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Documenting Malaysia's First Purpose-Built Museum

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Benjamin Tan

REPORT OMMD

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METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305) OLD STATE MUSEUM OF KEDAH ALOR SETAR JANUARY – MARCH 2017
The Old State Museum of Kedah
Declaration It is a group effort by: Nik Ahmad Munawwar Nik Din Benjamin Tan Zi Hern Chang May Chen Low Chi Yin Chia Keh Chian Chloe Teh Shu-Ern Chong Jia Yi Chong Wen Bin Bachelor of Science (Honours) (Architecture) January 2017 Taylor’s University Supervised by: Mohd Adib Bin Ramli Loo Yee Pei Loong Bo Lin Muhammad Zaim Bin Azmi Shum Li Sze Tg Nabilah Diyana Binti Tg Mohd Amran Teo Kuo Chien Vincentia Mutiara Kartika Wee Sue Wen This report was submitted for the module ARC 1215 / ARC60305 - Methods of Documentation and Measured Drawings, to School of Architecture, Building & Design of Taylor’s University to obtain 5 credits for Practicum 1.
Abstract The following report is produced in conjunction with the completion of the Methods of Documentation and Measured Drawings module, which documents the research, analysis and measured drawings of the Old State Museum building in Alor Setar, Kedah. Data collection pertaining to building measurements, historical information and visual documentation were conducted by a group of 16 architecture students from Taylor’s University throughout a period of five days on site. The Old State Museum was Kedah’s first purpose-built museum, completed in 1961. It now serves as the office for the museum administration as well as the Kedah Historical Society after the present museum building is completed. The building is a prime example of buildings built during the early years of Merdeka, of a nation still searching for a national identity. Hence, it provides an excellent platform for architecture students to study the historical progression of architecture in Malaysia. ii
iii Acknowledgement The group would like to extend its utmost appreciation to the following individuals who have actively assisted throughout the group’s journey in completing this module. First and foremost, our gratitude goes out to our lecturer, Mr. Adib, who had provided the group with immense support, including having the patience to put up with our antics, all the way from day one up until the completion of the project. Our appreciation also goes out to Dr. Nor Hayati for carefully designing the module to be as beneficial as it is to our learning development. We have indeed gained a lot from the experience over the short period of time. Finally, we would like to extend our appreciation towards Lembaga Muzium Negeri Kedah and Persatuan Sejarah Negeri Kedah and their officers for allowing us to conduct measurement and research activities on the museum grounds, and for providing us with significant amount of information to ease the research process.
CONTENTS CHAPTER 1 1.1 The Old State Museum of Kedah 1.2 Objectives and Aim 1.3 Group Structure and Organisation 1.4 Timeline 1.5 Methods of Measurement 1.6 Equipments Used 1.7 Methods of Research 1.8 Literature Review 1.9 Significance of Study 1.10 Scope 1.11 Limitations CHAPTER 2 2.1 Malaysia, Kedah and Alor Setar 2.2 Local Culture and Heritage 2.3 Kedah Historical Society 2.4 Museum of Kedah Development Timeline 2.5 Purpose and History of the Old Museum CHAPTER 3 3.1 Site Context 3.2 Landscape 3.3 Architectural Influences 3.4 Refurbishment Into Administration Office CHAPTER 4 4.1 Form 4.2 Spatial Planning 4.3 Symbolism CHAPTER 5 5.1 Columns 5.2 Doors 5.3 Windows 5.4 Ceiling 5.5 Lighting 5.6 Wooden Carvings 5.7 Bronze Metalwork 5.8 Portico Ornamentation CHAPTER 6 6.1 Structural Materials 6.2 Non-Structural Materials 6.3 Floor Covering & Finishing CHAPTER 7 7.1 Timber Colonnade 7.2 Roof Timber Skeleton 7.3 Timber post beam & Floor Joists 7.4 Windows & Doors 7.5 Staircase 7.6 Others CHAPTER 8 8.1 Operation And Functionality Of The Building 8.2 Exterior 8.3 Improvement Suggestions on Design CONCLUSION GLOSSARY APPENDIX 2 3 5 11 12 13 15 16 17 18 19 21 24 26 27 28 31 39 45 53 55 61 65 67 68 69 71 71 72 73 75 77 79 89 95 96 101 102 106 109 112 115 121 123 125 133
v Figures Fig 1.01: Photo of the building as a museum Fig 1.02: Group structure Fig 1.03: Group members Fig 1.04: Group members on site Fig 1.05: List of subgroups and job distribution Fig 1.06: Working in the laser cutting workshop Fig 1.07: Measurement instrument on site Fig 1.08: Measuring and recording data on site Fig 1.09: Conducting and interview with Chairman of Kedah Hostorical Society, Dato’ Wan Shamsuddin Fig 1.10: Model making in progress Fig 1.11: Gantt chart Fig 1.12: Sketching a template to record measurement Fig 1.13: Using measuring tape to determine the run of a staircase Fig 1.14: 30m measuring tape for medium length measurement Fig 1.15: Laser measurement tool for inaccessible locations or distance Fig 1.16: Tripod stand for DSLR camera Fig 1.17: Level ruler used with laser measurement tool to determine angle Page 2 5 5 6 6 7 8 8 9 10 11 12 12 13 13 13 13 LIST OF FIGURES CHAPTER 1
vi Fig 1.18: 8m aluminium CAT ladder to climb up inaccessible height Fig 1.19: Ruler for measurement of small details Fig 1.20: DSLR camera to capture video footage and photo Fig 1.21: Powerful laptop with Autocad for instance CADing on site Fig 1.22: Reference materials including books, pamphlets and special publications Fig 1.23: School boys and girls waiting in line to enter the old museum (c.1971) 14 14 14 14 15 18 CHAPTER 2 Figures Fig 2.01: Masjid Zahir and Dataran Alor Setar Fig 2.02: Menara Alor Setar in city centre Fig 2.03: Kedah traditional attires; Baju Melayu Cekak Musang and Baju Kurung Kedah 24 Fig 2.04: Performers performing Cinta Sayang dance for an event Fig 2.05: Depiction of the game Sepak Bulu Ayam Fig 2.06: Logo of the Malaysian Historical Society Fig 2.07: Balai Besar in Alor Setar Fig 2.08: The late Tan Sri Mubin Sheppard Fig 2.09: School excursion at the old museum Fig 2.10: The new building of Kedah State Museum Page 22 23 24 25 25 26 28 28 28 29
vii CHAPTER 3 Figures Fig 3.01: Location plan of Kedah State Museum Complex Fig 3.02: Site plan with landmarks Fig 3.03: Entrance to Wat Siam Bakar Bata Buddhist Fig 3.04: Façade of Persatuan Leong Say Tong Kedah/Perlis Fig 3.05: Stadium Darul Aman Fig 3.06: Buildings within the museum complex Fig 3.07: Entrance to the new museum Fig 3.08: Old museum building, now museum and administrative office Fig 3.09: Headquarters for the Kedah Historical Society Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the old museum Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah Fig 3.13: Drainage system around the complex Fig 3.14: Concrete paves used on site Fig 3.15: Planter boxes as part of landscaping Fig 3.16: Blue and pink mosaic tiles at the corridor Fig 3.17: Wodyetia Bifurcata Fig 3.18: Ficus Benjamina Page 31 32 33 33 34 35 36 36 37 37 38 38 40 40 41 41 42 42
viii Fig 3.19: The National flower, Hibiscus Fig 3.20: Ravenala Madagascariensi Fig 3.21: Ixora Fig 3.22: Fruit trees on site Fig 3.23: Comparison of the old museum with the design of a Malay traditional house Fig 3.24: Large roof overhangs define the vernacular Malay house Fig 3.25: The grand entrance to the old museum Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom) Fig 3.27: List of timber according to construction parts Fig 3.28: Comparison of decoration openings between traditional Malay house and the old museum Fig 3.29: Comparison between building layout of traditional Malay house and the old museum 48 Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia 49 Fig 3.31: Influence of colonial styled architecture on the arches shading devices 49 Fig 3.32: Open floor plan for the interior space, segmented by movable partitions Fig 3.33: Example of open plan floor, Villa Savoye by Le Corbusier Fig 3.34: Pilotis at the corridor Fig 3.35: The free façade Fig 3.36: Modernist motifs at the windows and entrance of the old museum Fig 3.37: Roof overhang ornamentations in Thai architecture Fig 3.38: Wooden overhang ornamentation on the roof of the old museum 43 43 44 44 45 46 46 47 47 48 48 49 49 50 50 51 51 51 52 52
ix Fig 3.39: The old museum in its heyday Fig 3.40: The old museum today 53 53 CHAPTER 4 Figures Fig 4.01: The team arriving at measurement site old building of Kedah State Museum 55 Fig 4.02: Example of ‘Gajah Menyusu’ house Fig 4.03: Adaptation of Malay vernacular roof by the old museum building Fig 4.04: Front portico of the old museum Fig 4.05: East elevation showing evidence of symmetry Fig 4.06: Building columns being repeated along the corridor Fig 4.07: North elevation showing repetition elements in the building Fig 4.08: Contrast in materiality between the ground floor and the first floor Fig 4.09: The scale of the front portico evokes a sense of grandeur Fig 4.10: The double staircase at the entrance of Balai Besar Fig 4.11: The double staircase at the entrance of the old museum Fig 4.12: The linear open plan for both ground floor (top) and first floor (bottom) of the old museum Fig 4.13: The museum’s application of pitched roof to combat local weather Fig 4.14: Diagram demonstrating stack ventilation inside the building Fig 4.15: Ornamentation at the front portico Fig 4.16: Inverted ‘S’ motifs around the building Page 55 56 56 57 57 58 58 59 60 62 62 63 64 64 65 65
x CHAPTER 5 Figures Fig 5.01: Conditions of columns around the building Fig 5.02: Entrance to the first floor, accessible via the grand double staircase Fig 5.03: Entrance to the office at the ground floor Fig 5.04: Close up of door handle Fig 5.05: Louvered ‘Jalousie’ windows around the facade Fig 5.06: Wooden louvered windows on the ground floor contrast the glass louvered windows on the first floor Fig 5.07: First floor interior fenestration via glass louvered windows Fig 5.08: Ground floor windows are now sealed from inside. Fig 5.09: Tinted casement windows replacing the original louvered windows Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building Fig 5.11: As wood carvings are common in Malay traditional architecture, they are used abundantly in the design of this building. They can be found below the windows and roof Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outwards from the middle to create a star-like shape Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar inverted ‘S’ pattern as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the Fig 5.14: Bronze metal artwork on the first floor Fig 5.15: Close up of bronze metal art work Fig 5.16: Rubber tappers collecting latex Page 67 68 68 68 69 69 70 70 70 71 72 72 72 73 73 74
xi Fig 5.17: Farmers harvesting on paddy field Fig 5.18: Farmer ploughing the land with a bull Fig 5.19: Locals pounding rice the traditional way Fig 5.20: Multiculturalism in Malaysia Fig 5.21: Traditional activities of the locals Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico Fig 5.23: Application of the ornamentation on a triangular window 74 74 74 74 74 75 75 CHAPTER 6 Figures Fig 6.01: Building elements made out of chengal at the front portico Fig 6.02: Reinforced concrete column and footing Fig 6.03: View of reinforced concrete columns from the corridor Fig 6.04: Bricks wall on the ground floor Fig 6.05: Museum display cases made of clear glass Fig 6.06: Office partition walls made of clear glass Fig 6.07: East elevation tinted glass door Fig 6.08: East elevation tinted glass casement windows Fig6.09: Tinted glass office partition wall Fig 6.10: Texture of frosted glass Fig 6.11: Application of frosted glass Page 77 78 78 79 80 80 81 81 81 82 82
xii Fig 6.12: First floor louvered windows made of frosted glass Fig 6.13: Timber door and timber partition wall at the interior Fig 6.14: Nyatoh and meranti building elements at the front portico Fig 6.15: Iron work ornamentation at the portico Fig 6.16: Close up of iron work ornamentation Fig 6.17: Application on the window grille Fig 6.18: Staircase baluster made out of iron Fig 6.19: Barrel lock made out of iron Fig 6.20: Tinted windows with aluminium frame Fig 6.21: Close up photos of frosted glass window with aluminium mullion Fig 6.22: A row of bronze metal artworks in the first floor as part of interior decoration 86 Fig 6.23: Reinforced concrete double staircase Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer 87 Fig 6.25: Concrete flooring with mosaic tiles Fig 6.26: Concrete drainage Fig 6.27: Unglazed ceramic mosaic tiles Fig 6.28: Ground floor plan shows the usage of unglazed ceramic mosaic tiles Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridor Fig 6.30: Layers of paint coating accumulated over the years Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions 82 83 83 84 84 84 84 84 85 85 86 87 87 87 87 89 89 89 90 90
xiii Fig 6.32: Roof coverings made of clay roof tiles Fig 6.33: Texture of clay roof tiles Fig 6.34: Ground floor plan shows the usage of unglazed ceramic mosaic tiles Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles Fig 6.36: First floor plan showing areas covered by carpet Fig 6.37: First floor interior carpet flooring 91 91 92 92 93 93 CHAPTER 7 Figures Fig 7.01: Ground floor plan showing the location of timber colonnades Fig 7.02: Timber colonnades at the corridor Fig 7.03: Axonometric detail of the roof construction Fig 7.04: East elevation Fig 7.05: Section showing construction details Fig 7.06: Tenon and mortise joint Fig 7.07: Bird’s mouth joint Fig 7.08: Timber roof trusses Fig 7.09: Image shows the steel straps connectors Fig 7.10: Connection of clay roof tiles Fig 7.11: Sketch drawing of construction of clay roof tiles Fig 7.12: Timber fascia boards at the roof edge Page 95 95 96 97 98 99 99 99 99 100 100 100
xiv Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection Fig 7.14: South elevation shows the location of aluminium-framed louvered windows Fig 7.15: Details of louvered windows with aluminium frame Fig 7.16: South elevation shows the location of casement windows with aluminium frame Fig 7.17: Details casement windows with aluminium frame Fig 7.18: Casement windows with aluminium frame Fig 7.19: South elevation showing the location of traditional timber louvered windows Fig 7.20: Perspective view of the windows Fig 7.21: Details of traditional timber louvered windows Fig 7.22: North elevation shows the location of timber door with glass panels Fig 7.23: Details of timber door with glass panels Fig 7.24: Mortise locks at the exterior of the timber door Fig 7.25: Barrel bolt and door closers at the interior of the timber door Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase Fig 7.27: Connection of different parts of staircase Fig 7.28: Sectional drawing of reinforced concrete staircase Fig 7.29: Handrails and iron balusters of staircase Fig 7.30: First floor plan showing the location of interior open stringer timber steps Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge Fig 7.32: Axonometric drawings of exterior ornamentations 101 102 102 103 103 103 104 104 104 105 105 105 105 106 106 106 107 108 108 109
xv Fig 7.33: Inverted ‘S’ shape ornamentation Fig 7.34: Close up of the architrave Fig 7.35: Bronze metal artwork in the first floor 109 110 110 CHAPTER 8 Figures Fig 8.01: Dignitaries visiting the old museum Fig 8.02: Condition of the first floor today Fig8.03: Original colour of the old museum Fig 8.04: Colour of the old museum today Fig 8.05: Changes of the roof colour over time Fig 8.06: Deterioration of column base Fig 8.07: Ageing of timber column Fig 8.08: Changes in the windows Fig 8.09: Addition of tinted glass sliding door to the main entrance Fig 8.10: Degradation of wood panelling for the exterior shading device Fig 8.11: Some parts of the exterior ornamentation have fallen off from the wall Fig 8.12: Minor oxidation of the metal ornamentation Fig 8.13: The first floor is now completely covered by carpet Page 113 113 114 114 115 116 116 117 117 118 119 119 120
Chapter 1 Introduction
Chapter 1: Introduction 2 1.1 THE OLD STATE MUSEUM OF KEDAH The old State Museum building, located in Bakar Bata, Alor Setar was Kedah’s first ever state museum, set up by the newly formed Kedah Historical Society in 1961. The building took over the role of exhibiting and safekeeping the state’s most highly prized historical treasures from Balai Besar, which was a temporary museum to house pre-historic artifacts found in Bujang Valley. The old museum was originally set up to be a shared building between the state museum and the city library. However, as the number of collections and exhibitions grew, the museum space was expanded to occupy the entire building. The design of the building was heavily inspired by the design of the Balai Besar in central Alor Setar, albeit with simplified ornamentations and the incorporation of modernist elements. The idea for the design was proposed by the late Mubin Sheppard, a well known historian at the time who was actively involved with the setting up of the Kedah State Museum. Its design was finalised and approved by Jabatan Kerja Raya (JKR) Kedah and constructed with financing from the federal government. The design incorporates mainly traditional Malay motifs commonly found in the design of vernacular Malay house, more specifically of the ‘Gajah Menyusu’ type commonly found in Northern states. With the completion of a new museum building adjacent to the original, the old building has been transformed to become the administration office for the state museum and the headquarters for the Kedah Historical Society. Fig 1.01: Photo of the building as a museum
Chapter 1: Introduction 3 1.2.1 AIM Theaimofthisprojectistoproduceasetofmeasureddrawingsandhistorical documentation for the old State Museum of Kedah in Alor Setar, as a means to develop an understanding on the principles of heritage preservation. The process involves a number of components, beginning with the study of the site, which includes surrounding buildings, geography, culture and demographics. This was then followed by the detailed measurement of the structure concurrent to conducting research via interview and literature reviews. The outcome of these components are then to be documented and presented via the production of full architectural drawings as well as a complete publication comprising of both visual and literary components. 1.2 OBJECTIVES AND AIM
Chapter 1: Introduction 4 1.2.2 OBJECTIVES The main objective of this exercise is to develop an understanding and appreciation of the architectural typology in Kedah, more specifically pertaining to the historical evolution of the structure for the Old State Museum of Kedah, within the context of the era it was built, as well as its location and the original purpose of the structure. These understanding, coupled with an in depth study of the technical and architectural details are expected to aid in the preservation effort of heritage buildings in Malaysia, which includes the Old State Museum structure. On the flipside, the process of measuring and documenting is expected to assist in the development of students’ skills in producing high quality measured drawings and research publications. These activities provide first-hand experience for students in terms of working on a large scale project in a team, an experience which can be useful in professional practice in the future.
