RE・ VIS・ IT Authors : Prince Favis Isip Norhayati Hussain

Editors : Robert Powell & Tony Liew Voon Fun

Illustrations : Students- Jan 2016 Measured Drawing and Documentation

Layout : Lai Jia Yi Design Tan Chiew Nee Kelvin Fong Tan Ling Rong Philia Chua Yi Sian Chia Sue Hwa

The Centre for Modern Architecture Studies in (MASSA) focuses on the documentation of the intellectual and physical heritage of modern architecture in Southeast Asia. The documentation shall cover buildings, architects, firms, policies, organizations and laws developed in Southeast Asia during the modern era from 1920 onwards. MASSA will provide information to aid the process of planning settlements and the design of buildings which are more suited to the context and continuity of the cultures of Southeast Asia.

RE.VI.SIT Copyright @ 2017 by Centre for Modern Architecture Studies in Southeast Asia (MASSA) All rights reserved. No part of this book shall be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews.

School of Architecture, Building and Design, Taylor’s University, Lakeside Campus, 47500 Subang Jaya, , .

ISBN 978-967-0173-49-8 RE・ VIS・ IT

Delineating History, Culture, Tradition and Architectural Heritage of the Finest Cities Contents

CONTENTS Contents Preface

PREFACE

This book on Malaysian architecture is a joint effort by staff and students of the School of Architecture, Building and Design at Taylor’s University for the Centre for Modern Architecture Studies in Southeast Asia (MASSA). The Centre, founded in 2005, is actively involved in research publications and undertaking live research which focuses on the documentation of the intellectual and physical heritage of modern architecture in Southeast Asia. The doc- umentation covers buildings, architects, firms, policies, organizations and laws developed in Southeast Asia during the modern era, especially from 1920 to the present time.

At present, there is a need for publications on Malaysian architecture. The lack of such publications contributes to persistent misunderstanding of the development and significance of Malaysian architecture. It is the vision of MASSA to become the centre of modern architecture studies in Southeast Asia that reaches out to all levels of soci- ety, disseminating knowledge on the value and importance of architectural heritage. The objective of MASSA is to ensure that the intellectual and physical heritage of architecture in Southeast Asia continues to be in existence for the benefit of the present and future generations.

Architecture encompasses ways of life. Through the study of past and present architecture, one is able to understand architectural development in accommodating changes according to various events and experiences. It is hoped that this book will inspire architects to re-evaluate Malaysian architecture and generate new design models.

“The past is intelligible to us only in the light of the present; and we can fully understand the present only in the light of the past” (E.H.Carr, 1961)

Dr Nor Hayati Hussain Author Introduction

INTRODUCTION

Appreciation of culture, tradition and architectural heritage has always been an issue for today’s generation. Sev- eral reasons may contribute to this: the young tend to be more interested in looking into the future state of art and technological advancement rather than tracing and appreciating their past. Likewise, there is not enough historical documentation to engage with. This documentation is crucial in redirecting their interest to look into the country’s history, traditions, culture and architectural heritage, both to value and pay homage.

The book dubbed: Re-vis-it: Delineating History, Culture, Tradition and Architectural Heritage of Malaysia’s Finest Cities, encapsulates a group of young student’s memorable journey to three of Malaysia’s cities: , and , in addition to Xi’an, Sha Anxi Province in in an attempt to capture, narrate and document traces of the past and its transformation over time. Experiences captured in models, sketches and measured draw- ings give the reader a pleasurable journey, revisiting places and their memories.

This publication is the culmination of the January 2016 Measured Drawing and Documentation work by a group of students. Likewise it is a product of the very successful exhibition held in April 2016 at the CODA Gallery, Taylor’s University Lakeside Campus.

Prince Favis Isip Author Foreword

FOREWORD

The purpose of the measured drawing exercise is to enable students to develop expertise in recording the built heritage and in the process to gain insights into building conservation and adaptive reuse. The exercise includes written documentation, photographs and models in addition to measured drawings. The students were required to document historically and architecturally significant buildings in Ipoh, Kuala Lumpur, Penang and Xi’an, China.

At one level the task of completing the measured drawings exercised the students in the use of a theodolite, tape measures, cameras and sketchbooks to record the buildings. These are invaluable skills that will serve them well if they encounter similar building types when they enter practice.

But at another level it immersed the students in the history of the buildings, the myriad cultures that produced them, the construc- tion techniques that were employed, and the ornamentation that was applied. In several cases they also recorded the successful adap- tive reuse of the historic buildings to serve contemporary needs.

Rapid urbanisation and intensive development accompanied by increased vehicle ownership is placing enormous stress on the his- toric fabric of cities. Increased pollution damages the fabric of old buildings so that the recording and subsequent protection of the nation’s heritage is vitally important.

Malaysia is making great advances in this area. The listing by UNESCO of Melaka and George Town in Penang on 7th July 2008 as World Heritage Sites was a significant event.

To paraphrase Ar. Dato’ Dr. Ken Yeang, “Any analysis of the existing architectural stock reveals an underlying sophisticated set of typologies. These typologies consist of elements such as covered verandahs, open terraces and serambis, raised floor construction to facilitate ventilation, extended roof overhangs, sun-shading devices, courtyards, colonnaded walkways etc. These traditional elements are often an unselfconscious design response to local climate and life style and in the contemporary Malaysian context can be reinter- preted. Historic buildings provide a ready resource for reinvention and production of contemporary vernacular architecture.”

Creating an inventory of historic buildings is a major step in the conservation of culturally important artifacts. In this publication Taylor’s University ensures its dissemination to a wider audience.

The work that Taylor’s University students have done to record 11 buildings in three Malaysian cities and another in China is a substantial contribution to heritage protection and the students and the members of staff of the School of Architecture, Building and Design are to be warmly applauded.

Professor Robert Powell Editor Acknowledgements

acknowledgements

This publication would not have been possible without the group of individuals named below and their persever- ance and hard work.

Thanks are due to the hardworking and passionate students who spent countless days to accurately measure and document their respective assigned buildings.

To the Lecturers of the Measured Drawing and Documentation Module, who patiently supervised their respec- tive group, Dr. Nor Hayati Hussain (Module Coordinator), Ar. Chin Tuck Heng, Ar. Zahari Zubir, Ar. Sateerah Hassan, Ar. Ian Ng, Dr. Norhayati Ramli, Dr. Sucharita Srirangam, Dr. Nikhil Joshi, Mr. Koh Jing Hao, Mr. Mohd Adib Ramli, Ms. Siti Balkish, Ms. Alia Ahamad, Ms. Zahra Namavar, Mr. Sanjeh Kumar Raman, Mr. Mohamed Rizal and Mr. Prince Favis Isip.

To the layout artists and designers for making this publication concept possible, Lai Jia Yi, Tan Chiew Nee, Tan Ling Rong, Kelvin Fong, Philia Chua Yi Sian, and Chia Sue Hwa.

Most especially to those people and agencies who assisted and helped the students and lecturers to acquire valu- able information, insights, and opinions our sincerest gratitude. The Royal Museum The Royal Museum

THE ROYAL MUSEUM BALAIRUNG SERI

BACKGROUND OF SITE kuala lumpur

In the 1887, the Malay rulers of Selangor - Raja Abdullah and Raja Juma’at hired a group of Chinese miners to prospect for tin in the Ampang area.

