZƵŵĂŚ
ĚĂƚ ĚĂƚ
• dŽŶŐŬŽŶĂŶ • dŽŶŐŬŽŶĂŶ
,ŽƵƐĞ ,ŽƵƐĞʹ
DŽĚĞƌŶ
/ŶƚĞƌƉƌĞƚĂƚŝŽŶ
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ
džĂŵƉůĞƐʹ džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
ZƵŵĂŚ ĚĂƚ • dŚĞWĂƉƵĂŶĂŶŝ
• ZƵŵĂŚ ĂĚĂƚ ŽŶ ƚƌĂĚŝƚŝŽŶĂůůLJůŝǀĞŝŶƐŵĂůů
^ƵŵďĂ ŚĂǀĞ ĨĂŵŝůLJĐŽŵƉŽƵŶĚƐ
ĚŝƐƚŝŶĐƚŝǀĞ ĐŽŵƉŽƐĞĚŽĨƐĞǀĞƌĂů
ƚŚĂƚĐŚĞĚΗŚŝŐŚ ĐŝƌĐƵůĂƌŚƵƚƐŬŶŽǁŶĂƐ
ŚĂƚΗƌŽŽĨƐĂŶĚĂƌĞ ŚŽŶĂŝ ǁŝƚŚƚŚĂƚĐŚĞĚ
ǁƌĂƉƉĞĚǁŝƚŚ ĚŽŵĞƌŽŽĨƐ͘
ƐŚĞůƚĞƌĞĚ
ǀĞƌĂŶĚĂŚƐ͘

7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
• ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞ
•dŚĞĂůŝŶĞƐĞƚƌĂĚŝƚŝŽŶĂůŚŽƵƐĞĨŽůůŽǁƐĂƐƚƌŝĐƚĂŶĐŝĞŶƚ
ĂƌĐŚŝƚĞĐƚƵƌĂůŐƵŝĚĞǁŚŝĐŚŝƐĂƉƌŽĚƵĐƚŽĨĂďůĞŶĚŽĨ,ŝŶĚƵ
ĂŶĚƵĚĚŚŝƐƚďĞůŝĞĨƐ͕ĨƵƐĞĚǁŝƚŚƵƐƚƌŽŶĞƐŝĂŶ ĂŶŝŵŝƐŵ͕
ƌĞƐƵůƚŝŶŐŝŶĂŚŽƵƐĞƚŚĂƚŝƐΗŝŶŚĂƌŵŽŶLJΗǁŝƚŚƚŚĞůĂǁŽĨ
ƚŚĞĐŽƐŵŽƐŽĨ ĂůŝŶĞƐĞ,ŝŶĚƵŝƐŵ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ
džĂŵƉůĞƐʹ
• ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞ
•dŚĞĂůŝŶĞƐĞƚƌĂĚŝƚŝŽŶĂůŚŽƵƐĞĨŽůůŽǁƐĂƐƚƌŝĐƚĂŶĐŝĞŶƚ
ĂƌĐŚŝƚĞĐƚƵƌĂůŐƵŝĚĞǁŚŝĐŚŝƐĂƉƌŽĚƵĐƚŽĨĂďůĞŶĚŽĨ,ŝŶĚƵ
ĂŶĚ ƵĚĚŚŝƐƚ ďĞůŝĞĨƐ ĨƵƐĞĚ ǁŝƚŚ ƵƐƚƌŽŶĞƐŝĂŶ ĂŶŝŵŝƐŵ͕
ĂŶĚƵĚĚŚŝƐƚďĞůŝĞĨƐ͕ĨƵƐĞĚǁŝƚŚƵƐƚƌŽŶĞƐŝĂŶ ĂŶŝŵŝƐŵ
ƌĞƐƵůƚŝŶŐŝŶĂŚŽƵƐĞƚŚĂƚŝƐΗŝŶŚĂƌŵŽŶLJΗǁŝƚŚƚŚĞůĂǁŽĨ
ƚŚĞĐŽƐŵŽƐŽĨ ĂůŝŶĞƐĞ,ŝŶĚƵŝƐŵ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹʹ ZƵŵĂŚ ĚĂƚ ʹ >/E^,Kh^
džĂŵƉůĞƐ
ƐŝŵƉůĞƐƚƚLJƉĞŽĨĂůŝŶĞƐĞŚŽƵƐĞ
ĐŽŵƉŽƵŶĚ͘
>ĞŐĞŶĚ͗ϭ͘ EĂƚĂŚ Ϯ͘ ^ĂŶŐŐĂŚ <ĞŵƵůĂŶ
ϯ͘ ĂůĞĚĂũĂ Žƌ ŵĞƚĞŶ ϰ͘ ĂůĞ
ĚĂŶŐŝŶ Žƌ ƐŝŬĞƉĂƚ ϱ͘ ĂůĞĚĂƵŚ Žƌ ƚŝĂŶŐ
ƐĂŶŐĂ ϲ͘ ĂůĞ
ĚĞůŽĚ Žƌ ƐĞŬĞŶĂŵ ϳ͘ WĂŽŶ ϴ͘ >ƵŵďƵŶŐ ϵ͘Ă
ƉŝŐƐƚLJϭϬ͘ >ĂǁĂŶŐ ϭϭ͘ ůŝŶŐͲ
ĂůŝŶŐ ϭϮ͘ ^ĂŶŐŐĂŚ ƉĞŶŐŝũĞŶŐ ŬĂƌĂŶŐ
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹʹ ZƵŵĂŚ ĚĂƚ ʹ >/E^,Kh^
džĂŵƉůĞƐ
ƐŝŵƉůĞƐƚƚLJƉĞŽĨĂůŝŶĞƐĞŚŽƵƐĞ
ĐŽŵƉŽƵŶĚ͘
>ĞŐĞŶĚ͗ϭ͘ EĂƚĂŚ Ϯ͘ ^ĂŶŐŐĂŚ <ĞŵƵůĂŶ
ϯ͘ ĂůĞĚĂũĂ Žƌ ŵĞƚĞŶ ϰ͘ ĂůĞ
ĚĂŶŐŝŶ Žƌ ƐŝŬĞƉĂƚ ϱ͘ ĂůĞĚĂƵŚ Žƌ ƚŝĂŶŐ
ƐĂŶŐĂ ϲ͘ ĂůĞ
ĚĞůŽĚ Žƌ ƐĞŬĞŶĂŵ ϳ͘ WĂŽŶ ϴ͘ >ƵŵďƵŶŐ ϵ͘Ă