Chapter 1: Introduction 5 1.3 GROUP STRUCTURE AND ORGANISATION The group is structured dynamically to be able to adapt to the changing demands of different project requirements. The group structure evolves accordingly, before the site visit, during the site visit and post-site visit in terms of allocation of personnels in sub-teams that focus on a specific task. The benefit of this dynamic structure is the ability for the sub-teams to specialise on a single component of the project at a time, which would benefit the larger group in managing deadlines efficiently. Another advantage of the shuffling of sub-teams is the opportunity for members to experience different aspects of the project, thus maximising the experience gained from the group work. Pre-Site Visit BeforethesitevisitinAlorSetar,thegroupfocusedoncompilingasmuchinformation about the building and context as part of the two-week preliminary research period. All team members participated in this stage. The building studied during this period was the original building assigned to the group, the Balai Besar. Due to unforeseen circumstances, the group had to be re-assigned to study and measure the Old State Museum of Kedah instead. The preliminary research however did not go to waste, as the Old State Museum was designed based on the Balai Besar. Hence, a significant amount of data collected from the preliminary research is still relevant in the study of the Old State Museum. Tutor: Mr. Adib Sub-Leader: Teo Kuo Chien Modeling Team Reporting Team CAD Drawings Sub-Leader: Loo Yee Pei Group Leader: Nik Ahmad Munawwar WEE SUE WEN VINCENTIA MUTIARA KARTIKA TG NABILAH DIYANA BINTI TG MOHD AMRAN LOO YEE PEI LOW CHI YIN CHONG WEN BIN LOONG BO LIN MUHAMMAD ZAIM BIN AZMI CHLOE TEH SHU-ERN SHUM LI SZE BENJAMIN TAN ZI HERN NIK AHMAD MUNAWWAR BIN NIK DIN CHANG MAY CHEN CHIA KEH CHIAN CHONG JIA YI NAME TEO KUO CHIEN Fig 1.02: Group structure Fig 1.03: Group members
Chapter 1: Introduction 6 Site Visit During the site visit in Alor Setar, Kedah, the group was divided into two main subgroups, the measuring team and the research team. The measuring team was further divided into groups in charge of interior and exterior measurements. The research team on the other hand was tasked with researching the historical and architectural information from various sources, photographing the structural details and process of measurement, as well as shooting the video in preparation for the production of the short documentary. Both teams would spend the day on site focused on their specific tasks and regroup in the evening to compile and compare notes to ensure the completeness of data. At this daily evening meeting, the measuring team would CAD their measurements of the day, while the research team would collate information, filter through and edit the photos and video clips taken to determine the sufficiency of the footage collected. If any insufficiencies are determined during the evening, the teams would then itemise the required measurements, photo or video footage to be obtained the next day. Group Team Name Measurement Interior Wee Sue Wen Chong Jia Yi Charleene Low (Leader) Chia Keh Chian Chang May Chen Chong Wen Bin Exterior Loong Bo Lin Muhammad Zaim Benjamin Tan Loo Yee Pei (Leader) Shum Li Sze Vincentia Mutiara Research Photos & Video Nik Ahmad Munawwar Nik Din (Leader) Chloe Teh Shu-Ern Interview & Observation Teo Kuo Chien Tengku Nabilah Fig 1.04: Group members on site Fig 1.05: List of subgroups and job distibution
Chapter 1: Introduction 7 Post-Site Visit After returning to Taylor’s University, the group started to compile each component of the drawings to produce the final drawings for submission, which include the floor plans, sections and elevations for the building, to name a few. This process ran hand in hand with the research team’s effort to produce the documentary video, photobook and report. To ensure an equal learning experience for every person in the group, the members of the research team were also required to produce CAD drawings for the detailed ornamentation in the interior. With the drawings compiled, there was less demand for individual CAD personnels in the measurement/drawing team. Hence, some of the personnels were transferred to the research and documentation team to assist with the production of the final report. On top of that, a new team was also created to spearhead the model making process, working closely with the measurement/drawing team. The model making process began with the production of a digital model so to simplify the process of deciding how the final physical model should be cut and assembled. Fig 1.06: Working in the laser cutting workshop
Chapter 1: Introduction 8 Teams and Personnel Measurement - Exterior & Interior Measurements and CAD Drawings During the site visit, the exterior and interior teams were in charge of detailed measurements, which include the floor plan, elevation, roof structure, doors and windows, as well as exterior ornamentations. These measurements, under the guidance of Loo Yee Pei were then used to produce the main grid of the building which aids in the production of floor plans, building sections, elevations and window schedules. As part of the preparation to record the measurements, a rough sketch of each component of the building were drawn out on butter paper as template. The various measurements were then collated and compared to ensure that they match, so that the floor plans, sections and elevations produced are free of measurement discrepancies. Fig 1.07: Measurement instruments on site Fig 1.08: Measuring and recording data on site
Chapter 1: Introduction 9 Research - Report, Interview, Video and Photobook Theresearchteam’smainfocusthroughoutthesitevisitandpost-sitevisitwas the production of documentation, in either written or visual form to document the building and the group’s progress. In preparing for the research, various books relating to the architectural study were borrowed from the library, in addition to the digital resources readily available online. Headed by the group leader, Nik Ahmad Munawwar, the team was responsible in making appointment for interviews with individuals knowledgeable about the history and architectural details of the building, preparing the interview questionnaire as well as conducting and recording the interview for research purposes. The team was also tasked with recording footage and photos of the building’s exterior and interior, coming up with a storyboard and script for the production of the documentary and photobook. The effort poured in by the team members culminated in the compilation of a formal report which contains literary and photographic evidence of the entire measurement and documentation process throughout the project timeline. Fig 1.09: Conducting an interview with Chairman of Kedah Historical Society, Dato’ Wan Shamsuddin
Chapter 1: Introduction 10 Modeling The modeling team was formed after the interim review of drawings and draft report. The team consists mainly of members previously working on the report as well as members of the measurement team after submission of their drawings for compilation. The research and measurement teams were then downsized to allow the transfer of personnels into the model- making team, spearheaded by Teo Kuo Chien. The model-making process began with the production of a full 3D model of the old museum in SketchUp, complete with construction details such as the roof trusses and floor joists. The purpose of the 3D model was to ease the process of deciding how the model should be built and sectioned to maximise the visibility of architectural details. In the case of the old museum model, the team decided to section out the East Elevation of the building which holds the grand double-staircase and the entrance to the first floor. The North Elevation will also be exploded, separated from the building to expose interior spaces of the ground and first floor. Upon completion of the design for the model, the measurement team then assisted in the production of laser cutting templates to cut balsa wood and acrylic into building pieces for the actual model. This was then followed with the assembly of the pieces into a complete architectural model. Fig 1.10: Model making in progress
Chapter 1: Introduction 11 1.4 TIMELINE Fig 1.11: Gantt Chart
Chapter 1: Introduction 12 1.5 METHODS OF MEASUREMENT One of the key objectives of this project is to record measurements of the Old State Museum down to the smallest detail. The biggest challenge in recording the measurements is accuracy of the data recorded. Hence, a general understanding was needed amongst team members on a standard method of recording the readings, in order to avoid discrepancies in measurement values when drafting in CAD later. Aside from a good set of rules to adhere to during the measuring process, the accuracy of the readings also rely on the instruments used. Precision equipments which only allow a very small margin of error were used to get the best possible measurement in the shortest period of time. Various techniques of measurement were employed, including when necessary, taking a picture of a structure with a ruler placed next to it for scale so that the measurements can be recalibrated later in AutoCAD. This method is particularly useful in measuring portions that are not easily accessible with the equipments, commonly due to the lack of space. Upon obtaining the measurements, the values were then recorded onto a butter paper with a rough sketch of the portion of the building measured. Each part takes up its own page as it contains detailed information specific to the part, to avoid the measurements being mixed up with a different part of the building. Fig 1.12: Sketching a template to record measurements Fig 1.13: Using measuring tape to determine the run of a staircase
Chapter 1: Introduction 13 1.6 EQUIPMENTS USED Fig 1.14: 30m measuring tape for medium length measurements Fig 1.15: Laser measurement tool for inaccessible locations or distance Fig 1.16: Tripod stand for DSLR camera Fig 1.17: Level ruler used with laser measurement tool to determine angle
Chapter 1: Introduction 14 Fig 1.18: 8m Aluminium CAT Ladder to climb up inaccessible heights Fig 1.19: Ruler for measurement of small details Fig 1.20: DSLR camera to capturing video footage and photos Fig 1.21: Powerful laptop with AutoCAD for instant CADding on site
Chapter 1: Introduction 15 1.7 METHODS OF RESEARCH The research for the project began two weeks prior to the site visit, with preliminary research undertaken by all members of the group. The research included mainly analysis done via online material and publications obtained from the university library. Research findings were compiled in a shared document in the cloud, accessible by all group members for editing or referencing. Photos were compiled and sorted accordingly in a specific folder online for ease of access. Online Resources Published online journals as well as recorded studies of the site and the building were abundant. The research process also includes obtaining information about the site and history of Kedah via videos online. Print and Publications Reference books and journals obtained from the University library as well as the Museum’s library served as the primary source of information pertaining to the history and architectural details of the building. One such instance is the extraction of floor plans and elevations of the Old State Museum building from an archived publication commemorating the museum’s anniversary in 2001. References obtained from the University library contributed in the general study of buildings in the Northern states as well as an in depth look into Alor Setar’s Balai Besar, which coincidentally provided the design inspiration for the Old State Museum. Fig 1.22: Reference materials including books, pamphlets and special publications
Chapter 1: Introduction 16 1.8 LITERATURE REVIEW A book borrowed from the University library, describes in detail the typical characteristics of traditional houses in Penang and Northern states. Gifted by Dato’ Wan Samsudin, the chariman of Persatuan Sejarah Kedah, the book contains information on the history of Kedah, and the customs and traditions of the people. A gem found in the University library, the book contains an in depth study of the architectural details and a complete set of measured drawings for Balai Besar, which formed the inspiration for, and greatly influenced the design of the old museum.
Chapter 1: Introduction 17 1.9 SIGNIFICANCE OF STUDY Theobjectiveofthemoduleistosparkasenseofappreciationoftheheritage and diversity present in Malaysian architecture, which often times is a direct reflection of the rich history and culture in Malaysia. Built on the foundation of a multicultural society, the architecture in Malaysia benefits from the blend of different styles, sometimes juxtaposing one another to produce a captivating fabric of built environment, which is uniquely Malaysian. The Old State Museum of Kedah is a prime example of this blend, blurring the line between traditional vernacular architecture and the modernist design language. This project is intended to scrutinise and dissect this fusion, in order to create awareness and invoke interest in the study of local historical buildings, with the intention to assist the preservation efforts of the Old State Museum structure, as well as other historical buildings in Kedah and Malaysia.
Chapter 1: Introduction 18 1.10 SCOPE The study focuses on the end-to-end measurement of the old building of the Kedah State Museum, situated within the Kedah Museum Complex along Lebuhraya Darul Aman in Alor Setar. Detailed measurement and documentation of the structure were taken within the geographic and historic context of Alor Setar, to ensure that the information collected are substantiated by a solid understanding of its physical and historical background. The Old State Museum building was the original home of the Kedah State Museum, completed in 1961, when artifact collection and preservation efforts began in Kedah in the mid-20th century. Prior to having a purpose-built structure, the artifacts were housed at the Balai Besar, near Dataran Alor Setar. The structure is today the administration office for the Kedah State Museum. Due to the importance of the role it served during its tenure as the home for the state museum, extreme care had to be taken during the study and measurement process, as to not detriment the physical aspects of the structure. Fig 1.23: School boys and girls waiting in line to enter the old museum (c. 1971)
Chapter 1: Introduction 19 1.11 LIMITATIONS Distance Distance was a major issue both during the site visit and after the site visit. For example, out of 4 groups that were assigned to a location in Kedah, two groups, including ours were assigned a building that was far from our accommodation, requiring us to commute by bus every day. This was in contrast to the other two groups who had the advantage of walking to their site. The disadvantage of having to commute instead of walking is the time limitation on site. We did not have the freedom to go early in the morning, or stay back late on site to finish our measurements for the day. Instead, our schedule was determined by the schedule of the bus. Another way to define the issue with distance is the proximity of Alor Setar from Kuala Lumpur. As compared to other groups who were assigned to go to Melaka and Kuala Lumpur, we did not have the luxury of going back to the site to take extra measurements or footages. Roof Access During our measurement process, we had trouble getting an accurate measurement of the roof as we were not allowed to access or walk on the tiles. The closest we were able to go was via a crane that limits our movement to take accurate measurements. Lack of Literature Since the old museum building is currently not considered as a heritage building, there is very little quality literature for us to research upon. Most of the information compiled were either via word of mouth, or through old photos and account statements. There was of course the museum library which thankfully had very helpful staff. However, the reading material with regards to the original building of the Kedah State Museum is still lacking.
Chapter 2 Historical Background
Chapter 2: Historical Background 21 2.1 MALAYSIA, KEDAH AND ALOR SETAR Situated strategically in Southeast Asia, Malaysia benefits from its geographical location in mediating global trade and becoming the melting pot of various cultures. It is a multi-racial country, comprising of diverse ethnic groups that live together in peace and harmony despite having different customs and religions. This multiculturalism has made Malaysia home to a colourful mix of art and architecture. Kedah The early history of Kedah can be derived from various sources, including the prehistoric period from the archaeological site of Bujang Valley, the early Maritime trade of India, Persia, Arabs from the written works of early Chinese traders, as well as the Hikayat Merong Mahawangsa (known as Kedah Annals) from Al-Tarikh Salasilah Negeri Kedah. The recorded history of Kedah often begins with the Kingdom of Bujang Valley, located in central Kedah. This maritime Kingdom was frequently visited by Indian, Persian, Arabs and Chinese traders as far back as the 4th century CE / AD. For many centuries, the Empires of Sri Vijaya, followed by the Cholas, exerted their influence and dominance over this Kingdom. Kedah Peak (Gunung Jerai), at 1217 metres, provided the navigational landmark for ships in the Strait of Malacca. Bujang Valley was a centre of trade for the Malay Peninsular and a transit trading post for ships awaiting the change of currents and monsoon winds in the Indian Ocean. Traders soon propagated Hinduism and their culture, building shrines and temples along the coastal area, which is evident from artefacts found at the valley today. The Kedah Annals tell an interesting tale of the first Kedah ruler, a Hindu known as Merong Mahawangsa. He was the first Maharaja of Kedah. Eight Hindu Maharajas were believed to have ruled Kedah before the ninth maharaja, Phra Ong Mahawangsa, who converted to Islam in 1136. Upon conversion, he subsequently ruled as Sultan Mudzafar Shah (1136 - 1179). The Kedah Sultanate, the oldest monarchy in Malaysia, began with this first sultan and has been hereditarily intact for more than eight centuries until today. The Kedah Sultan is the constitutional head of state and carries out his duties under the advice of the state government. The Kedah government is headed by a Chief Minister (Menteri Besar), selected by the State Assembly (Dewan Undangan Negeri). The State Assembly is formed from representatives elected by the people of the state in their respective constituencies.
Chapter 2: Historical Background 22 Fig 2.01: Masjid Zahir at Dataran Alor Setar
Chapter 2: Historical Background 23 Today, Kedah is still an agricultural-based economy, with a growing number of small scale industries. The state is currently the largest rice producer in Malaysia. It also grows and manufactures other agricultural products and related industries. Non-agricultural industries, such as high tech manufacturing are mainly based in Kulim and Sungai Petani. The state enjoys a diverse economy comprising mainly of agricultural, manufacturing and tourism. Alor Setar Alor Setar was founded in 1735 by the 19th Sultan of Kedah, Sultan Muhammad Jiwa Zainal Adilin Mu’azzam Shah, and has been the state’s eighth administrative centre since the establishment of the Kedah Sultanate in 1136. The earlier administrative centres were located in Kota Bukit Meriam, Kota Sungai Emas, Kota Siputeh, Kota Naga, Kota Sena, Kota Indera Kayangan and Kota Bukit Pinang. “Alor” or more correctly, “alur” is Malay for a groove, furrow or main stream of a channel. In Tamil “alur” means drain. “Setar” is a tree with small, sour fruit (Bouea macrophylla) also known as either “kundang” or “remia” in Malay. The city has been attacked twice, when Kedah was attacked by the Bugis in 1770 and the Siamese in 1821. Alor Setar was officially granted a city status – the ninth in Malaysia, on 21st December 2003, during which the spelling of its name was temporarily changed from Alor Setar to Alor Star. The proclamation ceremony to declare the Alor Setar a city was held at Dataran Tunku. Fig 2.02: Menara Alor Setar in the city centre
Chapter 2: Historical Background 24 2.2 LOCAL CULTURE AND HERITAGE Traditional Clothes The traditional garments of locals in Kedah have significant Thai influence because of its proximity to Thailand. A prime example would be the ‘Baju Kurung Kedah’ which resembles the simple short blouse often worn by women in Thailand. It is noted for being shorter than the common ‘Baju Kurung’ in other parts of Malaysia. It is normally worn with less accessories to achieve a simple look and is considered demure when matched with ‘kain sarong berlipat’. On the other hand, local Malay men would wear ‘Baju Melayu Cekak Musang’ or the ‘Baju Sikap’. The ‘Baju Sikap’ has been worn since 1786, with buttons running down the front up to the waistline. It is paired with pants containing patterns with Chinese-influence and a ‘samping’ - a piece of ornamented cloth tied around the waist. Fig 2.03: Kedah traditional attires, the Baju Melayu Cekak Musang and Baju Kurung Kedah
25 Chapter 2: Historical Background Traditional Dance As one of the oldest civilisations in Malaysia, Kedah has over the years developed its own traditional dance. Dances are usually performed at festivals as entertainment. Traditional Games The Cinta Sayang dance was derived from an original dance called ‘Remembrance of Grace’. It is famous in the state of Kedah and is usually danced historically by fishermen in the West Coast states of Malaysia. Cinta Sayang is a representation of families of fishermen who wish them good fortune at sail and return with big rewards. The fishermen also prayed that their wives will be safe from harm during their absence. Now, the Cinta Sayang dance is a tribute to a laid-back, fun lifestyle and is danced in pairs. “Sepak Bulu Ayam” is a game consisting of a quill shuttlecock which at a glance looks almost like a modern day shuttlecock. This game requires a great amount of dexterity and balance in keeping the quill shuttlecock in the air for as long as possible, with the objective being scoring points. The player has to kick the quill using the inner edge of his heel or toe. In certain situations, players are allowed to receive the quill with their head, chest or knee but not by hand. The player will be forfeited if the quill touches the hand. This game is usually played amongst men. Fig 2.04: Performers performing the Cinta Sayang dance for an event Fig 2.05: Depiction of the game “Sepak Bulu Ayam”
26 2.3 KEDAH HISTORICAL SOCIETY The history of Kedah Historical Society began way back during the establishment of the Malaysian Historical Society in 30th April 1953, 4 years before Malaysia achieved its Independence from the British. The Kedah Historical Society was established as a branch of the Malaysia Historical Society to keep records of historical events in Kedah. The then Vice President of the society, Tunku Nong Tunku Mohd Jiwa suggested the establishment of a historical museum for the state. His suggestion was supported by Mubin Sheppard, the President of Malaysian Historical Society. The Kedah Historical Museum was established on 3rd February 1957. The museum, which was initially located at the ground floor open space of Balai Besar in Alor Setar, was launched by Tan Sri Tunku Ismail Bin Tunku Yahya, the Chief Minister of Kedah at that time. Today, more than 50 years later, the museum has played a huge role in maintaining the heritage and precious treasures of the history of Kedah. Fig 2.06: Logo of the Malaysian Historical Society Chapter 2: Historical Background
Chapter 2: Historical Background 27 2.4 MUSEUM OF KEDAH DEVELOPMENT TIMELINE
Chapter 2: Historical Background 28 2.5 PURPOSE AND HISTORY OF THE OLD MUSEUM In the early stages of its establishment, a number of issues arose such as the lack of money and space. This hindered the development of museum activities. As the collection of artifacts grew over the years, there were issues with space limitations for large exhibitions, and a storage system that was not purpose-built for the safekeeping of artifacts. This issue prompted the board of the Kedah Historical Museum to find ways to increase the exhibition space. In 1958, a draft for a new structure was submitted to the state government. The board proposed that a new building was necessary. The state government finally agreed to build a new museum on a piece of land owned by the government in Bakar Bata. The design for the new building, which took some cues from the Balai Besar, was put forward by Mr. Sheppard. He had a deep appreciation towards art and history and wanted to pay tribute to the grandeur of Balai Besar in the design of the new museum. Prof V. R. Galea, the architect at Jabatan Kerja Raya Negeri designed according to Mr. Sheppard’s proposal. The front elevation of the new building bears a great resemblance to Balai Besar, with the double-arched staircase converging from both sides, and a lounge verandah or ‘sesayap lelayang’ on both sides of the upper floor. Fig 2.09: School excursion at the old museum (c. 1971) Fig 2.07: Balai Besar in Alor Setar Fig 2.08: The late Tan Sri Mubin Sheppard
Chapter 2: Historical Background 29 Kedah Historical Museum officially moved to the new building on December 30, 1961. His Majesty Tunku Sultan Haji Abdul Halim Mu’adzam Shah officiated the exhibition in the new building. In July 1964, the museum had its name changed to the Kedah State Museum. In 1983, under the institution of the State Museum, two new branches were opened; the Kedah Art Gallery and the Royal Museum, both located in the city. For over 50 years, the museum has possessed great heritage and a valuable treasure in the land of Kedah. With overwhelming response from the public and the growing scale of exhibitions, the State Government agreed to build the present Kedah State Museum building in 1997. The building houses exhibition halls, workshops, a library and a mini theater. There are 10 permanent exhibition galleries in the new museum, including dedicated galleries for Culture, History, Nature, Figure, Transportation, Weapons, Manuscript, Textile, Crafts and Arts, as well as Language and Literature. There are also outdoor exhibitions within the museum compound such as the Traditional Houses and the Royal Ark. Fig 2.10: The new building for Kedah State Museum
Chapter 3 Architectural Development
Chapter 3: Architectural Development 31 3.1 SITE CONTEXT Located in Bakar Bata, the Kedah State Museum Complex is approximately 2km away from the town centre. The museum is easily accessible as it sits along Lebuhraya Darul Aman, a major street in Alor Setar. Its location in Bakar Bata grants it a unique setting, whereby it is convenient for the locals to visit, without the hustle and bustle of city traffic. This setting is also symbolic of how the museum functions as the guardian of culture and history, keeping it away from the pressures of modernisation. The complex includes the new museum building, as well as its original two-storey building which now functions as the museum’s administration office and the headquarters for the Kedah Historical Society. Fig 3.01: Location plan of Kedah State Museum Complex
Chapter 3: Architectural Development 32 3.1.1 SURROUNDING BUILDINGS Fig 3.02: Site plan with landmarks
Chapter 3: Architectural Development 33 Bangunan Persatuan Leong Say Tong Kedah/Perlis Located behind the Malay houses, this building is owned by the Kedah/ Perlis Branch Persatuan Leong Say Tong. It is a function and event space catered to the public. It most commonly hosts Chinese wedding events. Wat Siam Bakar Bata Due to its proximity to Thailand, there are many Thai Buddhist temples in Kedah. However, Wat Siam Bakar Bata is the only temple in Alor Setar. It is located by the Sungai Kedah riverbank, behind the Kedah State Museum. It is also sometimes known as Wat Samosorn Rajanukpradit. Fig 3.03: Entrance to Wat Siam Bakar Bata Fig 3.04: Facade of Bangunan Persatuan Leong Say Tong Kedah/Perlis
Chapter 3: Architectural Development 34 Stadium Darul Alam Located along Lebuhraya Darul Aman, Stadium Darul Aman is the state stadium of Kedah and was officially opened by the Sultan of Kedah in 1962 during Malaya’s 1-0 win against South Korea. The multi-purpose, all-seater stadium is currently used mostly for football matches. It can accommodate up to 40,000 spectators at one time after the expansion in 1997, and was chosen as one of the venues for the 1997 FIFA World Youth Championship. It is the official stadium for the Kedah FA. Fig 3.05: Stadium Darul Aman
Chapter 3: Architectural Development 35 3.1.2 EXISTING BUILDINGS IN THE SITE COMPOUND All the buildings in the site boundary (Kedah State Museum complex) have strong connections to each other. They all serve the single purpose of preserving and showcasing the cultural heritage of the state to the public. Fig 3.06: Buildings within the museum complex
Chapter 3: Architectural Development 36 Kedah State Museum (New State Museum Building) The new building of the Kedah State Museum is located next to the original building. It houses a library, a mini theatre and a series of exhibition halls. Similar to the old building, floor-to-roof high columns, ornamentations and light pink paint are the definitive elements of the building. Administrative Office (Old State Museum Building) The building was built on December 30, 1961 at Lebuhraya Darul Aman, Bakar Bata due to the increase in the number of artifact collections and lack of exhibition and storage space at Balai Besar, where the Kedah Historical Museum was previously located. In 1964, its name was changed to the Kedah State Museum. It now functions as an administration office after the museum moved to its present day location in the new building. Fig 3.07: Entrance to the new museum Fig 3.08: Old museum building, now museum’s administrative office
Chapter 3: Architectural Development 37 Pejabat Persatuan Sejarah Malaysia Cawangan Kedah Located right next to the old museum, this building is the administrative office of the Kedah Branch of Persatuan Sejarah Malaysia (also known as the Kedah Historical Society). It is connected to the old museum by a covered pedestrian walkway. Boat Structure Part of the museum exhibition is an outdoor structure which houses a boat that was once used by a Sultan of Kedah. Fig 3.09: Headquarters for the Kedah Historical Society Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the museum
Chapter 3: Architectural Development 38 Rumah Tradisional Kampung Sungai Ular, Kulim This traditional Malay kampung house was owned by Encik Saman bin Saad before it was gifted to the authority of the State Museum. It was preserved and used as an exhibition space to display a collection of Kedah cultural artifacts. The artifacts have now been moved into the new museum building, and the house is no longer open for public visits, except for purpose of research. Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah The construction of the house started in 1939 and was completed in 1941. Initially, the house was owned by Haji Abdul Rahman Merbok. He was given the title Dato Mursyid Diraja by KDYMM, Sultan Kedah for his expertise in Islamic Affairs. He used the house as a venue to teach Al-Quran and Islamic studies. The house was gifted to the authority of the Kedah State Museum after the death of the owner. It now functions as a surau which is open for public usage. Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim` Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah
Chapter 3: Architectural Development 39 3.2 LANDSCAPE The landscaping within the Kedah State Museum is well designed and maintained. The hardscape elements provide a foundation for the vegetation whilst reducing hazards on site. The softscape elements provide shade and aid in directing breeze to the site, yielding a pleasant and natural experience. Landscaping unites both man-made structures and plants, to create a comfortable and visually-appealing space not just for the visitors, but also for the museum staff and students measuring the Kedah State Museum.