The miners made their way by boat from Klang to the highest navigable point on the Klang river, KEY PLAN being its confluence with Sungei Gombak. Kuala Lumpur was established as a town in 1880.

In 1881, a fire and flood destroyed the entire settlement and Yap Ah Loy, the third Kapitan China is credited with rebuilding the town along with Frank Swettenham, the British Resident.

LOCATION PLAN The Royal Museum

history AND background of balairung seri, istana negara

A temporary Balairong was built in 1957 after the mansion was converted to a palace to hold the coronation of SPB Yang di-Pertuan Agong Tunku Abdul Rahman. The construction of the temporary throne hall cost RM170,000 and it was later demolished at the end in the same year.

Later in 1980, a massive renovation was carried out at the palace to add an annex building which is the current throne hall. The construction was led by senior architect, David Wee from the Public Work Deparment with the purpose of holding the coronation of Agong, and other official and customary ceremonies. Local designers as well as designers from France were hired to design the interior of the building.

The ground floor accommodates the double volume Balairung Seri (Throne Hall) waiting halls and meeting rooms, whereas the first floor contains Their Majesty’s suites.

GROUND FLOOR PLAN One of the astonishing feats achieved by the renovation team was the swift completion of intricate carvings for the Throne room. It took just seven months to complete the work, including the carvings which would have taken three years, according to David Wee. All carvings were executed by sixty expert craftmen from Kota Bahru, led by Mr. Abdul Latif. Inspired by the national flower, the Hibiscus, all panels are handcrafted to meet the highest standard of Malay traditional carvings. The gilded panels line the grand processional route to the Throne Hall, heightening the grandiose impression of the building. The beauty of the Throne Room is enhanced by the 17 crystaline chandeliers imported from (Masterpiece, 1999).

FIRST FLOOR PLAN EAST ELEVATION The main wing of the Istana Negara stays true to the Palladian style adopted by the British colonial administration, but as one progresses to the Balairung Seri wing, there is a strong sense of Modernism. The difference between the historical style and the modern style is vast. From the skybridge to the wing of Balairung Seri, the exterior facade is of modern influence with just a hint of Palladian influence in the verandas and interior spaces. The external walls do not have any decorative elements like the main palace and the majority of the windows remain flush against the walls, creating crisp shapes giving the Balairung Seri wing a very simple, clean look with minimal decorations. The Royal Museum

ARCHITECTURAL ELEMENTS

Machine Regionalism A branch of development from the international style, this language can be depicted as a regional response towards climatic issues, just as machine adapts itself smartly for the user. In the Balairung Seri, the style is clearly shown by the usage of arched overhanging louvers around the perimeter of the fenestration, to allow daylight penetration while reducing heat gain. Egg-crate louvers filter the sunlight while allowing the choreography of light to take front-of stage on the plain exterior according to the shifting time.

Islamic Architecture The essence of Islamic architecture is the achievement of a delicate balance between functional and spiritual elements (Hilmi, 2014). The grid organization allows the orderly rows of columns to punctuate the spatial volume and allows a measurable rhythm to be established. The throne hall is the core of this annex building. Columns in this enclosed system divide the ceiling into a “coffered” pattern, creating a sense of harmony. This expresses a characteristic of Architecture for Iqtisad, Notion of heart, Harmony. Islamic teaching also emphasizes on the remembrance of God (Allah) through rhythmic precision of Islamic Motifs. In addition, the concept of architecture for Dikr is expressed through the repetitive units of windows with pointed arches as well as the motifs below, which are inspired by the national flower of Malaysia, the Hibiscus.

Victorian Style An eclectic play of opulence and ornamentations, the style celebrates the mix and match between architectural influences from several eras, such as the Romanesque, the Byzantine, the Renaissance and the Arts and Cratfs movement. The style is adopted at their Majesty’s suite with plastered ceilings of Classical Revival, Rococo inspired whiplash adorned mirror frames, Arts and Crafts influenced wallpaper and furniture. It is believed that the style was always regarded as the status quo of the rich.

COLUMN DETAILS

WEST ELEVATION The Royal Museum

CONCLUSION

As we traverse from the main building to the annex building, the architectural style transforms from Palladian style to a different language. In the 1980s when the annex building was built, Malaysia was still considered a young nation, eager to join the world and prove herself to be equally competitive. In a stage of searching for a new identity, the design is devoid of traces of the past which might stir memories of colonization. In this quest, architecture becomes the most proficient language. Taking example from other world icons, we tends to relate buildings as a country’s symbol, for instance, Eiffel Tower of , the Burj Al Arab of Dubai, the Marina Bay Sands of . As a nation, we hope to be recognized but the methodology is crucial.

In Malaysia, the International Style was adapted and assimilated to form what architecture critic, Mohamad Rashid would describe as “Machine Regionalism” which means a building as a machine that would sieve the climate (Rashid, 2005). The Balairung annex building shows significant influences of this style. Through the usage of mass concrete in brutalist form of a reduced geometry, “egg crate” louvers and louvered openings, the language of this style of modern architecture is clearly depicted. Li Yuan Li Yuan

LI YUAN, XI’AN CHINA 梨园

BACKGROUND OF SITE xi’an, shaanxi province

The two characters of “Shaan” and “Xi” combine to express “the closely arranged hills at the Northwest” that was first recorded when Zhou Gong and Zhao Gong, two leaders of Zhou Dynasty were dividing the empire’s territory. In modern times, the character of “Shaan” and “Xi” mean the “West of Shaan”.

The province is considered as one of the cradles of Chinese civilization due to its situation on the Yellow River and holds historical significance as thirteen feudal dynasties established their capitals in the province during a span of more than 1100 years. The final resting place of Huang Di (2717-2599BC) and Yan Di, the founding father of the Huaxia civilization is in this province.

Shaanxi province was also the starting point from which Chinese inventions and valuables such as compasses, gunpowder and silk were transported to Europe and was the destination of influences and goods from places to the west of China. Li Yuan

history AND background of LI YUAN

GuanZhong Folk Custom Art Museum is located in the Qinling Mountain World Geological Park. It covers an area of 493.88 acre and cost a total of 570 million yuan to build. It is a leading center for studying Shaanxi folk culture due to its extensive folk art collection, restoration and research. A total of 52 ancient buildings in Shaanxi Province were relocated into this museum. It exhibits the architecture, social interaction and cultural life of people who lived in Shaanxi province from about 300AD to 1930AD (China Tour, 2014).

Li Yuan, the origin of the name date back to the 8th century AD during the Tang Dynasty. Emperor Xuan Zong of Tang requested ladies of court to perform their musical and dance talents in a pear orchard. Activities that were carried out there include tug-of-war, polo and many more. It was not long before plays and acts that were similar were widely known as “Li Yuan” and the actors and performers formally introduced as the disciples of Li Yuan (Lu, 2013).

GROUND FLOOR PLAN The Li Yuan was merely one part of a noble person’s residence where he could organize plays and invite all villagers to enjoy and be entertained. However, performance and entertainment areas in the GuanZhong region were simply referred as Li Yuan.

