Architecture Cultural and History 2

1. KUALA LUMPUR, MALAYSIA
MODERN ARCHITECTURE

2. The architecture of Kuala Lumpur is a blending of old colonial influences, Asian
traditions, Malay Islamic inspirations, modern and post-modern mix. Most of the co-
lonial buildings in Kuala Lumpur were built towards the end of the 19th century until
early 20th century. These buildings have several style of architecture which includes
Mughal, Tudor, Neo-Gothic or Grecian-Spanish.
Due to Malaysia’s blooming growth of economy after Independence from the 70’s to
the 90’s, saw buildings with more local and Islamic motifs arise in the central districts
of the city. Many of these buildings derive their design from traditional Malay items,
such as the head dress and the keris. Some of these buildings have Islamic geometric
motifs integrated with the designs of the building, such as square patterns or a dome.
With Islam being the official religion of Malaysia since independence, there are many
Islamic architecture featured buildings that resides in Kuala Lumpur. Buildings like
National Mosque have Islamic geometric motifs on their structure, signifying Islamic
restriction on drawing nature. The National Mosque has been built as a place of
worship , complete with dome and minaret. Naturally, Islamic motif are evident in re-
ligious structure such as the National Mosque. Religious places will have more Arabic
calligraphy drawn on the columns and other places on the structure.
The Wisma Amanah Raya building adapted modernist style architecture , which
strongly held on to the roots of modern Malay style architecture. Modern Malay style
architecture drew inspiration from every day traditional Malay items. Another evident
building is the Wisma Angkasapuri, it is designed by architect Nicholas James Pappas,
a Canadian architect. It is famous for its international architectural style that is slightly
influenced by Malay Architecture. As Malaysia is known for its tropical climate, a lot
of criteria has been assured to adapt International style to Malaysian’s.
The rapid growth of urban areas after Malaysia’s Independence brought upon modern-
ist architecture which blends in with the local identity, giving the buildings a distinc-
tive feature. The era of post-independence was the era of modernism architecture.

3. 1957 1962 DEWAN BAHASA
DAN PUSTAKA
OLD JKR BUILDING

4. 1965 1968
MASJID NEGARA WISMA
ANGKASA PURI

5. 1970 1974
BANK NEGARA
MALAYSIA
WISMA
AMANAH RAYA

6. The old JKR building, located in Jalan Sultan Salahuddin,
Kuala Lumpur, 50480 Kuala Lumpur, Wilayah Persekutuan
Kuala Lumpur, Malaysia, was designed to serve the pur-
pose of an office buiding for the Malaysian Public Works
Department, a federal government department, responsible
for construction and maintenance of public infrastructure
in West Malaysia.The building was designed regarding
to vthe Modern Architecture style which is a style that
emerged in the first half of the 20th Century. It was based
on particularly the use of glass, steel, reinforced concrete in
the style that was mostly used on office buildings.
The building is characterized by plain geometrical form and
symmetrical forms evidently seen in the building outlook.
It is a composition of cuboids of different heights showing
symmetry throughout the structure, vertically and horizontal-
ly. There is a repetitive organisation of the windows on the
facade throughout the concrete structure. It is a 17-storey
office building with an open floor plan characterized by the
allocation of circulation methods to each floor at the end of
the building, supported by columns.
1957
Old JKR Building

8. MASSING
The general form of the building is com-
prised of a series of cuboids juxtaposed
horizontally and vertically, adjacent to
each other.
ORGANISATION
OF SPACE
The entrance located at the centre of the
building on the ground floor, from there it
leads to the lobby area. Offices spaces are
repeatedly stacked above one another above
the lobby. The roof area serves as a space to
house building services such as A/C.
ORGANISATION
OF FORM
The main body of the building is a cuboid
stretched in horizontal direction to house
the office spaces, and connected by staircase
and lift that are enveloped in vertical cuboid
at the sides of the building.
CIRCULATION
Main circulations of the building are locat-
ed at the core building (lifts) and at the ends
(staircases) of the building. Users move
across the open-plan offices spaces horizon-
tally, and access to other floors vertically.