Chapter 3: Architectural Development 40 3.2.1 HARDSCAPE Drainage Drainage systems hold an important role in flood control as Malaysia has tropical rainforest climate with high humidity, especially for the Kedah Museum complex which is located next to a river. Different types of drainage can be found within the site boundary, varying from open drain to partially covered drain. The covers are removable for easier maintenance and cleaning. Concrete Pavers Concrete pavers are used in certain parts of the compound to highlight an area that contains a significant structure, and provide an overall pleasing aesthetic to the area. Concrete pavers can be seen applied at the elevated platform facing the old museum’s North elevation which holds a historical war tank. Fig 3.13: Drainage system around the complex Fig 3.14: Concrete pavers used on site
Chapter 3: Architectural Development 41 Planter box/retaining walls Planter boxes and retaining walls can be seen widely employed within the site compound to house and sculpt vegetation, providing a pleasant atmosphere for workers and visitors alike. The common material used for the planters is concrete as it is durable and resistant to weathering. Plus, it is impermeable and requires minimum maintenance. Paved walkway The walkway at the corridor of the old museum is covered with textured glazed mosaic tiles arranged in a homogenous pattern. The paved walkway prevents possible hazards such as slipping that might occur due to mud and dust, apart from providing a smooth surface for users to walk on. The colour of the tiles blend in with the aesthetics of the building. Fig 3.15: Planter boxes as part of landscaping Fig 3.16: Blue and pink mosaic tiles at the corridor
Chapter 3: Architectural Development 42 3.2.2 SOFTSCAPE Wodyetia Bifurcata The most common plant on the site compound. Commonly known as foxtail palm, the wodyetia bifurcata plant has one of the most spectacular foliage displays of all palms. The pale green arching fronds have leaflets that radiate out at all angles from the leaf stem, thus appearing like a bottlebrush or the tail of a fox. The plant is extremely easy to grow, even small plants and seedlings can tolerate hot, full sun from an early age. It grows rapidly in sunny condition, when water and fertilizer is supplied regularly. Ficus Benjamina This broadleaf evergreen plant is commonly known as the weeping fig. It is native to regions between India and northern Australia, usually seen in round, droopy form with shiny leaves. Weeping fig is a popular plant used for landscaping because of its attractive shape and tolerance to a variety of conditions, from very bright to considerably shady conditions. This plant can be seen everywhere within the site boundary as it is easily grown in Malaysia’s tropical climate and requires very low maintenance. Fig 3.17: Wodyetia Bifurcata Fig 3.18: Ficus Benjamina
Chapter 3: Architectural Development 43 Hibiscus The hibiscus is widely grown around the perimeter of the new building of Kedah State Museum as it is the national flower of Malaysia. It is commonly known as the “celebratory flower” in Malay. Also known as Chinese hibiscus or shoe plant, the flowers are large, firm and generally red in its original variant. The color red symbolizes the courage, life, and rapid growth of the nation, and the five petals represent the five Rukun Negara of Malaysia. Ravenala Madagascariensi Commonly planted in an urban setting. Its long stem and deep green leaves resemble banana leaves and extend out from the trunk like the slat pieces of a giant hand fan. Small plants need to be grown in partly shady areas before it can tolerate full sun condition. A mature plant blooms all year round and produces brown fruits that contain light blue seeds. Fig 3.19: Hibiscus Fig 3.20: Ravanela Madagascariensi
Chapter 3: Architectural Development 44 Ixora Ixora is a popular flowering shrub widely used in landscaping due to its attractive rounded shape and glossy foliage. It is native to Southern India and Sri Lanka. The plant can be seen everywhere within the site boundary because of its striking appearance of green leaves and scattered red flowers. Fruit Trees Banana and mango trees can be seen around the two Malay traditional houses, as it was planted to accurately recreate the “kampung” setting in which the two houses were originally from. Fig 3.21: Ixora Fig 3.22: Fruit trees on site
Chapter 3: Architectural Development 45 3.3 ARCHITECTURAL INFLUENCES Drawing inspiration from Malay traditional houses, the old museum is similar in terms of the building materials, roof style, ornamentations, openings and layout. 3.3.1 MALAY VERNACULAR DESIGN Fig 3.23: Comparison of the old museum with the design of a malay traditional house
Chapter 3: Architectural Development 46 Roof Style As a tropical country, Malaysia receives a generous amount of sunlight and rain all year round. The type of roof adapted by the administration office is limas styled roofing, a common roofing structure used in malay vernacular design. Ventilated roof space at the top cools the interior of the house while the large overhangs provide efficient sun shading and reduce traces of rainwater, allowing the windows to be opened for better air flow. Fig 3.24: Large roof overhangs define the vernacular Malay house Fig 3.25: The grand entrance to the old museum
Chapter 3: Architectural Development 47 Building Material Typically, Malay traditional houses are built with local natural resources such as timber and rattan. The old museum is mainly made of chengal wood which has low heat absorption capacity to create a cooler interior environment. Chengal wood is also environmentally friendly, durable and can be easily sourced in Malaysia. Ornamentations Ornamentsalongtheextendedframebelowtheroofeavesaredistinctintheold museumbuilding.SimilartovernacularMalayhouses,ornamentationsfeature floral patterns, geometric shapes and exaggerated curvatures. The butterfly and inverted‘S’motifscanbeseenintheformoffiligreefromthefrontandback view of the building, underneath the roof. The decorations are made of steel instead of wood, modified and simplified from the typical vernacular design. Additionally, the facade features wooden panels carved with the inverted letter ‘S’ and painted in light yellow. The letter ‘S’ is used for both wooden and steel ornamentations as is a simple alphabet which offers the most curvature. Construction Parts Types of Wood Structural Cengal, Merbau Damar Laut, Petaling Non-Structural Meranti, Bamboo Roof Nipah, Rumbia, Bertam, Kabong Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom) Fig 3.27: List of timber according to construction parts
Chapter 3: Architectural Development 48 Decorative Openings Besides allowing ventilation into the interior spaces of the house, windows also serve another purpose in Malay vernacular architecture. Some windows in Malay houses have intricate wood ornamentations carved open at all times for ventilation and decorative purposes. On the first floor of the office, a series of metal artworks are displayed, showing the cultural activities of the locals. Initially, they serve as natural ventilation openings but they have since been sealed after the installation of air conditioning inside the building. Building Layout The open plan layout is common in Malay vernacular houses. Similar to the dwellings, the open plan of the administration office promotes air movement whilst creating an impression of spaciousness in the interior. The elongated layout also eases the circulation within the building, as it was once used as an exhibition space, which receives large numbers of visitors daily. Today, the absence of walls or fixed partitions allow better communication between office workers, creating a friendly workspace that could lead to an improved working environment. Fig 3.28: Comparison of decorative openings between traditional Malay house and the old museum Fig 3.29: Comparison of building layout between traditional Malay house and the old museum
Chapter 3: Architectural Development 49 3.3.2 COLONIAL ARCHITECTURE The old museum building was designed as an homage to Balai Besar, which exhibits a fusion of colonial and traditional architecture. The colonial influences in Balai Besar, in particular the ground floor level, was carried over intothedesignoftheoldmuseumbuilding,albeitwithsignificantsimplication. The most obvious reference to colonial architecture is the arched wooden panels which act as a shading device for the building. These panels are installed along the collonade-corridor on the ground floor of the building, which in itself is another influence from colonial-styled architecture. Another notable element derived from colonialist architecture would be the wooden louvered windows, which were the common window design in colonial buildings in pre-Independent Malaya and Singapore. Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia Fig 3.31: Influence of colonial styled architecture on the arched shading devices
Chapter 3: Architectural Development 50 3.3.3 MODERNIST INFLUENCES The old museum is a fusion of the Malay vernacular style with modernist principles of architecture. On top of having design similarities with Malay traditional houses, the design follows the 5 Principles of Architecture as set out by Modernism pioneer Le Corbusier. For example, the building has an open floor plan where interior spaces are divided by movable partitions instead of structural walls. Although this design choice relates more on the function of the interior space, it also validates Corbusier’s first principle, the free plan, which is the absence of supporting walls to allow the flexible usage of interior spaces. The principle liberates the plan from construction restrictions. Fig 3.32: Open floor plan for the interior space, segmented by movable partitions Fig 3.33: Example of an open floor plan, Villa Savoye by Le Corbusier
Chapter 3: Architectural Development 51 The design of the building also adheres to the other 3 points: 1. The use of pilotis to replace load-bearing walls via a grid of reinforced columns that bear the structural load. According to Le Corbusier via his prototype the Dom-Ino House, this is the basis of the new aesthetic. 2. The free facade. Walls are relieved off of their structural role, allowing freedom in the design of spaces and a fluid transition between interior and exterior spaces. 3. The horizontal “ribbon” window that runs the length of the facade, which takes advantage of the second point mentioned above. This design approach once again blurs the boundaries between interior and exterior, apart from allowing better fenestration into the interior spaces. Aside from than butterfly and the inverted ‘S’ patterns, simple geometrical motifs are applied to the window and door grills, which is influenced by the cleanliness and efficiency of Modernism. Fig 3.34: Pilotis at the corridor Fig 3.35: The free facade Fig 3.36: Modernist motifs at the windows and entrance of the old museum
Chapter 3: Architectural Development 52 3.3.4 SIAMESE INFLUENCES As the design of the Balai Besar was influenced, to a certain degree, by Siamese architecture, these subtle influences were naturally passed down to the design of the old museum building. Accordingtohistoricalrecords,SultanMuhammadJiwaoftentookinspiration from the building designs in Thailand (formerly the Kingdom of Siam) whilst roaming the Malay Archipelago. These design ideas were translated, with local flavour, into the designs of royal buildings such as the Balai Besar and Balai Nobat. They were then carried on to newer buildings, and are today widely regarded by locals as being part of the identity of Kedah. Fig 3.37: Roof overhang ornamentations in Thai architecture Fig 3.38: Wooden overhang ornamentation on the roof of the old museum
Chapter 3: Architectural Development 53 3.4 REFURBISHMENT INTO ADMINISTRATION OFFICE The new museum building, situated next to the original, was completed in 2001 to house the growing number of museum exhibits. The original building was then transformed into the administration office for the museum, necessitating minor refurbishment of the interior spaces. A notable addition to the interior is the use of partitions to define working spaces for officers. Two cubicles were built on the ground floor and one on the first floor to accommodate the working spaces for higher-ranking officers. The wooden exhibition panels which were installed originally to display museum exhibits on the first floor were preserved and now act as a divider between working spaces and the pantry. The windows on the ground floor were sealed with plywood following the installation of air-conditioning units. Fig 3.39: The old museum in its heyday Fig 3.40: The old museum today
Chapter 4 Design Concept
Chapter 4: Design Concept 55 4.1 FORM The Old State Museum of Kedah is a double-storey museum with a simple rectangular form constructed of mainly timber with a concrete base. The design of the building projects an overall traditional feel, which jives well with its function as a place for the safekeeping of the culture and history of Kedah. Linearity The old museum’s open, rectangular form is a direct response to the economics and practicality of fulfilling its original function as a museum. A museum typically requires large open spaces for exhibition of artifacts and a linear circulation for visual clarity. This is aside from the fact that the rectangular form was the most economical, as it conserves space whilst still providing a large floor area. The practical and economic approach of dictating the form has a lot to do with the influence of modernist architecture back in 1960s Malaya, a nation still in search of its true identity, free from the influence of its colonial past. Fig 4.01: The team arriving at the measurement site
Chapter 4: Design Concept 56 Vernacular Malay Architecture The rectangular form was then developed further with the influence of vernacular Malay architecture. The upper floor verandahs on both sides of the building and the gabled roof “bumbung limas” design was a direct infusion of the Malay traditional architecture, inspired by the roof of the ‘Gajah Menyusu’ house commonly found in the northern states of Malaysia. These elements all adhere to three main design approaches, which are symmetry, repetition and juxtaposition. Fig 4.02: Example of the ‘Gajah Menyusu’ house Fig 4.03: Adaptation of the Malay vernacular roof by the old museum building
Chapter 4: Design Concept 57 4.1.1 SYMMETRY The building’s facade and plan is symmetrical, which yields a sense of balance that creates harmony and order in an aesthetically pleasing design. The old museum was built via symmetrical halves and is the most noticeable characteristic of the building. By having a symmetrical form, the museum benefits from the predictability in terms of spatial order and circulation, which is crucial in a building designed for the public. Philosophically, the symmetrical design demonstrates dependability. This interpretation relates to the function and responsibility of the museum, as a balanced and dependable source of historical records and the guardian of the local culture and heritage. Physically, the implementation of this characteristic can be seen in both wings, facade, the number of columns on both sides, as well as the grand staircase, which is a double staircase that converges at the landing in the middle. The corridor and the verandah above, flanking the main rectangular space, exaggerates the symmetry to highlight the idea of balance even more. The only asymmetrical aspect of the building can be observed in the placement of the ground floor entrance on the North elevation instead of at the centre of the front portico. Fig 4.04: Front portico of the old museum Fig 4.05: East elevation showing evidence of symmetry
Chapter 4: Design Concept 58 4.1.2 REPETITION Another obvious design technique implemented in the design development of the old museum is repetition. Apart from having a symmetrical form, repetitive elements in the building provide a harmonious rhythm that communicates the idea of movement. This can be seen in the repetition of columns along the corridor to promote exterior circulation around the building. Aside from the columns, other examples of repetitive elements include the windows that run along both the North and South facade, the exterior wall ornaments, and the floor tiles. Repeated use of shape, colour and other artistic elements in the design of a building can also help in unifying different parts of the building to form a robust design. Minimal repetition is sufficient to create a visual echo to highlight certain aspects the building. Fig 4.06: Building columns being repeated along the corridor Fig 4.07: North elevation showing repetition of elements in the building
Chapter 4: Design Concept 59 4.1.3 JUXTAPOSITION The juxtaposition of opposing design elements can produce a striking visual impact. Formally, juxtaposition describes the placing of two elements that may or may not occur naturally together in close proximity. Juxtaposition can be applied in terms of material, colour, shape or even spaces. In the case of the old museum building, it can be observed that juxtaposition occurs in the following: 1. Material change from concrete walls on the ground floor to timber walls on the first floor. 2. Avernacularexteriorwithornamentationsonthewalls,theroofoverhang and portico frieze contrasted by a bare and simple interior space, especially the ground floor level, which is devoid of any ornamentations. The above applications of juxtaposition help in defining different spaces in the building, between interior and exterior as well as between the ground floor and upper floor via the sudden change in materiality and the level of ornateness of the spaces. Fig 4.08: Contrast in materiality between the ground floor and the first floor
Chapter 4: Design Concept 60 4.1.4 SCALE The old museum welcomes visitors with a grand portico with a double volume height that spans two floors. The ceiling is supported by 8 columns and is a direct mimicry of Balai Besar’s main entrance. The high ceiling tweaks the architectural scale of the building, by giving the main entrance an impression of grandiosity. This implementation of scale can be traced back to Greek and Roman architecture, which makes use of solid columns to support a double volume grand portico. It is widely acknowledged that the use of colonnades and grand porticos of immense scale could represent trust and stability, which explains the adaptation of columns and pediments in the design decision for government buildings around the world. In the case of the old museum building, the adaptation of scale sends the message of trust, as the museum is responsible for the safekeeping of Kedah’s historical treasures. Fig 4.09: The scale of the front portico evokes a sense of grandeur
Chapter 4: Design Concept 61 4.2 SPATIAL PLANNING As with most public buildings built in the 60s, the old museum was built with an open, fluid floor plan to give it flexibility in terms of functionality. Similar types of floor plan can be seen in government offices as they attempt to apply one of the tenets of modernism, which is the free designing of the floor plan, unencumbered by the restrictions of load bearing walls. This elegant approach to designing spaces is both economical and practical, which is crucial for a young nation like Malaya following its independence.
