Returning to Temple of Heaven after 25 Years

We decided to join a local day tour to visit Beijing’s two most iconic historical attractions on 22 May 2026 - the Forbidden City and the Temple of Heaven. These two attractions offers a deep understanding of China’s imperial history, architecture, and cultural traditions. Although both were central to the lives of Chinese emperors, they served very different purposes and provide distinct visitor experiences.

We started with the visit to the Temple of Heaven or Tiantan Park located at the Dongcheng District in Beijing. Immediately after entering through the East Gate, we saw the first landmark, the Seven Star Stones (七星石), a historic stone arrangement inspired by the Big Dipper (北斗七星). In traditional Chinese astronomy and Daoist cosmology, the Big Dipper symbolized cosmic order, protection, longevity, and imperial authority, making it an important motif in garden and landscape design.

Originally, the formation consisted of seven stones, carefully arranged to represent the seven stars of the constellation. More than decorative features, the stones served as symbolic links between the earthly landscape and celestial patterns. Their placement reflected principles of feng shui, intended to create harmony and balance between heaven, earth, and human life.

During the Qing dynasty, an eighth stone was added to symbolize that the Qing dynasty had become an integral part of a unified China. Today, the stones remain a powerful symbol of the enduring connection between astronomy, philosophy, and imperial Chinese culture.

Just outside the first building to the Forbidden City or the Palace Museum.

Some of the items on display at the first building.

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Moving into the Inner Court along a long covered corridor, we were soon confronted by one of the Temple of Heaven’s most iconic and breathtaking structures - the Hall of Prayer for Good Harvests (祈年殿). Majestic and elegant, this circular, triple-eaved wooden building rises to approximately 38m in height, with a diameter of about 32.7m. Its deep blue tiled roof, symbolizing the heavens, stood out strikingly against the clear Beijing sky, immediately drawing our attention.

What makes this architectural masterpiece even more remarkable is its construction. Built entirely without nails, the hall relies on an ingenious system of interlocking wooden joints, showcasing the extraordinary craftsmanship of ancient Chinese builders. Despite its complexity and scale, the structure has stood for centuries as a testament to traditional Chinese engineering and architectural sophistication.

Inside, the hall is supported by 28 massive wooden pillars, each carefully arranged with profound symbolic meaning rooted in Chinese cosmology and the agricultural calendar. The four central pillars represent the four seasons; the twelve inner pillars symbolize the twelve months of the year; and the twelve outer pillars correspond to the traditional twelve divisions of the Chinese day, known as the shichen (时辰), with each division spanning two hours. Together, these pillars reflect the ancient Chinese understanding of time, nature, and the harmonious relationship between heaven and earth.

The hall was not merely an architectural marvel - it was also a sacred ceremonial space. During the Ming and Qing dynasties, emperors came here to perform solemn annual rituals, praying to Heaven for good harvests and prosperity for the empire. As the “Son of Heaven,” the emperor served as the intermediary between the celestial realm and the earthly world, making this hall one of the most spiritually significant sites in imperial China.

Old photo of the Hall of Prayer for Good Harvests taken on 3 December 2000.

This was my second visit to the Hall of Prayer for Good Harvests. The first time I stood here was in December 2000, a full quarter of a century ago. Returning after 25 years brought a deep sense of nostalgia, and I could not help but compare the two visits.

Back then, the site was far quieter and far less crowded, allowing for a more peaceful appreciation of its grandeur and spiritual atmosphere. This visit, however, was a completely different experience. Compounded by relentless, non-stop rain and overwhelming crowds, it turned out to be the most torturous part of our entire journey since our European tour began on 5 May 2026.

With almost everyone carrying umbrellas, pathways became congested and movement slowed to a crawl. To make matters worse, our shoes were soaked through, making every step increasingly uncomfortable. The persistent rain blurred the scenery and diminished what would otherwise have been a thoroughly enjoyable visit. The beauty and serenity of the surroundings were, unfortunately, greatly compromised by the weather and the sheer number of visitors.

Still, we pressed on and endured. Despite the discomfort, standing once again before this magnificent hall after 25 years remained a meaningful experience - one that reminded me that some journeys are memorable not only for their beauty, but also for the challenges overcome along the way.

From the Hall of Prayer for Good Harvests, we continued along the central axis to the Imperial Vault of Heaven (皇穹宇). Unfortunately, we did not manage to take a photo of it this time. Fortunately, I was able to find an old photo I had taken in December 2000.