FIRST FLOOR PLAN

SOUTH ELEVATION Li Yuan Li Yuan

ARCHITECTURAL ELEMENTS

Li Yuan was a place for entertainment in the past and theatres were the place that provided entertainment for people via performances. It is a very common form of Chinese architecture as theatres for all classes of society from laymen to royalty, were built countrywide (Wang, 2006). Traditional folk lacked the materialistic needs of the modern world, so a simple play served as excellent entertainment in the past. Ancient theatre architecture plays a key role in representing Chinese culture and theatres can be perceived as museums.

The copious amount of ornaments on the facades is evidence of influences from Ming and architecture. Besides that, influences from Chinese literature like “Romance of the Three Kingdoms” and “Dream of the Red Chamber” shows through the carvings of these classics as the ornamentations in Li Yuan.

The architectural typology is similar to Wannian Style Theatre which consists of an elevated central stage flanked with ornaments and calligraphy, with a roof on top. The stage is usually placed in the southern part of a courtyard. Audiences stand in the courtyard to view the performances on stage. Carved calligraphy known as “Ying Lian” is added to the columns of the stage.

The main spatial layout of Li Yuan has a courtyard surrounded by the Audience block and a teahouse. The Performance block for nobility is directly opposite of the Audience block. Li Yuan

CONCLUSION

Li Yuan is a very traditional and valuable Chinese structure. As one of the oldest civilization on this planet, there is much to learn from Chinese culture, history as well as architecture. Looking through the details of Li Yuan, we can see the development in China’s history, architecture and literature. Studying this ancient entertainment venue is a glimpse of the lives of people centuries ago and how it plays a role in enriching Chinese culture.

Aside from that, the GuanZhong Folk Custom Art Museum is widely recognised for its restoration and conservation effort. As one of the buildings in the museum, it must be given more attention and proper management for years to come so that it will be available for future generations to appreciate its grandeur and historical values.

Floral and motif carvings in stone that were driven by the traditional and cultural heritage eventually become a part of the conservation. Lim Ko Pi Lim Ko Pi

LIm Kopi, ipoh 林咖啡

BACKGROUND OF THE SHOP

The four units of the shop lot that the founder purchased were formerly owned by Oversea-Chinese Banking Corporation Ltd. more commonly known as OCBC Bank. The Lim family has operated the business since 2012. Today the business is operation on a daily basis.

Originally, the paint color of the shop house Lim Ko Pi was not as it is today. The reason for its red color is because according to Madam Lee (the wife of the founder), the red color simply represents Chinese symbolically.

The Lim Ko Pi shop did not undergo any structural renovations but a few partition walls have been added. Traditional Chinese houses could either be attached or detached, (Wan, 2005). In this case, the building is the type of attached terraced shop lot with traditional Chinese influences. The floor plans, elevations and ornamentation of the earlier houses of the Chinese in Malaya reflect their desire to follow the house type in China, particularly from the southern provinces of China (Wan, 2005). Lim Ko Pi

history AND background of LIM Ko PI

Usually where the Chinese have a shop for a family operated business the family live upstairs as the upper floors are more private (Wan, 2005). Initially, the Lim family operated their business at the lower floor and stored antiques collected by the founder at the upper floor but due to dust accumulation, they shifted the antiques to other places and now operate the upper floor as a gallery and for meeting purposes.

According to Mr. Lim, the son of the founder, the value of the shop houses they purchased were not high at that time but their values has increased 4 times. The wall tiles of the ground floor are 4’’ X 4’’ tiles which are very rare now as production has stopped. The tiles were recycled along with others in good condition that they bought it from contractors that demolished old buildings. The tiles were painted with reference to the Nyonya style.

GROUND FLOOR PLAN FIRST FLOOR PLAN

section Lim Ko Pi

Lim Ko Pi is owned by the Lim family and the shop is currently managed by This is because one of the daughters favors old buildings and wished to preserve the son and daughters of the founder. The Lim family originated from Ipoh, the heritage. The family members also wished to prove that old buildings could (Lim, personal communication, January 26, 2016). After looking at function well with regular maintenances. (Lee, personal communication, Jan several shop lots, Mr. Lim the founder, decided to buy the 4 old units owned 27, 2016) by OCBC bank. Lim Ko Pi

SPATIAL ORGANIZATION

Lim Ko Pi is a typical shop house that resulted from local influences and colonial modifications (Elnokaly, Wong, 2014). It is fronted by a five foot way (verandah-way). The spaces of the building are arranged in a linear sequence allowing for an easy circulation throughout. The building functions mainly as a café; therefore, the majority of the spaces serve the café. However, it also offers an art gallery for occasional exhibitions.

The building is two storeys. The ground floor café consists of two dining areas, one courtyard, two kitchens (dry kitchen and wet kitchen) and a toilet. The first floor consists of the art gallery and a meeting room.

EXPLODED AXONOMETRIC OF WINDOWS

WINDOW DETAILS

LIM KO PI SECTION Lim Ko Pi

CONCLUSION

The main entrance door on the ground floor opens to the main dining area which also contains the semi- private dry kitchen. Walking through the narrow dining area; a passageway opens to the brightly lit courtyards, preceeding the 2nd smaller dining space. At the rear end of the ground floor lies the wet kitchen and toilets.

The first floor consists of fewer rooms, however, more spacious than those on the ground floor. The front L-stairs opens to the elongated art gallery which occupies half of the floor. Following that is a room that overlooks the courtyards below and also connects to the meeting room. Unlike the ground floor, the first floor has limited natural light andis less noisy compared to the busy ground floor.

AXONOMETRIC

PHYSICAL MODEL Lorong Ikan Lorong Ikan

No 3,5,7 Lorong Ikan 咸鱼巷

BACKGROUND OF SITE LORONG IKAN

Lorong Ikan, or Fish Lane when translated from Malay, is a small lane in the Lower Beach Street section of George Town. In Chinese, Fish Lane is called “Kiam Hu Thnia” which means salted fish yard(Khoo, 2007). Lorong Ikan developed as a working-class neighbourhood during the mid-19th century, and was once filled with activities such as the drying of salted fish. In the nearby vicinity of Fish Lane there was also the larger Prangin Lane which was home to the popular local market named Sia Boey market. The reason that Fish Lane was used as a place to dry salted fish is its close proximity to Sia Boey market where the salted fish produced was sold(Tye, 2016). Today, Lorong Ikan, is a small and quiet street, lined with old colonial shophouses and rich with history (Fig. 2.8, 2.9). The historical and cultural significance of Lorong Ikan has been recognised also by UNESCO and the small street is listed as a heritage site in the buffer zone of Georgetown.

No 3,5,7 Lorong Ikan 咸鱼巷

BACKGROUND OF SITE LORONG IKAN

Lorong Ikan, or Fish Lane when translated from Malay, is a small lane in the Lower Beach Street section of George Town. In Chinese, Fish Lane is called “Kiam Hu Thnia” which means salted fish yard(Khoo, 2007). Lorong Ikan developed as a working-class neighbourhood during the mid-19th century, and was once filled with activities such as the drying of salted fish. In the nearby vicinity of Fish Lane there was also the larger Prangin Lane which was home to the popular local market named Sia Boey market. The reason that Fish Lane was used as a place to dry salted fish is its close proximity to Sia Boey market where the salted fish produced was sold(Tye, 2016). Today, Lorong Ikan, is a small and quiet street, lined with old colonial shophouses and rich with history (Fig. 2.8, 2.9). The historical and cultural significance of Lorong Ikan has been recognised also by UNESCO and the small street is listed as a heritage site in the buffer zone of Georgetown. Lorong Ikan

history background of SHOPHOUSES NO 3,5,7

An interview was conducted with Madam Teh Siew Kim (Fig. 2.11) to find out more about the history of Shophouses No.3, 5, 7 (Fig. 2.12). Madam Teh was a former tenant of the shophouse No.7. The shophouses were built and owned by a Peranakan family with the surname Wong since 1926. The Wong family used Shophouses No.3 and No.5 while No.7 was for the aunt of the owner. Later, these owners changed and the shophouses were rented out to people like Madam Teh. However, in 2013, there were new plans for the shophouses and it will be converted into a boutique hotel. Historical events of the shophouses are summarized in the timeline below.

