School of Architecture, Building and Design Bachelor of Science ( Honours ) in Architecture

The Design School Bachelor of Arts ( Honours ) Interior Architecture

Architecture Culture and History 2 ( ARC 60203 )

Tutor : Koh Jing Hao

Building Proposed : National of

Group Members : Saw Sook Fang ( 0333151 ) Vanessa Christy Goonting ( 0333470 ) Chen Lian Lian ( 0333357 ) Kan Shih Seng ( 0333478 ) Kohei Watanabe ( 0332172 ) Lim Jan Zen ( 0331320 )

Table of Contents

1.0 Introduction ...... 1 2.0 Fast Facts of The Building ...... 2

3.0 History ...... 3-

3.1 Symbol of The Mosque

3.2 Name of The Mosque

3.3 Selecting A Site

3.4 Cost of Construction

3.5 Tenders For Construction

4.0 The Architect ......

5.0 Site Context Analysis ......

(By Kan Shih Seng)

6.0 Architectural Layout of Building ......

(By Kohei Watanabe)

7.0 Architecture Style Analysis ......

7.1 Modernist Expressionism (By Saw Sook Fang)

7.2

7.3 Local Adaptations of Modernism

8.0 Building Construction, Structure and Material Analysis ......

8.1 The main Construction (By Vanessa Christy Goonting)

8.2 Building Materials

8.3 Materials Used 9.0 Architectural Elements / Component Analysis ......

9.1 Main Roof (By Chen Lian Lian)

9.1.1 The Concept and Design

9.1.2 Symbol and Meaning Behind the Concept

9.1.3 Details of The Roof

9.2. The Courtyard (By Chen Lian Lian)

9.2.1 The Purpose of The Courtyard

9.2.2 The Concept and Design

9.2.3 Details of The Courtyard

9.3 The Veranda and Wall Screens (By Chen Lian Lian)

9.3.1 The Purpose of The Veranda and the Wall Screen

9.3.2 The Concept and Design

9.3.3 Details of The Veranda

9.4 The Main Prayer Hall (By Chen Lian Lian)

9.4.1 Design

9.4.2 Lighting

9.5

10.0 Conclusion ......

11.0 Reference List ......

12.0 Appendices ......

1.0 Introduction

Figure 1 : The view of the pleated roof from the position of the reflecting pool. (Lim, J., 2017)

The National Mosque, which was built in 1965, marked an important event in our nation’s history as we had just gained Independence from the British a few years prior to the completion of the mosque. It was and still carries a certain kind of symbol or identity of a true “Malaysian” building - a building that was not solely built and donated by one particular group of race in this country but by all races and religions that united together to turn the idea of our nation’s forefathers to having a ‘national iconic building’ into reality.

As the National Mosque had just approached into it’s 52th year since its completion in 1965, the architecture styles and elements which it embodies are still as being perceived as a timeless architectural beauty that speaks volumes for itself. Not only it is beautiful in terms of its overall appearance and outlook of the building, but it also a building that is truly functional from inside out, without losing its main identity and purpose as a place of worship as it was intended to be designed where people from all races could gather for social activities which helps to bind the community together as one.

With that being said, the National Mosque truly reflects that cultural and patriotic values found in every race and religion in our nation, which is why in regardless of our creed and colour, the National Mosque stand strong as a symbol of unity and inspiration for all the citizens of Malaysia.

2.0 Fast Facts of The Building

Name of The Building National Mosque of Malaysia or Masjid Negara

Location Jalan Perdana, Tasik Perdana, 50450 , Wilayah

Architects Howard Ashley

Hisham Albakri

Dato’ Baharuddin Abu Kassim

Year of Completion 1965

Cost of construction $ 10 million*

Built-up Area 7,575 sq.m (81,536 sq. ft)

Architecture Style Modern Islamic

Capacity 15,000 people

Building Highlights 73-metre-high

16-pointed pleated roof

*The symbol $ refers to the Malaya and British Borneo Dollar, the currency used in Malaysia before 1967, when Malaysian Ringgit was only introduced thereafter.

3.0 History

Figure 2: An archive photo of the National Mosque dated back in the 1980s before the refurbishment was carried out. (ATSA Architects, 2015)

Upon instigation by Tunku Abdul Rahman, who was the Prime Minister at that time and also the one who provided the initial design brief, the National Mosque in Kuala Lumpur was later built in 1965 as a symbol of unity of this multiracial country.

The Public Works Department which is currently known as Jabatan Kerja Raya (JKR) was in-charged of the construction. A team of architects behind the design of the National Mosque was led by Howard Ashley in the Public Works Department which included Baharuddin Kasim and Hisham Albakri.

When Hisham was offered a scholarship to study tropical architecture in London, he left the project just as construction started and Baharuddin Kassim carried on with the project until its completion in August 1965. It took them 3 years to construct the National Mosque.

For Baharuddin, the design of the mosque was a continuation of his search for a modern mosque form that had commenced with his final-year thesis design project at the University of Manchester. A flat-roofed modernist “concrete cube” with the ceiling space articulated as a pyramid was created in his exercise. With that being said, the National Mosque design was primarily an abstraction of a traditional Malay house set within a natural landscape. (Lim, T. N., 2010)

Later, as a partner of Jurubena Bertiga, Baharuddin Kassim was responsible for the building extension in the late 1980s.

3.1 Symbol of The Mosque

The importance of the mosque was spelt out by the commemorative publication as twofold: to serve as a symbol of the importance of the state religion, Islam; and as “a permanent edifice to commemorate the achievement of Merdeka or independence on August 31st, 1957”.

The Prime Minister justified the mosque as a national project in the following way; “To me Masjid Negara stands for the unity of all the people of Malaysia, for it has been built not only with donations from Muslims alone but from non-Muslims as well, who are imbued with the spirit of co-orperation and owe undivided loyalty to this country. This is one of the special characteristics of our country.” (Lai, C. K., 2007)

At other occasions, the mosque was described as multi-racial and inclusive because diffferent races were also involved in its construction. The brochure continued with this description that it was “...designed by a Malay, constructed by Chinese and Indians and financed by contributions from Buddhists, Hindus, Christians and Muslims.” (Lai, C. K., 2007)

3.2 Name of The Mosque

The Federal Executive Council in charge of developing the capital city decided that a mosque be built and named after the Prime Minister. After Merdeka celebrations, the Conference of Rulers gave its blessing and a central organising committee was appointed, led by the Deputy Prime Minister, Tun Abdul Razak. Declining the offer to have the mosque so named, the Prime Minister ecided it should instead be designated Masjid Negara (National Mosque). (Lai, C. K., 2007)

3.3 Selecting A Site

Figure 3: The former site of the National Mosque on Valley Road, where the Galloway Club and a school once stood before being relocated to another premise.