Chapter 4: Design Concept 62 4.2.1 ENTRANCE AND APPROACH The old museum replicates the grand double-staircase of Balai Besar. The grand staircase, coupled with the double volume portico emanate a warm welcoming feeling to visitors as they approach the building. The landing area that connects the double staircase adds a node in the movement of visitors into the upper floor. This node allows visitors to pause and appreciate the surrounding context prior to entering into an enclosed space inside the museum. In terms of entry and exit, the circulation of the building is unique whereby the two floors are only connected via the grand staircase externally. This internal disconnect between the two floors is most likely due to the separation of functions originally, when the bottom floor functioned as an exhibition space and the top floor functioned as a library when the building was first opened. Fig 4.10: The double staircase at the entrance of Balai Besar Fig 4.11: The double staircase at the entrance of the old museum
Chapter 4: Design Concept 63 4.2.2 SPATIAL ORGANISATION Extra focus was given to the spatial planning of the old museum building for practical reasons. Built mainly as an exhibition space, the building must be able to accommodate large number of exhibits that vary in their sizes, whilst still allowing comfortable roaming and standing areas for museum visitors. Its open rectangular form grants the ability to have a linear open floor plan. An open plan allows the freedom to manouver the movement of visitors to suit a specific type of exhibition that is being hosted, whilst a linear circulation simplifies the organisation of exhibition space. A linear organization consists essentially of a series of spaces or objects. These spaces can be directly related to one another or linked through a separate and distinct space. Spaces that are functionally or symbolically important to the organization can occur anywhere along the linear sequence and their importance articulated by size and form. In the case of the old museum building, it’s spatial planning also benefited its new tenants when it was converted into an office space, as setting up working areas are as simple as installing partitions, permanent or temporary, to define new boundaries within the large open floor plan. Fig 4.12: The linear open plan of both ground floor (top) and first floor (bottom) of the museum
Chapter 4: Design Concept 64 4.2.3 RESPONSE TO CONTEXT Given Malaysia’s hot and humid climate, certain aspects of the design had to respond directly to the demands of the climatic characteristics of a tropical country. The original design makes use of natural ventilation techniques such as having huge window openings and the implementation of a pitched roof. A pitched roof, specifically the “Bumbung Limas” type for the old museum helps in allowing stack ventilation inside the building. Stack ventilation begins with the creation of a buffer space in the roof for hot air to rise up. The upward movement of hot air into the roof leaves a void below it, which naturally pulls in cooler air and wind from the outside through the huge window openings. This creates a passively ventilated interior that requires very little need for active ventilation. In order to take advantage of passive ventilation, the roof was designed based on the study of temperature, humidity, atmospheric pressure, wind rose, rainfall and other elements that relate to the weather in Malaysia. The “Bumbung Limas”, by design, already takes into account all aspects of Malaysian climate. However, passive ventilation had been abandoned by the building, in favour of air conditioning, when it was refurbished to become an office in 2001. Fig 4.13: The museum’s application of a pitched roof to combat local weather Fig 4.14: Diagram demonstrating stack ventilation inside the building
Chapter 4: Design Concept 65 4.3 SYMBOLISM The Old State Museum of Kedah was designed with influences of Malay vernacular architecture. Naturally, it contains various symbolisms scattered around the exterior and to a smaller degree, the interior. Symbolism is embedded deep into the art and architecture of the locals, as evidenced by the intricate wooden carvings in traditional Malay houses. The ornamental carvings in traditional Malay houses commonly represent floral motifs and geometrical shapes. In the case of the old museum, symbolism is present in the metal friezes of the portico, the walls of the verandah, as well as the ventilation openings inside the building. Some of the symbols used include the wings of a butterly, as well as the inverted S-shaped carving, which runs alongside both elevations. The inverted ‘S’ motifs are made of steel are modified and simplified from the typical vernacular design. Similar ‘S’ motifs are used for both the wooden and steel ornamentation at the building as it is simple and answers to both traditional and modern architecture styles. Fig 4.15: Ornamentation at the front portico Fig 4.16: Inverted ‘S’ motifs around the building
Chapter 5 Details and Ornamentations
Chapter 5: Details and Ornamentations 67 5.1 COLUMNS A total of 24 columns surround the exterior of the building. There are 8 columns on each side of the building holding up the verandahs, while 8 taller columns are situated at the grand entrance of the building, supporting the portico. The columns, being simple and bare in design, portray the modernist influence as mentioned. The shaft and base are cylindrical, with the base being slightly larger in diameter as it forms a solid foundation to support the columns that span two storeys. They sit firmly on a rectangular pedestal. The columns are identical and repeat throughout the building, varying only in height between the portico and the corridor. Fig 5.01: Condition of columns around the old museum building
Chapter 5: Details and Ornamentations 68 5.2 DOORS The building is accessible through three entrances - one on the first floor and two on the ground floor. The main entrance is located on the first floor at the front of the building. It is protected by a glass sliding door and a sliding metal grille in front of it. The metal grille consists of simple repetitive patterns, a significant modernist phiolosophy. Similar subtle modernist characteristics can be seen at different parts of the building such as the metal ornamentation on the edge of the roof, signalling the infusion of modern and vernacular architecture. The entrance to the office on the ground floor is located at the north elevation of the building. It is less noticeable and less inviting compared to the main entrance. The entrance consists of a double leaf wooden panel door with 8 panels on one side and four on the other. The top half of the panels are replaced with tinted windows allowing users to look in, however still creating a sense of privacy for the workers in the office. The door is sealed with a two piece handle and an extra lock underneath it. Fig 5.02: Entrance to the first floor, accessible via the grand double staircase Fig 5.03: Entrance to the office on the ground floor Fig 5.04: Close up of door handle
Chapter 5: Details and Ornamentations 69 5.3 WINDOWS Rows of windows are decked along each elevation of the building. As the usage of electricity was not common in the past, windows were used abundantly to provide ample sunlight and ventilation. The majority of windows used are louvered windows, with the windows on the upper floor made of glass sheets and the windows on the ground floor made of timber. However, the ground floor windows are now completely sealed due to the installation of air-conditioning in the building, which has also affected the amount of fenestration. Therefore the interiors are now lit with artificial lighting. Fig 5.05: Louvered ‘Jalousie’ windows along the facade Fig 5.06: Wooden louvered windows on the ground floor contrasts the glass louvered windows on the first floor
Chapter 5: Details and Ornamentations 70 The interior on the first floor is lit by glass louvered windows, also known as “Jalousie Windows” on the upper half of the wall, though minimum. It is generally dark with slight fenestration, hence artificial lighting is needed. Some windows are merely an opening with steel ornamentation, but are also now covered and sealed from the inside. The windows of the area connecting the main building to the toilet building are Casement Windows with Fixed Clerestory above it, a sudden change from the other traditionally designed windows in the building. Fig 5.07: First floor fenestration via the glass louvered windows Fig 5.08: Ground floor windows are now sealed from inside Fig 5.09: Tinted casement windows replacing the original louvered windows
Chapter 5: Details and Ornamentations 71 5.4 CEILING 5.5 LIGHTING Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building. Fluorescent lights are used in the interiors of the building. There are more lights used in the ground floor than the first floor because windows are not present on the ground floor. Rectangular two-pieced lights are used on the ground floor while tube lights are used on the first floor.
Chapter 5: Details and Ornamentations 72 5.6 WOODEN CARVINGS Fig 5.11: As wood carvings are common in traditional Malay architecture, they are used abundantly in the design of this building. They can be found below windows and roofs. Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outward from the middle to create a star-like shape Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar “inverted-S” patterns as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the eye.
Chapter 5: Details and Ornamentations 73 5.7 BRONZE METALWORK Rows of ventilation openings are decked as clerestory below the roof on the North and South elevations of the building. As usage of electricity was not as common in the past, these open clerestories of bronze metalwork were used abundantly to bring in cool air from the outside. Fig 5.14: Bronze metal art work on the first floor Fig 5.15: Close up of bronze metal art work
Chapter 5: Details and Ornamentations 74 Rubber tapping and agricultural activities are common ways the locals make a living in the past. These activities are represented in the bronze metalwork ornamentations: Fig 5.16: Rubber tappers collecting latex Fig 5.17: Farmers harvesting on paddy field Fig 5.18: Farmers ploughing the land with a bull Fig 5.20: Multiculturalism in Malaysia Fig 5.19: Locals pounding rice the traditional way Fig 5.21: Traditional activities of the locals
Chapter 5: Details and Ornamentations 75 5.8 PORTICO ORNAMENTATION These ornamentations can be seen below the roof of the portico. They are intricate in design and are made of iron. These patterns, again, invokes a modernist feel in terms of its abstraction. The ornaments are portrayals of flora and fauna. The top and bottom rows are made up of representations of a butterfly, whereas the middle row represents a series of floral patterns. These ornaments are painted to avoid corrosion to the iron as they are placed outside the building, exposed to rain and moisture in the air. Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico Fig 5.23: Application of the ornamentation on a triangular window
Chapter 6 Materials
Chapter 6: Materials 77 6.1 STRUCTURAL MATERIALS 6.1.1 CHENGAL TIMBER Themainstructureofthebuildingisconstructed of chengal hardwood timber. This species of timber was used in the construction of the old museum due to its strength and resistance against termites. Native to the region, this heavy duty tropical hardwood can withstand the local climate and temperature, typically unaffected by the volatile changes between wet and dry seasons in the country. This highly durable wood is painted for both longevity and aesthetic purposes. The coat of paint gives the building a traditional yet welcoming look, embracing the essence of the Malay traditional house. Other than that, the gap between the timber joist floor on the second floor and timber structure rafter acts as a channel for natural air ventilation. Fig 6.01: Building elements made out of Chengal at the front portico
Chapter 6: Materials 78 6.1.2 REINFORCED CONCRETE The 460mm x 460mm reinforced concrete footing is made up of concrete with steel mesh. Other than acting as a support for the columns and holding up the foundation from any kinds of settlement, its main function is to stabilise the whole structure as it is able to withstand the compressive load from the verandah above. The embedded columns for the ground floor are also made of reinforced concrete. Its compressive strength allows it to hold up the floor above it, as the vertical load is transferred from the upper floor beams to the columns and down into the foundation of the building. Reinforced concrete is also fire resistant and durable, resistant against the changes in weather, which is suitable for use in a tropical climate. The decision to use reinforced concrete for the construction of the ground floor was possibly due to the design decision of emulating Balai Besar’s load- bearing masonry base. However, it has served the construction well for decades as it increases the load capacity of the upper floor, which now houses dozens of heavy filing cabinets ever since the building was turned into an office. Fig 6.02: Reinforced concrete column and footing Fig 6.03: View of reinforced concrete columns from the corridor
Chapter 6: Materials 79 6.2 NON-STRUCTURAL MATERIALS 6.2.1 BRICK WALL Due to the skeletal construction of the building, the exterior wall of the ground floor merely acts as a skin to separate interior and exterior spaces. It does not bear any load, and is constructed of bricks that complement the timber collonade and the reinforced concrete structural frame. Bricks are fire resistant and does not rot. Therefore, maintenance costs has been relatively low. Another benefit of using bricks is its acoustic insulation quality, creating a more quiet and comfortable space for the users inside the building. Fig 6.04: Brick walls on the ground floor
Chapter 6: Materials 80 6.2.2 GLASS Clear Glass Clearglassisutilisedasthematerialforinteriorpartitionwindowsanddisplay cases in the upper floor of the old museum due to its high transparency and clarity. The display wall with the clear glass encasement was previously used as a wall exhibition space to allow visitors to have a more intimate visual interaction with the exhibits. These exhibition panels are still preserved today even after the space has been transformed into an office. Clear glass is now used as as an element of the newly erected office partition walls, placed approximately 1 metre above floor level to allow unobstructed views inside the enclosed office cubicles. Fig 6.05: Museum display cases made of clear glass Fig 6.06: Office partition walls made of clear glass
Chapter 6: Materials 81 Tinted Glass Tinted glass is mostly used together with new replacement windows or doors in the building, including the casement windows on the bridge connecting the main building to the bathroom at the back of the old museum, and the entrance to the offices. A thin film lines the interior glass surface to partially restrict the penetration of light. It blocks the blazing sun rays to regulate the temperature inside and provides a comfortable working environment. Fig 6.07: East elevation tinted glass door Fig 6.08: East elevation tinted glass casement windows Fig 6.09: Tinted glass office partition wall
Chapter 6: Materials 82 Frosted Glass Frosted glass is produced by acid etching or sandblasting a clear sheet glass. It is widely used in the building to allow controlled fenestration to the interior spaces. The application of frosted glass in the building is to ensure visual privacy by blurring images with its textures while still allowing a limited amount of light. Fig 6.10: Texture of frosted glass Fig 6.11: Application of frosted glass Fig 6.12: First floor louvered windows made of frosted glass
Chapter 6: Materials 83 6.2.3 WOOD Nyatoh and Meranti These variants are used in the partition walls, wooden doors and the ground floor louvered windows of the building. Nyatoh and Meranti are hardwood that are high in workability and are able to withstand staining. Their reddish brown color and straight, shallowly interlocking fine grain provide a pleasing aesthetic for the interior. Due to their low resistance towards termite attack, they are to be periodically polished to improve its durability and quality. Fig 6.13: Timber door and timber partition wall at the interior Fig 6.14: Nyatoh and meranti building elements at the front portico
Chapter 6: Materials 84 6.2.4 METAL Iron Iron is used for the ornamentations at the exterior of the building and the handrail ornamentations on the grand staircase. It is composed of iron, silicon and a bit of carbon, a corrosion prone element. Therefore, they are painted to increase resistance towards corrosion and improve the aesthetic quality. The advantage of iron is significant in this building as its high flexibility allows it to be bent for ornamentations, creating smooth curves and organic shapes for the iron work. Fig 6.15: Iron work ornamentation at the portico Fig 6.16: Close up of iron work ornamentation Fig 6.17: Application on the window grille Fig 6.18: Staircase balusters made out of iron Fig 6.19: Barrell lock made out of iron
Chapter 6: Materials 85 Aluminium Aluminium is used as window frames and mullions in the interior and the exterior of the building. It is composed of copper, manganese, magnesium, silicon, tin and zinc, which gives it its unique quality of being lightweight and extremely durable at the same time. It is waterproof and corrosion resistant. Hence, it is able to withstand heavy rainfall and humidity. Aluminium is also known for its quality of partially reflecting heat and light, which complements the application of tinted glass to block the penetration of the blazing afternoon heat and sun. Fig 6.20: Tinted window with aluminium frame Fig 6.21: Close up of frosted glass windows with aluminium mullion
Chapter 6: Materials 86 Bronze Bronze is used for the metal artwork ornamentation for the interior of the building. Bronze is composed mainly of copper, aluminium, nickel, zinc and manganese. The composition makes it a strong metal with high durability and ductility properties, allowing it to be welded for the production of the bronze artwork on the interior ventilation openings. It is resistant to corrosion, thereby ensuring the longevity of the bronze artwork in the building. Fig 6.22: A row of bronze artworks in the first floor as part of interior decoration
Chapter 6: Materials 87 6.2.5 CONCRETE Concrete The exterior flooring is made out of concrete. It has high compressive strength and is durable against weathering. Instead of being furnished with mosaic tiles, it is left bare to provide a natural, slightly brutalist look for the exterior of the building, exposing the concrete which juxtaposes the colored mosaic tiles. The drainage of the building is also constructed of concrete, mainly due to its high tolerance to dirt and durability. The grand staircase is constructed of reinforced concrete to withstand the weight of the users, especially when receiving large number of visitors in its heyday as a museum. Its durability allows the concrete staircase, which is placed outside the building, to withstand extreme weather conditions. Another advantage of reinforced concrete is its ability to be poured and molded into virtually any form, allowing the construction of the arched double-staircase. Fig 6.23: Reinforced concrete double staircase Fig 6.25: Concrete flooring with mosaic tiles Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer Fig 6.26: Concrete drainage
Chapter 6: Materials 88 6.2.6 PLASTER Plaster is used as a protective and sometimes decorative layer on walls. It is used exclusively in the interior of the building as it is highly sensitive to moisture, and can easily warp should it not be properly protected. Its unique quality includes the ability to insulate sound. This makes it an ideal material for use in the partition walls of the office to keep noise levels at a minimum. It is also fire resistant, which indirectly increases the fire safety in the interior spaces.
Chapter 6: Materials 89 6.3 FLOOR COVERING & FINISHING 6.3.1 EXTERIOR FINISHES Unglazed Ceramic Mosaic Tiles ‘Pebble Washed’ Blue and pink mosaic tiles are used as the exterior floor finish around the perimeter of the building. This type of mosaic tiling is suitable for outdoor use as it is durable and could withstand exposure to intense sunlight and the acidity in rain water. It provides texture and friction to the concrete floor to prevent slips. Mosaic tiles are easy to maintain, which makes it an economical material in the long run. Fig 6.27: Unglazed ceramic mosaic tiles Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridorFig 6.28: Ground floor plan showing the usage of unglazed ceramic mosaic tiles
Chapter 6: Materials 90 Paint Paint is applied to act as a protective and decorative layer on the building to protect the wall and other building components against harsh environmental conditions. It prolongs the longevity of the construction materials that are prone to deterioration via rotting or oxidisation such as timber and mild steel in the building. Mild steel is susceptible to oxidisation, whereas timber should be protected from moisture and are vulnerable to termite attack. The application of paint coating on these materials are therefore necessary. Paint coating will gradually peel over the years and would require periodic reapplication. The building has been repainted a number of times over the years, and have received different colour treatments with each reapplication. The present-day colour of the coating is cream as the base colour, with light pink applied to certain parts of the building that need accentuation. Fig 6.30: Layers of paint coating accumulated over the years Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions
Chapter 6: Materials 91 Clay Roof Tiles Clay roof tiles are used as the roofing material, well-known for its durability and aesthetic value. Its high thermal capacity and reflective properties complement the pitched roof structure to create an effective cooling system via passive stack ventilation. Clay roof tiles are strong enough to withstand extreme weather conditions, protecting the internal timber rafters from exposure to the sun and rain. Clay tiles are not susceptible to corrosion and does not expand or shrink under extreme temperatures. Therefore, it is a long lasting material, suitable for the humid Malaysian weather. The vintage Hacienda clay tiles create a mix of rough and delicate textures, emulating the roof style of vernacular Malay architecture. Fig 6.32: Roof coverings made of clay roof tiles Fig 6.33: Texture of clay roof tiles
Chapter 6: Materials 92 6.3.2 INTERIOR FINISHES Unglazed Ceramic Mosaic Tiles Similar to the exterior floor finish, the interior floor is also finished with unglazed ceramic mosaic tiles. However, certain parts of the interior floor is finished with a darker tone of blue that highlights the structural points of the building. The colour variation in the tiling separates the interior space into distinct areas, helping with circulation and spatial organization. Fig 6.34: Ground floor plan showing the usage of unglazed ceramic mosaic tiles Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles
Chapter 6: Materials 93 Carpet The upper floor is completely carpeted, covering the original timber flooring. Carpets are effective in acoustic insulation and can be easily replaced should the need arise. The carpet also hides the gaps in the timber flooring planks, giving the floor a seamless appearance. Thetimberflooringofthefirstfloorwasfirstcoveredwithcarpettopreventthe leakage of cool air when the building was first installed with air-conditioning. It is therefore not a permanent fixture to the flooring, making it easy to be removed and cleaned. Presently, the upper floor has a blue-coloured carpeting that spans the entire floor, including within the office cubicles. Fig 6.36: First floor plan showing areas covered by carpet Fig 6.37: First floor interior caarpet flooring
Chapter 7 Construction Details
Chapter 7: Construction Details 95 7.1 TIMBER COLONNADE The timber colonnade acts as the main supporting structure for the whole building, distributing lateral and vertical loads from the timber roof rafters, as well as live and dead loads from upper floor downwards into the foundation. The construction of the collonades’ reinforced base and footing begins with the creation of the formwork. Concrete mixture is then poured into the formwork and vibrated to ensure the release of any air bubbles which may cause defects to the concrete. This is then followed by the placement of the 230mm diameter timber column which caps the base of the colonnade and spans its length up across two floors. The base and footing act as a supportive and protective layer to increase stability by anchoring the columns to the ground. It also prevents the timber column from being placed directly inside the ground which contains moisture and may affect the integrity of the column. Once construction is complete, plaster and paint is then applied to the timber colonnade to create a sturdy look and improve its resistance against termites and humidity. Fig 7.01: Ground floor plan showing the location of timber colonnades Fig 7.02: Timber colonnades at the corridor
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum
Documenting Malaysia's First Purpose-Built Museum

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Documenting Malaysia's First Purpose-Built Museum

  • 1. METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305) OLD STATE MUSEUM OF KEDAH ALOR SETAR JANUARY – MARCH 2017
  • 3.