Continuing further, we reached the huge Circular Mound Altar. The Circular Mound Altar is an open-air ceremonial altar within the Temple of Heaven, built for imperial rituals honoring Heaven. During the Ming and Qing dynasties, the emperor - regarded as the “Son of Heaven” -performed major ceremonies here, especially during the winter solstice, to offer sacrifices and pray for harmony between Heaven, Earth, and the empire. Unlike enclosed temple buildings, the altar has no roof because worship of Heaven was meant to occur directly beneath the sky, symbolizing an unbroken connection with the heavens. Its design reflects traditional Chinese cosmology: the circular shape represents Heaven, while the three marble tiers symbolize ascending spiritual levels. The altar also features repeated use of the number nine, an imperial and heavenly number associated with supreme power. More than a religious structure, the Circular Mound Altar embodied imperial legitimacy, cosmic order, and the emperor’s sacred duty to maintain balance in the realm. 

With courtesy:  Photo was downloaded from website.

Old photo at the Circular Mound Altar taken in December 2000.

The giant Lantern Viewing Pole at right within the Circular Mound Altar was used to hoist giant lantern that illuminated the altar during the pre-dawn ceremonies of Winter Solstice, when emperors offered sacrifices to heaven.

Old photo of the giant pole taken in December 2000.

The Danube Waterway System: A Moving Staircase Across Europe

In the early evening of 14 May 2026, interested guests were invited to visit the Captain’s cabin for an informal question-and-answer session. It was a rare opportunity to gain insight into the operation of the vessel and the realities of navigating one of Europe’s great rivers. Guests were free to ask questions about the cruise, the ship, river conditions, navigation procedures, and life on board, and the Captain responded with candour and enthusiasm drawn from years of experience.

As the river cruise gradually approached its conclusion, I found myself increasingly appreciative of the remarkable engineering systems that make navigation along the Danube possible. While passengers are naturally drawn to the picturesque towns, historic landmarks, and scenic riverbanks, it is easy to overlook the extensive infrastructure working quietly behind the scenes.

Throughout the journey from Passau to Budapest, the vessel passed through a sequence of locks, dams, and hydroelectric power stations that have transformed the Danube into a fully navigable international waterway. Together, these structures manage an elevation difference of approximately 200 metres, creating a controlled “staircase” of water levels that allows vessels to travel safely and efficiently through the heart of Central Europe.

Most of this elevation change occurs in the Austrian section of the river. Between Passau and Vienna, the Danube drops approximately 130-140 metres, accounting for around 70% of the total descent. The remaining 60-70 metres occur between Vienna and Budapest, where the river becomes progressively flatter and more regulated. As a result, the upper Austrian stretch requires a denser concentration of engineering works to maintain consistent navigation conditions.

Rather than allowing the river to descend naturally through rapids, shallows, and seasonal fluctuations, engineers have reshaped it into a series of navigable pools separated by dams and locks. This has created a “staircase river” system in which cruise ships and cargo vessels transition between water levels through roughly 10-11 major lock complexes, most of them integrated into hydroelectric power stations in Austria, with the additional large-scale Gabčíkovo system in Slovakia.

Individual lock lifts typically range from 6 to 15 metres, depending on location and river conditions. These structures serve multiple purposes simultaneously: they enable navigation, generate renewable hydroelectric power, regulate water levels, and contribute to flood management.

What makes this route remarkable is not the overall elevation change - which is relatively modest - but the scale and coordination of the engineering required to manage it. A voyage from Passau to Budapest is, in effect, a carefully orchestrated progression through a sequence of controlled water levels, allowing uninterrupted navigation across national borders and diverse river landscapes. Together, the locks, dams, and power stations form one of the most sophisticated inland waterway systems in the world.

What impressed me most was the integration and precision of these engineering works. Each lock functions as a giant water elevator, raising or lowering vessels between river sections, while the associated dams regulate flow and generate renewable electricity. The system reflects decades of planning, cross-border cooperation, and technical innovation. By the end of the voyage, it became clear that the success of our journey depended not only on the skill of the Captain and crew, but also on the vast and largely invisible infrastructure that enables continuous navigation along the Danube every day.

Our first encounter with a river lock came in the evening of 10 May 2026, shortly after departing from Passau on our journey to Linz. As the vessel approached the lock, we watched with fascination as the massive gates opened to admit the ship. Once inside, the water level gradually dropped and eventually the gates in front slowly opened. Once fully opened, the vessel continued its passage along the river. It was an impressive feat of engineering and a memorable introduction to the lock system that enables navigation along the Danube.