Figure 4: The site of the National Mosque where the ongoing land clearing activity was carried out while the construction of the Kinabalu flyover bridge could be notice on the right side of the photo. (ATSA Architects, 2015)

The Prime Minister insisted on another site he had chosen: a valley adjacent to the Railway Station and the Railway Administration Offices. The main reasons cited for this particular area was the site’s proximity to key transport infrastructure which would be highly convenient for Muslims across the country to visit the mosque. The decision made by Tunku was later prevailed. (Lai, C. K., 2007)

3.4 Cost of Construction

The original estimated cost of 5 million was raised to 8.5 around April 1962 and then to its eventual figure of 10 million in November the same year. The Cabinet contributed 4.5 million dollars in January 1959 to its building fund. A further 2.5 million was raised from other state governments and 3 million from public donations.

Apart frm Shaw Foundation’s $26,000 contribution, the Bruneian government donated $25,000. The Chinese community as represented by the Malayan Chinese Association raised $59,265, and the South Indian Muslim Mosque committee donated $18,716. (Aziz, A., 2015)

3.5 Tenders For Construction

Several tenders were received by 13th August 1962. The tenders were called only after the site has been prepared and the fixed. (Aziz, A., 2015) When the quotations were received, it was found to be too high and hence, the building specifications had to be changed in order to reduce as much as two million from the actual cost. The mosque finally accepted the tender submitted by Messrs. Lim Chong Construction Company Ltd.

4.0 The Architect

Figure 5: Baharuddin Kassim along with Tunku Abdul Rahman as well as other ministers at the time of the construction period during a site inspection. (ATSA Architects, 2015)

Born on the 1st October 1929, Baharuddin Kassim had not only lived through the period of British colonial and Malaysia’s Independence, but also through the eras of all of the country’s six Prime Ministers to-date.

Figure 6: Baharuddin Kassim standing in front of the completed National Mosque. (ATSA Architects, 2015)

In addition to that, his professional repertoire has spanned that entire time and his architectural works have been testaments to the changing face and development of the nation. He has since met and worked with those Prime Ministers and other governmental leaders from from the British era officials to the both state and national leader throughout his significant works which he had the opportunity to be involved in. (Lim, T. N., 2010)

Before becoming an architect, he obtained a scholarship to further his studies in architecture at the University of Manchester in England before returning to the country for a stint and worked in the Public Works Department. He then went on to obtain another scholarship, but this time around in town planning for a couple of years, an expertise in which he thought was what the country needed at that time. Upon his return from his additional two years of studies in the United Kingdom, which coincide with the period where it was time for the country to bravely seek its own identity - architecturally as well as all other respects soon after the country gained independence from the British occupation. (Lim, T. N., 2010)

Whilst settling down in Public Works Department, he was then assigned to design the National Mosque alongside Hisham Albakri, headed by Howard Ashley- not knowing that this design of his would one day end up as one of the most prominent and unique national icon of Malaysia.

Figure 7: Latest photo of Baharuddin Kassim with the National Mosque at the background. (ATSA Architects, 2015)

The success of this National Mosque had since become a springboard for his illustrious personal career. This work of his still holds a special place in his heart.

5.0 Site Context Analysis

Figure 8: Top-view from satellite images of the site location

5.1 Site Location The National Mosque of Malaysia is strategically located at the West of Central Kuala Lumpur, Malaysia. (Figure 1.1) There are couple of significant buildings surrounding the location, buildings can be found are: Islamic Art Museum, Dayabumi Complex, and Old Railway Station Kuala Lumpur.

5.2 Building accessibility

Figure 9: Aerial view of the National Mosque of Malaysia

A few building openness choices can be seen on the working of National Mosque of Malaysia are in a piece of the administration organization enclave in Kuala Lumpur, Malaysia. It stands slantingly inverse the focal railroad station on 13 Acres of stream, level land along Sultan Hishamuddin Road at the East, youthful street at the North and Lembah Venning street at the South Boundary. There is an underground walkway that interfaces the mosque to the railroad station, giving simple access to and from anywhere in the city.

The mosque faces the primary street where open offices like schools and other noticeable structures, for example, the General Post Office headquarters.

Figure 10: Islamic Arts Museum Entrance

5.2.1 Islamic Arts Museum

Finished in 1998 and composed by Kumpulan Arkitek Sdn. Bhd. It is situated inside the Perdana Lake Gardens and inverse the National Mosque. It was worked to house and show relics, craftsmanship’s, specialties, original copies and accumulations from the Islamic world. The building likewise contains a hall and two libraries other than having 12 displays.

The building was worked in a post-current style the combination of steel and glass and in addition Islamic themes, for example, covering geometry and vaults. The most noticeable element of the historical center are the vaults designed with Islamic geometry and themes, every one of them splendidly lit inside with shifting tones of hues.

The historical center inside is intended to enable light to surge in from the focal towards the most profound parts of the gallery, making a feeling of significance where God is the light of universe, as indicated by the Islamic Arts Museum Malaysia Curatorial Affairs Department Head Dr Heba Nayel Barakat. The historical center is mainstream with travelers and frequently held unique presentations consistently.

Figure 11: View of the Old Railway Station from the KTM Headquarters

5.2.3 The Old Railway Station

Begun work in 1906 and finished 4 years after the fact, this station is utilized as a principle end for intercity trains. It was planned by Arthur Bennison Hubback, whom was the colleague to the executive of Architecture Department of Public Works. The station contains four tracks when it was first form and includes a lodging inside the station itself, in which it has shut in 2011. The station embraced a Mughal design style, which is a typical engineering style amid the period. The bulbous arch sits on the thin with vaults which are situated on each side of the building. Curved and domed windows, regularly observed in Mughal engineering designs the veneer of the building. The Mughal veneer conceals the cast-iron and glass edge of the station itself. The rooftop was intended to withstand around six feet of snow, which is somewhat amusing considering that Malaysia never encountered a solitary snowflake because of its area near the Equator The station encountered various redesign amid its lifetime and the station has been extended toward the north to build its ability before the intercity administrations moved to KL Sentral in Brickfields. Today, the station is in a broken-down state with the majority of its offices decommissioned including the historical center and the inn. The station is still served by the KTM Komuter line utilizing the focal stage while the external stages are utilized by the new electric intercity line (ETS).