  • 4. Declaration It is a group effort by: Nik Ahmad Munawwar Nik Din Benjamin Tan Zi Hern Chang May Chen Low Chi Yin Chia Keh Chian Chloe Teh Shu-Ern Chong Jia Yi Chong Wen Bin Bachelor of Science (Honours) (Architecture) January 2017 Taylor’s University Supervised by: Mohd Adib Bin Ramli Loo Yee Pei Loong Bo Lin Muhammad Zaim Bin Azmi Shum Li Sze Tg Nabilah Diyana Binti Tg Mohd Amran Teo Kuo Chien Vincentia Mutiara Kartika Wee Sue Wen This report was submitted for the module ARC 1215 / ARC60305 - Methods of Documentation and Measured Drawings, to School of Architecture, Building & Design of Taylor’s University to obtain 5 credits for Practicum 1.
  • 5. Abstract The following report is produced in conjunction with the completion of the Methods of Documentation and Measured Drawings module, which documents the research, analysis and measured drawings of the Old State Museum building in Alor Setar, Kedah. Data collection pertaining to building measurements, historical information and visual documentation were conducted by a group of 16 architecture students from Taylor’s University throughout a period of five days on site. The Old State Museum was Kedah’s first purpose-built museum, completed in 1961. It now serves as the office for the museum administration as well as the Kedah Historical Society after the present museum building is completed. The building is a prime example of buildings built during the early years of Merdeka, of a nation still searching for a national identity. Hence, it provides an excellent platform for architecture students to study the historical progression of architecture in Malaysia. ii
  • 6. iii Acknowledgement The group would like to extend its utmost appreciation to the following individuals who have actively assisted throughout the group’s journey in completing this module. First and foremost, our gratitude goes out to our lecturer, Mr. Adib, who had provided the group with immense support, including having the patience to put up with our antics, all the way from day one up until the completion of the project. Our appreciation also goes out to Dr. Nor Hayati for carefully designing the module to be as beneficial as it is to our learning development. We have indeed gained a lot from the experience over the short period of time. Finally, we would like to extend our appreciation towards Lembaga Muzium Negeri Kedah and Persatuan Sejarah Negeri Kedah and their officers for allowing us to conduct measurement and research activities on the museum grounds, and for providing us with significant amount of information to ease the research process.
  • 7. CONTENTS CHAPTER 1 1.1 The Old State Museum of Kedah 1.2 Objectives and Aim 1.3 Group Structure and Organisation 1.4 Timeline 1.5 Methods of Measurement 1.6 Equipments Used 1.7 Methods of Research 1.8 Literature Review 1.9 Significance of Study 1.10 Scope 1.11 Limitations CHAPTER 2 2.1 Malaysia, Kedah and Alor Setar 2.2 Local Culture and Heritage 2.3 Kedah Historical Society 2.4 Museum of Kedah Development Timeline 2.5 Purpose and History of the Old Museum CHAPTER 3 3.1 Site Context 3.2 Landscape 3.3 Architectural Influences 3.4 Refurbishment Into Administration Office CHAPTER 4 4.1 Form 4.2 Spatial Planning 4.3 Symbolism CHAPTER 5 5.1 Columns 5.2 Doors 5.3 Windows 5.4 Ceiling 5.5 Lighting 5.6 Wooden Carvings 5.7 Bronze Metalwork 5.8 Portico Ornamentation CHAPTER 6 6.1 Structural Materials 6.2 Non-Structural Materials 6.3 Floor Covering & Finishing CHAPTER 7 7.1 Timber Colonnade 7.2 Roof Timber Skeleton 7.3 Timber post beam & Floor Joists 7.4 Windows & Doors 7.5 Staircase 7.6 Others CHAPTER 8 8.1 Operation And Functionality Of The Building 8.2 Exterior 8.3 Improvement Suggestions on Design CONCLUSION GLOSSARY APPENDIX 2 3 5 11 12 13 15 16 17 18 19 21 24 26 27 28 31 39 45 53 55 61 65 67 68 69 71 71 72 73 75 77 79 89 95 96 101 102 106 109 112 115 121 123 125 133
  • 8. v Figures Fig 1.01: Photo of the building as a museum Fig 1.02: Group structure Fig 1.03: Group members Fig 1.04: Group members on site Fig 1.05: List of subgroups and job distribution Fig 1.06: Working in the laser cutting workshop Fig 1.07: Measurement instrument on site Fig 1.08: Measuring and recording data on site Fig 1.09: Conducting and interview with Chairman of Kedah Hostorical Society, Dato’ Wan Shamsuddin Fig 1.10: Model making in progress Fig 1.11: Gantt chart Fig 1.12: Sketching a template to record measurement Fig 1.13: Using measuring tape to determine the run of a staircase Fig 1.14: 30m measuring tape for medium length measurement Fig 1.15: Laser measurement tool for inaccessible locations or distance Fig 1.16: Tripod stand for DSLR camera Fig 1.17: Level ruler used with laser measurement tool to determine angle Page 2 5 5 6 6 7 8 8 9 10 11 12 12 13 13 13 13 LIST OF FIGURES CHAPTER 1
  • 9. vi Fig 1.18: 8m aluminium CAT ladder to climb up inaccessible height Fig 1.19: Ruler for measurement of small details Fig 1.20: DSLR camera to capture video footage and photo Fig 1.21: Powerful laptop with Autocad for instance CADing on site Fig 1.22: Reference materials including books, pamphlets and special publications Fig 1.23: School boys and girls waiting in line to enter the old museum (c.1971) 14 14 14 14 15 18 CHAPTER 2 Figures Fig 2.01: Masjid Zahir and Dataran Alor Setar Fig 2.02: Menara Alor Setar in city centre Fig 2.03: Kedah traditional attires; Baju Melayu Cekak Musang and Baju Kurung Kedah 24 Fig 2.04: Performers performing Cinta Sayang dance for an event Fig 2.05: Depiction of the game Sepak Bulu Ayam Fig 2.06: Logo of the Malaysian Historical Society Fig 2.07: Balai Besar in Alor Setar Fig 2.08: The late Tan Sri Mubin Sheppard Fig 2.09: School excursion at the old museum Fig 2.10: The new building of Kedah State Museum Page 22 23 24 25 25 26 28 28 28 29
  • 10. vii CHAPTER 3 Figures Fig 3.01: Location plan of Kedah State Museum Complex Fig 3.02: Site plan with landmarks Fig 3.03: Entrance to Wat Siam Bakar Bata Buddhist Fig 3.04: Façade of Persatuan Leong Say Tong Kedah/Perlis Fig 3.05: Stadium Darul Aman Fig 3.06: Buildings within the museum complex Fig 3.07: Entrance to the new museum Fig 3.08: Old museum building, now museum and administrative office Fig 3.09: Headquarters for the Kedah Historical Society Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the old museum Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah Fig 3.13: Drainage system around the complex Fig 3.14: Concrete paves used on site Fig 3.15: Planter boxes as part of landscaping Fig 3.16: Blue and pink mosaic tiles at the corridor Fig 3.17: Wodyetia Bifurcata Fig 3.18: Ficus Benjamina Page 31 32 33 33 34 35 36 36 37 37 38 38 40 40 41 41 42 42
  • 11. viii Fig 3.19: The National flower, Hibiscus Fig 3.20: Ravenala Madagascariensi Fig 3.21: Ixora Fig 3.22: Fruit trees on site Fig 3.23: Comparison of the old museum with the design of a Malay traditional house Fig 3.24: Large roof overhangs define the vernacular Malay house Fig 3.25: The grand entrance to the old museum Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom) Fig 3.27: List of timber according to construction parts Fig 3.28: Comparison of decoration openings between traditional Malay house and the old museum Fig 3.29: Comparison between building layout of traditional Malay house and the old museum 48 Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia 49 Fig 3.31: Influence of colonial styled architecture on the arches shading devices 49 Fig 3.32: Open floor plan for the interior space, segmented by movable partitions Fig 3.33: Example of open plan floor, Villa Savoye by Le Corbusier Fig 3.34: Pilotis at the corridor Fig 3.35: The free façade Fig 3.36: Modernist motifs at the windows and entrance of the old museum Fig 3.37: Roof overhang ornamentations in Thai architecture Fig 3.38: Wooden overhang ornamentation on the roof of the old museum 43 43 44 44 45 46 46 47 47 48 48 49 49 50 50 51 51 51 52 52
  • 12. ix Fig 3.39: The old museum in its heyday Fig 3.40: The old museum today 53 53 CHAPTER 4 Figures Fig 4.01: The team arriving at measurement site old building of Kedah State Museum 55 Fig 4.02: Example of ‘Gajah Menyusu’ house Fig 4.03: Adaptation of Malay vernacular roof by the old museum building Fig 4.04: Front portico of the old museum Fig 4.05: East elevation showing evidence of symmetry Fig 4.06: Building columns being repeated along the corridor Fig 4.07: North elevation showing repetition elements in the building Fig 4.08: Contrast in materiality between the ground floor and the first floor Fig 4.09: The scale of the front portico evokes a sense of grandeur Fig 4.10: The double staircase at the entrance of Balai Besar Fig 4.11: The double staircase at the entrance of the old museum Fig 4.12: The linear open plan for both ground floor (top) and first floor (bottom) of the old museum Fig 4.13: The museum’s application of pitched roof to combat local weather Fig 4.14: Diagram demonstrating stack ventilation inside the building Fig 4.15: Ornamentation at the front portico Fig 4.16: Inverted ‘S’ motifs around the building Page 55 56 56 57 57 58 58 59 60 62 62 63 64 64 65 65
  • 13. x CHAPTER 5 Figures Fig 5.01: Conditions of columns around the building Fig 5.02: Entrance to the first floor, accessible via the grand double staircase Fig 5.03: Entrance to the office at the ground floor Fig 5.04: Close up of door handle Fig 5.05: Louvered ‘Jalousie’ windows around the facade Fig 5.06: Wooden louvered windows on the ground floor contrast the glass louvered windows on the first floor Fig 5.07: First floor interior fenestration via glass louvered windows Fig 5.08: Ground floor windows are now sealed from inside. Fig 5.09: Tinted casement windows replacing the original louvered windows Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building Fig 5.11: As wood carvings are common in Malay traditional architecture, they are used abundantly in the design of this building. They can be found below the windows and roof Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outwards from the middle to create a star-like shape Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar inverted ‘S’ pattern as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the Fig 5.14: Bronze metal artwork on the first floor Fig 5.15: Close up of bronze metal art work Fig 5.16: Rubber tappers collecting latex Page 67 68 68 68 69 69 70 70 70 71 72 72 72 73 73 74
  • 14. xi Fig 5.17: Farmers harvesting on paddy field Fig 5.18: Farmer ploughing the land with a bull Fig 5.19: Locals pounding rice the traditional way Fig 5.20: Multiculturalism in Malaysia Fig 5.21: Traditional activities of the locals Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico Fig 5.23: Application of the ornamentation on a triangular window 74 74 74 74 74 75 75 CHAPTER 6 Figures Fig 6.01: Building elements made out of chengal at the front portico Fig 6.02: Reinforced concrete column and footing Fig 6.03: View of reinforced concrete columns from the corridor Fig 6.04: Bricks wall on the ground floor Fig 6.05: Museum display cases made of clear glass Fig 6.06: Office partition walls made of clear glass Fig 6.07: East elevation tinted glass door Fig 6.08: East elevation tinted glass casement windows Fig6.09: Tinted glass office partition wall Fig 6.10: Texture of frosted glass Fig 6.11: Application of frosted glass Page 77 78 78 79 80 80 81 81 81 82 82
  • 15. xii Fig 6.12: First floor louvered windows made of frosted glass Fig 6.13: Timber door and timber partition wall at the interior Fig 6.14: Nyatoh and meranti building elements at the front portico Fig 6.15: Iron work ornamentation at the portico Fig 6.16: Close up of iron work ornamentation Fig 6.17: Application on the window grille Fig 6.18: Staircase baluster made out of iron Fig 6.19: Barrel lock made out of iron Fig 6.20: Tinted windows with aluminium frame Fig 6.21: Close up photos of frosted glass window with aluminium mullion Fig 6.22: A row of bronze metal artworks in the first floor as part of interior decoration 86 Fig 6.23: Reinforced concrete double staircase Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer 87 Fig 6.25: Concrete flooring with mosaic tiles Fig 6.26: Concrete drainage Fig 6.27: Unglazed ceramic mosaic tiles Fig 6.28: Ground floor plan shows the usage of unglazed ceramic mosaic tiles Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridor Fig 6.30: Layers of paint coating accumulated over the years Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions 82 83 83 84 84 84 84 84 85 85 86 87 87 87 87 89 89 89 90 90
  • 16. xiii Fig 6.32: Roof coverings made of clay roof tiles Fig 6.33: Texture of clay roof tiles Fig 6.34: Ground floor plan shows the usage of unglazed ceramic mosaic tiles Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles Fig 6.36: First floor plan showing areas covered by carpet Fig 6.37: First floor interior carpet flooring 91 91 92 92 93 93 CHAPTER 7 Figures Fig 7.01: Ground floor plan showing the location of timber colonnades Fig 7.02: Timber colonnades at the corridor Fig 7.03: Axonometric detail of the roof construction Fig 7.04: East elevation Fig 7.05: Section showing construction details Fig 7.06: Tenon and mortise joint Fig 7.07: Bird’s mouth joint Fig 7.08: Timber roof trusses Fig 7.09: Image shows the steel straps connectors Fig 7.10: Connection of clay roof tiles Fig 7.11: Sketch drawing of construction of clay roof tiles Fig 7.12: Timber fascia boards at the roof edge Page 95 95 96 97 98 99 99 99 99 100 100 100
  • 17. xiv Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection Fig 7.14: South elevation shows the location of aluminium-framed louvered windows Fig 7.15: Details of louvered windows with aluminium frame Fig 7.16: South elevation shows the location of casement windows with aluminium frame Fig 7.17: Details casement windows with aluminium frame Fig 7.18: Casement windows with aluminium frame Fig 7.19: South elevation showing the location of traditional timber louvered windows Fig 7.20: Perspective view of the windows Fig 7.21: Details of traditional timber louvered windows Fig 7.22: North elevation shows the location of timber door with glass panels Fig 7.23: Details of timber door with glass panels Fig 7.24: Mortise locks at the exterior of the timber door Fig 7.25: Barrel bolt and door closers at the interior of the timber door Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase Fig 7.27: Connection of different parts of staircase Fig 7.28: Sectional drawing of reinforced concrete staircase Fig 7.29: Handrails and iron balusters of staircase Fig 7.30: First floor plan showing the location of interior open stringer timber steps Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge Fig 7.32: Axonometric drawings of exterior ornamentations 101 102 102 103 103 103 104 104 104 105 105 105 105 106 106 106 107 108 108 109
  • 18. xv Fig 7.33: Inverted ‘S’ shape ornamentation Fig 7.34: Close up of the architrave Fig 7.35: Bronze metal artwork in the first floor 109 110 110 CHAPTER 8 Figures Fig 8.01: Dignitaries visiting the old museum Fig 8.02: Condition of the first floor today Fig8.03: Original colour of the old museum Fig 8.04: Colour of the old museum today Fig 8.05: Changes of the roof colour over time Fig 8.06: Deterioration of column base Fig 8.07: Ageing of timber column Fig 8.08: Changes in the windows Fig 8.09: Addition of tinted glass sliding door to the main entrance Fig 8.10: Degradation of wood panelling for the exterior shading device Fig 8.11: Some parts of the exterior ornamentation have fallen off from the wall Fig 8.12: Minor oxidation of the metal ornamentation Fig 8.13: The first floor is now completely covered by carpet Page 113 113 114 114 115 116 116 117 117 118 119 119 120
  • 20. Chapter 1: Introduction 2 1.1 THE OLD STATE MUSEUM OF KEDAH The old State Museum building, located in Bakar Bata, Alor Setar was Kedah’s first ever state museum, set up by the newly formed Kedah Historical Society in 1961. The building took over the role of exhibiting and safekeeping the state’s most highly prized historical treasures from Balai Besar, which was a temporary museum to house pre-historic artifacts found in Bujang Valley. The old museum was originally set up to be a shared building between the state museum and the city library. However, as the number of collections and exhibitions grew, the museum space was expanded to occupy the entire building. The design of the building was heavily inspired by the design of the Balai Besar in central Alor Setar, albeit with simplified ornamentations and the incorporation of modernist elements. The idea for the design was proposed by the late Mubin Sheppard, a well known historian at the time who was actively involved with the setting up of the Kedah State Museum. Its design was finalised and approved by Jabatan Kerja Raya (JKR) Kedah and constructed with financing from the federal government. The design incorporates mainly traditional Malay motifs commonly found in the design of vernacular Malay house, more specifically of the ‘Gajah Menyusu’ type commonly found in Northern states. With the completion of a new museum building adjacent to the original, the old building has been transformed to become the administration office for the state museum and the headquarters for the Kedah Historical Society. Fig 1.01: Photo of the building as a museum
  • 21. Chapter 1: Introduction 3 1.2.1 AIM Theaimofthisprojectistoproduceasetofmeasureddrawingsandhistorical documentation for the old State Museum of Kedah in Alor Setar, as a means to develop an understanding on the principles of heritage preservation. The process involves a number of components, beginning with the study of the site, which includes surrounding buildings, geography, culture and demographics. This was then followed by the detailed measurement of the structure concurrent to conducting research via interview and literature reviews. The outcome of these components are then to be documented and presented via the production of full architectural drawings as well as a complete publication comprising of both visual and literary components. 1.2 OBJECTIVES AND AIM
  • 22. Chapter 1: Introduction 4 1.2.2 OBJECTIVES The main objective of this exercise is to develop an understanding and appreciation of the architectural typology in Kedah, more specifically pertaining to the historical evolution of the structure for the Old State Museum of Kedah, within the context of the era it was built, as well as its location and the original purpose of the structure. These understanding, coupled with an in depth study of the technical and architectural details are expected to aid in the preservation effort of heritage buildings in Malaysia, which includes the Old State Museum structure. On the flipside, the process of measuring and documenting is expected to assist in the development of students’ skills in producing high quality measured drawings and research publications. These activities provide first-hand experience for students in terms of working on a large scale project in a team, an experience which can be useful in professional practice in the future.