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECTION Lorong Ikan Lorong Ikan

ARCHITECTURAL ELEMENTS

The shophouses are categorised as Late Straits Eclectic Style as they were built in 1926. This is also supported by the characteristics of the facade. A common feature from the Early Straits Eclectic Style – central keystone of the windows arches also can be observed on the facade. Tan (2015) has mentioned that the shophouses styles overlapped with some of the elements of earlier styles remaining.

COLUMN DETAILS PARTITION DETAILS

DOOR AND WINDOW DETAILS

TILE DETAILS Lorong Ikan

CONCLUSION

Shophouses No.3, 5, 7 are hidden gems located in Lorong Ikan, a part of Penang that is not often even frequented by locals. However,upon first glance it is easy to tell that the building is more than what it seems. Inscribed in black paint, upon the first column of shop house No. 3, is the year the building was built, “1926”. Almost a century old, the building holds many tales of the past in its architecture and design. Furthermore, many rooms within the building retain some of their original furnishing.

Through this assignment, we were truly privileged to be able to walk through the corridors of this historical building. Furthermore, as we carried out the documentation of the building we were intrigued to discover the construction techniques applied by architects and builders of the past and through research and interviews with the locals we were also treated to the rich cultural background of not only the shophouses but also Lorong Ikan and its neighbouring streets.

As we carried out this project, we soon came to realise the importance of the conservation of historical sites and their value to future generations. The presence of these historical sites not only enriches the city in which they stand but are also a valuable treasure of significance to the entire country.

EXPLODED AXONOMETRIC

PHYSICAL MODEL Ipoh Town Hall Ipoh Town Hall

IPOH TOWN HALL MAJLIS BANDARAYA IPOH

BACKGROUND OF SITE

WITE UP MISSING Ipoh Town Hall history AND background of IPOH TOWN HALL

Ipoh Town Hall is situated in the heart of Ipoh Old Town, which was a major area of government Weng Ching. (db.ipohworld.org, 2010). When it was finally completed, the Town Hall became administration during the days of Britain. It is strategically located and is on the Ipoh City heritage the venue for many significant events. It has seen people from various backgrounds walking up trail network (Heritage Trail) that includes other historic buildings such as the Ipoh Railway and down its hallways. It was here the Malay Nationalist Party, the first political party formed in Station, State Mosque, the District Police Headquarters, the Birch Memorial Clock Tower and Malaya, held its inaugural congress from November 30 to December 3, 1945, attended by more Ipoh High Court Building. All of these colonial buildings display the European architectural style. than 300 people from all over Malaya. From 1948, the Town Hall served as the District Police Headquarters for some years, before being used as a Public Auditorium in 1962. The building Construction of the Ipoh Town Hall began in 1914 but the shortage of materials and high costs also served as a Post Office. of labour caused by World War I delayed its completion until 1916. The contractor was Lim

FIRST FLOOR PLAN

GROUND FLOOR PLAN Ipoh Town Hall

Ipoh Town Hall has hosted many important events. The Indian poet and Nobel Laureate Postal services in the building ceased in 1983 and the building was then taken over by the Rabindranath Tagore addressed a meeting of Perak’s school teachers here on August 8 1927. Perak Tourist Information Centre until 1995. After that, the building was abandoned without maintenance. Consequently, it suffered damage to the roof tiles, causing the downpipe to break, The building was divided into two sections, the front was used as the Town Hall and the back was rotting floor boards, and thereafter, trees grew wild in the building, further damaging the structure. used as the Post Office. For this reason, the road that ran between Club Road and Belfield Street (Jalan Sultan Yusuff) was known as Post Office Road (now it is called Jalan Dato Sagor). For Then, in 2007, the Ipoh City Council applied to the National Heritage Department to restore the many years, the Ipoh Town Hall building also served as the District Police Headquarters, which building. Having studied and researched, the JWN agreed to carry out conservation work on the has since moved into its own complex further south. building. In 2009, conservation work commenced which was completed a year later.

INCORRECT PHOTO CAPTIONS Ipoh Town Hall

OWNERSHIP

In 1914, when the Town Hall was built, the building was divided into two parts – the Western was built by one authority. After the Federal Government completed the conservation works, Wing (Town Hall) and the Eastern Wing (Post Office). Due to their segregation, the ownership of a dispute arose, regarding the ownership of the building – whether it was under the Federal the two buildings was initially under the possession of two distinct bodies. Government, or the State Government. To resolve the dispute, the State Government needed to provide documentation to prove its authority, while the Federal Government had to produce a According to Tahir (2016), any plot of land that was under the Federal or State Government letter regarding its property. After some time, Mr. Tajuddin received a letter from Jabatan Ketua before Malaysia’s Independence was considered in their proprietorship. As the Post and Pengarah Tanah dan Galian Persekutuan (KPTG) confirming that the land lot was owned by the Telegraphs Office was under the Federal Government, this meant that the Federal Government Federal Government but the Town Hall Building was under the State Government. owned the building. The Town Hall, on the other hand, was under the State Government, making its ownership under the possession of the State Government, even though the building

WINDOW DETAIL

DOOR DETAIL

CONSTRUCTION DETAIL Ipoh Town Hall

CONCLUSION

It also mentioned that after the Federal Government ended their conservation procedures and measured drawings, they would build an office for Jabatan Warisan (Northern branch), transferring the office from to Ipoh.

However, due to the unstable economic conditions at that time in Malaysia, a shortage of funds and resources has prolonged the transfer of the branch for at least a year. Therefore, the Post Office replacement has been put on hold by the Federal Government until further notice.

PHYSICAL MODEL

AXONOMETRIC No. 44 King Street No. 44 King Street

THE ROYAL MUSEUM

BACKGROUND OF SITE KING STREET

King Street dates from the late 18th century and was originally laid out by Francis Light, which is why the road is connected to Light Street. The road was meant to be for the Europeans that settled in Penang. In the mid-19th century, when the Europeans started to move away into the suburbs, wealthy Chinese families began to occupy all the real estate including Light Street itself.