Figure 12: The Railway Administration Building Entrance

5.2.4 KTMB Headquarters (Railway Administration Building)

Intended to supplement the railroad station which has the same compositional style, the organization building has confronted a few postponements amid development because of World War I and the terrible economy and was just finished in 1917. Finished seven years after the consummation of the railroad station crosswise over it, it was worked as an organization working for the rail route organization. It was outlined by a similar engineer that fabricated the railroad station and has the same Mughal design style, with the expansion of a vast bulbous arch at the center of the building, unmistakable from the front of the building. The building was more like a Moorish engineering where the building reflects both the mix of Ottoman and Mughal styles with impacts from Greek and Gothic design. This half and half Islamic design style was traded from to British Malaya through British specialists and draftsmen propelled by Indo-Saracenic styles from India. The high and wide verandas encompassing the building makes a cooling impact as tropical atmosphere temperatures are regularly high throughout the entire year. Today, it is utilized as the principle base camp for KTMB Malaysia, the railroad organization that oversees most rail lines in West Malaysia, yet filling its fundamental need as a rail line organization working right up 'til the present time. An underground path associates the base camp and the railroad station together.

Figure 13: Dayabumi Complex Building

5.2.5 Dayabumi Complex

Finished in 1984 and outlined by MAA and BEP Architect, it was charged by the Urban Development Authority (UDA) as a feature of its procedure to making joint endeavors with the legislature and the private division and in addition to rebuild Bumiputra enthusiasm for urban ranges. The whole complex comprised of a 35 story-tower, a shopping complex and the general mail station.

The building is a noticeable historic point as it neglects pilgrim structures encompassing the pinnacle and was worked to mirror the dedication of the legislature to secure the privileges of the Bumiputera. The pinnacle design and outer exterior bears solid association with Islamic engineering and a differentiation to the pioneer structures encompassing the complex. The format of the pinnacle takes after a blend of covering polygons and the Rub el Hizb, a 8-point star regularly observed in Islamic geometry. Islamic images and geometric themes are likewise spoken to inside the metal sunshades encompassing the building and pointed curves at the hall. Today, the shopping complex has been decimated and the hall has been redesigned to incorporate another glass entrance close to the current general mail station. It is associated with the LRT and the Old Kuala Lumpur railroad station by means of walkways.

5.3 Response to Climate

The mosque's outline is reasonable for the Malaysian atmosphere. The principle rooftop is reminiscent of an open umbrella. The collapsed plates of the solid principle rooftop are an imaginative answer for accomplish the bigger traverses required in the primary social affair corridor. Reflecting pools and establishments spread all through the compound, it can give a diminishment in temperature of the environment. (as shown in Figure 2.1 & 2.2) These plans are appropriate for Malaysia's atmosphere which rain consistently and have solid daylight.

Figure 14: Reflecting pools Figure 15: Open to natural ventilation

The open and expansive veranda surroundings the mosque and gives the building great ventilation. (as shown in figure 2.3) Supplications and guests don't feel stuffy and hot in the building even the toward the evening. Triangular openings between the folds of the building's roof is used to capture wind, thus making it air intake that pushes hot air out from various open-sections located inside the building. (as shown in Figure 2.4) Furthermore, the divider screening around the building, it obstructs the cruel daylight from entering the building yet does not hinder the ventilation, keeping the working in an acceptable temperature and maintaining constant flow of ventilation.

Figure 16: Open verandas Figure 17: Triangular openings 6.0 Architectural layout of building

Verandah

MainPlayer all

Openwalkway

Mausoleum

Diagram 1: Axonometric from southwest

In terms of architectural, architectural plans serve design and planning for a building. It contains architectural drawings, accurate calculation, specification of design, dimensions and many more.

The term “Architecture plan” provides further understandings of the building such as concepts and usage of the building, communication ideas, to enable a building contractor to construct it and symmetric and asymmetric of the building.

6.1 Architectural layout of building

Diagram 2: Floor Plan

Diagram 3: Side Elevation 6.2 Plan to element analysis

In terms of architectural plan, The National Mosque consists of two main buildings; the Player hall and the Mausoleum .Those two parts of the mosque are divided by the and connected by the Open walkways, Just like bridges on the river.

Since this building is a mosque, the building is directed at . Thus, there is a lean of 67.5° from North. The projection of the Player Hall shows the direction of Mecca.

6.3 Architectural layout of building

Diagram 4: Layout of National mosque.

The diagram and the legend below shows the areas in the National Mosque:

6. 4 Architectural layouts of building

6.4.1 Circulation to use-space

Diagram 5: Circulation of Prayers

The diagram above shows the circulation of prayers. The Ablutions is located under the Verandah. Thus, players don’t pass the Entrance and the Open Walkway. Just walk grand floor to ablution area, and use stairs in front of the Prayers Hall. In order to divide men’s and women’s traffic line, there are two stairs and two prayer halls (women prayers use upper floor).

Diagram 6: Circulation of Non-Muslim Visitors

Since this mosque is one of the symbolic architectures of Malaysia, this mosque is opened for visitors. Visitors have to register and take their shoes off at the Entrance before they enter the mosque.

The bolder arrows are mainly where visitors would often walk by. Visitors are not allowed to enter the Prayer Hall. However, there is an open area that visitors can see inside of the hall and can take photos.

The East-West path is connected to the Mausoleum (Warrior’s tomb). As the visitor walks through the path, visitor will also walk by the Minaret which is located on the Water feature. However, visitors would often not walk to the tomb. 6.5 Organization analysis : balance and hierarchy

Diagram 7: Floor Plan

Diagram 8: Side Elevation

From the plan, the mosque is basically quite simple and basic where it is asymmetrical to each site of the plan as well as the elevation. However, there are some symmetric elements; As shown in the plan diagram, the divided two areas are symmetrical. From the elevation, the Player hall and the Mausoleum are symmetrical.

In terms of hierarchy, the Side Elevation shows that there is no hierarchical composition or order of vertical elements. The horizontal element is visually lowered the overall building height.

6.5.1 Organization analysis: geometry

Figure 18: Geometrically patterned grillwork forms the pillars and the walls.

Geometry is one of the most important elements of Islamic architectures. In this mosque, we cannot see any geometry from drawings. However, geometric-pattern ornamentations can be found in walls, floors and pillars.

7.0 Architecture Style Analysis

Architecture style can be included by form, construction methods, building materials, and regional features. It’s characterized by significant or historical identifiable features of the building or other structure.

The building of the National Mosque does indeed embody part of the spirit of the times and is recognized as an international style building without an architectural reference that conveys any specific racial or cultural value; it reflects the efforts and contributions of all religions and multiracial communities in Malaysia. The national mosque reflects the national spirit and inspiration, as well as the universal values of Islam, a symbol of Malaysia and the pride it claims to be.

7.1 Modernist Expressionism National Mosque was built in 1965, modernism architecture flourished during this period. Some Sudanese and court aristocrats want to emulate British royal culture, in part from Western Malaysia. architects were inspired by how the royals always accompany umbrellas when they are outdoors, when designing their roofs. And the umbrella done symbolizes under the protection of Allah as well. It belongs to the category of modernist expressionism, which rejects any form of classical renaissance in any form, namely celebration of formal abstraction and expression of architectural structures.