  • 23. Chapter 1: Introduction 5 1.3 GROUP STRUCTURE AND ORGANISATION The group is structured dynamically to be able to adapt to the changing demands of different project requirements. The group structure evolves accordingly, before the site visit, during the site visit and post-site visit in terms of allocation of personnels in sub-teams that focus on a specific task. The benefit of this dynamic structure is the ability for the sub-teams to specialise on a single component of the project at a time, which would benefit the larger group in managing deadlines efficiently. Another advantage of the shuffling of sub-teams is the opportunity for members to experience different aspects of the project, thus maximising the experience gained from the group work. Pre-Site Visit BeforethesitevisitinAlorSetar,thegroupfocusedoncompilingasmuchinformation about the building and context as part of the two-week preliminary research period. All team members participated in this stage. The building studied during this period was the original building assigned to the group, the Balai Besar. Due to unforeseen circumstances, the group had to be re-assigned to study and measure the Old State Museum of Kedah instead. The preliminary research however did not go to waste, as the Old State Museum was designed based on the Balai Besar. Hence, a significant amount of data collected from the preliminary research is still relevant in the study of the Old State Museum. Tutor: Mr. Adib Sub-Leader: Teo Kuo Chien Modeling Team Reporting Team CAD Drawings Sub-Leader: Loo Yee Pei Group Leader: Nik Ahmad Munawwar WEE SUE WEN VINCENTIA MUTIARA KARTIKA TG NABILAH DIYANA BINTI TG MOHD AMRAN LOO YEE PEI LOW CHI YIN CHONG WEN BIN LOONG BO LIN MUHAMMAD ZAIM BIN AZMI CHLOE TEH SHU-ERN SHUM LI SZE BENJAMIN TAN ZI HERN NIK AHMAD MUNAWWAR BIN NIK DIN CHANG MAY CHEN CHIA KEH CHIAN CHONG JIA YI NAME TEO KUO CHIEN Fig 1.02: Group structure Fig 1.03: Group members
  • 24. Chapter 1: Introduction 6 Site Visit During the site visit in Alor Setar, Kedah, the group was divided into two main subgroups, the measuring team and the research team. The measuring team was further divided into groups in charge of interior and exterior measurements. The research team on the other hand was tasked with researching the historical and architectural information from various sources, photographing the structural details and process of measurement, as well as shooting the video in preparation for the production of the short documentary. Both teams would spend the day on site focused on their specific tasks and regroup in the evening to compile and compare notes to ensure the completeness of data. At this daily evening meeting, the measuring team would CAD their measurements of the day, while the research team would collate information, filter through and edit the photos and video clips taken to determine the sufficiency of the footage collected. If any insufficiencies are determined during the evening, the teams would then itemise the required measurements, photo or video footage to be obtained the next day. Group Team Name Measurement Interior Wee Sue Wen Chong Jia Yi Charleene Low (Leader) Chia Keh Chian Chang May Chen Chong Wen Bin Exterior Loong Bo Lin Muhammad Zaim Benjamin Tan Loo Yee Pei (Leader) Shum Li Sze Vincentia Mutiara Research Photos & Video Nik Ahmad Munawwar Nik Din (Leader) Chloe Teh Shu-Ern Interview & Observation Teo Kuo Chien Tengku Nabilah Fig 1.04: Group members on site Fig 1.05: List of subgroups and job distibution
  • 25. Chapter 1: Introduction 7 Post-Site Visit After returning to Taylor’s University, the group started to compile each component of the drawings to produce the final drawings for submission, which include the floor plans, sections and elevations for the building, to name a few. This process ran hand in hand with the research team’s effort to produce the documentary video, photobook and report. To ensure an equal learning experience for every person in the group, the members of the research team were also required to produce CAD drawings for the detailed ornamentation in the interior. With the drawings compiled, there was less demand for individual CAD personnels in the measurement/drawing team. Hence, some of the personnels were transferred to the research and documentation team to assist with the production of the final report. On top of that, a new team was also created to spearhead the model making process, working closely with the measurement/drawing team. The model making process began with the production of a digital model so to simplify the process of deciding how the final physical model should be cut and assembled. Fig 1.06: Working in the laser cutting workshop
  • 26. Chapter 1: Introduction 8 Teams and Personnel Measurement - Exterior & Interior Measurements and CAD Drawings During the site visit, the exterior and interior teams were in charge of detailed measurements, which include the floor plan, elevation, roof structure, doors and windows, as well as exterior ornamentations. These measurements, under the guidance of Loo Yee Pei were then used to produce the main grid of the building which aids in the production of floor plans, building sections, elevations and window schedules. As part of the preparation to record the measurements, a rough sketch of each component of the building were drawn out on butter paper as template. The various measurements were then collated and compared to ensure that they match, so that the floor plans, sections and elevations produced are free of measurement discrepancies. Fig 1.07: Measurement instruments on site Fig 1.08: Measuring and recording data on site
  • 27. Chapter 1: Introduction 9 Research - Report, Interview, Video and Photobook Theresearchteam’smainfocusthroughoutthesitevisitandpost-sitevisitwas the production of documentation, in either written or visual form to document the building and the group’s progress. In preparing for the research, various books relating to the architectural study were borrowed from the library, in addition to the digital resources readily available online. Headed by the group leader, Nik Ahmad Munawwar, the team was responsible in making appointment for interviews with individuals knowledgeable about the history and architectural details of the building, preparing the interview questionnaire as well as conducting and recording the interview for research purposes. The team was also tasked with recording footage and photos of the building’s exterior and interior, coming up with a storyboard and script for the production of the documentary and photobook. The effort poured in by the team members culminated in the compilation of a formal report which contains literary and photographic evidence of the entire measurement and documentation process throughout the project timeline. Fig 1.09: Conducting an interview with Chairman of Kedah Historical Society, Dato’ Wan Shamsuddin
  • 28. Chapter 1: Introduction 10 Modeling The modeling team was formed after the interim review of drawings and draft report. The team consists mainly of members previously working on the report as well as members of the measurement team after submission of their drawings for compilation. The research and measurement teams were then downsized to allow the transfer of personnels into the model- making team, spearheaded by Teo Kuo Chien. The model-making process began with the production of a full 3D model of the old museum in SketchUp, complete with construction details such as the roof trusses and floor joists. The purpose of the 3D model was to ease the process of deciding how the model should be built and sectioned to maximise the visibility of architectural details. In the case of the old museum model, the team decided to section out the East Elevation of the building which holds the grand double-staircase and the entrance to the first floor. The North Elevation will also be exploded, separated from the building to expose interior spaces of the ground and first floor. Upon completion of the design for the model, the measurement team then assisted in the production of laser cutting templates to cut balsa wood and acrylic into building pieces for the actual model. This was then followed with the assembly of the pieces into a complete architectural model. Fig 1.10: Model making in progress
  • 29. Chapter 1: Introduction 11 1.4 TIMELINE Fig 1.11: Gantt Chart
  • 30. Chapter 1: Introduction 12 1.5 METHODS OF MEASUREMENT One of the key objectives of this project is to record measurements of the Old State Museum down to the smallest detail. The biggest challenge in recording the measurements is accuracy of the data recorded. Hence, a general understanding was needed amongst team members on a standard method of recording the readings, in order to avoid discrepancies in measurement values when drafting in CAD later. Aside from a good set of rules to adhere to during the measuring process, the accuracy of the readings also rely on the instruments used. Precision equipments which only allow a very small margin of error were used to get the best possible measurement in the shortest period of time. Various techniques of measurement were employed, including when necessary, taking a picture of a structure with a ruler placed next to it for scale so that the measurements can be recalibrated later in AutoCAD. This method is particularly useful in measuring portions that are not easily accessible with the equipments, commonly due to the lack of space. Upon obtaining the measurements, the values were then recorded onto a butter paper with a rough sketch of the portion of the building measured. Each part takes up its own page as it contains detailed information specific to the part, to avoid the measurements being mixed up with a different part of the building. Fig 1.12: Sketching a template to record measurements Fig 1.13: Using measuring tape to determine the run of a staircase
  • 31. Chapter 1: Introduction 13 1.6 EQUIPMENTS USED Fig 1.14: 30m measuring tape for medium length measurements Fig 1.15: Laser measurement tool for inaccessible locations or distance Fig 1.16: Tripod stand for DSLR camera Fig 1.17: Level ruler used with laser measurement tool to determine angle
  • 32. Chapter 1: Introduction 14 Fig 1.18: 8m Aluminium CAT Ladder to climb up inaccessible heights Fig 1.19: Ruler for measurement of small details Fig 1.20: DSLR camera to capturing video footage and photos Fig 1.21: Powerful laptop with AutoCAD for instant CADding on site
  • 33. Chapter 1: Introduction 15 1.7 METHODS OF RESEARCH The research for the project began two weeks prior to the site visit, with preliminary research undertaken by all members of the group. The research included mainly analysis done via online material and publications obtained from the university library. Research findings were compiled in a shared document in the cloud, accessible by all group members for editing or referencing. Photos were compiled and sorted accordingly in a specific folder online for ease of access. Online Resources Published online journals as well as recorded studies of the site and the building were abundant. The research process also includes obtaining information about the site and history of Kedah via videos online. Print and Publications Reference books and journals obtained from the University library as well as the Museum’s library served as the primary source of information pertaining to the history and architectural details of the building. One such instance is the extraction of floor plans and elevations of the Old State Museum building from an archived publication commemorating the museum’s anniversary in 2001. References obtained from the University library contributed in the general study of buildings in the Northern states as well as an in depth look into Alor Setar’s Balai Besar, which coincidentally provided the design inspiration for the Old State Museum. Fig 1.22: Reference materials including books, pamphlets and special publications
  • 34. Chapter 1: Introduction 16 1.8 LITERATURE REVIEW A book borrowed from the University library, describes in detail the typical characteristics of traditional houses in Penang and Northern states. Gifted by Dato’ Wan Samsudin, the chariman of Persatuan Sejarah Kedah, the book contains information on the history of Kedah, and the customs and traditions of the people. A gem found in the University library, the book contains an in depth study of the architectural details and a complete set of measured drawings for Balai Besar, which formed the inspiration for, and greatly influenced the design of the old museum.
  • 35. Chapter 1: Introduction 17 1.9 SIGNIFICANCE OF STUDY Theobjectiveofthemoduleistosparkasenseofappreciationoftheheritage and diversity present in Malaysian architecture, which often times is a direct reflection of the rich history and culture in Malaysia. Built on the foundation of a multicultural society, the architecture in Malaysia benefits from the blend of different styles, sometimes juxtaposing one another to produce a captivating fabric of built environment, which is uniquely Malaysian. The Old State Museum of Kedah is a prime example of this blend, blurring the line between traditional vernacular architecture and the modernist design language. This project is intended to scrutinise and dissect this fusion, in order to create awareness and invoke interest in the study of local historical buildings, with the intention to assist the preservation efforts of the Old State Museum structure, as well as other historical buildings in Kedah and Malaysia.
  • 36. Chapter 1: Introduction 18 1.10 SCOPE The study focuses on the end-to-end measurement of the old building of the Kedah State Museum, situated within the Kedah Museum Complex along Lebuhraya Darul Aman in Alor Setar. Detailed measurement and documentation of the structure were taken within the geographic and historic context of Alor Setar, to ensure that the information collected are substantiated by a solid understanding of its physical and historical background. The Old State Museum building was the original home of the Kedah State Museum, completed in 1961, when artifact collection and preservation efforts began in Kedah in the mid-20th century. Prior to having a purpose-built structure, the artifacts were housed at the Balai Besar, near Dataran Alor Setar. The structure is today the administration office for the Kedah State Museum. Due to the importance of the role it served during its tenure as the home for the state museum, extreme care had to be taken during the study and measurement process, as to not detriment the physical aspects of the structure. Fig 1.23: School boys and girls waiting in line to enter the old museum (c. 1971)
  • 37. Chapter 1: Introduction 19 1.11 LIMITATIONS Distance Distance was a major issue both during the site visit and after the site visit. For example, out of 4 groups that were assigned to a location in Kedah, two groups, including ours were assigned a building that was far from our accommodation, requiring us to commute by bus every day. This was in contrast to the other two groups who had the advantage of walking to their site. The disadvantage of having to commute instead of walking is the time limitation on site. We did not have the freedom to go early in the morning, or stay back late on site to finish our measurements for the day. Instead, our schedule was determined by the schedule of the bus. Another way to define the issue with distance is the proximity of Alor Setar from Kuala Lumpur. As compared to other groups who were assigned to go to Melaka and Kuala Lumpur, we did not have the luxury of going back to the site to take extra measurements or footages. Roof Access During our measurement process, we had trouble getting an accurate measurement of the roof as we were not allowed to access or walk on the tiles. The closest we were able to go was via a crane that limits our movement to take accurate measurements. Lack of Literature Since the old museum building is currently not considered as a heritage building, there is very little quality literature for us to research upon. Most of the information compiled were either via word of mouth, or through old photos and account statements. There was of course the museum library which thankfully had very helpful staff. However, the reading material with regards to the original building of the Kedah State Museum is still lacking.
  • 39. Chapter 2: Historical Background 21 2.1 MALAYSIA, KEDAH AND ALOR SETAR Situated strategically in Southeast Asia, Malaysia benefits from its geographical location in mediating global trade and becoming the melting pot of various cultures. It is a multi-racial country, comprising of diverse ethnic groups that live together in peace and harmony despite having different customs and religions. This multiculturalism has made Malaysia home to a colourful mix of art and architecture. Kedah The early history of Kedah can be derived from various sources, including the prehistoric period from the archaeological site of Bujang Valley, the early Maritime trade of India, Persia, Arabs from the written works of early Chinese traders, as well as the Hikayat Merong Mahawangsa (known as Kedah Annals) from Al-Tarikh Salasilah Negeri Kedah. The recorded history of Kedah often begins with the Kingdom of Bujang Valley, located in central Kedah. This maritime Kingdom was frequently visited by Indian, Persian, Arabs and Chinese traders as far back as the 4th century CE / AD. For many centuries, the Empires of Sri Vijaya, followed by the Cholas, exerted their influence and dominance over this Kingdom. Kedah Peak (Gunung Jerai), at 1217 metres, provided the navigational landmark for ships in the Strait of Malacca. Bujang Valley was a centre of trade for the Malay Peninsular and a transit trading post for ships awaiting the change of currents and monsoon winds in the Indian Ocean. Traders soon propagated Hinduism and their culture, building shrines and temples along the coastal area, which is evident from artefacts found at the valley today. The Kedah Annals tell an interesting tale of the first Kedah ruler, a Hindu known as Merong Mahawangsa. He was the first Maharaja of Kedah. Eight Hindu Maharajas were believed to have ruled Kedah before the ninth maharaja, Phra Ong Mahawangsa, who converted to Islam in 1136. Upon conversion, he subsequently ruled as Sultan Mudzafar Shah (1136 - 1179). The Kedah Sultanate, the oldest monarchy in Malaysia, began with this first sultan and has been hereditarily intact for more than eight centuries until today. The Kedah Sultan is the constitutional head of state and carries out his duties under the advice of the state government. The Kedah government is headed by a Chief Minister (Menteri Besar), selected by the State Assembly (Dewan Undangan Negeri). The State Assembly is formed from representatives elected by the people of the state in their respective constituencies.
  • 40. Chapter 2: Historical Background 22 Fig 2.01: Masjid Zahir at Dataran Alor Setar
  • 41. Chapter 2: Historical Background 23 Today, Kedah is still an agricultural-based economy, with a growing number of small scale industries. The state is currently the largest rice producer in Malaysia. It also grows and manufactures other agricultural products and related industries. Non-agricultural industries, such as high tech manufacturing are mainly based in Kulim and Sungai Petani. The state enjoys a diverse economy comprising mainly of agricultural, manufacturing and tourism. Alor Setar Alor Setar was founded in 1735 by the 19th Sultan of Kedah, Sultan Muhammad Jiwa Zainal Adilin Mu’azzam Shah, and has been the state’s eighth administrative centre since the establishment of the Kedah Sultanate in 1136. The earlier administrative centres were located in Kota Bukit Meriam, Kota Sungai Emas, Kota Siputeh, Kota Naga, Kota Sena, Kota Indera Kayangan and Kota Bukit Pinang. “Alor” or more correctly, “alur” is Malay for a groove, furrow or main stream of a channel. In Tamil “alur” means drain. “Setar” is a tree with small, sour fruit (Bouea macrophylla) also known as either “kundang” or “remia” in Malay. The city has been attacked twice, when Kedah was attacked by the Bugis in 1770 and the Siamese in 1821. Alor Setar was officially granted a city status – the ninth in Malaysia, on 21st December 2003, during which the spelling of its name was temporarily changed from Alor Setar to Alor Star. The proclamation ceremony to declare the Alor Setar a city was held at Dataran Tunku. Fig 2.02: Menara Alor Setar in the city centre
  • 42. Chapter 2: Historical Background 24 2.2 LOCAL CULTURE AND HERITAGE Traditional Clothes The traditional garments of locals in Kedah have significant Thai influence because of its proximity to Thailand. A prime example would be the ‘Baju Kurung Kedah’ which resembles the simple short blouse often worn by women in Thailand. It is noted for being shorter than the common ‘Baju Kurung’ in other parts of Malaysia. It is normally worn with less accessories to achieve a simple look and is considered demure when matched with ‘kain sarong berlipat’. On the other hand, local Malay men would wear ‘Baju Melayu Cekak Musang’ or the ‘Baju Sikap’. The ‘Baju Sikap’ has been worn since 1786, with buttons running down the front up to the waistline. It is paired with pants containing patterns with Chinese-influence and a ‘samping’ - a piece of ornamented cloth tied around the waist. Fig 2.03: Kedah traditional attires, the Baju Melayu Cekak Musang and Baju Kurung Kedah
  • 43. 25 Chapter 2: Historical Background Traditional Dance As one of the oldest civilisations in Malaysia, Kedah has over the years developed its own traditional dance. Dances are usually performed at festivals as entertainment. Traditional Games The Cinta Sayang dance was derived from an original dance called ‘Remembrance of Grace’. It is famous in the state of Kedah and is usually danced historically by fishermen in the West Coast states of Malaysia. Cinta Sayang is a representation of families of fishermen who wish them good fortune at sail and return with big rewards. The fishermen also prayed that their wives will be safe from harm during their absence. Now, the Cinta Sayang dance is a tribute to a laid-back, fun lifestyle and is danced in pairs. “Sepak Bulu Ayam” is a game consisting of a quill shuttlecock which at a glance looks almost like a modern day shuttlecock. This game requires a great amount of dexterity and balance in keeping the quill shuttlecock in the air for as long as possible, with the objective being scoring points. The player has to kick the quill using the inner edge of his heel or toe. In certain situations, players are allowed to receive the quill with their head, chest or knee but not by hand. The player will be forfeited if the quill touches the hand. This game is usually played amongst men. Fig 2.04: Performers performing the Cinta Sayang dance for an event Fig 2.05: Depiction of the game “Sepak Bulu Ayam”
  • 44. 26 2.3 KEDAH HISTORICAL SOCIETY The history of Kedah Historical Society began way back during the establishment of the Malaysian Historical Society in 30th April 1953, 4 years before Malaysia achieved its Independence from the British. The Kedah Historical Society was established as a branch of the Malaysia Historical Society to keep records of historical events in Kedah. The then Vice President of the society, Tunku Nong Tunku Mohd Jiwa suggested the establishment of a historical museum for the state. His suggestion was supported by Mubin Sheppard, the President of Malaysian Historical Society. The Kedah Historical Museum was established on 3rd February 1957. The museum, which was initially located at the ground floor open space of Balai Besar in Alor Setar, was launched by Tan Sri Tunku Ismail Bin Tunku Yahya, the Chief Minister of Kedah at that time. Today, more than 50 years later, the museum has played a huge role in maintaining the heritage and precious treasures of the history of Kedah. Fig 2.06: Logo of the Malaysian Historical Society Chapter 2: Historical Background
  • 45. Chapter 2: Historical Background 27 2.4 MUSEUM OF KEDAH DEVELOPMENT TIMELINE
  • 46. Chapter 2: Historical Background 28 2.5 PURPOSE AND HISTORY OF THE OLD MUSEUM In the early stages of its establishment, a number of issues arose such as the lack of money and space. This hindered the development of museum activities. As the collection of artifacts grew over the years, there were issues with space limitations for large exhibitions, and a storage system that was not purpose-built for the safekeeping of artifacts. This issue prompted the board of the Kedah Historical Museum to find ways to increase the exhibition space. In 1958, a draft for a new structure was submitted to the state government. The board proposed that a new building was necessary. The state government finally agreed to build a new museum on a piece of land owned by the government in Bakar Bata. The design for the new building, which took some cues from the Balai Besar, was put forward by Mr. Sheppard. He had a deep appreciation towards art and history and wanted to pay tribute to the grandeur of Balai Besar in the design of the new museum. Prof V. R. Galea, the architect at Jabatan Kerja Raya Negeri designed according to Mr. Sheppard’s proposal. The front elevation of the new building bears a great resemblance to Balai Besar, with the double-arched staircase converging from both sides, and a lounge verandah or ‘sesayap lelayang’ on both sides of the upper floor. Fig 2.09: School excursion at the old museum (c. 1971) Fig 2.07: Balai Besar in Alor Setar Fig 2.08: The late Tan Sri Mubin Sheppard
  • 47. Chapter 2: Historical Background 29 Kedah Historical Museum officially moved to the new building on December 30, 1961. His Majesty Tunku Sultan Haji Abdul Halim Mu’adzam Shah officiated the exhibition in the new building. In July 1964, the museum had its name changed to the Kedah State Museum. In 1983, under the institution of the State Museum, two new branches were opened; the Kedah Art Gallery and the Royal Museum, both located in the city. For over 50 years, the museum has possessed great heritage and a valuable treasure in the land of Kedah. With overwhelming response from the public and the growing scale of exhibitions, the State Government agreed to build the present Kedah State Museum building in 1997. The building houses exhibition halls, workshops, a library and a mini theater. There are 10 permanent exhibition galleries in the new museum, including dedicated galleries for Culture, History, Nature, Figure, Transportation, Weapons, Manuscript, Textile, Crafts and Arts, as well as Language and Literature. There are also outdoor exhibitions within the museum compound such as the Traditional Houses and the Royal Ark. Fig 2.10: The new building for Kedah State Museum
  • 49. Chapter 3: Architectural Development 31 3.1 SITE CONTEXT Located in Bakar Bata, the Kedah State Museum Complex is approximately 2km away from the town centre. The museum is easily accessible as it sits along Lebuhraya Darul Aman, a major street in Alor Setar. Its location in Bakar Bata grants it a unique setting, whereby it is convenient for the locals to visit, without the hustle and bustle of city traffic. This setting is also symbolic of how the museum functions as the guardian of culture and history, keeping it away from the pressures of modernisation. The complex includes the new museum building, as well as its original two-storey building which now functions as the museum’s administration office and the headquarters for the Kedah Historical Society. Fig 3.01: Location plan of Kedah State Museum Complex
  • 50. Chapter 3: Architectural Development 32 3.1.1 SURROUNDING BUILDINGS Fig 3.02: Site plan with landmarks
  • 51. Chapter 3: Architectural Development 33 Bangunan Persatuan Leong Say Tong Kedah/Perlis Located behind the Malay houses, this building is owned by the Kedah/ Perlis Branch Persatuan Leong Say Tong. It is a function and event space catered to the public. It most commonly hosts Chinese wedding events. Wat Siam Bakar Bata Due to its proximity to Thailand, there are many Thai Buddhist temples in Kedah. However, Wat Siam Bakar Bata is the only temple in Alor Setar. It is located by the Sungai Kedah riverbank, behind the Kedah State Museum. It is also sometimes known as Wat Samosorn Rajanukpradit. Fig 3.03: Entrance to Wat Siam Bakar Bata Fig 3.04: Facade of Bangunan Persatuan Leong Say Tong Kedah/Perlis
  • 52. Chapter 3: Architectural Development 34 Stadium Darul Alam Located along Lebuhraya Darul Aman, Stadium Darul Aman is the state stadium of Kedah and was officially opened by the Sultan of Kedah in 1962 during Malaya’s 1-0 win against South Korea. The multi-purpose, all-seater stadium is currently used mostly for football matches. It can accommodate up to 40,000 spectators at one time after the expansion in 1997, and was chosen as one of the venues for the 1997 FIFA World Youth Championship. It is the official stadium for the Kedah FA. Fig 3.05: Stadium Darul Aman
  • 53. Chapter 3: Architectural Development 35 3.1.2 EXISTING BUILDINGS IN THE SITE COMPOUND All the buildings in the site boundary (Kedah State Museum complex) have strong connections to each other. They all serve the single purpose of preserving and showcasing the cultural heritage of the state to the public. Fig 3.06: Buildings within the museum complex
  • 54. Chapter 3: Architectural Development 36 Kedah State Museum (New State Museum Building) The new building of the Kedah State Museum is located next to the original building. It houses a library, a mini theatre and a series of exhibition halls. Similar to the old building, floor-to-roof high columns, ornamentations and light pink paint are the definitive elements of the building. Administrative Office (Old State Museum Building) The building was built on December 30, 1961 at Lebuhraya Darul Aman, Bakar Bata due to the increase in the number of artifact collections and lack of exhibition and storage space at Balai Besar, where the Kedah Historical Museum was previously located. In 1964, its name was changed to the Kedah State Museum. It now functions as an administration office after the museum moved to its present day location in the new building. Fig 3.07: Entrance to the new museum Fig 3.08: Old museum building, now museum’s administrative office
  • 55. Chapter 3: Architectural Development 37 Pejabat Persatuan Sejarah Malaysia Cawangan Kedah Located right next to the old museum, this building is the administrative office of the Kedah Branch of Persatuan Sejarah Malaysia (also known as the Kedah Historical Society). It is connected to the old museum by a covered pedestrian walkway. Boat Structure Part of the museum exhibition is an outdoor structure which houses a boat that was once used by a Sultan of Kedah. Fig 3.09: Headquarters for the Kedah Historical Society Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the museum
  • 56. Chapter 3: Architectural Development 38 Rumah Tradisional Kampung Sungai Ular, Kulim This traditional Malay kampung house was owned by Encik Saman bin Saad before it was gifted to the authority of the State Museum. It was preserved and used as an exhibition space to display a collection of Kedah cultural artifacts. The artifacts have now been moved into the new museum building, and the house is no longer open for public visits, except for purpose of research. Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah The construction of the house started in 1939 and was completed in 1941. Initially, the house was owned by Haji Abdul Rahman Merbok. He was given the title Dato Mursyid Diraja by KDYMM, Sultan Kedah for his expertise in Islamic Affairs. He used the house as a venue to teach Al-Quran and Islamic studies. The house was gifted to the authority of the Kedah State Museum after the death of the owner. It now functions as a surau which is open for public usage. Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim` Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah
  • 57. Chapter 3: Architectural Development 39 3.2 LANDSCAPE The landscaping within the Kedah State Museum is well designed and maintained. The hardscape elements provide a foundation for the vegetation whilst reducing hazards on site. The softscape elements provide shade and aid in directing breeze to the site, yielding a pleasant and natural experience. Landscaping unites both man-made structures and plants, to create a comfortable and visually-appealing space not just for the visitors, but also for the museum staff and students measuring the Kedah State Museum.
