Sin Sze Si Ya

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DECLARATION OF SUBMISSION
This is to certify that:
1) The Report comprises our original work towards the course work on
Methods of Documentation and Measured Drawings (ARC
ARC60305/ARC2323/ARC1215),
2) Due acknowledgements have been made in the text to all other material
used.
Signed by:
STUDENT NAME SIGNATURE
ADAM TAN YEN SHENG
AIDA JUNITA BINTI ZULKIFLEE
AMIR FAUZAN BIN AMIRUDDIN
CHAN JIA XIN
CHEW JIA CHEN
CHONG JIN FENG
FARAH AIN BINTI ISMAIL

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STUDENT NAME SIGNATURE
HARIISH KUMAR A/L THIAGARAJA
JASON LIM CHEE SHEN
KAN JIA WEI ADRIAN
LEE HUI QIN
LEE KAI YUNG
LIEW JIN
LOH YU JIN
MARK ENG SHANG
MUHAMMAD AZZAM BIN ABDUL AZIZ
NUR EMILY BINTI AHMAD TAJUL RAHIM
ONG JIA HUI
SARAVANAN VYTELINGUM
SHALINN TAN JIAWEN
SHERY EDRINA BINTI SALEHUDDIN
TAN YEW SIANG
STUDENT NAME SIGNATURE
TANG JU YI
TEO HONG WEI
VALENTINE HEW HUI LING
VICTOR HENG WEI YEN
YAN WAI CHUN
7 MARCH 2016

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ABSTRACT
In a group of 27 students, we were given the task to measure and document
the Sin Sze Si Ya Temple as a part of our short semester module. The report
is meant to give a deeper understanding of the building from various aspects
such as architectural, historical and cultural. We choose to primarily base our
research on the relationship between its culture and architecture. The aspects
we covered were the relation of the building with its context, its significance,
the key components in its architecture and the way the users interact with it.
From the project, we hope to cover a gap of knowledge of the Sin Sze Si Ya
Temple.

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ACKNOWLEDGEMENT
We would like to express sincere gratitude to Ms. Tey as well as the countless
amounts of administrators, staff, and helpers that were present at the Sin Sze
Si Ya Temple that provided us with ample care, help, and a friendly hospitality
to enable us to conduct our research.
We would also like to extend our sincere thanks to Ms. Nor Hayati, the main
coordinator of the module and the respective teams and staff in Taylor’s
University for providing us with the opportunity to conduct this research and
project.
We are also greatly in debt to Architect Kevin Mark Low, whom willingly took
time away from his busy schedule to agree upon us to have an interview to
provide us a clearer understanding and heading of direction of our project.
Lastly, we would like to extend our thanks and gratitude to our tutors Ar Ian
Ng and Dr. Sucharita Srirangam for guiding us along this project from the
beginning until the very end.

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LIST OF FIGURES, PLATES AND ILLUSTRATIONS
Page
1.01 Sketch of the road leading to the temple 17
1.02 Natural light shining through the opening 18
in the main hall of the temple
1.03 Staircase located in the temple storeroom 19
1.04 Sketch of temple façade 20
2.01 Sketch of temple entrance and face 22
2.02 Roof of temple and Kuala Lumpur skyline 23
2.03 Ladder assembly and usage 24
2.04 One of the books used for the research 25
2.05 Interview being conducted with Ms.Ranjit 25
2.06 An elder praying to the deities 26
2.07 Members of the group conducting measuring exercise 26
3.01 Sketch of temple main entrance 28
3.02 Picture of Yap Ah Loy 29

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Page
3.03 Ample light is able to shine into the temple through these openings 30
3.04 Temple main hall when in use 30
3.05 Tourists and visitors arriving at the temple 31
3.06 Main hall of temple, level change seen on green tile 31
3.07 Usage of temple with rituals 32
3.08 Temple helper working on fortune telling services 32
3.09 Details on roof, of original state 33
3.10 Original staircase of temple still in use 34
3.11 Temple sillihoutte with buildings nearby 34
3.12 The temple and Kuala Lumpur 35
3.13 List of names of the influential people 35
in the making of the temple
4.01 Sketch of the back entrance 37
4.02 Floor plan colour-coded according to the temple’s 38
function, supporting spaces and services.
Page
4.03 Visitors taking photographs in one of the temple halls 39
4.04 Floor plan showing the places (red) that is most frequent in-use 40
4.05 An elder standing next to the main altar 41
4.06 One of the many skylights in the temple 42
4.07 Picture of the ancestral hall 42
4.08 Statues of the Goddess of Mercy at the altar 44
4.09 Drawings of deities in the temple 44
4.10 “Sedan” used by the Gods in certain times of the year 45
4.11 Sketch of the offerings 46
4.12 Location of statues of deities 47
5.01 Sketch of main hall 49
5.02 Back entrance and alley of temple 50
5.03 Section of temple 50
5.04 The use of wrought iron suggests that this part of 51
the building is an add-on
5.05 Arc doorway that serves as a connector between halls 51