ƉŝŐƐƚLJϭϬ͘ >ĂǁĂŶŐ ϭϭ͘ ůŝŶŐͲ
ĂůŝŶŐ ϭϮ͘ ^ĂŶŐŐĂŚ ƉĞŶŐŝũĞŶŐ ŬĂƌĂŶŐ
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ Ͳ ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞ
džĂŵƉůĞƐʹ
•ĂůŝŶĞƐĞŚŽƵƐĞŝƐďƵŝůƚǁŝƚŚŝŶĂĐŽŵƉŽƵŶĚƐƵƌƌŽƵŶĚĞĚďLJ
ǁĂůůŽĨǁŚŝƚĞǁĂƐŚĞĚŵƵĚŽƌďƌŝĐŬ͕ĚĞƉĞŶĚŝŶŐŽŶƚŚĞ
ǁĞĂůƚŚŽĨƚŚĞŽǁŶĞƌ͘
•ŝĨĨĞƌĞŶƚǁŝƚŚƚŚĞ:ĂǀĂŶĞƐĞƌĞƐŝĚĞŶƚŝĂůĐŽŵƉŽƵŶĚ
ŚŽǁĞǀĞƌ͕ƚŚĞĂůŝŶĞƐĞƌĞƐŝĚĞŶƚŝĂůĐŽŵƉŽƵŶĚŝƐĚŽŵŝŶĂƚĞĚ
ǁŝƚŚƉĂǀŝůŝŽŶƐ;ďĂůĞͿǁŚŝĐŚƐƵƌƌŽƵŶĚĂĐĞŶƚƌĂůĐŽƵƌƚLJĂƌĚ
;ŶĂƚĂŚͿ͘
•ŝĨĨĞƌĞŶƚĂƌĐŚŝƚĞĐƚƵƌĂůĞůĞŵĞŶƚƐǁŝƚŚŝŶƚŚĞĐŽŵƉŽƵŶĚĂƌĞ
ůĂŝĚŽƵƚĂĐĐŽƌĚŝŶŐƚŽĂůŝŶĞƐĞĐŽŶĐĞƉƚŝŽŶŽĨƚŚĞƐĂĐƌĞĚ
ĂŶĚƉƌŽĨĂŶĞǁŝƚŚŝŶƚŚĞĐĂƌĚŝŶĂůƉŽŝŶƚƐ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ Ͳ
džĂŵƉůĞƐʹ
ĂůŝŶĞƐĞŽŵĞƐƚŝĐ
ƌĐŚŝƚĞĐƚƵƌĞ
•dŚĞĨĂŵŝůLJƐŚƌŝŶĞŝƐƚŚĞŵŽƐƚ
ƐĂĐƌĞĚ ĂƌĞĂ ŽĨ ƚŚĞ ĐŽŵƉŽƵŶĚ
ƐĂĐƌĞĚĂƌĞĂŽĨƚŚĞĐŽŵƉŽƵŶĚ͕
ůŽĐĂƚĞĚŝŶƚŚĞŵŽƐƚĂƵƐƉŝĐŝŽƵƐ
ŶŽƌƚŚĞĂƐƚ;ŬĂũĂͲŬĂŶŐŝŶͿ
ĐŽƌŶĞƌŽĨĂĂůŝŶĞƐĞŚŽƵƐĞ
ĐŽŵƉŽƵŶĚ͘/ƚŝƐŝĚĞŶƚŝĨŝĞĚ
ŵĞƚĂƉŚŽƌŝĐĂůůLJǁŝƚŚƚŚĞŚĞĂĚ
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ Ͳ ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞ
džĂŵƉůĞƐʹ
•ĂůŝŶĞƐĞƉĂǀŝůŝŽŶƐ;ďĂůĞͿĐĂŶďĞŝĚĞŶƚŝĨŝĞĚǁŝƚŚƌŽŽŵƐŝŶƚŚĞ
ǁĞƐƚĞƌŶͲƐƚLJůĞŚŽƵƐĞƐ͗ĞĂĐŚƉĂǀŝůŝŽŶŚĂƐŝƚƐŽǁŶĚŝĨĨĞƌĞŶƚ
ĨƵŶĐƚŝŽŶ͘
•dŚĞŵŽƐƚŝŵƉŽƌƚĂŶƚƉĂǀŝůŝŽŶŝŶĂĂůŝŶĞƐĞŚŽƵƐĞĐŽŵƉŽƵŶĚŝƐ
ƚŚĞ ƉĂǀŝůŝŽŶ ŽĨ ƚŚĞ ŚĞĂĚ ŽĨ ƚŚĞ ŚŽƵƐĞŚŽůĚ ŬŶŽǁŶ ĂƐ ďĂůĞ
ƚŚĞƉĂǀŝůŝŽŶŽĨƚŚĞŚĞĂĚŽĨƚŚĞŚŽƵƐĞŚŽůĚ͕ŬŶŽǁŶĂƐ ďĂůĞ
ĚĂũĂ ;ΗŶŽƌƚŚƉĂǀŝůŝŽŶΗͿ͕ŝƚŝƐůŽĐĂƚĞĚŽŶƚŚĞŶŽƌƚŚ;ŬĂũĂͿƐŝĚĞŽĨ
ƚŚĞŚŽƵƐĞĐŽŵƉŽƵŶĚ͘ůƐŽŬŶŽǁŶĂƐ ďĂůĞŵĞƚĞŶ ;ĂůŝŶĞƐĞ
ΗƐůĞĞƉŝŶŐƉĂǀŝůŝŽŶΗͿ͘
•/ƚŝƐŽĨƚĞŶƚŚĞŽŶůLJĞŶĐůŽƐĞĚŽƌǁĂůůĞĚƉĂǀŝůŝŽŶǁŝƚŚŝŶƚŚĞ
ŚŽƵƐĞĐŽŵƉŽƵŶĚ͕ĂŶĚƐŽŝƚŝƐĂůƐŽƵƐĞĚƚŽƐƚŽƌĞĨĂŵŝůLJ
ŚĞŝƌůŽŽŵƐ͘
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH
džĂŵƉůĞƐʹ ZƵŵĂŚ ĚĂƚ Ͳ ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞ
džĂŵƉůĞƐʹ
•ŽŶƐƚƌƵĐƚŝŽŶ
•/ŶĂůŝŶĞƐĞĐƵůƚƵƌĞ͕ƚŚĞĨŝƌƐƚĚĂLJŽĨƚŚĞĐŽŶƐƚƌƵĐƚŝŽŶŽĨĂ
ŶĞǁŚŽƵƐĞĐŽŵƉŽƵŶĚŝƐĂĐƌƵĐŝĂůŵĂƚƚĞƌ͘