  • 58. Chapter 3: Architectural Development 40 3.2.1 HARDSCAPE Drainage Drainage systems hold an important role in flood control as Malaysia has tropical rainforest climate with high humidity, especially for the Kedah Museum complex which is located next to a river. Different types of drainage can be found within the site boundary, varying from open drain to partially covered drain. The covers are removable for easier maintenance and cleaning. Concrete Pavers Concrete pavers are used in certain parts of the compound to highlight an area that contains a significant structure, and provide an overall pleasing aesthetic to the area. Concrete pavers can be seen applied at the elevated platform facing the old museum’s North elevation which holds a historical war tank. Fig 3.13: Drainage system around the complex Fig 3.14: Concrete pavers used on site
  • 59. Chapter 3: Architectural Development 41 Planter box/retaining walls Planter boxes and retaining walls can be seen widely employed within the site compound to house and sculpt vegetation, providing a pleasant atmosphere for workers and visitors alike. The common material used for the planters is concrete as it is durable and resistant to weathering. Plus, it is impermeable and requires minimum maintenance. Paved walkway The walkway at the corridor of the old museum is covered with textured glazed mosaic tiles arranged in a homogenous pattern. The paved walkway prevents possible hazards such as slipping that might occur due to mud and dust, apart from providing a smooth surface for users to walk on. The colour of the tiles blend in with the aesthetics of the building. Fig 3.15: Planter boxes as part of landscaping Fig 3.16: Blue and pink mosaic tiles at the corridor
  • 60. Chapter 3: Architectural Development 42 3.2.2 SOFTSCAPE Wodyetia Bifurcata The most common plant on the site compound. Commonly known as foxtail palm, the wodyetia bifurcata plant has one of the most spectacular foliage displays of all palms. The pale green arching fronds have leaflets that radiate out at all angles from the leaf stem, thus appearing like a bottlebrush or the tail of a fox. The plant is extremely easy to grow, even small plants and seedlings can tolerate hot, full sun from an early age. It grows rapidly in sunny condition, when water and fertilizer is supplied regularly. Ficus Benjamina This broadleaf evergreen plant is commonly known as the weeping fig. It is native to regions between India and northern Australia, usually seen in round, droopy form with shiny leaves. Weeping fig is a popular plant used for landscaping because of its attractive shape and tolerance to a variety of conditions, from very bright to considerably shady conditions. This plant can be seen everywhere within the site boundary as it is easily grown in Malaysia’s tropical climate and requires very low maintenance. Fig 3.17: Wodyetia Bifurcata Fig 3.18: Ficus Benjamina
  • 61. Chapter 3: Architectural Development 43 Hibiscus The hibiscus is widely grown around the perimeter of the new building of Kedah State Museum as it is the national flower of Malaysia. It is commonly known as the “celebratory flower” in Malay. Also known as Chinese hibiscus or shoe plant, the flowers are large, firm and generally red in its original variant. The color red symbolizes the courage, life, and rapid growth of the nation, and the five petals represent the five Rukun Negara of Malaysia. Ravenala Madagascariensi Commonly planted in an urban setting. Its long stem and deep green leaves resemble banana leaves and extend out from the trunk like the slat pieces of a giant hand fan. Small plants need to be grown in partly shady areas before it can tolerate full sun condition. A mature plant blooms all year round and produces brown fruits that contain light blue seeds. Fig 3.19: Hibiscus Fig 3.20: Ravanela Madagascariensi
  • 62. Chapter 3: Architectural Development 44 Ixora Ixora is a popular flowering shrub widely used in landscaping due to its attractive rounded shape and glossy foliage. It is native to Southern India and Sri Lanka. The plant can be seen everywhere within the site boundary because of its striking appearance of green leaves and scattered red flowers. Fruit Trees Banana and mango trees can be seen around the two Malay traditional houses, as it was planted to accurately recreate the “kampung” setting in which the two houses were originally from. Fig 3.21: Ixora Fig 3.22: Fruit trees on site
  • 63. Chapter 3: Architectural Development 45 3.3 ARCHITECTURAL INFLUENCES Drawing inspiration from Malay traditional houses, the old museum is similar in terms of the building materials, roof style, ornamentations, openings and layout. 3.3.1 MALAY VERNACULAR DESIGN Fig 3.23: Comparison of the old museum with the design of a malay traditional house
  • 64. Chapter 3: Architectural Development 46 Roof Style As a tropical country, Malaysia receives a generous amount of sunlight and rain all year round. The type of roof adapted by the administration office is limas styled roofing, a common roofing structure used in malay vernacular design. Ventilated roof space at the top cools the interior of the house while the large overhangs provide efficient sun shading and reduce traces of rainwater, allowing the windows to be opened for better air flow. Fig 3.24: Large roof overhangs define the vernacular Malay house Fig 3.25: The grand entrance to the old museum
  • 65. Chapter 3: Architectural Development 47 Building Material Typically, Malay traditional houses are built with local natural resources such as timber and rattan. The old museum is mainly made of chengal wood which has low heat absorption capacity to create a cooler interior environment. Chengal wood is also environmentally friendly, durable and can be easily sourced in Malaysia. Ornamentations Ornamentsalongtheextendedframebelowtheroofeavesaredistinctintheold museumbuilding.SimilartovernacularMalayhouses,ornamentationsfeature floral patterns, geometric shapes and exaggerated curvatures. The butterfly and inverted‘S’motifscanbeseenintheformoffiligreefromthefrontandback view of the building, underneath the roof. The decorations are made of steel instead of wood, modified and simplified from the typical vernacular design. Additionally, the facade features wooden panels carved with the inverted letter ‘S’ and painted in light yellow. The letter ‘S’ is used for both wooden and steel ornamentations as is a simple alphabet which offers the most curvature. Construction Parts Types of Wood Structural Cengal, Merbau Damar Laut, Petaling Non-Structural Meranti, Bamboo Roof Nipah, Rumbia, Bertam, Kabong Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom) Fig 3.27: List of timber according to construction parts
  • 66. Chapter 3: Architectural Development 48 Decorative Openings Besides allowing ventilation into the interior spaces of the house, windows also serve another purpose in Malay vernacular architecture. Some windows in Malay houses have intricate wood ornamentations carved open at all times for ventilation and decorative purposes. On the first floor of the office, a series of metal artworks are displayed, showing the cultural activities of the locals. Initially, they serve as natural ventilation openings but they have since been sealed after the installation of air conditioning inside the building. Building Layout The open plan layout is common in Malay vernacular houses. Similar to the dwellings, the open plan of the administration office promotes air movement whilst creating an impression of spaciousness in the interior. The elongated layout also eases the circulation within the building, as it was once used as an exhibition space, which receives large numbers of visitors daily. Today, the absence of walls or fixed partitions allow better communication between office workers, creating a friendly workspace that could lead to an improved working environment. Fig 3.28: Comparison of decorative openings between traditional Malay house and the old museum Fig 3.29: Comparison of building layout between traditional Malay house and the old museum
  • 67. Chapter 3: Architectural Development 49 3.3.2 COLONIAL ARCHITECTURE The old museum building was designed as an homage to Balai Besar, which exhibits a fusion of colonial and traditional architecture. The colonial influences in Balai Besar, in particular the ground floor level, was carried over intothedesignoftheoldmuseumbuilding,albeitwithsignificantsimplication. The most obvious reference to colonial architecture is the arched wooden panels which act as a shading device for the building. These panels are installed along the collonade-corridor on the ground floor of the building, which in itself is another influence from colonial-styled architecture. Another notable element derived from colonialist architecture would be the wooden louvered windows, which were the common window design in colonial buildings in pre-Independent Malaya and Singapore. Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia Fig 3.31: Influence of colonial styled architecture on the arched shading devices
  • 68. Chapter 3: Architectural Development 50 3.3.3 MODERNIST INFLUENCES The old museum is a fusion of the Malay vernacular style with modernist principles of architecture. On top of having design similarities with Malay traditional houses, the design follows the 5 Principles of Architecture as set out by Modernism pioneer Le Corbusier. For example, the building has an open floor plan where interior spaces are divided by movable partitions instead of structural walls. Although this design choice relates more on the function of the interior space, it also validates Corbusier’s first principle, the free plan, which is the absence of supporting walls to allow the flexible usage of interior spaces. The principle liberates the plan from construction restrictions. Fig 3.32: Open floor plan for the interior space, segmented by movable partitions Fig 3.33: Example of an open floor plan, Villa Savoye by Le Corbusier
  • 69. Chapter 3: Architectural Development 51 The design of the building also adheres to the other 3 points: 1. The use of pilotis to replace load-bearing walls via a grid of reinforced columns that bear the structural load. According to Le Corbusier via his prototype the Dom-Ino House, this is the basis of the new aesthetic. 2. The free facade. Walls are relieved off of their structural role, allowing freedom in the design of spaces and a fluid transition between interior and exterior spaces. 3. The horizontal “ribbon” window that runs the length of the facade, which takes advantage of the second point mentioned above. This design approach once again blurs the boundaries between interior and exterior, apart from allowing better fenestration into the interior spaces. Aside from than butterfly and the inverted ‘S’ patterns, simple geometrical motifs are applied to the window and door grills, which is influenced by the cleanliness and efficiency of Modernism. Fig 3.34: Pilotis at the corridor Fig 3.35: The free facade Fig 3.36: Modernist motifs at the windows and entrance of the old museum
  • 70. Chapter 3: Architectural Development 52 3.3.4 SIAMESE INFLUENCES As the design of the Balai Besar was influenced, to a certain degree, by Siamese architecture, these subtle influences were naturally passed down to the design of the old museum building. Accordingtohistoricalrecords,SultanMuhammadJiwaoftentookinspiration from the building designs in Thailand (formerly the Kingdom of Siam) whilst roaming the Malay Archipelago. These design ideas were translated, with local flavour, into the designs of royal buildings such as the Balai Besar and Balai Nobat. They were then carried on to newer buildings, and are today widely regarded by locals as being part of the identity of Kedah. Fig 3.37: Roof overhang ornamentations in Thai architecture Fig 3.38: Wooden overhang ornamentation on the roof of the old museum
  • 71. Chapter 3: Architectural Development 53 3.4 REFURBISHMENT INTO ADMINISTRATION OFFICE The new museum building, situated next to the original, was completed in 2001 to house the growing number of museum exhibits. The original building was then transformed into the administration office for the museum, necessitating minor refurbishment of the interior spaces. A notable addition to the interior is the use of partitions to define working spaces for officers. Two cubicles were built on the ground floor and one on the first floor to accommodate the working spaces for higher-ranking officers. The wooden exhibition panels which were installed originally to display museum exhibits on the first floor were preserved and now act as a divider between working spaces and the pantry. The windows on the ground floor were sealed with plywood following the installation of air-conditioning units. Fig 3.39: The old museum in its heyday Fig 3.40: The old museum today
  • 73. Chapter 4: Design Concept 55 4.1 FORM The Old State Museum of Kedah is a double-storey museum with a simple rectangular form constructed of mainly timber with a concrete base. The design of the building projects an overall traditional feel, which jives well with its function as a place for the safekeeping of the culture and history of Kedah. Linearity The old museum’s open, rectangular form is a direct response to the economics and practicality of fulfilling its original function as a museum. A museum typically requires large open spaces for exhibition of artifacts and a linear circulation for visual clarity. This is aside from the fact that the rectangular form was the most economical, as it conserves space whilst still providing a large floor area. The practical and economic approach of dictating the form has a lot to do with the influence of modernist architecture back in 1960s Malaya, a nation still in search of its true identity, free from the influence of its colonial past. Fig 4.01: The team arriving at the measurement site
  • 74. Chapter 4: Design Concept 56 Vernacular Malay Architecture The rectangular form was then developed further with the influence of vernacular Malay architecture. The upper floor verandahs on both sides of the building and the gabled roof “bumbung limas” design was a direct infusion of the Malay traditional architecture, inspired by the roof of the ‘Gajah Menyusu’ house commonly found in the northern states of Malaysia. These elements all adhere to three main design approaches, which are symmetry, repetition and juxtaposition. Fig 4.02: Example of the ‘Gajah Menyusu’ house Fig 4.03: Adaptation of the Malay vernacular roof by the old museum building
  • 75. Chapter 4: Design Concept 57 4.1.1 SYMMETRY The building’s facade and plan is symmetrical, which yields a sense of balance that creates harmony and order in an aesthetically pleasing design. The old museum was built via symmetrical halves and is the most noticeable characteristic of the building. By having a symmetrical form, the museum benefits from the predictability in terms of spatial order and circulation, which is crucial in a building designed for the public. Philosophically, the symmetrical design demonstrates dependability. This interpretation relates to the function and responsibility of the museum, as a balanced and dependable source of historical records and the guardian of the local culture and heritage. Physically, the implementation of this characteristic can be seen in both wings, facade, the number of columns on both sides, as well as the grand staircase, which is a double staircase that converges at the landing in the middle. The corridor and the verandah above, flanking the main rectangular space, exaggerates the symmetry to highlight the idea of balance even more. The only asymmetrical aspect of the building can be observed in the placement of the ground floor entrance on the North elevation instead of at the centre of the front portico. Fig 4.04: Front portico of the old museum Fig 4.05: East elevation showing evidence of symmetry
  • 76. Chapter 4: Design Concept 58 4.1.2 REPETITION Another obvious design technique implemented in the design development of the old museum is repetition. Apart from having a symmetrical form, repetitive elements in the building provide a harmonious rhythm that communicates the idea of movement. This can be seen in the repetition of columns along the corridor to promote exterior circulation around the building. Aside from the columns, other examples of repetitive elements include the windows that run along both the North and South facade, the exterior wall ornaments, and the floor tiles. Repeated use of shape, colour and other artistic elements in the design of a building can also help in unifying different parts of the building to form a robust design. Minimal repetition is sufficient to create a visual echo to highlight certain aspects the building. Fig 4.06: Building columns being repeated along the corridor Fig 4.07: North elevation showing repetition of elements in the building
  • 77. Chapter 4: Design Concept 59 4.1.3 JUXTAPOSITION The juxtaposition of opposing design elements can produce a striking visual impact. Formally, juxtaposition describes the placing of two elements that may or may not occur naturally together in close proximity. Juxtaposition can be applied in terms of material, colour, shape or even spaces. In the case of the old museum building, it can be observed that juxtaposition occurs in the following: 1. Material change from concrete walls on the ground floor to timber walls on the first floor. 2. Avernacularexteriorwithornamentationsonthewalls,theroofoverhang and portico frieze contrasted by a bare and simple interior space, especially the ground floor level, which is devoid of any ornamentations. The above applications of juxtaposition help in defining different spaces in the building, between interior and exterior as well as between the ground floor and upper floor via the sudden change in materiality and the level of ornateness of the spaces. Fig 4.08: Contrast in materiality between the ground floor and the first floor
  • 78. Chapter 4: Design Concept 60 4.1.4 SCALE The old museum welcomes visitors with a grand portico with a double volume height that spans two floors. The ceiling is supported by 8 columns and is a direct mimicry of Balai Besar’s main entrance. The high ceiling tweaks the architectural scale of the building, by giving the main entrance an impression of grandiosity. This implementation of scale can be traced back to Greek and Roman architecture, which makes use of solid columns to support a double volume grand portico. It is widely acknowledged that the use of colonnades and grand porticos of immense scale could represent trust and stability, which explains the adaptation of columns and pediments in the design decision for government buildings around the world. In the case of the old museum building, the adaptation of scale sends the message of trust, as the museum is responsible for the safekeeping of Kedah’s historical treasures. Fig 4.09: The scale of the front portico evokes a sense of grandeur
  • 79. Chapter 4: Design Concept 61 4.2 SPATIAL PLANNING As with most public buildings built in the 60s, the old museum was built with an open, fluid floor plan to give it flexibility in terms of functionality. Similar types of floor plan can be seen in government offices as they attempt to apply one of the tenets of modernism, which is the free designing of the floor plan, unencumbered by the restrictions of load bearing walls. This elegant approach to designing spaces is both economical and practical, which is crucial for a young nation like Malaya following its independence.