9. SYMMETRY
AND BALANCE
The addition of upright cuboids at the ends
of the building creates a bivalent symmetry
that forms a median axis which can divide
the entire building into equal half. This
balanced symmetry allows easy repetition
of similar spaces and functions into the
building.
REPETITION
AND RHYTHM
The openings of the building are made up of
the same shape - squares, that are arranged
linearly in several arrangements and repeated
throughout the facade of the building to form
a rhythmic pattern of squares and rectangles.
STRUCTURE
Rows of r.c. columns support the entire
building at regularly spaced intervals, al-
lowing long and wide openings on the wall
because the wall is now non-load bearing.
MATERIALITY
The use of concrete throughout
the whole building expresses a
sense of boldness and serious-
ness that reflects JKR as a federal
building and government office.

10. Located between Petaling Jaya and Kuala Lumpur, Wisma
Angkasapuri is the main governmental building for Malay-
sia’s Minister of Information and the headquarters for Radio
Television Malaysia. It is designed by architect Nicholas
James Pappas, a Canadian architect. It is famous for its
international architectural style that slightly influenced by
Malay Architecure.
It is well recognized by its repetition of sun shading devices
on the façade of the administration building. The enormous
amount of repetition of shield were formed at the façade to
control the heat load from direct sunlight as the building is
located in east-west orientation. As Malaysia is known for its
tropical climate, a lot of criteria has been assured to adapt
International style to Malaysian’s. The building is made up
of 3 part which are the television house, the entrance hall
and the administration building.
1962
Dewan Bahasa
dan Pustaka

12. MASSING
The basic shape Dewan Bahasa dan Pustaka
(DBP) is composed of are rectangles. It consists
of two rectilinear forms with different height
and width.
SYMBOLISM
A Malay feature is incorporated in the
“V-shaped diagonal struts” on the roof of DBP
building. It symbolises national dignity and
takes the form of an outspread umbrella.

13. CIRCULATION
2 serviced elevators ease flow of circulation in
the 7-storey building while one elevator is found
within the auditorium. A staircase used specially
for fire escape is located on the side of the
library and office building.
SYMMETRY AND BALANCE
An axis of symmetry showing symmetrical
balance can be seen. A mirrored appear-
eance is found across the central vertical
axis forming bilateral symmetry.

14. EMPHASIS
Made out of glazed mossaic tiles, the mural
themed “Berbahasa Satu Bernegara Satu” on the
wall of the auditorium is emphasised due to the
various use of colour which contrasts with the
rest of the building.

15. PUBLIC & PRIVATE SPACE
A mural made out of glazed mosaic tiles acts as
the focal point of the whole building. It is the
core portrayal of ‘Berbahasa Satu Bernegara
Satu’ and the interpretation of what nationalism
and patriotism stands for.
GEOMETRY
5 floors of the 7-storey building are libraries
whereas the remaining two floors on the top of
the building are repurposed for office use. The
auditorium serves as a semi-public space where
events take place.

16. REPETITION
Repeated use of horizontal and
vertical lines forms a pattern that
draws attention toward the front
of the library and office building.
Hence, a repetitive pattern is used
as facade of the building.
NATURAL LIGHTING
Use of modular glazed panels in
the windows of Dewan Bahasa dan
Pustaka allows natural light to en-
ter the building. At the same time,
it aso acts as a heat insulator.

17. 1965
Located at Jalan Perdana, Tasik Perdana, Wilayah Perse-
kutuan Kuala Lumpur, Masjid Negara Malaysia (‫دجسم‬
‫اراݢن‬ ‫ايسيلم‬ ) which is the National Mosque of Malaysia
is designed by architects Howard Ashley, Hisham Albakri
and Data Baharuddin Abu Kassim. They attempted a bold
and modern approach for the mosque by using reinforced
concrete the main building material to symbolize the aspira-
tions of a then newly independent Malaysia.
The main dome of the National Mosque is designed in the
shape of an 18-point star to represent the 13 states of Ma-
laysia and the five central Pillars of Islam, and has the ap-
pearance of a partly opened umbrella roof which symbolis-
es the aspirations of an independent nation. Adjacent to the
mosque is a 73-metre-high minaret. The umbrella, synony-
mous with the tropics, is featured conspicuously – the main
roof is reminiscent of an open umbrella, the minaret’s cap a
folded one. The folded plates of the concrete main roof are
a creative solution to achieving the larger spans required
in the main gathering hall. Meanwhile, reflecting pools and
fountains spread across the compound. The mosque has a
capacity that can hold up to 15,000 people.
Masjid Negara

19. MASSING
The main building is a rectangular
structure and is then connected
with several other rectangular
structures that acts as a connective
walkway.
ORGANISATION OF FORM
The mosque has a horizontal struc-
ture which suggests a feeling of rest
and repose and a vertical structure
which is the minaret communicates
a feeling of loftiness and spirituality
which gives off a sense of overpow-
ering grandeur. Combination of
both structures give off a sense of a
sense of stability.
ADDITION & SUBTRACTION
The mausoleum and conference
hall is added to the main building
connected with a corridor. The
form is subtracted from a huge
rectangular structure in order to
form more open spaces corridor
for easier accessibility and air
ventilation.