The Hokkiens in Penang call King Street by various names depending on its location. The Section from Light Street to Bishop Street was called Kau1 Keng3 Chhu3 Au3, which meant “The back of the nine houses”. This referred to the nine terrace houses facing towards Penang Street with back towards King Street. The Section of King Street between Bishop Street and China Street was the heart of the Cantonese community in the 19th century George Town, which explains the number of Cantonese diaspora associations and temples that are located in that area whereby the Hokkiens call them Kin1 Tang3 Tua3 Pek1 Kong3 Kay1, in reference to the Cantonese Tua Pek Kong Temple. No. 44 King Street

history AND background of SHOPHOUSES NO. 44 KING STREET

King Street got its name after King George III. It mostly housed sailors or harbour workers in the South Indian Harbour. It is distinguished by five Hokkiens Clans Associations, houses sited to the South. Temples here reflect different Chinese dialects, most of the buildings onthis street have a Chinese influence, hence the heritage reflects the Chinese part of the community. This is due to the immigrants that settled in that area during the British colonial period. This explains the reason why there are many Chinese temples in that area, for example, the Cantonese Tua Pek Kong Temple, Nin Yong Temple and Nagore Shrine.

Map of George Town highlighting the location of King Street. (Source: Measured Drawings Penang Group, 2016)

GROUND FLOOR PLAN

FIRST FLOOR PLAN DESIGN CONCEPT: THE EARLY STRAITS ECLECTIC STYLE

The transitional styles or the ‘‘west meets east// style of the building are manifested in the reserved use of ornaments on its facade. The doors and windows remain timber framed and traditionally made with shutters as they are easier to maintain. The transoms are flat arches that act as a strengthening crossbar. The vents are employed with a sense of economical elegance with architectural composition such as squares or diamond shaped motives between the windows. The ground floor has masonry walls that consist of symmetrical double doors, a pairof windows and bat shape vents above each of them.

FRONT ELEVATION BACK ELEVATION

SIDE ELEVATION No. 44 King Street

OWNERSHIP

No. 44, King Street, George Town, Penang, owned by Seh Tek Tong Cheah Kongsi, (Cheah Kongsi was established in 1810, Cheah Kongsi is one of the oldest Hokkien clan associations in George Town, Penang. Its members have their ancestral origins from Sek Tong Seah in the Sam Tor District of the Hai Teng County at Chean Chew Prefecture, Province, China). Shophouse No. 44 has an Early Straits Eclectic style.

No. 44, King Street was first purchased by Cheah Kongsi under the name Cheah Kay Hock Kaw Kong on 13th March, 1827. Hock Haw Kong was an honorific title, which means ‘prosperity marquis’. The purchase agreement as seen in Figure X is a contract between Colonel Norman Mcallister and Cheah Kong Si in 1827.

However, a discrepancy surfaces - the present facade of No. 44 best resembles the Early Straits Eclectic style, and this particular architectural style only started to gain popularity during the 1890s. This means that the building purchased by Cheah Kongsi from the British was not in the Early Straits Eclectic style, but rather its predecessor, the Southern Chinese Eclectic style (1840s-1910s), or even the Early Penang style (1790s-1850s).

AXONOMETRIC of stairs

PERSPECTIVE OF KING STREET DOOR AND WINDOW DETAILS CONSTRUCTION AND FUNCTION

Furthermore, the I-beam, a structural component used extensively for structural support did not exist before the 1840s, but is found as part of the first floor slab construction in No. 44 in its present condition. Dorman Long, founded in 1875, was the British company who manufactured the I-beams in No.44. This proved that sometime between the purchased date and today, No. 44 was renovated. This caused a shift in style from a previous design to Early Straits Eclectic style, with the introduction of the I-beam in the construction of the first floor, and subsequently, the addition of the cantilevered room, which was supported by the I-beam.

CONCLUSION AXONOMETRIC Residential usage aside, No.44 has been used for various commercial purposes. For over 50 years, the premises wore a sundry shop before it was converted into a tea wholesale shop. After the closing of the tea wholesale business, the premise was cleared and was then converted into a store. It was also used as workers’ quarters over the years, particularly Myanmar laborers. Signs of the tenancy are evident, as a poster of Aung San Suu Kyi and a medicinal prescription bottle with a Myanmar name were found within the premise.

No.44 used to be rented out to several families and had several tenants. Ren I Tang, a heritage inn, was the last and most recent tenant. Left in an abonded state but with valuable traits of the early Straits Eclectric style, No.44 now awaits new tenancy and possible restoration.

PHYSICAL MODEL Ipoh Rainbow Shophouses Ipoh Rainbow Shophouses

IPOH RAINBOW SHOPHOUSES 怡保彩虹屋

INTRODUCTION TO RAINBOW SHOPHOUSES JALAN SULTAN ISKANDAR

The rainbow shop houses comprise of seven shop houses: No.116, 118, 120, 122, 124, 126 and 128, Jalan Sultan Iskandar. As the name suggests, the shop houses get their name ‘Ipoh Rainbow Shop House’ from it’s eye catching rainbow coloured exterior. They were repainted by the current owner, Mr. Lim Chai Hock, who aspires to use the bright coloured facades to liven up the town of Ipoh.

ROOF PLAN

SITE ELEVATION Ipoh Rainbow Shophouses

DESIGN CONCEPT: TRADITIONAL SHOPHOUSES

The shop houses were designed with two floors where the ground floor is used for trading and the upper floor is a living space, providing an economical space for the rapidly growing community. As shown in the plans, the ground floor hall and the first floor hall are the main spaces. At the end of the lower hall, there is a door that connects to the rear court where the service space is located and a long staircase leads to the storage or living space upstairs. The tenants can access to the back lane through the rear court. The interior spatial planning was maximized by avoiding unnecessary partitions.

In comparison to the older shop houses in Old Town, it is clear that the Rainbow shop houses are much shorter in depth. This is due to the overwhelming demand for living and commercial premises in a short period of time, resulting in simplifying the GROUND FLOOR PLAN layout to its’ most efficient form to shorten the construction process. The common measurement usually applied to shop houses is 6-7 meters wide and 30 meters deep, sometimes extending to 60 meters. But the rainbow shop house is shorter and narrower, at 5 meters wide and 21 meters deep. In short, the shop house was design with maximum efficiency, flexibility and practicality in mind.

FIRST FLOOR PLAN

FRONT ELEVATION In the early twentieth century, as the expanding colonial urban economies absorbed large numbers of labor migrants, the number of shop houses in New Town, Ipoh grew rapidly to accommodate the overflow from the increasingly overcrowded conditions in Old Town. The architectural solution that was employed was to design smaller and practical dwellings that were economical to build. They were influenced by ‘Anglo-Chinese Urban Vernacular’ style which is a reference to the Southern Chinese building form and Colonial plans.

REAR ELEVATION

SECTION A’-A’

SECTION B’-B’ TRANSITIONAL STYLE

The Transitional Style is characterized by buildings with relatively restrained use of ornaments on the façade. Ground floor masonry walls have symmetrical double doors, a pair of window and bat shape vents above. The style incorporates many of the features of the ‘grand’ classical style, reinterpreted and adapted, and may include pediments, pilasters, keystones and arches.

EXPLODED AXONOMETRIC OF FACADE DETAILS

STRAITS ECLECTIC STYLE

This is the most spectacular style particularly in the use of ornamentation. The tripartite arrangement of three windows on the façade reduces the actual wall space to the minimum and provides maximum ventilation. In later examples, the wall surface is replaced by columns or pilasters framing the windows. Chinese panel frescoes are often combined with Malay timber fretwork that fringes the coping on the roof. The development of reinforced concrete in the 1910’s enabled large spans to be achieved and

ELEVATION OF PILASTERS EXPLLODED AXONOMETRIC OF PILASTER more elaborate cantilevered details to be incorporated into facades. Structurally, buildings of this style incorporate extensive use of masonry with first floor timber fenestration and tiled roof.