•ĞĨŽƌĞĐŽŶƐƚƌƵĐƚŝŽŶďĞŐŝŶƐ͕ƉƌŽƐƉĞĐƚŝǀĞŚŽƵƐĞŽǁŶĞƌ
•ĞĨŽƌĞ ĐŽŶƐƚƌƵĐƚŝŽŶ ďĞŐŝŶƐ ƉƌŽƐƉĞĐƚŝǀĞ ŚŽƵƐĞ ŽǁŶĞƌ
ǁŝůůĐŽŶƐƵůƚĂŶĞdžƉĞƌƚƚŽĐŚŽŽƐĞƚŚĞŵŽƐƚĂƵƐƉŝĐŝŽƵƐĚĂLJ
ŝŶƚŚĞ ĂůŝŶĞƐĞĐĂůĞŶĚĂƌ ƚŽƐƚĂƌƚĐŽŶƐƚƌƵĐƚŝŽŶ͘
•ZŝƚƵĂůǁŝůůĂůƐŽďĞĞŶĂĐƚĞĚũƵƐƚďĞĨŽƌĞĐŽŶƐƚƌƵĐƚŝŽŶ͖
ŽĨĨĞƌŝŶŐƐĂƌĞƉůĂĐĞĚŝŶƚŚĞĨŽƵŶĚĂƚŝŽŶƐǁŝƚŚƚŚĞŚŽƉĞƚŚĂƚ
ƚŚĞĐŽŶƐƚƌƵĐƚŝŽŶǁŝůůŐŽƐŵŽŽƚŚůLJ͘

HV ² 9HUQDFXXODU$UFKLWHFWXUH
HV ² 9HUQDFXXODU$UFKLWHFWXUH

7\SHV
7\S
7\SHV
7\S

džĂŵƉůĞƐʹʹ ZƵŵĂŚ ĚĂƚƚ ʹ

džĂŵƉůĞƐ
ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞ
džĂŵƉůĞƐʹʹ ZƵŵĂŚ ĚĂƚƚ ʹ
džĂŵƉůĞƐ
ĂůŝŶĞƐĞŽŵĞƐƚŝĐƌĐŚŝƚĞĐƚƵƌĞͲ DKZE
7\SHV
7\S HV ² 9HUQDFXODU$UFKLWHFWXUH 7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
dŚĞĞĐůŝŶĞŽĨZƵŵĂŚ ĚĂƚ
dŚĞĞĐůŝŶĞŽĨZƵŵĂŚ
• dŚĞŶƵŵďĞƌƐŽĨ ƌƵŵĂŚ ĂĚĂƚ ĂƌĞĚĞĐƌĞĂƐŝŶŐĂĐƌŽƐƐ/ŶĚŽŶĞƐŝĂ͘
• dŚŝƐƚƌĞŶĚĚĂƚĞƐĨƌŽŵƚŚĞĐŽůŽŶŝĂůƉĞƌŝŽĚ͕ǁŝƚŚƚŚĞƵƚĐŚ • /ƐƚĂŶĂ ;ŽƌΗƉĂůĂĐĞΗͿĂƌĐŚŝƚĞĐƚƵƌĞŽĨƚŚĞǀĂƌŝŽƵƐŬŝŶŐĚŽŵƐ
ŐĞŶĞƌĂůůLJǀŝĞǁŝŶŐƚƌĂĚŝƚŝŽŶĂůĂƌĐŚŝƚĞĐƚƵƌĞĂƐƵŶŚLJŐŝĞŶŝĐ͘ ĂŶĚƌĞĂůŵƐŽĨ/ŶĚŽŶĞƐŝĂ͕ŝƐŵŽƌĞŽĨƚĞŶƚŚĂŶŶŽƚďĂƐĞĚŽŶ
• ŽůŽŶŝĂůĂƵƚŚŽƌŝƚŝĞƐĞŵďĂƌŬĞĚŽŶĚĞŵŽůŝƚŝŽŶƉƌŽŐƌĂŵŵĞƐ͕ ƚŚĞǀĞƌŶĂĐƵůĂƌ ĂĚĂƚ ĚŽŵĞƐƚŝĐƐƚLJůĞƐŽĨƚŚĞĂƌĞĂ͘
LJ
ƌĞƉůĂĐŝŶŐƚƌĂĚŝƚŝŽŶĂůŚŽŵĞƐǁŝƚŚŚŽƵƐĞƐďƵŝůƚƵƐŝŶŐtĞƐƚĞƌŶ
ĐŽŶƐƚƌƵĐƚŝŽŶƚĞĐŚŶŝƋƵĞƐ͕ƐƵĐŚĂƐďƌŝĐŬƐĂŶĚ ĐŽƌƌƵŐĂƚĞĚ
ŝƌŽŶ ƌŽŽĨƐ͕ĨŝƚƚŝŶŐƐĂŶŝƚĂƌLJĨĂĐŝůŝƚŝĞƐĂŶĚďĞƚƚĞƌǀĞŶƚŝůĂƚŝŽŶ͘ • ZŽLJĂůĐŽƵƌƚƐ͕ŚŽǁĞǀĞƌ͕ǁĞƌĞĂďůĞƚŽĚĞǀĞůŽƉŵƵĐŚŐƌĂŶĚĞƌ
• ^ŝŶĐĞŝŶĚĞƉĞŶĚĞŶĐĞ͕ƚŚĞ/ŶĚŽŶĞƐŝĂŶŐŽǀĞƌŶŵĞŶƚŚĂƐĐŽŶƚŝŶƵĞĚ ĂŶĚĞůĂďŽƌĂƚĞǀĞƌƐŝŽŶƐŽĨƚŚŝƐƚƌĂĚŝƚŝŽŶĂůĂƌĐŚŝƚĞĐƚƵƌĞ͘
ƚŽƉƌŽŵŽƚĞƚŚĞΖƌƵŵĂŚ ƐĞŚĂƚ ƐĞĚĞƌŚĂŶĂΖ;ΖƐŝŵƉůĞŚĞĂůƚŚLJ
ŚŽŵĞΖͿŽǀĞƌƚŚĞ ƌƵŵĂŚ ĂĚĂƚ

7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH 7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
• :ĂǀĂŶĞƐĞ<ƌĂƚŽŶ ;<ĞƌĂƚŽŶ • :ĂǀĂŶĞƐĞ
ʹ :ĂǀĂŶĞƐĞZŽLJĂůƉĂůĂĐĞͿ <ƌĂƚŽŶ
ŚĂƌĂĐƚĞƌŝƐƚŝĐƐ͗ dhDWE'
• ůĂƌŐĞƉĞŶĚŽƉŽƐ ^Z/
;ƉĂǀŝůŝŽŶͿ ŽĨ ƚŚĞ ũŽŐůŽ
;ƉĂǀŝůŝŽŶͿŽĨƚŚĞũŽŐůŽ
ƌŽŽĨĨŽƌŵǁŝƚŚ
ƚƵŵƉĂŶŐ ƐĂƌŝ
ŽƌŶĂŵĞŶƚĂƚŝŽŶƚŚĂƚ