In the next evening on 11 May 2026, the cruise departed from Linz and continued its journey towards Spitz. During the night, the vessel passed through another river lock, a process that took place so smoothly that most passengers were unaware of it.

The following morning, as we sat down to enjoy breakfast, we discovered that the ship was actually inside the lock, waiting for the gates to open before proceeding to its docking point in Spitz. Looking out from the dining area, we could see the towering lock walls surrounding the vessel and appreciate the scale of the engineering involved. It was a fascinating experience to witness the operation up close, transforming an ordinary breakfast into an unexpected highlight of the journey (Read here).

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We encountered our final river lock on the night of 14 May 2026 after departing Bratislava and beginning the last stretch of our journey towards Budapest. By then, we had become familiar with the lock system, yet the experience remained just as captivating as our first encounter near Passau.

Against the backdrop of the night sky, the illuminated lock created a striking scene. The vessel glided slowly into the chamber, the massive gates closing silently behind us before the water level was adjusted for the next stage of the voyage. Watching the operation unfold in the darkness added a sense of drama and tranquillity, providing a fitting conclusion to our series of lock passages along the Danube. As the ship emerged from the lock and continued downstream towards Budapest, it marked the end of another memorable chapter of our river cruise.

With old friends and new friends from USA were equally fascinated by the river locks.

Revisiting 1978: Where My Engineering Journey Began

The other day, 21.04.2026, while having yamcha with an old friend, Jeffrey Lo, we spent quite some time reminiscing about the past - from our university days to the very first jobs we landed after graduation.

I shared with him that soon after completing my studies at the University of Malaya in early 1978, I went to see the then Director of Jabatan Kerja Raya (JKR) at the JKR headquarters in Sembulan, the late Datuk K.S. Fung. To my surprise, the Director asked me to start work almost immediately. I was posted on secondment to the site office at Kota Kinabalu International Airport, where I worked alongside the British consulting engineers, Scott Wilson Kirkpatrick, who had been appointed to design and supervise the construction of the new taxiway and the new terminal building (Read here).

While discussing the construction of the KK International Airport terminal building, Jeffrey recalled that the earthworks contractor responsible for the taxiway and site preparation for the new terminal was Goh Brothers. I then remembered that this was. In fact, it was a joint venture between Goh Brothers and Syarikat Berjaya.

He mentioned the name Law Keng Hatt as the main building contractor, but the name did not sound quite right. After giving it further thought, I recalled that Lim Kah Ngam (Malaysia) Sdn Bhd - an established building contractor from West Malaysia at the time - was actually appointed as the main building contractor.

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Talking about my very first job, I can’t help but revisit those old photographs taken at the airport project site where I served as the Assistant Resident Engineer for the site supervision team. For a young engineer, witnessing a water-logged swamp - constantly influenced by tidal fluctuations - gradually transformed into a vast stretch of reclaimed land for a terminal building and taxiway was nothing short of magical. It was not only a memorable chapter of my early career, but also a powerful lesson in what engineering vision and teamwork can achieve.

I was recalled to work at JKR Headquarters in 1982, just before the new terminal building was fully completed. The terminal, located at the southeast end of the runway, was finished shortly thereafter and began serving the growing needs of air travel in Sabah.

With the steady rise in air traffic and the corresponding increase in passenger arrivals and departures over the years, the terminal later underwent a major upgrade and expansion between 2005 and 2009 to enhance its capacity, facilities, and operational efficiency.

Company's Pre-CNY Annual Dinner 2026

Pre-Chinese New Year (CNY) annual dinners have been a long-standing tradition of the company, dating back to its inception in the late 1980s. As the company grew over the years and welcomed a diverse workforce drawn from Sabah’s multi-ethnic communities, this tradition naturally expanded. Annual lunch and dinner gatherings were subsequently introduced to also mark the Christmas season and Hari Raya, reflecting our inclusive culture and appreciation of cultural diversity.

The most recent pre-CNY annual dinner was held on 02.02.2026 at a local seafood restaurant. This year’s gathering saw a record attendance of thirty participants, comprising twenty-seven staff members - including the directors and the spouses of the directors. The strong turnout was a testament to a growing workforce and the close-knit spirit and sense of belonging within the company.

As is customary for a Chinese New Year reunion meal, the dinner began with lou sang, where participants gathered around the table to toss a colourful salad together, symbolising prosperity, good fortune, and abundance for the year ahead.

Group photo after the dinner.

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Group photo after the dinner on 21.01.2025.