WINDOW DETAILS

DOOR DETAILS

GRILLE GATE DETAILS Ipoh Rainbow Shophouses

MAIN STRUCTURAL ELEMENTS

According to Gurstein, shop houses are laid out in rows or blocks. A shop house is a shop with a dwelling above. Shop houses were usually built as part of a terrace, often with their upper floor overhanging the first storey to form a pedestrian covered arcade.

EXPLODED AXONOMETRIC

CONCLUSION

Historical buildings are important in showing how a country came together. People appreciate buildings for their history, and heritage – alongside their old character and imperfections. The owner of the rainbow shoplots himself, Mr. Lim Chai Hock- showed great appreciation for Ipoh’s heritage by buying and restoring some of the buildings in the area. The younger generation is also actively taking part in revitalizing the old town, adding life by merging their modern businesses into the buildings, with very few modications – in the hope of retaining the beauty of it’s original design.

PHYSICAL MODEL Sarang Paloh Sarang Paloh

SARANG POLOH HERITAGE STAY & EVENT HALL

HISTORY OF SARANG POLOH HERITAGE STAY & EVENT HALL According to the history of the Ipoh, the land in Ipoh Old Town originally belonged to Dato Panglima Kinta. After building the shop houses on his land, he sold the lot to the Chinese for $25. One of the famous local tin mining Chinese tycoons, Leong Sin Nam bought one and opened the first Chinese Bank, which was the Bank of Malaya. In the recession, the building was bought by the Overseas Banking Chinese Corporation (OCBC).

The OCBC purchased Yik Woh Goldsmith & Jeweller Shop and Lim Kopi unit as well when they bought the buildings from Leong Sin Nam. The unique Art Deco style façade of the OCBC building attracted the attention of Lim’s family. The building was on sale at that time and they submitted the tender to show their interest to purchase.

Their first tender submission failed. However, less than a year, the seller came back and asked them whether they were still interested in it. But the terms were that the four units i.e. the Yik Woh Goldsmith & Jeweller Shop (one unit), OCBC Building (two units) and Lim Kopi (one unit) must be bought together. The Lim family bought up the four units and started their heritage preservation and conservation journey.

The name “Sarang Paloh” was a combination of a Malay word for ‘nest’ and a traditional Cantonese word ‘pa-loh’ which means dam. By using the aviary theme in their hotel, they hope that the hotel will be able to create a sense of belonging for all the travellers who stay here. Sarang Paloh

spatial program and experience

Sarang Paloh is a heritage hotel with 10 rooms for guests on its top floor. The ground floor kept its overall form with some minor changes made to cater for its current use. Generally, a building’s spatial program and properties are dependent on its owner or architect. Although Sarang Palloh’s current design is a reminiscent of its past glory, the spaces within are a palimpsest of the taste of its previous owners.

The building offers spaces that cater to families and couples as a haven for holiday getaways. The spatial sequence of the building emulates that of a comfortable heritage home that sets itself apart from the outside world. In the lobby, people relax and socialize as they would in a living room. At the rear is the kitchen and toilet. On the top floor are places to rest, sleep and to experience the different aspects that each room has to offer. GROUND FLOOR PLAN Similar to the boutique hotel, the event hall also functions as a space for reminiscing. However, this building offers spaces that cater more to larger groups of people. The program is such that customers of the hall are allowed to use the ground floor facilities while walk-in outsiders are only allowed access to the facilities if they are participants. The hotel customers on the other hand, are permitted to use facilities available on both floors. The hall program is not limited to meetings, performances and big or small events and is well known for its multipurpose use. The top floor is similar to the boutique hotel with the exception of a roof garden. Guests are able to use the garden which expands the range of activity.

FIRST FLOOR PLAN

SITE SECTION A building’s activity or program has is usually predetermined before it is built. Architecture always revolves around spaces and the activities planned for the spaces which in turn reflects its identity. Throughout the history of architecture, buildings were designed and built for a purpose. The same goes for Sarang Paloh. But use can change over time and buildings need to be robust and adaptable.

FRONT ELEVATION

REAR ELEVATION

SARANG PALOH HERITAGE HOTEL’S SECTION

SARANG PALOH EVENT HALL’S SECTION Sarang Paloh

ARCHITECTURAL ELEMENTS

Vernacular architecture also known as traditional architecture was commonly used during the early 19thcentury, where local builders and designers were mainly employed to design and build commercial buildings using materials that deeply reflects the traditions of the community. This particular language of architecture is influenced by the climate and culture of the community, therefore it is seldom a single style but a mix of different features, as is the concept behind the interior of the Heritage Stay Sarang Paloh & Event Hall. The façade however is oriental design but influenced by European fashion.

From 1900 to 1960, the architectural style of the surrounding buildings gradually changed; adopting western characteristics which emphasizes more on geometrical shapes and the use of industrial materials, such as concrete, glass and metal. These characteristics are evident on the façade of both buildings; Sarang Paloh Heritage Stay & Event Hall which are art deco and neo-classical. Art deco and neo classical styles in Malaysia resulted from British colonization. With the exception of the façade of the building, the concept of the building design follows the Straits Eclectic Style which is evident in the designs of the interior doors, windows, spaces and exterior roofs. This is a consequence of a predominantly Chinese and Malay community.

EVENT HALL’S PEDIMENT AXONOMETRIC

HERITAGE STAY’’S PEDIMENT AXONOMETRIC

DOOR DETAILS

TILE DETAILS Sarang Paloh

CONCLUSION

Sarang Paloh is an old building. It was decaying, its art form no longer memorable but now it is a holiday destination that is known to many. Not only does this attract the attention of people, it has also brought awareness and made us appreciate the building more. It is due to this that we were able to study the history and culture of Sarang Paloh’s former identity. We were able to understand for ourselves the evolution of its aesthetics, appreciate its existence as a part of the community and understand its design roots that would not have been possible without the conservation of the building.

EXPLODED AXONOMETRIC

PHYSICAL MODEL Sin Sze Si Ya Temple Sin Sze Si Ya Temple

SIN Sze SI Ya 仙四师爷庙

History of Sin Sze Si Ya Temple Sin Sze Si Ya Temple, built in 1864 by Kapitan Yap Ah Loy, is hailed as the oldest Taoist temple in Kuala Lumpur. The Sin Sze Si Ya Temple is an object and place of faith for the Chinese community as well as a symbolic monument of the historical fights of the Chinese. The existence of the temple allows us to look at the background and life experiences of the Chinese heroes who were part of the early stages of the development of Kuala Lumpur, and comprised of blood and tears.

According to history, in 1859, there were two local emirates in Seremban who were fighting each other due to mining and taxation rights. The Chinese followed the Malay landlords and were divided into two organizations which were Ghee Hin and Hai San. At that time, Liu Ngim Kong was a captain under the Chinese Kapitan Shing Kap and he recommended Yap Ah Loy as someone capable, brave and resourceful who could play a major role in the fight.