Figure 19: Image of royal umbrella. Diagram 9: umbrella roofing of National Mosque. 7.2 Islamic architecture Masjid is defined as a mosque, used for daily prayer. Typical masjid has but no . A mosque should have two ancillary structure, which is a minaret for muezzin to gibe call prayer and a fountain for abulation.

There are two different type of Islamic belief which is Shia and Sunni. In Malaysia, majority of the mosque are Sunni including national mosque. Shia have a lot of symbolism such as floral design on the tile work, while Sunni mosques emphasize more on calligraph design. Sunni mosques have different entrances and prayer spaces for men and women, while Shia have only one. Moreover, Shia mosque have one or more than one minaret while Sunni mosque have only one minaret.

Figure 20: Minaret Figure 21: Calligraph design (keywordsuggest.org, 2010)

The construction and design of the national mosque was influenced by the Islamic buildings in the Middle East, such as the use of the horseshoe. This is also reminiscent of Mecca's Grand Mosque, which roofs and ironworks have abstract shapes and geometric lattices.

Figure 22: Abstract & Geometric design

7.3 Local Adaptations of Modernism

In the cultural context, architectural expression does not mean any other external influences, but is unique in Malaysia's socio-cultural context. It also reflects the modern interpretation of traditional and Islamic architecture in Malaysia. Its folding "" resembles a royal umbrella, marking the importance of the building as a national monument. The mosque's architecture also reflects Malaysia's independence. The use of folding , because it rejects any form of colonial style dome.

To provide sufficient daylight and passive cooling of the building, the architect designed a complete Serbian or balcony-style space at the National Mosque with a light courtyard and air well. It is also built on the ceiling, high ceilings and spacious windows. It is not only full of technical and spiritual qualities, but also retains the true Malaysian architectural spirit.

Diagram 10: Umbrella dome Diagram 11: Interior of umbrella dome

Figure 23: water courtyard for cooling Diagram 12: Screening installed in the interior Verandah a nd ventilation purpose. P rovide shading while allo enter of sufficient amount

of daylight.

7.4 Seven Unifying principle of Islamic architecture

The seven principles of Islamic architecture aim to show how Muslims are intrinsically related and their beliefs, and how these beliefs manifest themselves in everyday architecture. Islam embodies a way of life and cohesion among racial and culturally diverse peoples There is no essential difference between the spiritual secular art of Islam and the secular art of Islam so that the virtues of Islamic architecture go beyond mere formality and function.

7.4.1 Unity & Uniquity of Allah

Islamic architecture focusses on strengthening the links between Muslims in God's integration. The entrance to the prayer room can be accessed through 9 glass doorways in 3 different directions, combining prayer into a single space. Since every Muslim must pray in the direction of Kaabah, Prayer Hall faces "Qibiah" in the direction of 'KA'BAH' in Mecca. It shows that Islam is a united religion and asserts the uniqueness of God because there is nothing else but Allah. This prayer hall can hold 3000 prays each time, with a building area of 23,409 square feet.

Figure 24: Interior of prayer hall with the nine entrances. (http://tri140.50webs.com)

7.4.2 Haya: Modesty

In architecture, "modest" statements are expressed by preserving the values of Muslim daily life, divine conduct and family life. To preserve the dignity of Muslims, shielding, asylum and privacy are based on the idea of passing veils and accepting what Muslim women can control in front of strangers (her humility with Allah). From a constructional perspective, it is best to show humility by shielding activities in the public eye. The use of geometric motifs in national mosques not only serves as a privacy screen, but also as an aesthetic feature and ventilation device.

Figure 25: Geometric screening.

7.4.3 Ikhlas: Sincerity

There are two ways to express God's point of view in Islamic perspectives: external and internal movement. It can be formed through prayer, meditation and social behavior.

Architecture with ikhlas can be translated by design and pattern design to fit God's will. The National Mosque expresses the influence of Ikhlas in the structure of the imaginary space and the geometrical subtraction of the natural predictions.

Figure 26: The entire geometric subtraction

Inspired by natural architectural design.

Figure 27: Stained glass with Figure 28: Poetic light casting Arabic words. represent ‘light of truth’

7.4.4 Ihtiram: Respect

The architecture of Ilhtimiram is a manifestation of respect, politeness and courtesy of Allah (Islamic point of view), for all creation and respect for oneself. Principal of Ihtiram are expressed in symbolism, harmony and the purity of architectural geometry. In addition, Islamic artwork can reproduce natural patterns as well as shape religious messages. For example, the Qur'an represents the middle of the universe, whereby a complex star pattern will represent neighboring stars and the solar system in a geometric pattern. This has been clearly demonstrated in the geometric screening of mosques.

Figure 29: Geometry review Diagram 13: The star represents the depicting religious information. Qur'an that can represent the middle of the universe.

7.4.5 Iqtisad- Balance

About the level of human daily life and practice, Prophet Muhammad Purb said:" The best way is to go the middle way, to do good deeds, to do good deeds in a gentle manner, and to always take medium-sized formal curriculums that will allow you to achieve your goal (paradise)."

Moderation and balance expresses the basic consideration of the essence of aesthetics, while the composition of aesthetics serves as a model for creative and artistic activities in addition to our life and behavior.

Iqtisad "is the balance and the golden ratio when designing a building. It is achieved through structural planning of the mosque's proportions and spatial.

Figure 30: Analysis of plan

7.4.6 Dhikr- Remembrance

The Remembrance is reflected in monotonous buildings, the repetitive and tempo precision of structures / buildings reflected in meditations on the dhikr of God. Contemplation manifests itself in a unified sense of rhythm, and is seen as the eternal and infinite essence of the essence of God. Repeating elements, such as repeating geometric ornaments, include natural or Qur'anic inscriptions that typically apply to buildings around Islamic architecture. The National Mosque depicts Dikr's main body, with repeated columns as part of its architecture, symbolizing the timeless and infinite nature of the allash S.W.T.

Figure 31: Repetitive elements

throughout the façade og the building.

8. Building Construction, Structure & Materials Analysis

The National Mosque took two years to build, from 1963 until 1965. The mosque design was a collaboration of Architects from the Public Works Department led by Baharuddin Abu Kassim and Hisham Al-Bakri, under the supervision of Mr Howard Ashley a British Architect. Surprisingly the design was actually selected in the early 1960’s and had a new interpretation of mosque architectural design which reflected the new leadership of Malaysia post British era. The first stage of the building construction was the clearance of the site which involved demolition of old existing buildings which occupied the site. Once the site was clear levelling of the ground was carried out and the whole process took 2 years to complete. On the 29th of September 1961, the setting of Qibla direction was officiated by the first Prime Minister, Tunku Abdul Rahman Putra Al-Haj.