Last year’s Pre-CNY Annual Dinner was held on 21.01.2025 at the Shangri-La Tanjong Aru Resort, attended by twenty-seven participants. It was an evening of warmth and fellowship, offering another moment to pause and appreciate the journey we have taken together. For more insights into the company’s annual CNY dinners and lunches during the earlier years, please (Read here).

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I joined the company in 1989, just one year after its establishment, and over the past decades I have witnessed its steady and resilient growth. The company has been fortunate to receive a continuous flow of work, allowing it to sustain operations and provide stable employment through both good times and challenging periods. Significantly, no staff members have ever been retrenched. Even during the trying years of the 1997 global financial crisis, the company chose compassion over expediency, implementing reduced working hours so that every employee could remain on the payroll.

As I reflected during the dinner, it was striking to realize that nearly thirty-eight years have passed since the company first commenced practice. Many among the present group had not yet been born when this journey began. Over the years, countless individuals have come and gone, each leaving their mark and contributing in their own way to the company’s story.

From its inception, the objective of the company has been clear: to contribute meaningfully to the infrastructural development of the State, thereby uplifting the well-being of the local community. At the same time, the company has sought to provide a platform for successive generations to apply their skills and knowledge, earn an honest living, support their families, and pursue their aspirations. This, I believe will continue to be the core value in guiding the company's practice.

Treetop Adventures in the Heart of Kota Kinabalu: Signal Hill Elevated Walkway

This afternoon, while strolling along Jalan Gaya, we caught glimpses of the newly completed Kota Kinabalu Elevated Forest Walkway tucked behind dense vegetation at Signal Hill. Curious and intrigued, we decided to seek it out and discover what this new urban landmark had to offer.

Our walk began at the historic Atkinson Clock Tower, where the elevated trail rises gently into the treetops. From the very first steps, we were immersed in an urban forest canopy experience, enjoying the greenery and cool shade while still very much in the heart of the city. The walkway stretches for approximately 500 metres and gradually leads visitors toward the Signal Hill Observatory Tower. The trail is family-friendly, with only a few steps along the way, making it accessible to casual walkers and nature lovers alike.

Neither the Atkinson Clock Tower nor the Signal Hill Observatory Tower was new to us. We have passed by these iconic landmarks countless times during our weekend morning cycling routes along the winding, hilly Jalan Bukit Bendara through Signal Hill (Read here). Yet experiencing them from this elevated perspective, woven into the forest canopy, offered a refreshing and entirely different appreciation of places we thought we already knew well.

As we made our way along the path, we paused at several viewing platforms to take in the sweeping panoramas of Kota Kinabalu’s skyline, the shimmering South China Sea, and the surrounding green hills. These platforms provide ideal spots for photography or for simply lingering to appreciate how nature and urban life intertwine. The intended finale of the walk is the Observatory Tower, a favourite vantage point for sunset views. Unfortunately, on the day of our visit, the gate leading to the tower was closed, and we were unable to access it.

Even without reaching the tower, the walk proved to be both an invigorating and scenic experience. It beautifully blends urban heritage with the tranquility of nature in a way rarely found in city centres. Although the trail is known to offer opportunities to spot native birds, butterflies, and small mammals, we hardly encountered any wildlife during our visit. Nevertheless, the peaceful treetop stroll and refreshing perspective of the city made the experience worthwhile and memorable.

Winter Palace and Hermitage Museum, St. Petersburg

Our tour of Russia concluded with a visit to the State Hermitage Museum in St. Petersburg in the morning of 18.09.2025 (Day 7). Many reckon Hermitage Museum as one of the most magnificent cultural landmarks in the world. It was originally conceived as the Winter Palace, built between 1754 and 1762 under the reign of Empress Elizabeth, daughter of Peter the Great, and designed as the official royal residence of the Russian tsars. The Winter Palace epitomized the power, wealth, and grandeur of the Russian Empire.

The palace was constructed in the Russian Baroque style, characterized by elaborate ornamentation, gilded stucco decorations, and a striking façade of green and white accented with gold. Its design embodied opulence, featuring immense halls, grand staircases, and richly adorned chambers suitable for imperial ceremonies. 

Over time, as the art collection of the Russian court expanded - particularly under Catherine the Great - additional buildings were added to form what is now the State Hermitage Museum. These included the Small Hermitage (1764–1775), Old Hermitage (1770–1787), Hermitage Theatre (1783–1787), and the New Hermitage (1842–1851). The later structures incorporated elements of Neoclassicism alongside the earlier Baroque grandeur.