In 1860, a war broke out and unfortunately, Kapitan Shing Kap’s forces were defeated and Kapitan Shing himself was beheaded after being captured by the opposing Malay forces. His death was extraordinary as white blood was reputed to be seen flowing from his neck after his head was chopped off. In Malay belief, it is an indication that the person is a saint if white blood is spilled by a dying person. After witnessing such a phenomenon, the Malays begged for forgiveness and allowed the Chinese to retrieve his body for burial. Sin Sze Si Ya Temple

history AND background of SIN SZE SI YA TEMPLE

The news spread like wild fire and soon become a myth. It was said that Kapitan Shing Kap was very kind and had the heart of a Buddha, hence after he was killed, he took his place as one of the Gods. Ever since then, Shing Kap is regarded and looked upon by the local Chinese as a deity, and a temple was built in his honour in order to worship and commemorate him. In 1861, Yap Ah Loy became Shing Kap’s successor as the Kapitan of Seremban.

Aside from Shing Kap, there was another hero, Sze Si Ya, who was the commander-in-chief during the Selangor Civil War. He admired Yap Ah Loy during that time and followed him to the war. He won a lot of battles but in the end he was killed on the battlefield. In order to commemorate him, Yap Ah Loy built a temple and named it as Sin Sze Si Ya Temple, which is the combination of the name of Shing Kap and Sze Si Ya. Sin Sze Si Ya Temple is a part of the history of Kuala GROUND FLOOR PLAN Lumpur. To the Chinese community, the temple is clear evidence of the contribution of the Chinese community to the country. The temple holds certain sentimental values for the local Chinese as it reflects the hard work of their ancestors who came to this land and witnessed the birth and growth of the city of Kuala Lumpur, which indirectly formed the core area for the current Chinese community who reside here. Other than the Sin Sze Si Ya Temple, there are twelve other temples with the same theme and objectives in many other towns and cities around the region, each of them dates back more than a hundred years.

FIRST FLOOR PLAN

FRONT ELEVATION The temple holds strong social significance through its historical heritage and contemporary cultural practices. The beliefs on supernatural and rituals have been carried on for centuries and are still vibrant in this contemporary urban enclave. The temple creates surprise and contrast by its institution and informal functions in the busy commercial node of the city.

A-SECTION

B-SECTION

C-SECTION Sin Sze Si Ya Temple

SPATIAL ARTICULATION

The public spaces in Sin Sze Si Ya Temple Though not separated by doors, one can still clearly make out where the function of a room ends and another begins in the public spaces of Sin Sze Si Ya Temple. The spaces in the temple are well articulated as they do not blend indiscriminately. Architectural features and elements help to articulate the functions of spaces and make them more meaningful.

Aside from the obvious use of doors for the separation of the private areas (the office and store room) from the public areas, the other spaces in the temple are separated by different floor levels, arch ALTARS AT THE MAIN HALL doorways, and in the case of a temple, a threshold. The use of these architectural elements give the users an idea of when they are entering another place of different functions or purposes while maintaining the flow of the space. Also, these subtle architectural elements segregate the crowd according to what they intend to do or where they intend to go in the temple. This in turn brings an order to the otherwise overwhelming or sometimes – chaotic – crowd in the temple.

Sin Sze Si Ya Temple possesses a uniqueness that differs it from other traditional temples in that the deities that were worshiped were not the traditional Chinese deities, rather it was for two people – Sin Sze Ya and Si Sze Ya, who were elevated to the status as deities through their merit. Therefore, to accommodate the patron deities, the building’s main component consists of two wings, the west and the east for the two deities alongside a main hall.

ALTAR AT THE MAIN HALL ALTAR ANCESTRAL HALL ALTAR GUANYIN HALL

MAIN HALL SECTION MAIN HALL SECTION DOOR AT MAIN HALL Sin Sze Si Ya Temple

CONCLUSION

The question is - how does the Sin Sze Si Ya Temple respond to the need of contemporary users? Based on afore-mentioned arguments, Sin Sze Si Ya has embodied the essence of duality, time and time again. The duality of order and chaos has become very apparent through the temple’s form and activities, where form becomes the order and activities represent chaos. To elaborate further, the form and the activities continuously complement one another and as the activities within the temple evolve, the form changes to answer to the user’s needs.

The temple was created in symmetry, with two identical wings attached to its’ main hall in order to accommodate the specific rituals carried out in the temple. In contrast to the orderly form, Sin Sze Si Ya is wedged in between two shop-lots in an asymmetric manner. This significant concept of duality then supports the inhabitation of the building, balancing again between its’ architecture and its’ significance.

exploded AXONOMETRIC

PHYSICAL MODEL State Chinese Penang Association State Chinese Penang Association

State CHINESE PENANG Association 槟城州华人公会

BACKGROUND OF SITE PERAK ROAD

Perak road is one of the longest streets in George Town, Penang. It acted as the first ring road of the city. Georgetown’s one way road system has fragmented Perak Road into various parts, some of which today are one-way streets.

On its course through the city, Perak Road passes from the working neighborhoods to the south, through the Malay settlements in the middle, and then to the affluent neighborhoods to the north. The State Penang Chinese Association (SPAC) is located at the end and top of Perak Road in the affluent district.

Georgetown embraces modernity while retaining its colonial traditions and has developed over 500 years of trading and cultural exchange between East and West in the straits of . It features both residential and commercial buildings, as well as representing the British era from the end of 18th century. (UNESCO, 2008)

The city is known as home to many British colonial buildings and houses the SCPA building that is located in the north of Georgetown. Like many colonial buildings in Georgetown, the SCPA building radiates elegance, with terracotta roof and plastered columns that grace the main entrance to the building. State Chinese Penang Association

HISTORY AND BACKGROUND OF THE STATE CHINESE ASSOCIATION

The State Chinese (Penang) Association was made up of descendants of the Chinese migrants who ventured over to Malaya to seek their fortune for a better life from their motherland, China. Throughout these years, through intermarriages with the locals and assimilation into the local community, they adopted a fusion of languages, food, culture, mannerism. Being neither Chinese nor Malay, the descendants were aptly called Baba and Nyonya, the monikers then given to them by the local community to describe their identity.

In the 15th and 16th centuries, despite staying within the confines of their own community to practice their own culture, these Peranakan descendants co-existed with the dominant races peacefully. They have a strong bond, and their fraternity is worthy of mention in Penang history.

GROUND FLOOR PLAN In 1920, on the 3rd December, a handful of Straits Chinese decided to form an association to protect their interests due to them being mainly English educated, and speaking a spattering of Chinese dialects and Malay words. This decision heralded in the birth of The State Chinese Penang Association which has been active for the past 97 years.

The association started with only a handful of members. Applicants for membership into the association had to prove their Baba Nyonya lineage. The activities organized by the association were very modest and were purely for interaction with members and to catch up on the latest news. But throughout these years, the members of the association increased. They now organize bigger events, and ocassionally invite outsiders to attend and participate in their activities.

fIRST FLOOR PLAN

front elevation The State Chinese Penang Association has flourished steadily for almost a century and successfully to uphold the Baba Nyonya heritage, culture and traditions. They continue to recruit more members from Penang, as well as organize more events regarding the Peranakan heritage and to retain and preserve the Peranakan culture.The association has become more sophisticated and as an added attraction to the members with diversified interests, many other activities and events are held.

y-section

left elevation

back elevation

right elevation State Chinese Penang Association

ARCHITECTURAL ELEMENTS

The SCPA Building is a British colonial bungalow of Straits Eclectic style. Its architectural elements are easily distinguishable. Some of its most significant elements that represent its architectural style and the Peranakan culture are its projecting porches, classical columns, high ceilings, verandahs, French windows and short-ridged hipped roofs.