The materials that are commonly used during construction of modern mosque are concrete, bricks, steel, stone and marble. Some common features that are found in the mosques are onion-shaped or top-shaped domes, tall minarets and high ceilings. The modern mosques usually incorporate well-designed landscape elements including plants, water features, patterned pavements, garden lightings and signages.

In general, the structure of the national mosque is a combination of post-concrete structures. Reinforced concrete is concrete, in which the steel is embedded in such a way that the two materials act together by resistance. The use of reinforced concrete, because it is stronger than ordinary concrete, can withstand bad weather conditions. Built in the modernist style of the National Mosque reinforced concrete folding plate roof was popular. The construction method also reveals the different levels of craft required for each mosque.

8.1 The main Construction

On the 27th February 1963, the Yang di-pertuan Agong attended and led the stone- laying ceremony of the National Mosque. The mosque consists of a main hall for prayer with a veranda that surrounds three sides of the hall, a tower, a courtyard with two pools, a hall, a library and a room which is for temporary use for the Yang di-pertuan Agong and the Imam of the mosque.

8.2 Building Materials

Diagram 14: Reinforced concrete

Along the main hall of the three walls of the walls placed nine sliding doors. The door is made of large aluminum. The roofs built along the balcony were built on the waffle plate. The roof structure is cantilevered, horizontally extending through the balcony and corridor walkway.

Figure 32: Waffle Slabs

Minaret sitting on the south side of the main prayer hall of the rectangular , standing at 75 meters high. It faces four sides of the concrete grille and rectangular terrazzo slate. The minaret provides a moderately and functional vertical tower, while the mosque's structural frame depicts the use of medium-sized columns and beams in proportion to the size of the roof to support the roof structure.

Figure 33: The rectangular Figure 34: The minaret in the shaped of terrazzo and repeated middle the water feature divide the geometric shaped on the columns beside. minaret.

8.3 Materials Used

8.3.1 Façade – Exterior

The whiteness of the concrete roof and the color, texture and coolness of the heroic tombs further improve the quality of the interior space and light of the tomb. In Islam, white is associated with the funeral. Malay thinks water is a purifying element. Therefore, their graves should ideally be exposed to dew and rain.

Figure 35: Water element surrounded the Heroes’ Mausoleum in National Mosque

The east and east sides of the façade facade are screened with concrete geometric baking patterns, while the positive southeast, south and southwest are pure white concrete walls and open balconies, supported by rectangular pillars facing black tiles adjacent to wrought iron railings. The mosque did not show a luxurious and luxurious decoration on its façade. The four façades are made of pure white concrete walls and geometric concrete screens, including the impeccable completion of the folding plate roof, facing the stack of blue and green tiles. The 70 small domes above the flat concrete slabs on the balcony were also wrapped in unglazed blue tiles.

Figure 36: Concrete screen Figure 37: Small domes above with Geometrical patterns; the concrete slab roof Open verandah

The inner facade of the mosque depicts the minimal decorative elements of such an important mosque. Decorative elements are limited to the main prayer hall. North, south and east of the wall, in addition to mihrab wall, are faced with pure creamy marble. Use marble as its main material to provide clean, smooth and reflective surfaces. There are a series of Qur'anic texts written on the walls of gold through these walls.

Figure 38: Wall faces with cream coloured marble

Interwoven with the Koranic scriptures, made of blue, brown and green glazed ceramic ribbons made of light blue background. At the bottom of these walls are decorative tapes made of glass tiles, geometrically arranged and defined by horizontal bands of dark blue triangular tiles.

Figure 39: Band of geometrical pattern and Quranic verses runs across the prayer hall

Entrance to the prayer hall, made of aluminum frame glass slide. The entire Zambra wall area is faced with a glass glazed tiles made of geometric patterns, white plaster of Muganas through the Zimbra wall. The shape of the mihrab is also different from the semi-circular design.

Figure 40: Aluminium glass window at Figure 41: Qibla wall design after each sides. renovation

The main prayer hall is covered by a folding concrete roof, dome made of aluminum rose, which reflects the design of the Istanbul UAE Ahmed Dome. The main prayer hall has a total of 16 main concrete columns, the top of the white plaster, the glazed tiles are arranged in the form of diamonds. By contrast, the walls surrounding the women's prayer space are geometric concrete grills, and the clear windows pass through the top of these grills.

Figure 42: The centrepiece of the Figure 43: The base of 16 main dome is made of Aluminium. columns

Figure 44: The clerestory window and the timber pattern screenThe verandah floor area of the balcony is terrazzo, while the 154 concrete cylinders supporting the chaotic roof are facing unglazed black mosaic tiles, with top and bottom plated with anodized gold aluminum.

Figure 45: Terrazzo flooring at verandah Figure 46: Columns at Verandah area area are faced with Unglazed black mosaic tiles

The is located on the east side of the prayer hall, with 48 concrete columns facing the unglazed white tiles mosaic to support the parasol roof structure. The national mosque is decorated and decorated in detail in such an important mosque that is impeccable and easy to maintain.

Figure 47: Columns at the pavilion area are faced with white mosaic tiles

The floor is made of white tiles. Tiles with low water absorption characteristics, the need to declare frost resistance. Tiling on concrete roofs can also be a safe prayer at any time. It also has the characteristics of reflection, so that the entire sidewalk lit, while the dome can reflect the day during the ability to attract the attention of users.

Figure 48: Columns at the pavilion area are faced with white mosaic tiles.

Concrete pillars are widely used to support the entire structure of advertising, emphasizing the vertical elements of the mosque. It also symbolizes the Muslims follow the five basic principles of Islam. It has been shown that this method increases the axial load capacity of the column.

Figure 49: Ceiling with slit openings in National Mosque

The convertible umbrella-shaped concrete roof is made of white and gold glass mosaic. Concrete roofs require minimal maintenance, fire protection, and insulation to the main air-conditioned main prayer hall. It is also much cheaper, concrete is all available without aluminum and steel structure.

Figure 50: Centerpiece dome

Patterns are from any past aluminum lattice curtains with original animal motifs. It provides an extra layer between the exterior and the inside. In addition, interesting calm is created due to the reflection of the floor, because the light does not pass too much of the fabric.

Figure 51: Geometric wall screening

8.3.3 The similarities with other modern buildings in the west

According to the construction of the National Mosque, we can see some of the most famous residential architectural style similar to the Western, by the modern master Frank Lloyd Wright (Frank Lloyd Wright) design. The house mentioned is the fall of the Pennsylvania bear canal. One of the similarities is the use of reinforced concrete to build water. Modern buildings usually use reinforced concrete, because this is the new technology at that time. Wright also designed the cantilevered floor of the house. This reflects the cantilevered roof design of the National Mosque. Finally, the third similarity is the use of waffles. Wright used waffle board to build the water because it provided a lighter, harder slab, which reduced the extension of the foundation. This is made up of thin tops and narrow ribs in both directions between the stigma or the beam. The stigma or belt has the same depth as the rib.

