2. 1857
- Kuala Lumpur was founded by Raja Abdullah during the search of new tin mining areas.
- At this time, the river was the nucleus of the city and plays a very important riole in the
development of KL city
- This can be seen clearly in the early settlements.
1880
- The Chinese settlement concentrated to the south near Petaling Street.
- The Chinese, linked their houses along like a street system on the ground with a narrow street in
between (urban grain)
- course in the 1890’s, few other public places were built in Kuala Lumpur. All were created to cater the needs
of the British and the growing numbers of residents in Kuala Lumpur which acted as administrative and one
of the largest commercial hub.
- the west bank of Klang River became the settlement for the new British residency and
administration buildings.
1895
- By 1895, the area on the east bank of the river had become almost fully developed and started to
expand to the north
1930
- the industry was halted due to the world economic crisis and by the Pacific War
1937
- Central market was erected replacing the previous old market with the same double frontage
- After the war, as there were great increases in population, so was the building expansion along
and in between the two rivers
Present
- The 1980s, 1990s and 2000s saw the mushrooming of highrises in Kuala Lumpur many of which
were also located at the waterfront area. LRT stations were also built as the construction of the
LRT tracks were taking place.
- Tourism
MORPHOLOGY
3. FIGURE GROUND
Separated by the river in between, the urban grain
shows a distinct difference between the east and
west side.
The urban grain is greatly influenced by the
culture of the settlements on boths side
Fine Urban Grain
Course Urban Grain
Hutong,
China
Letchworth,
England
4. BUILDING TYPOLOGY
BANK & OFFICES
RELIGIOUS BUILDINGS
ADMINISTRATION BUILDINGS
ARTS & CRAFTS
MIXED-USE (COMMERCIAL)
- The distinct diff function of both sides
continues until today
- The east side is more commercialized
and packed (culture)
- The west side is less robust and less
commercial , mostly architecture
6. EDGES
○ The main edges are the river and the
main road, Jalan Tun Tan Cheng Lock
○ The river separates the two districts
into two different entities in terms of
culture and urban grain.
○ The main road separates our site of
one entity into two parts
8. TIME INTENSITY DESTINATION INTENSITY DESTINATION INTENSITY DESTINATION ANALYSIS
Medium Medium Less
Medium High High
Less High High
- Mostly workers
- Motion with destination
- Vendor opening stalls
- Tourist spot not open, tour
around non buildings
Restaurant
Short Leisure
Home
Leisure
Workplace
vendors
Workplace
Vendors
restaurant
Workplace
Vendors
Restaurant
Home
Riverfront
around
Tourist spots
restaurants
Tourist spots
streets
restaurants
Workplace
Offices
- Mostly lunch time
- Most tourists start to
assemble
- Tourist spot open
- Vendors start work
- To night life
- Kasturi walk close
- Assemble at petaling
street
- White collars go home /
leisure
- Vendor continue work
7am
12pm
6pm
USER INTENSITY
9. Users have no emotional attachments to site
Most of them are business orientated activities.
11. - Streetlife - activates the
Alleyways around it
- Which then flows into the
secondary road (activities) (vice
versa)
- Then the main road is the main
circulation that brings them to
site
Analysis
- The circulations are
connected rom inside
out
12. LANDMARK
- The circulation around the site
is also greatly defined by the
destination of users
- Its normally the landmarks that
affect the most
- As the most users are tourists
and outsiders
- And commercial activities
(vendors)
Arts and crafts
Administration
Religious Buildings
Streets
13. Streets
Alleyway
Public realm
Entrance statement
- Street life
- Flow from one to another
- Connection
The street life is the main core of the city
It gives life to the site
It shows another personality of the site other than the
glamorous architecture and commercialized arts and
buildings, it shows the humble and local side of pasar seni.
Its like how pasar seni has a hidden side open to its own
people.
ANALYSIS
14.
15. ALLEYWAY
ENTRANCE
ENTRANCE ENTRANCE
ENTRANCESin Sze Si Ya
Temple
Jalan Tun HS Lee
The hidden life of the locals
The exploration of the street life opens up
another realm from the entrance statement,
the body, and the exit
The small / unobvious entrance statement
brings you into another inner realm of the site
and they are interconnected with other
streets / alleyway as well.