20. SPATIAL ORGANISATION
TThe spatial organization for the
mosque is arranging the secondary
spaces around the main prayer hall
which is the highest spatial hierar-
chical of the mosque
CIRCULATION
The main building is a rectangular
structure and is then connected
with several other rectangular
structures that acts as a connective
walkway.
Circulation Path
Vertical Circulation
Vertical Circulation

21. RHYTHM & REPETITION
In order to create more open
spaces, the building is mostly hold
up by the columns instead of load-
bearing walls. This repetitive series
of columns manage to visually
reinforced the volume of space.
Columns arranged in the grid
manner in the large veranda does
not just support the roof and floor
but also establish a measurable
rhythm and scale that made the
spatial dimension comprehensi-
ble.V V
The vertical elements helps mark-
ing the modular zones, such as the
main prayer hall and the woman
prayer hall.

22. OPEN SPACES
The National Mosque has a lot
of open spaces which takes full
advantage of the views of the
surrounding and also allow natural
light to enter and also provides
good air ventilation.
BALANCE & SYMMETRY
The mosque is balance with a
centre point being the centre of
the main prayer hall which has
the highest spatial hierarchy. The
balance and symmetry can be seen
in both the plan and side elevation
of the mosque.

23. PATTERN
The geometry pattern used in the
mosque is more on the lines and
angles. Islamic geometric pattern
is used to symbolize as well as
coordinate with the function of the
building.It serves as aesthetic fea-
ture and also to illustrate modesty
by providing privacy.
MATERIALITY
Concrete is used to bring out a
sense of stability and boldness.
Glass is also used to give a sense of
space and freedom and aluminium
is used to enhance the aesthetical
value of the interior.
PARTI
The National Mosque rejected the
traditional design and move on to
a modern design by replacing the
traditional dome roof to a more an-
gular and geometric roof. The roof
is also designed to accommodate
the tropical climate of Malaysia.

24. Located between Petaling Jaya and Kuala Lumpur, Wisma
Angkasapuri is the main governmental building for Malay-
sia’s Minister of Information and the headquarters for Radio
Television Malaysia. It is designed by architect Nicholas
James Pappas, a Canadian architect. It is famous for its
international architectural style that slightly influenced by
Malay Architecure.
It is well recognized by its repetition of sun shading devices
on the façade of the administration building. The enormous
amount of repetition of shield were formed at the façade to
control the heat load from direct sunlight as the building is
located in east-west orientation. As Malaysia is known for its
tropical climate, a lot of criteria has been assured to adapt
International style to Malaysian’s. The building is made up
of 3 part which are the television house, the entrance hall
and the administration building.
1968
Wisma Angkasapuri

26. FORM OF SPACE
The three buildings of Wisma Angkasapuri are
arranged sequentially in a row, forming a linear
organizations. The RTM building is linked to the
administration building by a suspended bridge
on the first floor of the common entrance hall.
MASSING
Wisma Angkasapuri is composed of three
rectilinear forms of varying height and width,
The 10-storey administration building is given
the most importance as main operations are
run here whereas the entrance hall serves as a
transitional space.
ASYMMETRICAL BALANCE
Asymmetrical balance incorporated while main-
taining an equal perceptual weight for both sides
of the building. In the angkasapuri building shows
in where there are 3 major styles in the building
while maintaining balance in terms of weightage
around the central part which is the entrance hall
of the building.
PUBLIC VS PRIVATE
The separation between public and private spac-
es are complete as each is separated by different
floors in the administration building.
On the other hand, the entrance hall is fully
public and the television house is a fully private
space.
Public Space
Semi-public space
Private Space

27. CIRCULATION
The 10-storey administration building is ser-
viced by 3 elevators visible from the entrance
hall. Stairs connect every floor of the building
with one found opposite the elevator and an-
other one at the other end of the administration
building.
Horizontal Circulation
Vertical Circulation
RHYTHM
Barrel vaulted roof of the entrance hall gives a
dynamic quality within with its obvious rhythm
in design. A visual excitement is added to its
large form.
EMPHASIS
The administration office give the most emphasis
due to it is facing the federal highway and is de-
signed to be iconic. The entrance hall has a unique
barrel vault rood to provide natural lighting to the
users and serves as a transition space between the
administration building and the television house.