Figure 52: National Mosque Figure 53: Fallingwater’s cantilevered cantilevered Roof design

Figure 54: Fallingwater’s waffle slab Diagram 15: National Mosque waffle slabs design

9.0 Architecture Elements / Components Analysis

9.1.0 Main Roof

Diagram 16: A roof plan of the National Mosque with the the main roof highlighted in yellow. (ATSA Architects, 2015)

It is always a familiar sight to see the striking yellow royal umbrella that is being carried around wherever the Yang di-Pertuan Agong is, especially during the guard-of-honour inspection by the King during any form of special occasions or events as shown in Figure 1.1. The royal umbrella had inspired the concept of a forward-looking blue pleated roof which forms the main roof of the Prayer Hall (Diagram 1.0) of the National Mosque that is seen today as shown in Figure 1.2.

9.1.1 The Concept and Design

To deviate from the typical Mughal-Moorish approach using the onion-shaped domes and curvilinear arches that was built during the British colonial era, hence, a more unique concept and idea was applied into the design where the main pleated roof imitates the form of a semi-opened umbrella which also takes the shape of a 16-pointed star as shown in the in Diagram 1.3.

Figure 55: Guard-of-honour inspection outside Malaysia National Palace where the yellow royal umbrella could be seen clearly. (Wazir, 2013)

9.1.2 Symbol and Meaning Behind the Concept

The architect’s intention to use local and modern languages of architecture in conveying his message was being stressed through his design. The form of the umbrella is used to signify the unity of the people of Malaya which consisted of the multiple races and religions. Through the significant form of the umbrella, it gave a symbolic meaning of souvereignty of the nation where the Yang di-Pertuan Agong is always being accompanied by the royal umbrella. (Lim, Y. L. and Hussain, H., 2007) With that being said, having the roof of the Main Prayer Hall being covered by the 16-pointed star roof structure ultimately gives it’s meaning of “sheltering and embracing” the worshippers.

Figure 56: The view of the National Mosque with its outstanding pleated roof which was inspired by the royal umbrella. (RapidKL,2015)

Diagram 17: A close up 3D illustrated view of the 16-pointed star roof. (Chen, A., 2017)

9.1.3 Details of The Roof

Concrete was used to construct the pleated shell roof, measuring at a staggering 200 feet in diameter and 84 feet high from the floor to the apex. The thickness of the roof varied between six inches at the edges and, to being 2½ inches thick at the apex, over which the original glass and white gold mosaic roof finish gave it a smooth and light pink appearance as shown in Figure 1.4. (Lai, C. K., 2007)

Figure 57: The significant roof which was once in light pink before refurbishment was being made at the mosque in 1987. (ATSA Architects, 2015)

9.2.0 The Courtyard

Diagram 18: A roof plan of the National Mosque with the the courtyard roof indicated in yellow. (ATSA Architects, 2015)

Based on Diagram 1.5, it highly noticeable that this particular area, which is located on the south side of the Prayer Hall, is specifically designed to stand out in terms of it’s repetitive slender columns as well as its roof that seems to be much higher than the rest of the other roofs that covers the span of the entire mosque as shown in Diagram 1.6.

Diagram 19: The cross-section of the National Mosque where the courtyard’s slender columns and roof height (highlighted in yellow) truly stands out as compared to the rest of the roofs. (ATSA Architects, 2015) 9.2.1 The Purpose of The Courtyard

The beautifully designed courtyard that is located right in front of the main entrance to the Prayer Hall does not only serves as a ‘lobby’ of the mosque, but rather as an additional space or area to accommodate a larger number of worshippers during the Friday prayers as well as during the days where special prayers sessions are being held. In addition to that, it could also be utilised for other activities such as talks and exhibitions. (Lim, Y. L. and Hussain, H., 2007)

On the contrary, it is found that there were initially two reflective pools which were supposedly located right next to the courtyard as shown in Figure 1.7 - but it had since been replaced by a couple of stairs that leads to the ground floor during the refurbishment in 1980.

Figure 58: The reflective pool which was once situated right next to the courtyard. (ATSA Architects, 2015)

9.2.2 The Concept and Design

The 48-freestanding concrete umbrella-like structure that is being raised higher than the surrounding flat roofs were arranged with gaps between one another as shown in Figure 1.8 in order to allow additional light and ventilation. Based on the Figure 1.9, it is rather obvious that the slender columns and square mushroom-like canopy very much resembles the tall coconut trees which are usually found in rural villages. (Aziz, A., 2015)

Figure 59: The gaps in between the Figure 60: A sketch of the mushroom-like canopies. (ATSA Architects, coconut trees. 2015)

9.2.3 Details of the Courtyard

The 48 mushroom-like canopies were decorated with coloured glass and gold aluminium pyramids which could only be seen from the top of the mosque. In order to prevent rainwater to enter through the gaps and yet only allowing generous amount of sunlight to penetrate through it, thus transparent sheets were used to to cover up the gaps in between as shown in Figure 2.0. As for the slender concrete columns, they were covered up with tiny little white mosaic tiles that encapsulates the entire surfaces of each column which gives a vast contrast with the gold-coloured plates that wraps around the tip of the columns, right underneath the roof.

Figure 61: The transparent sheets that fills up the gaps in between the canopies. (Lim, J., 2017)

9.3.0 The Veranda and Wall Screens

On three sides of the halls are the rectilinear veranda spaces that could accommodate as much as 5,000 worshippers as the main Prayer Hall could only hold about 3,000 worshippers. (Aziz, A., 2015) The veranda is screened from the outside by a type of material as shown in Figure 2.1, which could easily be sourced locally as well as way of using it as a way to respond better with the local weather that is hot and humid all year round.

Figure 62: The intricate terrazzo grillwork that wraps and acts as most outstanding element of the facade of the National Mosque. (Saw, S. F., 2017)

9.3.1 The Purpose of The Veranda and the Wall Screen

The veranda serves its function as a walkway which connects all other spaces in the National Mosque as the veranda was designed to envelop the Prayer Hall in order to accommodate additional worshippers during Friday prayers or perhaps even during special occasions.

As for the wall screens, besides using it as an element to enhance the aesthetic appearance or the outlook of the mosque, it primarily serves as a feature wall that would allow maximum cross ventilation in order to prevent heat gain from the surroundings.

Hence, this in turn has made the mosque unique in a way which it does not require or rely on any forms of mechanical and electrical ventilation such as fans or air-conditioning as well as the need of artificial lightings as sunlight would be able to penetrate through the screens and lit up the space with a poetic touch through the castings of beautiful shadows of the Islamic patterns as shown in Figure 2.2.