16. PUBLIC REALM
- Creates a pause amidst robustness
- A connecting point from one space to another
- The connection between the street life and public
space can be a potential to create more
opportunities
Underneath the LRT trailPublic space that connects
both sides of shop lots
Pedestrian bridge
18. INGRESS / EGRESS
Vehicular and Pedestrian
Pedestrian Only
- There are 4 sides of ingress and
egress on site.
- Each has different characteristics
1
3
2
4
19. Vehicular and Pedestrian
Pedestrian Only
- The main circulation that
branches out into pedestrian only
paths are the road on the frontage
- It provides vehicular and
pedestrian access
- At the same time,it cuts the site
into two sides
PATH
20. USER INTENSITY
1
3
2
4
1 MediumMain Road
2 Riverfront
3 Kasturi Walk
4 Acess
HighHigh
Medium MediumLess
Less HighHigh
Potential PotentialPotential
1 32 4
21. TRANQUIL
- Less people usage
- Objective normally is
to short cut / tourist
with river
- Larger public realm
with seating place
- Slower pace
ROBUST
- More people traffic
- More busy
- The space is more
narrow and packed
- Higher pedestrian traffic
Main road
- The main path that
anchors the overall
circulation
22. Visual impact
Macro
What welcomes the comers
View before entering the area - prelude / Intro
Micro
Views at this scale creates a statement
- It gives an introduction and overview of the site
- Thus, a building that reflects the context
- Or forms / message that shows the personality of site are
to be considered
A view that engage with the streetscapes / zoom in / mostly pedestrian views
Views at this scale is a humble approach towards the site
- It mostly engage with the streetscape and panoramic view
of the site
- How it engage with the elements around it
- Mostly visual that will affect the kind of messages it sends
to its users
The streetscape along with (visual) elements around Views from all humble grounds, esp pedestrian and how
it will affect the view out (from bridge)
23. Upclose
Views at a more intimate level
Views at this scale deals with other
miscellaneous elements
- Such as the stalls at the side
- How will it affect the views to / from
the building
- How will the building affect the central
market frontage etc.
CONCLUSION - VISUAL
Views from different scale has to be considered in design process
Macro
- A statement
- Best to reflect the context
Micro
- A consideration of how it will affect the streetscape
- Visual elements around site
Upclose
- Miscellaneous elements
- Environment
- Consideration about elements on site
24. DESIGN SYNTHESIS
PROBLEM STATEMENT
- Most of the arts are not locally made
- Local artists face an identity crisis
Today, Pasar Seni peddles clothing from China, items from Indonesia
and factory-made goods. These mass-produced goods fail to give
Pasar Seni its rightful place.
Why do local artists face this crisis?
Competition with
commercialized retailer
for space
High rental feesUnstable income of
an artist
DESIGN APPROACH
Aim
- A building that benefits the local artists
- Where artists can have trades of arts and interactions
- To create a local artist community
- Considering the location of site where it is known as the melting pot
of Malaysian art & craft
25. RIVER
- Nucleus of city
- Klang river - transportation (port)
- Also a place to collect clay to make daily utilities during the early settlements
- a resemblance of culture of a specific place that in malaysia, every state has different
types of potteries
Traders trading around central marketPottery making in
kampung sayong, perak
Labu sayong
Made of clay, it is shaped
like a gourd and used for
containing water
The angular-shaped
terenang used for
carrying water is popular
in the state of Pahang
and Terengganu.
Terenang
26. POTTERY
Ceramic works use to be part of our daily life,
from kitchen utilities, to houseware, but slowly
it began to be replaced by other electrical
appliances, and it is slowly losing its culture in
Malaysia
Kwong Yik Seng Crockery
shop (1938 - 2020)
27. EARTH WATER AIR FIRE
CLAY IS COLLECTED
FROM RIVER BANK
WATER IS ADDED TO
SOFTEN THE CLAY
THE POTS ARE AIR-DRIED
AFTER MOLDING
POTS ARE PUT INTO
KILN TO BE HEATED
ELEMENTS INVOLVED IN THE PROCESS OF MAKING POTTERY
28. Pottery is….
It is a form of medium
Shapes and reflects ones believes,
personality, habits, feelings, context
29. DESIGN INTENTION
A building that is shaped to shape.