28. REPETITION
Repeated size and shape of shading panels
inspired by the shape of horseshoe crab and
the shield of a warrior creates a pattern on the
façade of the administration building. Repe-
tition is also evident in the column structure
and banding device of the building,
VENTILATION
Strip openings behind the sun shading device
provides ease of ventilation to the administration
building.
LIGHTING
Ribbon windows on the administration building
allows natural light to penetrate into the interior
whereas shading panels are used extensively to mi-
nimise the amount of heat of direct sunlight from
reaching the interior.
Lighting
Ventilation

29. The Central Bank of Malaysia, or Bank Negara Malaysia
(BNM) was constructed in to accommodate the require-
ments and functions of the nation’s central banking system
in 1970. Located at Jalan Sultan Salahuddin, Off Jalan
Kuching, the original complex comprises of two separat-
ed but interlinked parts; a podium banking hall and an 18
storey tower, in later years. Two more towers incorporating
ancillary ammenities including a Numismatic Musuem were
added.
Designed by Nik Mohamed Mahmood of Public Works
Department, the architecture of BNM were designed in
International Style which, there is actually no true identity to
it. People are free to imagine it as any form, be it a rocket,
machine, factory, etc. Hence there are no intricate orna-
ments nor heavy decorations on the building facades.
The building is given a brutalist touch where raw and rough
concrete is use throughout the building. To avoid boring
design, the building is complimented with rows of openings
repeated alternately on the facade, creating a pattern to it.
1970
Bank Negara Malaysia

31. MASSING
The general form of
the building is made
up of cuboids of dif-
ferent heights, except
the main building
at the front, it has a
cylindrical form that
tops the roof.
SPACE-PATH
RELATIONSHIP
Embodies a repetitve
form vocabulary that
is deployed to create
places for use-spaces.
CIRCULATION
The buildings adopt
the concept of open
floor plans that
allocate the main cir-
culations for access
to each floor on the
ends of the building.
public spaces
private spaces
SPATIAL HIERARCHY
The spaces of the buildong
are organised in such a
way that the users of the
buildings will pass through
public space (banking
hall and musuem) before
entering private / ancillary
spaces (offices for autho-
rised person only).

32. ORGANISATION
OF FORM
The juxtaposition of large
cuboids with organic
elements that have curvy
edges softens the rigid-
ity and boldnevss of the
building form, creating a
sense of relieve in visual
heavyness expressed via
brutalism.
ADDITION
The addition of cuboids
with rounded corners at
the vertices of the main
building softens the
form while expressing
the continuity of surface
and the compactness of
volume. These cuboids
serve as spaces for store
rooms, mechanical rooms
and stairs.
EMPHASIS
The organic forms that
interlock with the main
building at each side
creates an emphasis
to the building as
they contrast with
the geometric cuboid
form. They serve as
spaces for staircase and
washrooms.
SYMMETRY
The addition of the organic
elements to the main build-
ing are equally distributed
to opposite sides of the
building, hence creating a
bivalent symmetry that has
a median axis which can
divide whole building into
equal half. These elements
are visually united by the
circular form on the roof.

33. REPETITION &
RHYTHM
The openings on
the facades of the
towers are arranged in
alternating rows, re-
peated to create linear
organisation of lines
that visually enlarges
the towers. The tower
connected to the main
building has alternate
opening breaks every 3
rows of the openings,
giving the pattern a
rhythm.
STRUCTURE
The main structures
supporting the build-
ings are columns of
reinforced concrete.
This allowed open
floor plans to be
introduced to the
building. Which is
the architectural
language spoken in
Modernist architec-
ture style.
MATERIALITY
The entire building of Bank Negara
Malaysia is cloaked with concrete - no
intricate ornaments and decorations are
present on the facades. Rows of windows
(openings) stretching across the facade
are also made possible as the walls of the
building are no longer load-bearing.