9.3.3 The Concept and Design

Figure 63: The long view of the veranda on the north side of the mosque. (ATSA Architects, 2015)

The concept and design of the wall screen was derived from the traditional Islamic geometrical patterns or as shown in Figure 2.5, whereas the veranda support structure as shown in Figure 2.4 was designed to resemble a modern interpretation of the coconut palm fronds that also fit with the overall architectural language of the mosque. (Aziz, A., 2015)

Figure 64: The traditional Islamic Figure 65: An image of another geometrical patterns that is form of the traditional Islamic formed on the wall screens.(Lim, geometrical pattern. (Broug, J., 2017) E.,2016)

Furthermore, the concept of applying the design of verandas that is supported by thin and repetitive pilotis throughout also gives a sense of peacefulness and openness as one walks along it with the long overhang flat roof above before one proceeds and prepare himself for the prayer session.

9.3.3 Details of The Veranda

The veranda is screened by terrazzo grillwork whereas the floor is made of precast terrazzo slabs. Another element that is found along the stretch of the veranda is the recessed cubic-shaped ceilings which was designed in an alternate manner. Above every part of the recessed ceiling is where the mini domes are situated on the roof surface.

With that being said, the concrete dotted with beautiful small domes together with blue glazed mosaic that was used for the construction of the domes wereimported from Japan as shown in Figure 2.7.

Figure 66: The beautiful small domes in blue that looks like mini-bubbles from afar. (National Mosque, n.d)

9.4.0 The Main Prayer Hall

Figure 67: View towards Figure 68: Stained glass, carpets and the circular the ceiling and interior screened gallery had been replaced since its space of the Prayer Hall refurbishment in 1980. (ATSA Architects, 2015) before refurbishment. (ATSA Architects, 2015)

Figure 69: The interior view of the Prayer Hall after the refurbishment which was complete with a set of new artificial lightings. (National Mosque, n.d) 9.4.1 Design

The main Prayer Hall plays the most important role as a space in a place of worship as well as it being the focal place of prayer. Surrounded by reinforced concrete walls faced with marble, the area of the Prayer Hall came down to a total of is 153 feet square. Decorative aluminium grill sliding doors punctured through these walls from three different sides.

In order to reflect the shape of the Ka’aba, hence the floor layout and the entire composition of the Prayer Hall was designed in a square shape.

The significant pleated roof is being supported by 16 round columns around the perimeter of the Prayer Hall where each column was constructed three feet in diameter.

After the refurbishment of the mosque took place in 1980, the only element that remained were the circular screened walls that enveloped the Prayer Hall right underneath the pleated roof and of course, the symbolic roof itself. Elements such as the tiny mosaics on the interior walls of the mosque, the triangular stained glass, circular screened wall at the gallery level, just to name a few, had since been replaced to suit the and reflect the sense of grandeur, as well as to evoke a warm and tranquil ambience. The vast differences could be observed from Figure 2.8, 2.9 and 3.0 respectively.

9.4.2 Lighting

Natural light illuminates the main Prayer Hall through its nine doors and its grillwork on the gallery. Based on the image shown in Figure 3.0, it is highly noticeable that sun rays could easily penetrate through the grillwork and stained glass where the Koranic inscriptions were inscribed on it. There were also numerous perpendicular ornamental tube lamps that protudes from the inner edge of the gallery, giving a whole new ambiance to the Prayer Hall. The lamps were about 2 feet long and were installed 5 feet apart. (Aziz, A., 2015)

On the other hand, another artificial lighting that gave the entire Prayer Hall the sense of grandeur is the presence of the 16 decorative glass chandeliers - hanging underneath the gallery as shown in Figure 3.0 and 3.1. These chandeliers were gifts from the Rulers, Governors and the Yang di-Pertuan Negara of Singapore. (Lai, C. K., 2007

Figure 70: The close-up image of the chandelier. (Lim, J., 2017)

Concealed lighting from the roof was also incorporated into the design with lights coming out from the edge of the huge aluminium rosette - where the Koranic inscriptions at the apex of the roof could be seen as shown in Figure 3.0 and 3.1 respectively.

Figure 71: Aluminium rosette with Figure 72: Upper part where the Koranic inscriptions. (ATSA rosette is attached. (ATSA Architects, 2015) Architects, 2015)

9.5 Landscape and

The whole building structure is designed to integrate into the surrounding landscape which is covered with greenery. The green landscape is used as a remembrance of the existence of God. The design of the building is also designed horizontally so it does not overwhelm the existing natural landscape. It is also in line with the Islamic teaching where man is the vice regent of god. There are five ponds located within the compound of the mosque. One of them is surrounding the main entrance, one located around the minaret, one surrounding the mausoleum or Makam Pahlawan, and another one located beside the courtyard. The water ponds are used to give the space a sense of tranquility. It is also used to give a cooling effect to the mosque and divides the space for different functions.

Figure 73: Decorative Minaret Pool

9.5.1 Mausoleum (Makam Pahlawan)

The Mausoleum is connected by a covered pathway on the west end of the mosque. It is a pavilion concrete structure with similar pleated roof form as the main prayer hall. It was built as a roof to cover an open area used as a resting place of seven selected distinguished statesmen in the country. It is circular in shape from the top and has a central tip in the middle and lines that go at an angle from the middle to the ground. The design is uniquely inspired by a semi folded umbrella which acts as both wall and roof. A triangular shaped opening at the sides are used for cross ventilation. The white marble floor represents purity and solemnity. Surrounding the mausoleum is an open cemetery which is used for other important people who contributed to the development of the nation.

Figure 74: Interior of the Mausoleum

9.5.2 Gallery

The cantilevered gallery is located on the first floor circling the outer part of the prayers hall. It is used for ladies to pray and visitors who wish to have a view of the hall. On the gallery opposite the mihrab, are specially built cabins used to record events inside the prayer’s hall. The gallery has a wooden screen with Saracen patterns similar to the Taj in India.

Figure 75: The Mihrab inside the Prayers Hall

9.5.3 Mihrab

The mihrab is a semicircular arch shaped opening on the west side of the prayer hall. The direction of the mihrab points to the direction of Mecca, a city in Saudi Arabia. This is where the prayers should be praying to. It is decorated with patterns similar from the patterns in Middle East such as the Koranic inscriptions on its sides. 9.5.4 Mimbar

The mimbar is a raised platform where the imam gives his weekly Friday talks. The chair is presented by the Indian government and It is made of timber with steel made patterns on it. The chair in which the Inam sits on was designed by Tunku Abdul Rahman himself. The chair has a cresent and a star pattern on the head rest of the chair and carvings of the Hisbiscus on the arm rest. The back of the chair has the emblem of the Malaysian Coat of Arms and words related to the friendship of the two nations.