Reflects context > shapes the perspective / activities
Reflection
(exterior)
Shaping
(medium)
Hollow
Of context Negative spaces Users / activities
Thus,
By using the elements involved in the process of making pottery,
to create a building that deals with negative spaces to create a flow between spaces
and outspill of activities.
Also to bring in the traits of streetlife in pasar seni, with the potential of public realms
into the Building
Elements involved in pottery
Fire Water Earth Air
30. Public spaces could be a
possible catalyst for streets
CONTINUATION OF PUBLIC REALM
Public Realm as catalyst
31. STREETLIFE
A play between scale and voids
The obvious play of scale and voidal spaces
becomes the catalyst of street life.
The voids are either streets or public spaces
Thus they are connected together
High rise building
Low rise building
Voidal space
32. Primary space Voidal spaces Streets
The public space becomes a
catalyst of activities and
maintains the flow from one
space to another. It acts as a
medium between these spaces.
This then, further enhances the
play of scale and voidal spaces,
then, streets are eventually
introduced in between valleys.
By using voidal spaces to allow
spilling of activities/functions
from the primary space
33. IMPACT
SITE
PUBLIC REALMS
CULTURAL ASPECT
CIRCULATION
Site as an intersection point of various aspects
Building impact
- To shape the user’s perspective and activities on site
- Creates more public realms as a catalyst for interaction
- As a building at an intersection point,
- Building as a medium, instead of an obstacle
- Builds up convergence of people, place and time, culture
- Giving the users a space for interaction
Social impact
- Creates a statement
- message of a certain time in past, and the potential in
the future
- To raise more awareness of this art,
- and to support the local art community
35. CANAL ART MUSEUM
Beijing, China
An old metal factory that was renovated into an art museum.
By ‘subtracting’ the ‘addition’ and ‘adding’ to the ‘subtraction’
The enclosed space in the buildings were subtracted into a void, vice versa
The initial dorm units were turned into ‘caves’ where long stretch of gallery
corridor were formed. The initially empty spaces between the dorm units
were turned into an enclosed exhibition space.
By doing this, spaces were formed with unexpected connection between
spaces into the building where one space flows to another.
36. Exhibition spaces are altered by a gallery corridor. The
spaces are anchored by an circulation axis that connects
the spaces together
Exhibition spaces Altered gallery corridors Axis anchoring the circulation
Distribution of spaces
The main axis also splits the spaces into two parts,
the gallery spaces and the functioning spaces such
as the office, cafe, etc.
- Exhibition space and gallery corridor are
intertwined together
- A flow between the spaces
- A circulation axis that anchors the spaces
together
- Distribution of space are clear
- There are no boundary to the building as the
outside flows in, and inside out
- The gallery corridor and exhibition space uses
the play of scale and voidal spaces to connect
the flow of function in spaces.
Axis above ground
The another anchoring axis that connects these
circulations are on another level. So total there is one
main axis on the ground that connects these spaces,
and another one above ground
37. - How it link both ends together
- The plaza brings one person from
the city to the waterfront plaza
- The retails and the
Shenzhen Sea World Culture and Arts Center
38. Axis
- A connecting axis that connect both frontages
- A circulation spine that branches out into smaller parts
frontage
- Two entrances
- One towards road and one towards the ocean
Plaza
- Connects both ends and brings people in
- An interacting frontage
Spaces
- Cut by the circulation spine, the spaces are organized so
that one side is gallery space, another is the functioning
space such as retail and cafe, etc.
39. Aranya Art Center
- Integration of communal space and art
- The use of natural elements
- The use of communal spaces to connect to the art spaces
The exhibition galleries above benefit from the public space
integration, but it also makes the project much more than just a
place for display, it is also a place for sharing.
40. References
Author, A., 2015. Traditional Malay Pottery Of Kuala Kangsar: Its History And Development. [online] Available at:
<https://www.researchgate.net/publication/305158633_Traditional_malay_pottery_of_Kuala_Kangsar_Its_history_and_development>
[Accessed 17 April 2020].
GANI, N., MASRI, M., BU BAKAR, M., MOHAMED, J. and SULAIMAN, M., 2011. Characterizations of Pergau River Clay as Comparison to
Mambong and Sayong.
Koh, P., 2005. SUSTAINABLE MINING OF THE CLAY RESOURCES IN PENINSULAR MALAYSIA. [online] Gsm.org.my. Available at:
<https://gsm.org.my/products/702001-100552-PDF.pdf> [Accessed 12 April 2020].