34. Wisma Amanah Raya is a 15-storey building designed by
the architect Kington Loo, BEP Architects. The whole con-
struction of the project started on the year 1964. It is locat-
ed at 2, Jalan Ampang, City Centre, 50508 Kuala Lumpur,
Wilayah Persekutuan Kuala Lumpur, Malaysia. The purpose
of the building acts as the headquarters of Amanah Raya
Berhad, Standard Chartered Bank Jalan Ampang Branch.
The building is a transition from the austerity of the Interna-
tional style into a tropical idiom. It had a podium and tower
solution typical of commercial architecture at the time it was
built. One of the earliest building in Kuala Lumpur to specifi-
cally cater for cars with its podium lifted from the ground to
allow cars to park underneath. It inherited the architectural
style of modernism, applying design following function. It’s
design and form focuses on simplicity and necessity, using
clean geometry lines and slabs to clearly define spaces in
between.
1970
Wisma Amanah Raya

36. MASSING
The massing of the building is
comprised of two cuboids. This
creates minimalism and portrays
characteristics of modernist
architecture, rejecting the need
of ornamentation and bombastic
form. As it functions as a financial
building, a simplistic honest design
is opted in order to appeal and gain
the trust of the public.
SYMMETRY & BALANCE
Biaxial symmetry is established
through the interior space of the
building, giving equal compositions
on each side of the two axis lines. Bal-
ance and harmony are demonstrated
within the symmetrical architecture,
adding aesthetic value to the building.

37. BASIC GEOMETRY
The geometry of the building is
formed by two cuboids. The cuboids
are positioned at 90-degrees to each
other. Stability is achieved by placing
the shorter cuboid with a larger base
area beneath the taller cuboid with a
smaller base area. Such placement of
geometry sets up a larger public space
(lower block) for users.
FORM & FUNCTION
The floor plans of the building for
every floor are rectangular in shape
for the convenience of office arrange-
ments as well as to maximize the
usage of interior spaces, thus giving
the building an overall cuboid form.

38. PLANES
The use of horizontal planes is
evident in the façade as well as
the roof of the building. The
building features a at roof instead
of a traditional slope roof. Both
South-East and North-West - of
the upper block - facades are
overlaid with broad roof over-
hangs which provides shading
and keeps the interior cool. This
shows a clear inclination towards
modern architecture elements
and the rejection of traditional
architectural design principles.
SPATIAL ORGANISATION
The building is a purpose-built
office building inclusive of a lower
ground car park. The purpose of
the building was to bring people to-
gether in a vertical axis, promoting
the productivity of the employees
with functional planning of space.
The joint between two cuboids
creates an open space that acts as
an assembly point for employees to
have meals and relax.

39. MATERIALITY
Following the ‘machine aesthetic’, the
use of technological advanced materi-
als is evident in the building.
Reinforced concrete and glass are the
prominent materials used as seen in
most modern buildings. The selection
of materials determined the general
aesthetics of the building.
CIRCULATION
There is only one point of acces-
sibility for the building as there
is only one entrance. The main
entrance leads to the reception
area which then connects to the
offices for business consultation
purposes. The main circulation of
the building is the main corridor
that branches out to other con-
sultation operators. The vertical
circulation of the building relies on
the lifts, located at the center of the
building, providing access to other
floors of the building.

40. MATERIALITY
The scale and mass of the
repetitive elements - large glass
windows in the case of the build-
ing are dominant. Every face of
the building features a series of
window installations.
MATERIALITY
The scale and mass of the
repetitive elements - large glass
windows in the case of the build-
ing are dominant. Every face of
the building features a series of
window installations.

41. List of References
1. http://www.wikiwand.com/ms/Angkasapuri
2. [Wisma Amanah Raya]. (n.d.). Retrieved from https://www.amanahraya.my/wp-content/up-
loads/2017/05/amanahraya-satu-juta-wasiat.jpeg
3. http://study.com/academy/lesson/modern-architecture-characteristics-style.html
4. https://en.m.wikipedia.org/wiki/Modern_architecture
5. https://ms.wikipedia.org/wiki/Dewan_Bahasa_dan_Pustaka
6. http://bruneiresources.blogspot.my/2015/06/message-behind-mural-of-dewan-bahasa.html
7. http://gdparchitects.com/2015/?project=dewan-bahasa-pustaka
8.https://voices.uchicago.edu/201504arth15709-01a2/2015/11/16/ornament/
9. http://www.firstinarchitecture.co.uk/architecture-precedent-study-and-analysis

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