There are two kinds of columns; square columns used throughout the building, and cylindrical classical order used only for the front porch of the building.The building is partially influenced by the European style. The cylindrical columns located by the front porch are of ionic and square tuscan order. These columns are decorated with moulding, broken by a stringcourse to emphasize the first floor and roof lines.

pediment axonometric

window detail

door detail

tiles and glass detail

washroom interior elevation balcony interior elevation activity room interior elevation State Chinese Penang Association

Square columns are widely used throughout the entire building. It is used as a main support for the whole structure, providing support between walls.

CONCLUSION

Located in the heart of Georgetown, amongst many other Straits Eclectic style architecture from the colonial era, the State Chinese Penang Association is a colonial bungalow that adopted architectural styles of different kinds-- namely Indo-Malay, Anglo-Indian and even certain Chinese and Western elements. The building is used as an association building, where Straits Chinese () from all over Penang would gather for Straits Chinese events and activities.

exploded axonometric

physical model Sun Yat Sen Museum Penang Sun Yat Sen Museum Penang

Sun YAT SEN Museum PENANG

BACKGROUND OF SITE ARMENIAN STREET

In the earlier days, Armenian Street was known as ‘Malay Lane’ due to the settlement of Malay Kampong according to Khoo (1993). By 1808, the street’s name was changed to ‘Armenian Street’ after the Armenian trading community from settled there (Khoo, 1993).

The Armenians were the prominent traders but were small in number and left the area by 1937 when their church was demolished (Tye, 2016). There are a few houses that may have survived from the time when the Armenians lived here. When the Straits Chinese took over the neighbourhood, these houses were retrofitted to function as shophouses.

According to Khoo (1993), many varieties of brass and copper wares were sold in Armenian Street, which gave Armenian Street its Chinese Hokkien name ‘Pak Thang-Ah Kay’ (打铜仔街, Coppersmith’s Street). In the mid-19th century, the Chinese appearance of Armenian Street was developed as the Chinese traders moved in and secured their position through clan buildings and temples (Khoo, 1993). Traders and merchants of these clan temples such as Cheah Kongsi, Yap Kongsi, and Khoo Kongsi helped to provide funding for the mining of tin in the Larut district of Perak. As a result, the Armenian Street area prospered from 1860s to the early 20th century (Tye, 2016). Sun Yat Sen Museum Penang

HISTORY AND BACKGROUND OF THE Sun yat sen museum penang

Sun Yat Sen, alias Sun Zhongshan, alias Sun Wen, was born in 1866 in Chuiheng Village, Xiangshan District, Province, a short distance north of Macao (Khoo, 2008). In his early revolutionary career, his plan to modernise China was ignored and therefore, he formed the Xing Zhong Hui (Revive China Society) dedicated to expelling the Manchus, establishing a Chinese republic and reforming land ownership to bring relief to the peasants (Red Pax, n.d.).

In 1895, the Qing government put a price on his head when he failed in his first uprising in China (Khoo, 2008). He then spent much of his time fundraising for the further revolution (Red Pax, n.d.).

GROUND FLOOR PLAN According to Wong (2016), Sun Yat Sen visited Penang a few times from 1906 (some say 1905) to 1912. Tongmenghui, the political party of Sun Yat Sen, was operating as an underground organisation in (Wong, 2016). In 1906, the Penang branch of the Tongmenghui was formed by Goh Say Eng, Ng Kim Kheng and others (A. Wong & K. Wong, 2016).According to Khoo (2008), Dr. Sun realised that he would only receive little support in Singapore due to the anti-Sun faction of the Tongmenghui. Therefore, he planned to relocate his headquarters to Penang with the support of the Penang’s Tongmenghui (Khoo, 2008). Thus, the Nanyang Headquarters was effected by August 1910 (Khoo, 2008).

Sun Yat Sen instructed his Penang followers to set up a newspaper and a reading club (A. Wong & K. Wong, 2016). Thus, the Penang Philomatic Union was formed as a reading society in 1908 and two years later, the Kwang Wah Yit Poh was published and started as the Tongmenghui’s main revolutionary newspaper.

FIRST FLOOR PLAN

FRONT ELEVATION THE “SOUTHERN CHINESE” ECLECTIC STYLE

The rise of the Southern Chinese Eclectic style in Penang was the result of the First Opium War (1839 – 1842). During that time, China was forced to open up ports to foreign trade, resulting in the mass migration of Chinese labourers to work in European colonies in Southeast Asia, including Penang (Tan, 2015).

The Chinese population in Penang grew rapidly resulting in the demand for new shophouses. During that time, the newly arrived Southern Chinese from Guandong and Fujian provinces introduced their own building technologies, materials and cultures to the existing, Indian-influenced Early Penang shophouses style. The end result was the Southern Chinese Eclectic Style.

X-X SECTION

Y-Y SECTION

Y2-Y2 SECTION Sun Yat Sen Museum Penang

HISTORY AND BACKGROUND OF THE Sun yat sen museum penang

The most noticeable changes compared to Early Penang Style was the introduction of a variety of gable end shapes, waist-shaped air vents above the lower façade windows, green ceramic ventilation tiles to the low walls above the front beam, the stepped-out column head to the top of the façade column supporting the roof beam at the eaves, and the stepped terracotta tiles soffit hiding the timber battens to the roof. Besides, two or more double-pitched roofs for building on longer lots, joined together with enclosed upper floorways, leaving space for an airwell. By this time, five-foot ways were required under a municipal ordinance (Tan, 2015). The changes outlined above was based on imported Southern Chinese architecture and an eclectic mix of other elements and features (Tan, 2015).

ROOF DETAILS

Roof ridge was introduced. Overhanging pitched roof with stepped terracotta soffit. U-shaped terracotta roof tiles on timber battens, from ridge to eaves.

UPPER FACADE details

Column heads introduced. More decorated panel or louvered below wall ROOF STRUCTURE AXONOMETRIC plate. Terracotta sill to protect shutters. Low brick wall with indented panel and green ceramic air vents.

PARTITION WALL AXONOMETRIC STAIRCASE AXONOMETRIC ground floor

Brick wall with central comb door and solid timber door. Two square shutter openings and air vents above.

FIVE FOOT-WAY

Terracotta floor tiles.

CONCLUSION

The Sun Yat Sen Museum is recognized by the UNESCO World Heritage Site of George Town for its unique architecture style, culture and historical attributes. What makes the Sun Yat Sen Museum stand out is its historical attributes with the Second Guangzhou Uprising, a turning point of China’s Xin Hai Revolution in 1911. This building is the place where Dr. Sun Yat Sen, the leader of the Tongmenghui movement, established the first ever Chinese newspaper Kwong Wah Yit Poh, planned the Second Guangzhou Uprising and also the headquarters of Tongmenghui in Southeast Asia. There is a relation between this building and the eve of the Xin Hai Revolution in China. In other words, China might not exist as it is today if it weren’t for this building.

AXONOMETRIC

PHYSICAL MODEL Bibiliography

bibiliography

A

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B

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C

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D

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F

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G

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H

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