Malaysian Archaeology. 2020. Pottery Tradition In Early Malaysia. [online] Available at:
<https://myarchastory.wordpress.com/2019/10/30/pottery-tradition-in-early-malaysia-2/> [Accessed 29 April 2020].
Mohamad, 2020. Seni Seramik Slide PPT. [online] Slideshare.net. Available at: <https://www.slideshare.net/mrsnazlan/seni-seramik-slide-ppt>
[Accessed 29 April 2020].
Mohammad, S., 2015. The Malay Pottery In Malaysia. [online] Eprints.usm.my. Available at:
<http://eprints.usm.my/129/1/The_Malay_Pottery_In_Malaysia.pdf> [Accessed 20 April 2020].
Said, T., Ramli, H., Sedon, M. and Idris, S., 2020. Local Genius Of Mambong Pottery In Kelantan, Malaysia. [online] Semanticscholar.org. Available
at:
<https://www.semanticscholar.org/paper/Local-Genius-of-Mambong-Pottery-in-Kelantan%2C-Said-Ramli/685f23d782b1fd6a5fcb1a8c4
2ca24bc6e444554> [Accessed 29 April 2020].
Wong, W., 2005. Malaysia Tourism: LABU SAYONG- PERAK POTTERY. [online] Mattaclass.blogspot.com. Available at:
<http://mattaclass.blogspot.com/2005/12/labu-sayong-perak-pottery.html> [Accessed 3 April 2020].
44. DESIGN INTENTION
Form
- Expresses the emotion of a pottery and deals with
the four elements of making of pottery.
- Water (river)
- Earth (soil)
- Fire (light)
- Air (Ventilation)
- Form - flow of spaces, calmness, stability
- Sense of flow in between spaces
Spatial Experience
To make a building that reflects the personality of the context
- The continuation of urban grain into the building
- Bringing in the streetlife trait of Pasar Seni into the
building through the play of scale and voids
- A building that is shaped to shape.
A pot is hollow inside, it shapes the medium into the shape
A building that creates negative spaces
Encloses a space
And shapes the activities in it
Holds the primary function, but creates a medium in between
Bringing in the element of context
- Streetlife
Potential
- Public realms
Letting this personality of place flows into the space and then shape them
Building as a mold
45. PATH
- Streetlife - actvates the
- Alley ways - round it
- Which then flows into the secondary road )activities) (vice
versa)
- Then the main road is the main circulation that beings them to
site
Analysis
- The circulations are connected rom inside out
- Main roads- mostly vehicular
- Then the secondary road that is a
balance between pedestrian and
vehicular usage
- streets - only pedestrians
- They are the ones that drives
the site - example petaling st,
central market
- Alleyways - activated by the activities
around it and the pedestrian usage
-
Major Road
Minor Road
Street
Alleyway
Service lane
46. Public spaces
Scale and voids
- Hollow spaces that flow from one space to another
- Outspill of space
- From the primary space to the secondary (public space
- Jsut like how the public space is a catalyst for streets,
- Voidal spaces inbetwen primary spaces to help spill the
activities and connects one space to another
47. Public spaces
Scale and voids
- Pottery has void in between
- Hollow spaces that flow from one space to another
- Outspill of space
- From the primary space to the secondary (public space
- Jsut like how the public space is a catalyst for streets,
- Voidal spaces inbetwen primary spaces to help spill the
activities and connects one space to another
Streets
Containing a medium
- A mold
- That shapes the medium, as well as being shaped
- It is being shaped to shape
- So the context shapes the building to shape the urban users4
48. ABOUT / HISTORY
- Founded in 1888 but was originally a wet market
- Used to cater for the tin miners at that time
- Building is refurbished into its current Art Deco
Style in 1937
- Right next to the Katsuri Walk
- Few minutes away from petaling walk
Central Market
In 1880, the state capital of Selangor was moved from Klang to Kuala
Lumpur by the colonial administration. The then British Resident William
Bloomfield Douglas decided that the government buildings and staff living
quarters should be located to the west of the river to keep away from
what he considered the unsanitary condition of the town and the
possibility of uprising from the locals
- Opened on february 2011
- Central Market Sdn Bhd has set up 55
alfresco-style retail and F&B kiosks at Kasturi
Walk.