ĂƌĞĞůĂďŽƌĂƚĞďƵƚ
ďĂƐĞĚŽŶĐŽŵŵŽŶ
:ĂǀĂŶĞƐĞĨŽƌŵƐ͘
7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH 7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
• <ƌĂƚŽŶ ŝŶzŽŐLJĂŬĂƌƚĂ • <ƌĂƚŽŶ ŝŶzŽŐLJĂŬĂƌƚĂ
• dŚĞƉĂůĂĐĞŝƐƚŚĞŵĂŝŶƐĞĂƚ ^ƵůƚĂŶŽĨzŽŐLJĂŬĂƌƚĂ ĂŶĚŚŝƐ
ĨĂŵŝůLJ͘/ƚƐĞƌǀĞƐĂƐĂĐƵůƚƵƌĂůĐĞŶƚĞƌ ĨŽƌƚŚĞ :ĂǀĂŶĞƐĞƉĞŽƉůĞ
ĂŶĚĐŽŶƚĂŝŶƐĂŵƵƐĞƵŵƚŚĂƚĚŝƐƉůĂLJƐƚŚĞƐƵůƚĂŶĂƚĞΖƐ
ĂƌƚĞĨĂĐƚƐ͘
ƚ Ĩ ƚ
• ŚĞďĂƐŝĐďƵŝůĚŝŶŐĂŶĚďĂƐŝĐĚĞƐŝŐŶŽĨƚŚĞƉĂůĂĐĞůĂLJŽƵƚ
ĨŽůůŽǁŝŶŐƚŚĞďĂƐŝĐĚĞƐŝŐŶŽĨƚŚĞŽůĚĐŝƚLJůĂŶĚƐĐĂƉĞŽĨ
zŽŐLJĂŬĂƌƚĂ ǁĂƐĐŽŵƉůĞƚĞĚďĞƚǁĞĞŶϭϳϱϱͲϭϳϱϲ͘
• ŶŽƚŚĞƌďƵŝůĚŝŶŐǁĂƐůĂƚĞƌĂĚĚĞĚďLJƚŚĞůĂƚĞƌ^ƵůƚĂŶŽĨ
zŽŐLJĂŬĂƌƚĂ͘

7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH 7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
• dĂŵĂŶ^Ăƌŝ;tĂƚĞƌĂƐƚůĞͿ • dĂŵĂŶ^Ăƌŝ;tĂƚĞƌĂƐƚůĞͿ
• /ƐƚŚĞƐŝƚĞŽĨĂĨŽƌŵĞƌƌŽLJĂůŐĂƌĚĞŶŽĨƚŚĞ ^ƵůƚĂŶĂƚĞŽĨ • dŚĞŶĂŵĞ dĂŵĂŶ^Ăƌŝ ĐŽŵĞƐĨƌŽŵ
zŽŐLJĂŬĂƌƚĂ͘ ƚŚĞ :ĂǀĂŶĞƐĞ ǁŽƌĚƐ ƚĂŵĂŶ͕ŵĞĂŶŝŶŐĂΗŐĂƌĚĞŶΗŽƌΗƉĂƌŬΗ
• /ƚŝƐůŽĐĂƚĞĚĂďŽƵƚϮ ŬŵƐŽƵƚŚǁŝƚŚŝŶƚŚĞŐƌŽƵŶĚƐŽĨ ĂŶĚ ƐĂƌŝ͕ǁŚŝĐŚŵĞĂŶƐΗďĞĂƵƚŝĨƵůΗŽƌΗĨůŽǁĞƌƐΗ͘,ĞŶĐĞ͕ƚŚĞ
ƚŚĞ <ƌĂƚŽŶ͕ zŽŐLJĂŬĂƌƚĂ͕ /ŶĚŽŶĞƐŝĂ͘ ŶĂŵĞ dĂŵĂŶ^Ăƌŝ
d ^ ŝ ŵĞĂŶƐĂŶĂƌĞĂŽĨĂďĞĂƵƚŝĨƵůŐĂƌĚĞŶ
Ĩ ď ƚŝĨ ů Ě
• ƵŝůƚŝŶƚŚĞŵŝĚͲϭϴƚŚĐĞŶƚƵƌLJ͕ƚŚĞdĂŵĂŶ^ĂƌŝŚĂĚŵƵůƚŝƉůĞ ĂĚŽƌŶĞĚǁŝƚŚĨůŽǁĞƌƐ͘
ĨƵŶĐƚŝŽŶƐ͕ƐƵĐŚĂƐĂƌĞƐƚŝŶŐĂƌĞĂ͕ĂǁŽƌŬƐŚŽƉ͕ĂŵĞĚŝƚĂƚŝŽŶ • ŶŽůĚĂƌƚŝĐůĞĚĞƐĐƌŝďĞĚŝƚĂƐĂΗǁĂƚĞƌĐĂƐƚůĞΗ
ĂƌĞĂ͕ĂĚĞĨĞŶƐĞ ĂƌĞĂ͕ĂŶĚĂŚŝĚŝŶŐƉůĂĐĞ͘ ;ƵƚĐŚ͗ ǁĂƚĞƌŬĂƐƚĞĞůͿ͖ĂƐďLJƐŚƵƚƚŝŶŐƚŚĞǁĂƚĞƌŐĂƚĞƐ͕ƚŚĞ
ĐŽŵƉůĞdžǁŽƵůĚďĞĐŽŵƉůĞƚĞůLJŝŵŵĞƌƐĞĚŝŶǁĂƚĞƌ͕ůĞĂǀŝŶŐ
ƚĂůůƐƚƌƵĐƚƵƌĞƐƐƚĂŶĚŝŶŐŽƵƚ͘
7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
• DŝŶĂŶŐŬĂďĂƵ
• ZƵŵĂŚ ŐĂĚĂŶŐ ;DŝŶĂŶŐŬĂďĂƵ͗ΗďŝŐŚŽƵƐĞΗͿŽƌƌƵŵĂŚ
ďĂŐŽŶũŽŶŐ ;DŝŶĂŶŐŬĂďĂƵ͗ΗƐƉŝƌĞĚ ƌŽŽĨŚŽƵƐĞΗͿʹ
• ƚƌĂĚŝƚŝŽŶĂůŚŽŵĞƐ;/ŶĚŽŶĞƐŝĂŶ͗ΗƌƵŵĂŚ ĂĚĂƚΗͿŽĨƚŚĞ
DŝŶĂŶŐŬĂďĂƵ͘
DŝŶĂŶŐŬĂďĂƵ
• ƌƵŵĂŚ ŐĂĚĂŶŐ ƐĞƌǀĞƐĂƐĂƌĞƐŝĚĞŶĐĞ͕ĂŚĂůůĨŽƌĨĂŵŝůLJ
ŵĞĞƚŝŶŐƐ͕ĂŶĚĨŽƌĐĞƌĞŵŽŶŝĂůĂĐƚŝǀŝƚŝĞƐ͘
• /ŶƚŚĞŵĂƚƌŝůŝŶĞĂůDŝŶĂŶŐŬĂďĂƵ ƐŽĐŝĞƚLJ͕ƚŚĞƌƵŵĂŚ