  • 80. Chapter 4: Design Concept 62 4.2.1 ENTRANCE AND APPROACH The old museum replicates the grand double-staircase of Balai Besar. The grand staircase, coupled with the double volume portico emanate a warm welcoming feeling to visitors as they approach the building. The landing area that connects the double staircase adds a node in the movement of visitors into the upper floor. This node allows visitors to pause and appreciate the surrounding context prior to entering into an enclosed space inside the museum. In terms of entry and exit, the circulation of the building is unique whereby the two floors are only connected via the grand staircase externally. This internal disconnect between the two floors is most likely due to the separation of functions originally, when the bottom floor functioned as an exhibition space and the top floor functioned as a library when the building was first opened. Fig 4.10: The double staircase at the entrance of Balai Besar Fig 4.11: The double staircase at the entrance of the old museum
  • 81. Chapter 4: Design Concept 63 4.2.2 SPATIAL ORGANISATION Extra focus was given to the spatial planning of the old museum building for practical reasons. Built mainly as an exhibition space, the building must be able to accommodate large number of exhibits that vary in their sizes, whilst still allowing comfortable roaming and standing areas for museum visitors. Its open rectangular form grants the ability to have a linear open floor plan. An open plan allows the freedom to manouver the movement of visitors to suit a specific type of exhibition that is being hosted, whilst a linear circulation simplifies the organisation of exhibition space. A linear organization consists essentially of a series of spaces or objects. These spaces can be directly related to one another or linked through a separate and distinct space. Spaces that are functionally or symbolically important to the organization can occur anywhere along the linear sequence and their importance articulated by size and form. In the case of the old museum building, it’s spatial planning also benefited its new tenants when it was converted into an office space, as setting up working areas are as simple as installing partitions, permanent or temporary, to define new boundaries within the large open floor plan. Fig 4.12: The linear open plan of both ground floor (top) and first floor (bottom) of the museum
  • 82. Chapter 4: Design Concept 64 4.2.3 RESPONSE TO CONTEXT Given Malaysia’s hot and humid climate, certain aspects of the design had to respond directly to the demands of the climatic characteristics of a tropical country. The original design makes use of natural ventilation techniques such as having huge window openings and the implementation of a pitched roof. A pitched roof, specifically the “Bumbung Limas” type for the old museum helps in allowing stack ventilation inside the building. Stack ventilation begins with the creation of a buffer space in the roof for hot air to rise up. The upward movement of hot air into the roof leaves a void below it, which naturally pulls in cooler air and wind from the outside through the huge window openings. This creates a passively ventilated interior that requires very little need for active ventilation. In order to take advantage of passive ventilation, the roof was designed based on the study of temperature, humidity, atmospheric pressure, wind rose, rainfall and other elements that relate to the weather in Malaysia. The “Bumbung Limas”, by design, already takes into account all aspects of Malaysian climate. However, passive ventilation had been abandoned by the building, in favour of air conditioning, when it was refurbished to become an office in 2001. Fig 4.13: The museum’s application of a pitched roof to combat local weather Fig 4.14: Diagram demonstrating stack ventilation inside the building
  • 83. Chapter 4: Design Concept 65 4.3 SYMBOLISM The Old State Museum of Kedah was designed with influences of Malay vernacular architecture. Naturally, it contains various symbolisms scattered around the exterior and to a smaller degree, the interior. Symbolism is embedded deep into the art and architecture of the locals, as evidenced by the intricate wooden carvings in traditional Malay houses. The ornamental carvings in traditional Malay houses commonly represent floral motifs and geometrical shapes. In the case of the old museum, symbolism is present in the metal friezes of the portico, the walls of the verandah, as well as the ventilation openings inside the building. Some of the symbols used include the wings of a butterly, as well as the inverted S-shaped carving, which runs alongside both elevations. The inverted ‘S’ motifs are made of steel are modified and simplified from the typical vernacular design. Similar ‘S’ motifs are used for both the wooden and steel ornamentation at the building as it is simple and answers to both traditional and modern architecture styles. Fig 4.15: Ornamentation at the front portico Fig 4.16: Inverted ‘S’ motifs around the building
  • 84. Chapter 5 Details and Ornamentations
  • 85. Chapter 5: Details and Ornamentations 67 5.1 COLUMNS A total of 24 columns surround the exterior of the building. There are 8 columns on each side of the building holding up the verandahs, while 8 taller columns are situated at the grand entrance of the building, supporting the portico. The columns, being simple and bare in design, portray the modernist influence as mentioned. The shaft and base are cylindrical, with the base being slightly larger in diameter as it forms a solid foundation to support the columns that span two storeys. They sit firmly on a rectangular pedestal. The columns are identical and repeat throughout the building, varying only in height between the portico and the corridor. Fig 5.01: Condition of columns around the old museum building
  • 86. Chapter 5: Details and Ornamentations 68 5.2 DOORS The building is accessible through three entrances - one on the first floor and two on the ground floor. The main entrance is located on the first floor at the front of the building. It is protected by a glass sliding door and a sliding metal grille in front of it. The metal grille consists of simple repetitive patterns, a significant modernist phiolosophy. Similar subtle modernist characteristics can be seen at different parts of the building such as the metal ornamentation on the edge of the roof, signalling the infusion of modern and vernacular architecture. The entrance to the office on the ground floor is located at the north elevation of the building. It is less noticeable and less inviting compared to the main entrance. The entrance consists of a double leaf wooden panel door with 8 panels on one side and four on the other. The top half of the panels are replaced with tinted windows allowing users to look in, however still creating a sense of privacy for the workers in the office. The door is sealed with a two piece handle and an extra lock underneath it. Fig 5.02: Entrance to the first floor, accessible via the grand double staircase Fig 5.03: Entrance to the office on the ground floor Fig 5.04: Close up of door handle
  • 87. Chapter 5: Details and Ornamentations 69 5.3 WINDOWS Rows of windows are decked along each elevation of the building. As the usage of electricity was not common in the past, windows were used abundantly to provide ample sunlight and ventilation. The majority of windows used are louvered windows, with the windows on the upper floor made of glass sheets and the windows on the ground floor made of timber. However, the ground floor windows are now completely sealed due to the installation of air-conditioning in the building, which has also affected the amount of fenestration. Therefore the interiors are now lit with artificial lighting. Fig 5.05: Louvered ‘Jalousie’ windows along the facade Fig 5.06: Wooden louvered windows on the ground floor contrasts the glass louvered windows on the first floor
  • 88. Chapter 5: Details and Ornamentations 70 The interior on the first floor is lit by glass louvered windows, also known as “Jalousie Windows” on the upper half of the wall, though minimum. It is generally dark with slight fenestration, hence artificial lighting is needed. Some windows are merely an opening with steel ornamentation, but are also now covered and sealed from the inside. The windows of the area connecting the main building to the toilet building are Casement Windows with Fixed Clerestory above it, a sudden change from the other traditionally designed windows in the building. Fig 5.07: First floor fenestration via the glass louvered windows Fig 5.08: Ground floor windows are now sealed from inside Fig 5.09: Tinted casement windows replacing the original louvered windows
  • 89. Chapter 5: Details and Ornamentations 71 5.4 CEILING 5.5 LIGHTING Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building. Fluorescent lights are used in the interiors of the building. There are more lights used in the ground floor than the first floor because windows are not present on the ground floor. Rectangular two-pieced lights are used on the ground floor while tube lights are used on the first floor.
  • 90. Chapter 5: Details and Ornamentations 72 5.6 WOODEN CARVINGS Fig 5.11: As wood carvings are common in traditional Malay architecture, they are used abundantly in the design of this building. They can be found below windows and roofs. Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outward from the middle to create a star-like shape Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar “inverted-S” patterns as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the eye.
  • 91. Chapter 5: Details and Ornamentations 73 5.7 BRONZE METALWORK Rows of ventilation openings are decked as clerestory below the roof on the North and South elevations of the building. As usage of electricity was not as common in the past, these open clerestories of bronze metalwork were used abundantly to bring in cool air from the outside. Fig 5.14: Bronze metal art work on the first floor Fig 5.15: Close up of bronze metal art work
  • 92. Chapter 5: Details and Ornamentations 74 Rubber tapping and agricultural activities are common ways the locals make a living in the past. These activities are represented in the bronze metalwork ornamentations: Fig 5.16: Rubber tappers collecting latex Fig 5.17: Farmers harvesting on paddy field Fig 5.18: Farmers ploughing the land with a bull Fig 5.20: Multiculturalism in Malaysia Fig 5.19: Locals pounding rice the traditional way Fig 5.21: Traditional activities of the locals
  • 93. Chapter 5: Details and Ornamentations 75 5.8 PORTICO ORNAMENTATION These ornamentations can be seen below the roof of the portico. They are intricate in design and are made of iron. These patterns, again, invokes a modernist feel in terms of its abstraction. The ornaments are portrayals of flora and fauna. The top and bottom rows are made up of representations of a butterfly, whereas the middle row represents a series of floral patterns. These ornaments are painted to avoid corrosion to the iron as they are placed outside the building, exposed to rain and moisture in the air. Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico Fig 5.23: Application of the ornamentation on a triangular window
  • 95. Chapter 6: Materials 77 6.1 STRUCTURAL MATERIALS 6.1.1 CHENGAL TIMBER Themainstructureofthebuildingisconstructed of chengal hardwood timber. This species of timber was used in the construction of the old museum due to its strength and resistance against termites. Native to the region, this heavy duty tropical hardwood can withstand the local climate and temperature, typically unaffected by the volatile changes between wet and dry seasons in the country. This highly durable wood is painted for both longevity and aesthetic purposes. The coat of paint gives the building a traditional yet welcoming look, embracing the essence of the Malay traditional house. Other than that, the gap between the timber joist floor on the second floor and timber structure rafter acts as a channel for natural air ventilation. Fig 6.01: Building elements made out of Chengal at the front portico
  • 96. Chapter 6: Materials 78 6.1.2 REINFORCED CONCRETE The 460mm x 460mm reinforced concrete footing is made up of concrete with steel mesh. Other than acting as a support for the columns and holding up the foundation from any kinds of settlement, its main function is to stabilise the whole structure as it is able to withstand the compressive load from the verandah above. The embedded columns for the ground floor are also made of reinforced concrete. Its compressive strength allows it to hold up the floor above it, as the vertical load is transferred from the upper floor beams to the columns and down into the foundation of the building. Reinforced concrete is also fire resistant and durable, resistant against the changes in weather, which is suitable for use in a tropical climate. The decision to use reinforced concrete for the construction of the ground floor was possibly due to the design decision of emulating Balai Besar’s load- bearing masonry base. However, it has served the construction well for decades as it increases the load capacity of the upper floor, which now houses dozens of heavy filing cabinets ever since the building was turned into an office. Fig 6.02: Reinforced concrete column and footing Fig 6.03: View of reinforced concrete columns from the corridor
  • 97. Chapter 6: Materials 79 6.2 NON-STRUCTURAL MATERIALS 6.2.1 BRICK WALL Due to the skeletal construction of the building, the exterior wall of the ground floor merely acts as a skin to separate interior and exterior spaces. It does not bear any load, and is constructed of bricks that complement the timber collonade and the reinforced concrete structural frame. Bricks are fire resistant and does not rot. Therefore, maintenance costs has been relatively low. Another benefit of using bricks is its acoustic insulation quality, creating a more quiet and comfortable space for the users inside the building. Fig 6.04: Brick walls on the ground floor
  • 98. Chapter 6: Materials 80 6.2.2 GLASS Clear Glass Clearglassisutilisedasthematerialforinteriorpartitionwindowsanddisplay cases in the upper floor of the old museum due to its high transparency and clarity. The display wall with the clear glass encasement was previously used as a wall exhibition space to allow visitors to have a more intimate visual interaction with the exhibits. These exhibition panels are still preserved today even after the space has been transformed into an office. Clear glass is now used as as an element of the newly erected office partition walls, placed approximately 1 metre above floor level to allow unobstructed views inside the enclosed office cubicles. Fig 6.05: Museum display cases made of clear glass Fig 6.06: Office partition walls made of clear glass
  • 99. Chapter 6: Materials 81 Tinted Glass Tinted glass is mostly used together with new replacement windows or doors in the building, including the casement windows on the bridge connecting the main building to the bathroom at the back of the old museum, and the entrance to the offices. A thin film lines the interior glass surface to partially restrict the penetration of light. It blocks the blazing sun rays to regulate the temperature inside and provides a comfortable working environment. Fig 6.07: East elevation tinted glass door Fig 6.08: East elevation tinted glass casement windows Fig 6.09: Tinted glass office partition wall
  • 100. Chapter 6: Materials 82 Frosted Glass Frosted glass is produced by acid etching or sandblasting a clear sheet glass. It is widely used in the building to allow controlled fenestration to the interior spaces. The application of frosted glass in the building is to ensure visual privacy by blurring images with its textures while still allowing a limited amount of light. Fig 6.10: Texture of frosted glass Fig 6.11: Application of frosted glass Fig 6.12: First floor louvered windows made of frosted glass
  • 101. Chapter 6: Materials 83 6.2.3 WOOD Nyatoh and Meranti These variants are used in the partition walls, wooden doors and the ground floor louvered windows of the building. Nyatoh and Meranti are hardwood that are high in workability and are able to withstand staining. Their reddish brown color and straight, shallowly interlocking fine grain provide a pleasing aesthetic for the interior. Due to their low resistance towards termite attack, they are to be periodically polished to improve its durability and quality. Fig 6.13: Timber door and timber partition wall at the interior Fig 6.14: Nyatoh and meranti building elements at the front portico
  • 102. Chapter 6: Materials 84 6.2.4 METAL Iron Iron is used for the ornamentations at the exterior of the building and the handrail ornamentations on the grand staircase. It is composed of iron, silicon and a bit of carbon, a corrosion prone element. Therefore, they are painted to increase resistance towards corrosion and improve the aesthetic quality. The advantage of iron is significant in this building as its high flexibility allows it to be bent for ornamentations, creating smooth curves and organic shapes for the iron work. Fig 6.15: Iron work ornamentation at the portico Fig 6.16: Close up of iron work ornamentation Fig 6.17: Application on the window grille Fig 6.18: Staircase balusters made out of iron Fig 6.19: Barrell lock made out of iron
  • 103. Chapter 6: Materials 85 Aluminium Aluminium is used as window frames and mullions in the interior and the exterior of the building. It is composed of copper, manganese, magnesium, silicon, tin and zinc, which gives it its unique quality of being lightweight and extremely durable at the same time. It is waterproof and corrosion resistant. Hence, it is able to withstand heavy rainfall and humidity. Aluminium is also known for its quality of partially reflecting heat and light, which complements the application of tinted glass to block the penetration of the blazing afternoon heat and sun. Fig 6.20: Tinted window with aluminium frame Fig 6.21: Close up of frosted glass windows with aluminium mullion
  • 104. Chapter 6: Materials 86 Bronze Bronze is used for the metal artwork ornamentation for the interior of the building. Bronze is composed mainly of copper, aluminium, nickel, zinc and manganese. The composition makes it a strong metal with high durability and ductility properties, allowing it to be welded for the production of the bronze artwork on the interior ventilation openings. It is resistant to corrosion, thereby ensuring the longevity of the bronze artwork in the building. Fig 6.22: A row of bronze artworks in the first floor as part of interior decoration
  • 105. Chapter 6: Materials 87 6.2.5 CONCRETE Concrete The exterior flooring is made out of concrete. It has high compressive strength and is durable against weathering. Instead of being furnished with mosaic tiles, it is left bare to provide a natural, slightly brutalist look for the exterior of the building, exposing the concrete which juxtaposes the colored mosaic tiles. The drainage of the building is also constructed of concrete, mainly due to its high tolerance to dirt and durability. The grand staircase is constructed of reinforced concrete to withstand the weight of the users, especially when receiving large number of visitors in its heyday as a museum. Its durability allows the concrete staircase, which is placed outside the building, to withstand extreme weather conditions. Another advantage of reinforced concrete is its ability to be poured and molded into virtually any form, allowing the construction of the arched double-staircase. Fig 6.23: Reinforced concrete double staircase Fig 6.25: Concrete flooring with mosaic tiles Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer Fig 6.26: Concrete drainage
  • 106. Chapter 6: Materials 88 6.2.6 PLASTER Plaster is used as a protective and sometimes decorative layer on walls. It is used exclusively in the interior of the building as it is highly sensitive to moisture, and can easily warp should it not be properly protected. Its unique quality includes the ability to insulate sound. This makes it an ideal material for use in the partition walls of the office to keep noise levels at a minimum. It is also fire resistant, which indirectly increases the fire safety in the interior spaces.
  • 107. Chapter 6: Materials 89 6.3 FLOOR COVERING & FINISHING 6.3.1 EXTERIOR FINISHES Unglazed Ceramic Mosaic Tiles ‘Pebble Washed’ Blue and pink mosaic tiles are used as the exterior floor finish around the perimeter of the building. This type of mosaic tiling is suitable for outdoor use as it is durable and could withstand exposure to intense sunlight and the acidity in rain water. It provides texture and friction to the concrete floor to prevent slips. Mosaic tiles are easy to maintain, which makes it an economical material in the long run. Fig 6.27: Unglazed ceramic mosaic tiles Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridorFig 6.28: Ground floor plan showing the usage of unglazed ceramic mosaic tiles
  • 108. Chapter 6: Materials 90 Paint Paint is applied to act as a protective and decorative layer on the building to protect the wall and other building components against harsh environmental conditions. It prolongs the longevity of the construction materials that are prone to deterioration via rotting or oxidisation such as timber and mild steel in the building. Mild steel is susceptible to oxidisation, whereas timber should be protected from moisture and are vulnerable to termite attack. The application of paint coating on these materials are therefore necessary. Paint coating will gradually peel over the years and would require periodic reapplication. The building has been repainted a number of times over the years, and have received different colour treatments with each reapplication. The present-day colour of the coating is cream as the base colour, with light pink applied to certain parts of the building that need accentuation. Fig 6.30: Layers of paint coating accumulated over the years Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions
  • 109. Chapter 6: Materials 91 Clay Roof Tiles Clay roof tiles are used as the roofing material, well-known for its durability and aesthetic value. Its high thermal capacity and reflective properties complement the pitched roof structure to create an effective cooling system via passive stack ventilation. Clay roof tiles are strong enough to withstand extreme weather conditions, protecting the internal timber rafters from exposure to the sun and rain. Clay tiles are not susceptible to corrosion and does not expand or shrink under extreme temperatures. Therefore, it is a long lasting material, suitable for the humid Malaysian weather. The vintage Hacienda clay tiles create a mix of rough and delicate textures, emulating the roof style of vernacular Malay architecture. Fig 6.32: Roof coverings made of clay roof tiles Fig 6.33: Texture of clay roof tiles
  • 110. Chapter 6: Materials 92 6.3.2 INTERIOR FINISHES Unglazed Ceramic Mosaic Tiles Similar to the exterior floor finish, the interior floor is also finished with unglazed ceramic mosaic tiles. However, certain parts of the interior floor is finished with a darker tone of blue that highlights the structural points of the building. The colour variation in the tiling separates the interior space into distinct areas, helping with circulation and spatial organization. Fig 6.34: Ground floor plan showing the usage of unglazed ceramic mosaic tiles Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles
  • 111. Chapter 6: Materials 93 Carpet The upper floor is completely carpeted, covering the original timber flooring. Carpets are effective in acoustic insulation and can be easily replaced should the need arise. The carpet also hides the gaps in the timber flooring planks, giving the floor a seamless appearance. Thetimberflooringofthefirstfloorwasfirstcoveredwithcarpettopreventthe leakage of cool air when the building was first installed with air-conditioning. It is therefore not a permanent fixture to the flooring, making it easy to be removed and cleaned. Presently, the upper floor has a blue-coloured carpeting that spans the entire floor, including within the office cubicles. Fig 6.36: First floor plan showing areas covered by carpet Fig 6.37: First floor interior caarpet flooring
  • 113. Chapter 7: Construction Details 95 7.1 TIMBER COLONNADE The timber colonnade acts as the main supporting structure for the whole building, distributing lateral and vertical loads from the timber roof rafters, as well as live and dead loads from upper floor downwards into the foundation. The construction of the collonades’ reinforced base and footing begins with the creation of the formwork. Concrete mixture is then poured into the formwork and vibrated to ensure the release of any air bubbles which may cause defects to the concrete. This is then followed by the placement of the 230mm diameter timber column which caps the base of the colonnade and spans its length up across two floors. The base and footing act as a supportive and protective layer to increase stability by anchoring the columns to the ground. It also prevents the timber column from being placed directly inside the ground which contains moisture and may affect the integrity of the column. Once construction is complete, plaster and paint is then applied to the timber colonnade to create a sturdy look and improve its resistance against termites and humidity. Fig 7.01: Ground floor plan showing the location of timber colonnades Fig 7.02: Timber colonnades at the corridor