- An addition to the tourist spot of central market
- Located behind the main building
- Hosts a series of numerous talks, art exhibitions,
book launchings, fashion shows, etc.
Katsuri Walk
Central Market
Annexe
Merdeka Square / Jalan Tun Tan Cheng Lock
The separation of both worlds
MERDEKA SQUARE JALAN TUN TAN CHENG LOCK
49. DESIGN SYNTHESIS
PROBLEM STATEMENT
- Most of the arts are not locally made
- Local artists face an identity crisis
Today, Pasar Seni peddles clothing from China, items from
Indonesia and factory-made goods. These mass-produced
goods fail to give Pasar Seni its rightful place.
Why do local artists face this crisis?
Competition with
commercialized retailer
for space
High rental feesUnstable income of
an artist
DESIGN APPROACH
Aim
- A building that benefits the local artists
- Where artists can have trades of arts and interactions
- To create a local artist community
- Considering the location of site where it is known as the melting pot
of Malaysian art & craft
River
- Nucleus of city
- Klang river - transportation (port)
- Also a place to collect clay to make daily utilities during the early settlements
- a resemblance of culture of a specific place that in malaysia, every state has different
types of potteries
Traders trading around central marketPottery making in
kampung sayong, perak
50. STREETS
- Bringing in the personality of the context
- Play of scale and voids
So first, by identifying where the
continuation of public realms are at buy
finding the intersection point of site
The obvious play of scale and voidal spaces around site
The voidal spaces are the catalyst
Public spaces could be a possible
catalyst for streets
STREETS
- Bringing in the personality of the context
- Play of scale and voids
STREETS
51. DESIGN SYNTHESIS
Elements in the invention of pottery, which is primary
evidence of the existence of early settlements, show
qualities which were local in terms of the material used,
design and decoration.
Something that is truely local
Elements in the invention of pottery, which is primary evidence of the existence of
early settlements, show qualities which were local in terms of the material used,
design and decoration.
Different state has different kinds of pottery
- Mode of exchange of culture of arts.
No use of potter wheel
- Made by hand with pinching and
Over the years the heritage has
been kept alive and is still being
practiced traditionally by Malays in
Kuala Kangsar and produced for
commercial purposes.
53. DESIGN SYNTHESIS
POTTERY
PROBLEM STATEMENT
- No attachments to site
- Known for its arts and crafts culture, but sadly its only ‘seni’ by name
- Not much actual business that deals with art
- Local artists face an identity crisis
Today, Pasar Seni peddles clothing
from China, items from Indonesia
and factory-made goods. These
mass-produced goods fail to give
Pasar Seni its rightful place.
Why do local artists face this crisis?
Competition with
commercialized
retailer for space
High rental feesUnstable income
of an artist
DESIGN APPROACH
Aim
- A building that benefits the local artists
- A building for the artist
- That mainly supports the art of the local artist
- Forms art community?
- Through tapping nto their problems on site
Intention
Programme
- To create a space where it is an easy access for the local artist
- A trade of space for culture, culture for space, education.
- A space that trades knowledge, with interaction and education
- A dying cultural art in Malaysia
- the identity of Malaysia
- In the old days, pottery is done by the women of the family to carry out daily tasks
- To carry water from water, household products.
- The gradual decline of this culture as electronics starts to replace this art.
What’s so special about Malaysian Pottery?
- The art of handwork without the use of potter’s wheel
- Ornamentations, diff state has diff identity
Design Intention
Interior
- Using material - to show significance
- Elements of pottery
- Sense of flow
- Mimics the art of pottery
- balance , centered , stable
- Bringing in the elements from outside (alley way)
- Making it more ‘local’
Exterior
Impact
- A shelter from the robustness
- Creating a pause
- Compliments both sides of the side, the tranquil and robust
Visual Impact
- Sends a message of a certain time in past, and the potential in the
future
- To raise more awareness of this art, and to create an identification of
place for the local art community
WHY POTTERY?