Today, the Hermitage complex consists of five interconnected buildings, together forming one of the world’s largest and oldest museums. The Winter Palace alone contains approximately 1,500 rooms, 117 staircases, and covers over 46,000 sq. m. Its vast galleries house masterpieces by artists such as Rembrandt, Leonardo da Vinci and Michelangelo, reflecting Catherine the Great’s ambition to make Russia a center of European art and culture.

Following the Russian Revolution of 1917, the Winter Palace ceased to serve as a royal residence and was transformed into a public museum, preserving centuries of Russian imperial history. The Hermitage’s architecture, combining Baroque splendor with Classical refinement, continues to embody both the artistic vision of its creators and the enduring spirit of Russian culture.

As we moved along the building complex, we passed through the Small Throne Room, also known as the Peter the Great Throne Room. This was designed during the reign of Emperor Nicholas I to honor Peter the Great, the founder of St. Petersburg and the Russian Empire’s new capital. It is lavishly adorned in red velvet, gilded ornaments and white marble columns. The room exudes imperial grandeur. Its domed ceiling features exquisite stucco reliefs and gold motifs, while the intricately patterned parquet floor, crafted from rare woods, enhances the hall’s majestic atmosphere.

At the center stands a magnificent gilded throne, upholstered in red velvet and embroidered with the imperial double-headed eagle, symbolizing the authority of the Romanov dynasty. Above it hangs a portrait of Peter the Great, highlighting the room’s commemorative purpose. Historically, this hall hosted ceremonial audiences, receptions and state functions honoring Russia’s first emperor. It remains a testament to the Romanovs’ reverence for Peter the Great and to the artistic splendor of the imperial era.

The vast collection of marble sculptures in the State Hermitage Museum immediately reminded me of the grand displays I had seen at the Louvre Museum in Paris during my visit in 2014. Walking through the Hermitage’s sculpture galleries, surrounded by graceful figures carved from luminous white marble, I was struck by the same timeless beauty and serene dignity that define classical art.

Like the Louvre, the Hermitage presents an extraordinary journey through the evolution of European sculpture - from the mythological ideals of ancient Greece and Rome to the refined artistry of the Renaissance and Neoclassical periods. Each piece seems to breathe life into stone, capturing movement, emotion and human perfection (Read here).

One of the most striking exhibits in the State Hermitage Museum is the monumental Kolyvan Vase, often called the “Queen of Vases.” Crafted from a single massive block of jasper quarried in the Altai Mountains of Siberia, this masterpiece was completed in 1843 at the renowned Kolyvan Stone-Cutting Factory. Measuring over 2.5m high, 5m in diameter, and weighing around 19 tons, it is one of the largest stone vases in the world. Designed in the classical Greco-Roman style, the vase resembles an enormous chalice, yet its smooth contours and perfect symmetry reveal extraordinary craftsmanship. The swirling green and gray patterns of the polished jasper give it a natural elegance that enhances its grandeur. Commissioned during the reign of Emperor Nicholas I, the vase was presented to the Hermitage as a symbol of Russia’s artistic skill, natural wealth and imperial pride. Today, it remains a breathtaking testament to the artistry and ambition of 19th-century Russian craftsmanship.

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I was pleasantly surprised to find two paintings by Leonardo da Vinci on display at the State Hermitage Museum - The Benois Madonna and The Madonna Litta. Painted around 1478-1480, The Benois Madonna depicts the Virgin Mary tenderly playing with the Christ Child, who reaches for a delicate flower symbolizing purity and sacrifice. About a decade later, Leonardo created The Madonna Litta, portraying the Virgin nursing the infant Jesus in a serene and intimate moment of maternal devotion.

Both paintings entered the Hermitage not through conquest or royal commission, but through legitimate acquisition from distinguished private collections. Their arrival reflected the Romanov dynasty’s passion for Renaissance art and the Hermitage’s role as one of Europe’s great cultural repositories. Today, these two paintings remain among the most treasured works in the museum, representing the enduring link between Italian genius and Russian patronage.

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With the conclusion of the tour of Russia, I can confidently say that the experience was a profound real-life lesson in geography, history, engineering and architecture of Russia. The journey primarily focused on the grandeur and legacy of the Tsarist era, offering vivid insights into the two centuries under the Romanov dynasty. In contrast, the tour offered little insight into the 100 years that followed the 1917 Revolution under Soviet rule. Throughout the tour, I sensed a quiet pride among Russians for their imperial heritage - a reverence for the artistry, culture, and achievements that defined the age of the Tsars.