ŐĂĚĂŶŐ ŝƐŽǁŶĞĚďLJƚŚĞǁŽŵĞŶŽĨƚŚĞĨĂŵŝůLJǁŚŽůŝǀĞ
ƚŚĞƌĞ͖ŽǁŶĞƌƐŚŝƉŝƐƉĂƐƐĞĚĨƌŽŵŵŽƚŚĞƌƚŽĚĂƵŐŚƚĞƌ͘
7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
• DŝŶĂŶŐŬĂďĂƵ
• dǁŽďĂƐŝĐĚĞƐŝŐŶƐ;ƌĞĨůĞĐƚƚǁŽǀĂƌŝĂƚŝŽŶƐŽĨ
DŝŶĂŶŐŬĂďĂƵ ƐŽĐŝĂůƐƚƌƵĐƚƵƌĞͿ͗
• dŚĞŬŽƚŽ ƉŝůŝĂŶŐ ĚĞƐŝŐŶƌĞĨůĞĐƚƐĂŶĂƌŝƐƚŽĐƌĂƚŝĐĂŶĚ
ŚŝĞƌĂƌĐŚŝĐĂůƐŽĐŝĂůƐƚƌƵĐƚƵƌĞ͕ǁŝƚŚƚŚĞŚŽƵƐĞ
ĐŽŶƚĂŝŶŝŶŐĂŶũƵĂŶŐ ;ƌĂŝƐĞĚĨůŽŽƌƐͿĂƚĞĂĐŚĞŶĚƚŽ
ƉĞƌŵŝƚĞůĞǀĂƚĞĚƐĞĂƚŝŶŐŽĨĐůĂŶůĞĂĚĞƌƐĚƵƌŝŶŐ
ĐĞƌĞŵŽŶŝĂůĞǀĞŶƚƐ͘
• dŚĞďŽĚŝ ĐĂŶŝĂŐŽ ĚĞƐŝŐŶƌĞĨůĞĐƚƐĂĚĞŵŽĐƌĂƚŝĐƐŽĐŝĂů
ƐƚƌƵĐƚƵƌĞ͕ǁŝƚŚƚŚĞĨůŽŽƌƐďĞŝŶŐĨůĂƚĂŶĚŽŶŽŶĞůĞǀĞů͘

7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH 7\SHV
7\S HV ² 3DODFH$UFKLWHFWXUH
• DŝŶĂŶŐŬĂďĂƵ • DŝŶĂŶŐŬĂďĂƵ
• ŬŽƚŽ ƉŝůŝĂŶŐ • ^ŽŵĞƐLJŵďŽůŝƐŵƐŽĨƚŚĞŚŽƵƐĞ͗
• ƌĞůĂƚĞƚŽƚŚĞ ŐŽŶũŽŶŐ ;ŚŽƌŶůŝŬĞƌŽŽĨƐƚƌƵĐƚƵƌĞͿ
ƌĞĂĐŚŝŶŐƚŽŐŽĚ
• ĚŝŶĚŝĂŶŐ ƚĂƉŝ ;ƚŚĞǁĂůůƐŽŶƚŚĞĨƌŽŶƚĂŶĚďĂĐŬ
ĞůĞǀĂƚŝŽŶƐͿ͕ǁŚŝĐŚŝƐƚƌĂĚŝƚŝŽŶĂůůLJŵĂĚĞŽĨƉůĂŝƚĞĚ
ƐƚƌŝƉƐŽĨďĂŵ͕ƐLJŵďŽůŝnjŝŶŐƚŚĞƐƚƌĞŶŐƚŚĂŶĚƵƚŝůŝƚLJ
ŽĨƚŚĞĐŽŵŵƵŶŝƚLJǁŚŝĐŚŝƐĨŽƌŵĞĚǁŚĞŶŝŶĚŝǀŝĚƵĂů

• ďŽĚŝ ĐĂŶŝĂŐŽ
7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH
• ϭϲƚŚĂŶĚϭϳƚŚĐĞŶƚƵƌŝĞƐͲ ĂƌƌŝǀĂůŽĨƵƌŽƉĞĂŶƉŽǁĞƌƐŝŶ
/ŶĚŽŶĞƐŝĂǁŚŽƵƐĞĚŵĂƐŽŶƌLJĨŽƌŵƵĐŚŽĨƚŚĞŝƌ
ĐŽŶƐƚƌƵĐƚŝŽŶ͘
• KŶĞŽĨƚŚĞĨŝƌƐƚŵĂũŽƌƵƚĐŚƐĞƚƚůĞŵĞŶƚƐǁĂƐĂƚĂǀŝĂ;ůĂƚĞƌ
ŶĂŵĞĚ:ĂŬĂƌƚĂͿǁŚŝĐŚŝŶƚŚĞϭϳƚŚĂŶĚϭϴƚŚĐĞŶƚƵƌŝĞƐǁĂƐĂ
Ě : Ŭ ƚ Ϳ Śŝ Ś ŝ ƚŚ ϭϳƚŚ Ě ϭϴƚŚ ƚ ŝ
ĨŽƌƚŝĨŝĞĚďƌŝĐŬĂŶĚŵĂƐŽŶƌLJĐŝƚLJ͘
• dŚĞƵƚĐŚůĞĂƌŶƚƚŽĂĚĂƉƚƚŚĞŝƌĂƌĐŚŝƚĞĐƚƵƌĂůƐƚLJůĞǁŝƚŚůŽĐĂů
ďƵŝůĚŝŶŐĨĞĂƚƵƌĞƐ;ůŽŶŐĞĂǀĞƐ͕ǀĞƌĂŶĚĂŚƐ͕ƉŽƌƚŝĐŽƐ͕ůĂƌŐĞ
ǁŝŶĚŽǁƐĂŶĚǀĞŶƚŝůĂƚŝŽŶŽƉĞŶŝŶŐƐͿ
7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH
• dŚĞ/ŶĚŽͲƵƌŽƉĞĂŶŚLJďƌŝĚǀŝůůĂŽĨƚŚĞϭϵƚŚĐĞŶƚƵƌLJǁĂƐ
ĂŵŽŶŐƚŚĞĨŝƌƐƚĐŽůŽŶŝĂůďƵŝůĚŝŶŐƐƚŽŝŶĐŽƌƉŽƌĂƚĞ/ŶĚŽŶĞƐŝĂŶ
ĂƌĐŚŝƚĞĐƚƵƌĂůĞůĞŵĞŶƚƐĂŶĚĂƚƚĞŵƉƚĂĚĂƉƚŝŶŐƚŽƚŚĞ
ĐůŝŵĂƚĞ dŚĞ ďĂƐŝĐ ĨŽƌŵ ƐƵĐŚ ĂƐ ƚŚĞ ůŽŶŐŝƚƵĚŝŶĂů
ĐůŝŵĂƚĞ͘dŚĞďĂƐŝĐĨŽƌŵ͕ƐƵĐŚĂƐƚŚĞůŽŶŐŝƚƵĚŝŶĂů
ŽƌŐĂŶŝnjĂƚŝŽŶŽĨƐƉĂĐĞƐĂŶĚƵƐĞŽĨũŽŐůŽ ĂŶĚůŝŵĂƐĂŶ ƌŽŽĨ