Figure 76: The Mimbar located inside the Prayers Hall

9.5.5 Minaret

The 73 metre high minaret is inspired by the shape of a folded umbrella located on a water .It has a private glass lift which carries the muezzin to a higher platform to call for prayers. The wall of the lift is made of glass to allow visitors to catch the scenic view of the city. Two sides of the minaret are covered with terrazzo grill work which are traditional Islamic geometry patterns that covers the entire facade of the building whereas the other two sides are covered with terrazzo slabs. The spire of the minaret has a glass mosaic finish and It incorporates Islamic patterns onto the minaret such as the star and crescent symbol at the top of the spire which was the emblem of the Ottoman empire in the 19th century.

Figure 77: View of the minaret

9.5.5 Gallery

The cantilevered gallery is located on the first floor circling the outer part of the prayers hall. It is used for ladies to pray and visitors who wish to have a view of the hall. On the gallery opposite the mihrab, are specially built cabins used to record events inside the prayer’s hall. The gallery has a wooden screen with Saracen patterns similar to the Taj

Mahal in India.

Figure 78: Gallery

10. References

Site Context Analysis

Dewanbudaya.usm.my. (2017). NATIONAL MOSQUE. [online] Available at: http://www.dewanbudaya.usm.my/heritage/mosque.html [Accessed 14 Nov. 2017].

En.wikipedia.org. (2017). National Mosque of Malaysia. [online] Available at: https://en.wikipedia.org/wiki/National_Mosque_of_Malaysia [Accessed 14 Nov. 2017].

Tours, N. (2017). The 10 Best National Mosque (Masjid Negara) Tours, Trips & Tickets - Kuala Lumpur | Viator. [online] Viator.com. Available at: http://www.viator.com/Kuala- Lumpur-attractions/National-Mosque-Masjid-Negara/d335-a249 [Accessed 14 Nov. 2017].

Taylor & Francis. (2017). Post‐colonial projects of a national culture. [online] Available at: http://www.tandfonline.com/doi/abs/10.1080/13604810902726210?journalCode=ccit2 0 [Accessed 14 Nov. 2017].

Dewanbudaya.usm.my. (2017). MALAYAN RAILWAY ADMINISTRATION OFFICE (KTM BERHAD). [online] Available at: http://www.dewanbudaya.usm.my/heritage/BuildingsKTM_admin.html [Accessed 14 Nov. 2017].

Collections.infocollections.org. (2017). Climate Responsive Building - Appropriate Building Construction in Tropical and Subtropical Regions: 3. Design rules: 3.3 Design for warm- humid zones. [online] Available at: http://collections.infocollections.org/ukedu/en/d/Jsk02ce/3.4.html [Accessed 14 Nov. 2017].

The Long and Winding Road. (2017). Architectural masterpieces of KL: The Railway Administration Building. [online] Available at: https://thelongnwindingroad.wordpress.com/2010/12/28/architectural-masterpieces- of-kl-the-railway-administration-building/ [Accessed 14 Nov. 2017].

Jamaludin, N., Mohammed, N., Khamidi, M. and Wahab, S. (2017). Thermal Comfort of Residential Building in Malaysia at Different Micro-climates.

Architectural layout of building

Amidah Hamim. (1995). Masjid Negara(1st ed). Kuala Lumpur: Jabatan Perkh-idmatan Penerangan Malaysia

NATIONAL MOSQUE. (2017). dewanbudaya.usm.my.Retrieved 10 June 2017, from http://www.dewanbudaya.usn.my/heritage/mosque.html

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Architecture Style Analysis

Lim Yong Long & Nor Hayati Hussain (2007). Masjid Negara. The National Mosque. Massa Monographs. Centre of Modern Architectecture Studies In Southeast Asia (Massa). Architecture style part

Lim. Y. L. & Hussain, N. H. (2007). Masjid Negara- The national Mosque. Petaling jaya, Darul Ehsan, Malaysia: Centre of Studies in Soultheast Asia.

National Mosque of Malaysia. Retrived October 28, 2017, from https://en.wikipedia.org/wiki/National_Mosque_of_Malaysia.

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ISLAMIC ARCHITECTURE- The Seven Principles of Islamic Architecture. Retrived October 30,2017, from http://islamicelective.blogspot.my/2013/10/the-seven-principles-of- islamic.html.

Architectural style. Retrived by October 10,2017, from https://en.wikipedia.org/wiki/Architectural_style

Online Image

Kuala Lumpur, Malaysia. 2010. Retrived by November 13, 2017. From http://tri140.50webs.com/malaysia/malaysia-day_02.html

National Mosque of malaysia - Related Image & Keywords Suggestions- Minerat. Retrived by October 10, 2017. From http://keywordsuggest.org/gallery/290973.html.

Building Construction, Structure & Materials Analysis

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Architecture Elements / Components Analysis Books

Chan, C. Y., (1989). Post-Merdeka Architecture - Malaysia 1957-1987. Kuala Lumpur: Pertubuhan Akitek Malaysia. pp. 1, 64-65.

Ken, Y., (1992). The Architecture of Malaysia. Amsterdam: The Pepin Press. pp 238-239.

Lim, T. N., (2010). Shapers of Modern Malaysia: The Lives and Works of The PAM Gold Medalists. Kuala Lumpur: Pertubuhan Akitek Malaysia. pp. 85, 165-177.

Lai, C. K., (2007). BUILDING MERDEKA: Independance Architecture in Kuala Lumpur 1957- 1966. Kuala Lumpur: . pp. 95-96.

Abdullah, A., Hussain, H. and Ng, V., (2015). THE LIVING MACHINES : Malaysia’s Modern Architectural Heritage. Kuala Lumpur: Pertubuhan Akitek Malaysia, Taylor’s University. pp. 240-249.

Aziz, A., (2015). 50 YEARS NATIONAL MOSQUE : 1965-2015. Kuala Lumpur: ATSA Architects Sdn Bhd.

Teh, D., (2017). Views Reviews Interviews : Celebrating 60 Years of Malaysian Architecture 1957-2017. Kuala Lumpur: Pertubuhan Akitek Malaysia. pp. 34-39.

Lim, Y. L. and Hussain, H., (2007). Masjid Negara. The National Mosque. Petaling Jaya: Centre of Modern Architecture Studies in Southeast Asia. pp. 1-10.

Online Images:

Wazari Wazir, 2013, Guard of Honour Inspection Outside Malaysia National Palace During Malaysia King Official Birthday Celebration, photograph, viewed 23 October 2017, RapidKL, 2015, Utk ke Masjid Negara, anda boleh naik LRT Laluan Kelana Jaya, photograph, viewed 23 October 2017,

Eric Broug, 2016, Islamic Geometric Patterns of Eric Broug, photograph, viewed 23 October 2017,http://www.mathrecreation.com/2016/09/islamic-geometric-patterns-of- eric-brou g.html

Negara Mosque Kuala Lumpur - Malaysia, n.d, photograph, viewed 23 October 2017,