- - a form of arts and crafts that even Malaysians are slowly forgetting of
- In this context, it helps both the locals and tourists to be more aware of this art culture
54. Problem
- Local artist identity crisis
Approach
- To create a space that is easily
accessible for the local artist
- A space of trade of art for tangible /
intangible stuffs (programme)
Aim
- Create a local art community (esp i art of clay)
- That benefits the artist and help support them
Design approach
- To create a space to showcase the process of art
- Involving elements of pottery
- Materials
- Ornaments
- Technology
- A designated studio and a temporary studio
- An interactive space (education)
- Classrooms
- Workshops
- Interactive galleries
- Outdoor
- Brings in the activies from
outside
- A continuation of action
- A continuation from the
urban grain
- Indoor
- Going through an art
- The emotions of clay,
materials
- Expression of emotions
- Visual playing
- Bringing in the elements of
the context (alley way)
- The river!!!
Design considerations
- Does not disrupt the streetscape
- Does not disrupt the facade of central market
PASAR SENI
CULTURE OF POTTERY
55. From the river upstream (highlands and
mountains), the river flow continuously especially during
the wet
monsoon bringing with them alluvial soils that enrich the
lowlands
and gives benefits in agricultural activities.
Tin mining is one of the earliest type of mining
operated in Malaysia, starting in the 1820s in
Perak and in 1824 in Selangor.
Alluvium is typically made up of a variety
of materials, including fine particles of silt
and clay and larger particles of sand and
gravel.
Clay deposits in Malaysia are mostly found in
Johor, Kedah, Kelantan, Negeri Sembilan,
Pahang, Penang, Perak, Sarawak, Selangor
and Terengganu.
- Most of the ceramic shops that are on
site are not doing well
- Most of the crafts are imported and
not locally made
56. 3 types of traditional
Mambong, Labu Sayong(clay pitcher) and Terenang
- For producing a clay pitcher, the grinded clay is sieved into
a big pot. The sieving process is a must to separate
impurities such as sand, stone or small twigs from the clay
- The clay powder is then mixed with water and soaked for a
day until it became slurry.
Preparation of Clay
- The clay from river bed is dried out
- two people were needed to grind the clay using traditional
wooden mortar and pestle
- One will use the pestle to pound the clay and one will flip the clay
inside the mortar.
the process started with ‘melepa’ where clay slip is
poured onto a porous bat called ‘lepa’. Lepa can
absorb the water from the clay for easier kneading
process.
DRY
GRIND
POUND
FILTERED
SOAKED
57. The Forming Process of Malay Traditional Pottery
Pinching technique
- Start to pinch the clay from the middle towards outside.
- Coils and coils of kneaded clay were patched to get to the
desired height.
- The surface of the patched clay are made firmer using the
wooden spatula
- Then it is smothened by sudip kayiu and fingers.
Coiling technique (teknik lingkiran)Mould block (teknik acuan)
- Less time consuming
- Can mass produce
Pour slip
into mould
After 2-3 hours, the slip is
poured out when the clay on
around it hardened
The edges are
then trimmed off
Surface are
smoothened on a
wheel using
sponge
A form of fnishing
58. DECORATION
Stamping technique is the most popular choice to
create pattern on all three types of traditional pottery. A
small wooden block is used to stamp the leather-hard
clay surface.
The second decoration technique is incising. Among the
lines produced are straight lines, horizontal, ‘tulang ikan’,
‘pucuk rebung’, ‘potong wajik’, triangle and oval. This
motifs were produced by incising the clay surface using
sharp tool. The horizontal line acts as a divider between
a row of motif to the other.
Carving is done during the leather-hard stage and free-hand
drawing technique is used to produce flora motifs. Carved
motif is done repetitively and sometimes overlapping so it
looks a bit complicated.
Stamping technique
Incising Carving
Decoration is a process to decorate the pottery surface with
motifs which creates pattern.
59. Firing is a process to harden the pottery body.
FIRING
KILN
OPEN TRENCHES
60. Preparation of Clay
- The clay from river bed is dried out
- two people were needed to grind the clay using traditional
wooden mortar and pestle
- One will use the pestle to pound the clay and one will flip the clay
inside the mortar.
- he first pottery showing form which
stresses the predisposition of clay
material and hand forming
technique in producing pottery for
cooking and mostly produced in
Mambong, Kelantan.
- The second pottery was inspired by
a gourd or pumpkin and developed
to various forms of clay pitchers
produced in Sayong and Pulau Tiga,
Perak.
- The third pottery on the other hand
was similar to metal form such as
Terenang from Tembeling, Pahang.