ƐƚƌƵĐƚƵƌĞƐ͕ǁĂƐ:ĂǀĂŶĞƐĞ͕ďƵƚŝƚŝŶĐŽƌƉŽƌĂƚĞĚƵƌŽƉĞĂŶ
ĚĞĐŽƌĂƚŝǀĞĞůĞŵĞŶƚƐƐƵĐŚĂƐŶĞŽͲĐůĂƐƐŝĐĂůĐŽůƵŵŶƐĂƌŽƵŶĚ
ĚĞĞƉǀĞƌĂŶĚĂŚƐ͘

7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH 7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH
• dŚĞ/ŶĚŽͲƵƌŽƉĞĂŶŚLJďƌŝĚǀŝůůĂŽĨƚŚĞϭϵƚŚĐĞŶƚƵƌLJǁĂƐ
ĂŵŽŶŐƚŚĞĨŝƌƐƚĐŽůŽŶŝĂůďƵŝůĚŝŶŐƐƚŽŝŶĐŽƌƉŽƌĂƚĞ/ŶĚŽŶĞƐŝĂŶ
ĂƌĐŚŝƚĞĐƚƵƌĂůĞůĞŵĞŶƚƐĂŶĚĂƚƚĞŵƉƚĂĚĂƉƚŝŶŐƚŽƚŚĞ
ĐůŝŵĂƚĞ dŚĞ ďĂƐŝĐ ĨŽƌŵ ƐƵĐŚ ĂƐ ƚŚĞ ůŽŶŐŝƚƵĚŝŶĂů
ĐůŝŵĂƚĞ͘dŚĞďĂƐŝĐĨŽƌŵ͕ƐƵĐŚĂƐƚŚĞůŽŶŐŝƚƵĚŝŶĂů
ŽƌŐĂŶŝnjĂƚŝŽŶŽĨƐƉĂĐĞƐĂŶĚƵƐĞŽĨũŽŐůŽ ĂŶĚůŝŵĂƐĂŶ ƌŽŽĨ
ƐƚƌƵĐƚƵƌĞƐ͕ǁĂƐ:ĂǀĂŶĞƐĞ͕ďƵƚŝƚŝŶĐŽƌƉŽƌĂƚĞĚƵƌŽƉĞĂŶ
ĚĞĐŽƌĂƚŝǀĞĞůĞŵĞŶƚƐƐƵĐŚĂƐŶĞŽͲĐůĂƐƐŝĐĂůĐŽůƵŵŶƐĂƌŽƵŶĚ
ĚĞĞƉǀĞƌĂŶĚĂŚƐ͘
7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH 7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH
Ύ:sΎ
• /ŶĚŽͲƵƌŽƉĞĂŶŚŽŵĞƐͲ /ŶĚŽŶĞƐŝĂŶŚŽƵƐĞƐǁŝƚŚƵƌŽƉĞĂŶƚƌŝŵƐ
• /ŶĂƌůLJϮϬƚŚĞŶƚƵƌLJͲ ƵƌŽƉĞĂŶďƵŝůĚŝŶŐƐǁŝƚŚ/ŶĚŽŶĞƐŝĂŶ
ƚƌŝŵƐ
• WƌĂĐƚŝĐĂůŵĞĂƐƵƌĞƐĐĂƌƌŝĞĚŽǀĞƌĨƌŽŵƚŚĞĞĂƌůŝĞƌ/ŶĚŽͲ
ƵƌŽƉĞĂŶŚLJďƌŝĚƐ͕ǁŚŝĐŚƌĞƐƉŽŶĚĞĚƚŽƚŚĞ/ŶĚŽŶĞƐŝĂŶ
ĐůŝŵĂƚĞ͕ŝŶĐůƵĚĞĚŽǀĞƌŚĂŶŐŝŶŐĞĂǀĞƐ͕ůĂƌŐĞƌǁŝŶĚŽǁƐ
ĂŶĚǀĞŶƚŝůĂƚŝŽŶŝŶƚŚĞǁĂůůƐ

7\SHV
7\S HV ² &RORQLDO
&RORQLDO$UFKLWHFWXUH
$UFKLWHFWXUH 7\SHV
7\S HV ² 3RVW,QGHSHQGHQFH
3RVW,QGHSHQGHQFH$UFKLWHFWXUH
$UFKLWHFWXUH
Ύ:sΎ • ĂƌůLJƚǁĞŶƚŝĞƚŚĐĞŶƚƵƌLJŵŽĚĞƌŶŝƐŵƐĂƌĞƐƚŝůůǀĞƌLJĞǀŝĚĞŶƚĂĐƌŽƐƐ
• ŶĚŽĨϭϵƚŚĞŶƚƵƌLJ ŵƵĐŚŽĨ/ŶĚŽŶĞƐŝĂ͕ĂŐĂŝŶŵŽƐƚůLJŝŶ:ĂǀĂ͘
• ϯϬƐǁŽƌůĚĚĞƉƌĞƐƐŝŽŶǁĂƐĚĞǀĂƐƚĂƚŝŶŐƚŽ:ĂǀĂ͕ĂŶĚǁĂƐĨŽůůŽǁĞĚ
• ŝŵƉƌŽǀĞŵĞŶƚƐƚŽƚĞĐŚŶŽůŽŐLJ͕ĐŽŵŵƵŶŝĐĂƚŝŽŶƐĂŶĚ
ďLJĂŶŽƚŚĞƌĚĞĐĂĚĞŽĨǁĂƌ͕ƌĞǀŽůƵƚŝŽŶĂŶĚƐƚƌƵŐŐůĞ͕ǁŚŝĐŚ
ƚƌĂŶƐƉŽƌƚĂƚŝŽŶ
ƌĞƐƚƌŝĐƚĞĚ ƚŚĞ ĚĞǀĞůŽƉŵĞŶƚ ŽĨ ƚŚĞ ďƵŝůƚ ĞŶǀŝƌŽŶŵĞŶƚ
ƌĞƐƚƌŝĐƚĞĚƚŚĞĚĞǀĞůŽƉŵĞŶƚŽĨƚŚĞďƵŝůƚĞŶǀŝƌŽŶŵĞŶƚ͘
• DŽĚĞƌŶŝƐƚŝĐďƵŝůĚŝŶŐƐƌĞƋƵŝƌĞĚĨŽƌƐƵĐŚĚĞǀĞůŽƉŵĞŶƚ • ƚŚĞ:ĂǀĂŶĞƐĞĂƌƚͲĚĞĐŽƐƚLJůĞĨƌŽŵƚŚĞϭϵϮϬƐďĞĐĂŵĞƚŚĞƌŽŽƚĨŽƌ
ĂƉƉĞĂƌĞĚŝŶŐƌĞĂƚŶƵŵďĞƌƐ͕ĂŶĚǁĞƌĞŚĞĂǀŝůLJŝŶĨůƵĞŶĐĞĚ ƚŚĞĨŝƌƐƚ/ŶĚŽŶĞƐŝĂŶŶĂƚŝŽŶĂůƐƚLJůĞŝŶƚŚĞϭϵϱϬƐ
ďLJŝŶƚĞƌŶĂƚŝŽŶĂůƐƚLJůĞƐ • dŚĞƉŽůŝƚŝĐĂůůLJƚƵƌďƵůĞŶƚϭϵϱϬƐŵĞĂŶƚƚŚĂƚƚŚĞŶĞǁďƵƚďƌƵŝƐĞĚ
• ŝŶĐůƵĚĞƐƚƌĂŝŶƐƚĂƚŝŽŶƐ͕ďƵƐŝŶĞƐƐŚŽƚĞůƐ͕ĨĂĐƚŽƌŝĞƐĂŶĚ /ŶĚŽŶĞƐŝĂǁĂƐŶĞŝƚŚĞƌĂďůĞƚŽĂĨĨŽƌĚŽƌĨŽĐƵƐĞĚƚŽĨŽůůŽǁƚŚĞ
ŽĨĨŝĐĞďůŽĐŬƐ͕ŚŽƐƉŝƚĂůƐĂŶĚĞĚƵĐĂƚŝŽŶŝŶƐƚŝƚƵƚŝŽŶƐ ŶĞǁŝŶƚĞƌŶĂƚŝŽŶĂůŵŽǀĞŵĞŶƚƐƐƵĐŚĂƐŵŽĚĞƌŶŝƐƚďƌƵƚĂůŝƐŵ
7\SHV
7\S HV ² 3RVW,QGHSHQGHQFH
3RVW,QGHSHQGHQFH$UFKLWHFWXUH
$UFKLWHFWXUH 7\SHV
7\S HV ² 3RVW,QGHSHQGHQFH
3RVW,QGHSHQGHQFH$UFKLWHFWXUH
$UFKLWHFWXUH
• ũĞŶŐŬŝ ƐƚLJůĞ
͞>ĞƚƵƐƉƌŽǀĞƚŚĂƚǁĞĐĂŶĂůƐŽ
ďƵŝůĚƚŚĞĐŽƵŶƚƌLJůŝŬĞƚŚĞ
ƵƌŽƉĞĂŶƐĂŶĚŵĞƌŝĐĂŶƐĚŽ
ďĞĐĂƵƐĞǁĞĂƌĞĞƋƵĂů͟ʹ
6XNDUQR

7\SHV
7\S HV ² 3RVW,QGHSHQGHQFH
3RVW,QGHSHQGHQFH$UFKLWHFWXUH
$UFKLWHFWXUH 7\SHV
7\S HV ² &RQWHPSRUDU\$UFKLWHFWXUH
• ϭϵϱϬƐũĞŶŐŬŝ ƐƚLJůĞͲ ƐŽŶĂŵĞĚĂĨƚĞƌ/ŶĚŽŶĞƐŝĂŶƌĞĨĞƌĞŶĐĞƐ • DĂŶLJŶĞǁďƵŝůĚŝŶŐƐĂƌĞĐůĂĚǁŝƚŚƐŚŝŶLJŐůĂƐƐƐƵƌĨĂĐĞƐƚŽ
ƚŽƚŚĞŵĞƌŝĐĂŶĂƌŵĞĚĨŽƌĐĞƐĂƐΖLJĂŶŬĞĞΖ͕ǁĂƐĂĚŝƐƚŝŶĐƚŝǀĞ ƌĞĨůĞĐƚƚŚĞƚƌŽƉŝĐĂůƐƵŶ͘
/ŶĚŽŶĞƐŝĂŶĂƌĐŚŝƚĞĐƚƵƌĂůƐƚLJůĞƚŚĂƚĞŵĞƌŐĞĚ͘ • ƌĐŚŝƚĞĐƚƵƌĂůƐƚLJůĞƐĂƌĞŝŶĨůƵĞŶĐĞĚďLJĚĞǀĞůŽƉŵĞŶƚƐŝŶ
• dŚĞŵŽĚĞƌŶŝƐƚĐƵďŝĐĂŶĚƐƚƌŝĐƚŐĞŽŵĞƚƌŝĐĨŽƌŵƐƚŚĂƚƚŚĞ ĂƌĐŚŝƚĞĐƚƵƌĞŝŶƚĞƌŶĂƚŝŽŶĂůůLJ͕ŝŶĐůƵĚŝŶŐƚŚĞŝŶƚƌŽĚƵĐƚŝŽŶŽĨ
ƵƚĐŚŚĂĚƵƐĞĚďĞĨŽƌĞtŽƌůĚtĂƌ//ǁĞƌĞƚƌĂŶƐĨŽƌŵĞĚŝŶƚŽ ĚĞĐŽŶƐƚƌƵĐƚŝǀŝƐŵ ĂƌĐŚŝƚĞĐƚƵƌĞ͘
ŵŽƌĞĐŽŵƉůŝĐĂƚĞĚǀŽůƵŵĞƐ͕ƐƵĐŚĂƐƉĞŶƚĂŐŽŶƐŽƌŽƚŚĞƌ
ŝƌƌĞŐƵůĂƌƐŽůŝĚƐ͘
• dŚŝƐĂƌĐŚŝƚĞĐƚƵƌĞŝƐĂŶĞdžƉƌĞƐƐŝŽŶŽĨƚŚĞƉŽůŝƚŝĐĂůƐƉŝƌŝƚŽĨ
ĨƌĞĞĚŽŵĂŵŽŶŐƚŚĞ/ŶĚŽŶĞƐŝĂŶƐ͘
7\SHV
7\S HV ² &RQWHPSRUDU\$UFKLWHFWXUH
• &ŽůůŽǁŝŶŐƚŚĞƉĂƚƚĞƌŶŽĨĐŽůŽŶŝĂůĂƌĐŚŝƚĞĐƚƵƌĞŝŶDĂůĂLJƐŝĂ
ĂŶĚ^ŝŶŐĂƉŽƌĞ͕ĂƌĐŚŝƚĞĐƚƐŝŶƚŚĞĨŽƌŵĞƌƵƚĐŚĂƐƚ/ŶĚŝĞƐ
ƌĞůŝĞǀĞĚŚĞĂǀŝůLJŽŶŝŵƉŽƌƚĞĚƵƌŽƉĞĂŶŵŽĚĞůƐĨŽƌƚŚĞŝƌ
ƉƵďůŝĐďƵŝůĚŝŶŐƐ͕ĐůƵďƐĂŶĚĐŚƵƌĐŚĞƐ
• /ŶƌĞƐŝĚĞŶƚŝĂůƌĐŚŝƚĞĐƚƵƌĞ͕ƉƌŽĚƵĐŝŶŐĂŐƌŽǁŝŶŐŶƵŵďĞƌŽĨ
ĨŝŶĞŚŽƵƐĞƐďĂƐĞĚŽŶŝŶĚŝŐĞŶŽƵƐŝĚŝŽŵƐ͕ƐŽŵĞƚŝŵĞƐ
ďůĞŶĚĞĚǁŝƚŚĐŽůŽŶŝĂůŽƌŵŽĚĞƌŶƚŚĞŵĞƐ͘
7\SHV
7\S HV ² &RQWHPSRUDU\$UFKLWHFWXUH
• džĂŵƉůĞƐŽĨŽŶƚĞŵƉŽƌĂƌLJ/ŶĚŽŶĞƐŝĂŶƌĐŚŝƚĞĐƚƵƌĞ
• /ŶƐƚŝƚƵƚĞŽĨdĞĐŚŶŽůŽŐLJ͕EhE'͕:<Zd
7\SHV
7\S HV ² &RQWHPSRUDU\$UFKLWHFWXUH
• džĂŵƉůĞƐŽĨŽŶƚĞŵƉŽƌĂƌLJ/ŶĚŽŶĞƐŝĂŶƌĐŚŝƚĞĐƚƵƌĞ
• /ŶƐƚŝƚƵƚĞŽĨdĞĐŚŶŽůŽŐLJ͕ĂŶĚƵŶŐ͕:ĂŬĂƌƚĂ;ϭϵϮϬͿďLJ
,ĞŶƌŝDĂĐůĂŝŶĞ
,ĞŶƌŝ DĂĐůĂŝŶĞ WŽŶƚ͕
WŽŶƚ
• ĨŝƌƐƚŽŶĂƐĞƌŝĞƐŽĨƌĞŵĂƌŬĂďůĞďƵŝůĚŝŶŐƐ͕ďĂƐĞĚŽŶ
ŵĞƚŝĐƵůŽƵƐ ƐƚƵĚLJ ŽĨ ƌĞŐŝŽŶĂů ƚƌĂĚŝƚŝŽŶƐ
ŵĞƚŝĐƵůŽƵƐƐƚƵĚLJŽĨƌĞŐŝŽŶĂůƚƌĂĚŝƚŝŽŶƐ
• /ŶĐŽƌƉŽƌĂƚĞĚŝŶĚŝŐĞŶŽƵƐĨĞĂƚƵƌĞƐ͗
• ƚŝŵďĞƌŚŽƵƐĞƐͲŽŶͲƐƚŝůƚƐŽĨƚŚĞDŝŶĂŶŐŬĂďĂƵ
ƌĞŐŝŽŶŝŶ^ƵŵĂƚƌĂ͕ǁŝƚŚƚŚĞŝƌĚŝƐƚŝŶĐƚŝǀĞƉĞĂŬĞĚ
• ƐƵƐƉĞŶĚĞĚƌŽŽĨƐ
• :ĂǀĂŶĞƐĞ<ƌĂƚŽŶƐ͕ŽƌƌŽLJĂůƉĂůĂĐĞƐ
7\SHV
7\S HV ² &RQWHPSRUDU\$UFKLWHFWXUH
• džĂŵƉůĞƐŽĨŽŶƚĞŵƉŽƌĂƌLJ/ŶĚŽŶĞƐŝĂŶƌĐŚŝƚĞĐƚƵƌĞ
• ĂƚŚŽůŝĐŚƵƌĐŚ͕WŽŚƐĂƌĂŶŐ͕:ĂǀĂ;ϭϵϯϳͿ
• WŽŶƚ͛ƐůĂƐƚǁŽƌŬŝŶƚŚĞƌĞŐŝŽŶ͘
• ^ƵƌƌŽƵŶĚĞĚďLJĂƐĞƌŝĞƐŽĨƐƚĞƉƉĞĚǁĂůůĞĚĐŽƵƌƚLJĂƌĚƐ
^ƵƌƌŽƵŶĚĞĚ ďLJ Ă ƐĞƌŝĞƐ ŽĨ ƐƚĞƉƉĞĚ ǁĂůůĞĚ ĐŽƵƌƚLJĂƌĚƐ
ĂŶĚŐĂƚĞǁĂLJƐ͕ƌŝƐŝŶŐƵƉƚŽǁĂƌĚƐƚŚĞĐŚƵƌĐŚŝŶƚŚĞ
ĨĂƐŚŝŽŶŽĨ,ŝŶĚƵƚĞŵƉůĞͲƉůĂƚĨŽƌŵƐŽĨ:ĂǀĂ
7\SHV
7\S HV ² &RQWHPSRUDU\$UFKLWHFWXUH ,QGRQHVLDQ$UFKLWHFW
• džĂŵƉůĞƐŽĨ &ƌĞĚĞƌŝĐŚ ^ŝůĂďĂŶ
ŽŶƚĞŵƉŽƌĂƌLJ • ŶĂƌĐŚŝƚĞĐƚŝŶŝƚŝĂůŐĞŶĞƌĂƚŝŽŶŝŶƚŚĞĐŽƵŶƚƌLJ
/ŶĚŽŶĞƐŝĂŶ /ŶĚŽŶĞƐŝĂ͘
ƌĐŚŝƚĞĐƚƵƌĞ • ,ĞŝƐĂƐĞůĨͲƚĂƵŐŚƚĂƌĐŚŝƚĞĐƚ͘
• ĂƚŚŽůŝĐ • &ŽƌŵĂůĞĚƵĐĂƚŝŽŶŽŶůLJĂƚ^dD;dĞĐŚŶŝĐĂů,ŝŐŚ
& ů Ě ŝ ů ^dD ;d Ś ŝ ů ,ŝ Ś
ŚƵƌĐŚ͕ ^ĐŚŽŽůͿďƵƚƉĞƌƐŝƐƚĞŶĐĞůĞĚƚŽƐĞǀĞƌĂůĚĞƐŝŐŶ
WŽŚƐĂƌĂŶŐ͕ ǁŝŶƐĂƌĐŚŝƚĞĐƚƵƌĂůĐŽŵƉĞƚŝƚŝŽŶ͕ƐŽŝƚΖƐ
:ĂǀĂ ƉƌŽĨĞƐƐŝŽŶƌĞĐŽŐŶŝnjĞŚŝŵĂƐĂŶĂƌĐŚŝƚĞĐƚ
• ƉůĂLJƐĂŵĂũŽƌƌŽůĞŝŶƚŚĞĨŽƌŵĂƚŝŽŶŽĨƚŚĞ
ƐƐŽĐŝĂƚŝŽŶŽĨ/ŶĚŽŶĞƐŝĂŶƌĐŚŝƚĞĐƚƐ;//Ϳ

,QGRQHVLDQ$UFKLWHFW ,QGRQHVLDQ$UFKLWHFW
&ƌĞĚĞƌŝĐŚ ^ŝůĂďĂŶ Ͳ tŽƌŬƐ &ƌĞĚĞƌŝĐŚ ^ŝůĂďĂŶ Ͳ tŽƌŬƐ

• 'ĞůŽƌĂ ƵŶŐ<ĂƌŶŽ
ƵŶŐ<ĂƌŶŽ ^ƚĂĚŝƵŵ͕:ĂŬĂƌƚĂ
^ƚĂĚŝƵŵ͕:ĂŬĂƌƚĂ
• /ƐƚŝƋůĂů DŽƐƋƵĞ͕:ĂŬĂƌƚĂ
DŽƐƋƵĞ͕:ĂŬĂƌƚĂ • dŚĞƐƉĞĐŝĂůĨĞĂƚƵƌĞŽĨƚŚŝƐƐƚĂĚŝƵŵŝƐƚŚĞŚƵŐĞƐƚĞĞůƌŽŽĨ
ĐŽŶƐƚƌƵĐƚŝŽŶƚŚĂƚĨŽƌŵƐĂŐŝŐĂŶƚŝĐƌŝŶŐĐĂůůĞĚ ƚĞŵƵ
• ůĂƌŐĞƐƚŵŽƐƋƵĞŝŶ^ŽƵƚŚĞĂƐƚƐŝĂĂŶĚƚŚĞƚŚŝƌĚůĂƌŐĞƐƚ ŐĞůĂŶŐ ;ũŽŝŶĞĚƌŝŶŐͿ͕ƐŽŵĞƚŚŝŶŐƚŚĂƚǁĂƐǀĞƌLJƌĂƌĞŝŶϭϵϲϮ
;ũŽŝŶĞĚƌŝŶŐͿ͕ƐŽŵĞƚŚŝŶŐƚŚĂƚǁĂƐǀĞƌLJƌĂƌĞŝŶϭϵϲϮ͘͘
^ƵŶŶŝŵŽƐƋƵĞŝŶƚĞƌŵŽĨĐĂƉĂĐŝƚLJ͘