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Page
5.06 Traditional use of threshold to separate spaces in the temple 52
5.07 The main hall 52
5.08 The kitchen, located in the middle of two halls 53
6.01 Sketch of back entrance 55
6.02 The parking as seen from the office 56
6.03 The back entrance of the temple 56
6.04 The main hall of the temple with wooden beams 57
and columns
6.05 The section of the temple 58
6.06 Dougong and column components 58
6.07 Roof of the temple 59
6.08 Brick usage in temple, such as this furnace 59
6.09 Floor tiles at the main hall 60
6.10 Timber framing at the top of the main hall skylight 60
6.11 Poison arrows’ pointing at the temple 61
Page
6.12 The beam and column 62
6.13 Main door and the Door God 63
6.14 Sketch of dragon ornamentation on the urn 64
located outside the temple
6.15 The main porch of the temple 65
6.16 Fu Dog 1 65
6.17 Fu Dog 2 65
6.18 Main Door 66
6.19 Dragon ornamentation 66
6.20 Boundary of the temple 67

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FOREWORD
We thank the entire team who worked on the Methods of Documentation and
Measured Drawings course work at the site of Sin Sze Si Ya Temple, Kuala
Lumpur, for offering such a great time and learning experience together.
The team’s task was to measure and document the temple, which is one of
culturally and historically significant landmarks in the city of Kuala Lumpur.
The team enjoyed studying the temple for it offered a contrasting experience
within the city, where the tradition meets the contemporary and where the
chaos meets some order. With the immensity of such dualism, the team went
ahead to study both a) the tangible, scientific and technical aspects of the
building and b) the intangible, experiential and qualitative aspects of the
temple.
The production of deliverables from the course work, thus, became of two
folds. On one hand, the students presented the measurements by translating
the spatial measurements into graphical and physical representation through
drawings and model. And on the other, they presented sketches and
photographic journals, through actually becoming part of the temple itself by
participating in the cultural or ritual activities inside the temple.
The spatial articulation of Sin Sze Si Ya temple is of great complexity that has
its frontage facing a central courtyard that has two entries from two parallel
streets; the temple also exhibits complexity in its geometry as it orients an

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angle to the streets in an attempt to confirm to the original intensions on Feng
Shui. The team deserves deep appreciation for handling such complexities in
meticulous, systematic efforts with passion.
The team also captured the significance of the temple by paying attention to
details; may it be construction details, poetic aspects such as lights from the
sky, smoke escape from the incenses and chimneys, decorative altars of the
deities, furniture facilitating the ritual practices. We congratulate the team on
capturing the intangible significance into tangible expressions of architecture,
spaces and the interior.
Thus the outcomes, Report, Model and Measured drawings, exemplify the
passion on the spatial and perceptional studies. The following pages of the
Report is the concise of the entire work by the cohort towards understanding,
analysing and recording the place of dualism, the Sin Sze Si Ya Temple.
Dr Sucharita Srirangam
Tutor

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Having ever measured only one building in my long career, I approached Sin
Sze Si Ya with excitement. Deja vu it would not be then, particularly when 27
energetic and enthusiastic students under my charge would undertake the
task, not me. The most curious trait we would share would be that I was their
age when I measured a cruck barn in Yorkshire in the 70’s.
The purpose of the exercise in Leeds, UK, was quite removed from that of
classical European tradition where it was thought that measuring up and
drawing of works of masters would somehow awaken some kind of
consciousness of the perfection of the classical orders and their proportions.
It was more than the acquisition of practical skills using instruments of
measuring, and recording onto paper (in pre-digital days.) Of that I would be
certain, as the final question from my reviewer would reveal. It was a question
I would remember above all other recalls. “And what have you learnt about
the building?” he asked. Thinking that it was an historic-theoretical question,
I fumbled in response. “Basically,” he said to end the ordeal, “it’s a simple
structure that works very well in keeping out the weather.”
Things have perhaps not changed today. It is more than measuring.
Sucharita and I challenged the students to extract more than merely bricks
and mortar from Sin Sze Si Ya. Beyond the mandatory mechanics of
measuring, cadding and model making – old skills to be repeated, no doubt,
for the rest of their undergraduate studies – we picked the video as an
opportunity to explore short-film communication as a means of synthesising

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research. The basis of choice was the increasing use of narratives in video to
relate human experiences that other forms of communication do less well in,
particularly in the youngsters’ cyber spaced world. Happily, the students took
to textual analysis for an understanding of the principles of fictional narratives
with strict adherence to appropriate points of views. And amazingly,
Goldilocks and the 3 Bears fared well as the context for study.
Sucharita and I were delighted with the enthusiasm and the level of film and
dramatic talent the students harness on plunging into the filmmaking.
Finally, the reflective pieces each student wrote bear witness that the learning
had gone beyond measured drawing to drawing from cultural life and
relationship management. That, for me at least, is enough to make this an 8
weeks well spent together.
Ar Ian Ng Aik Soon
Tutor

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TABLE OF CONTENTS
Subject Page
Declaration of Submission 2
Abstract 4
Acknowledgement 5
List of Figures 6
Foreword 9
Table of Contents 13
1.0 INTRODUCTION 16
2.0 MODULE AND METHADOLOGY 21
2.1 Module 22
2.2 Aim 23
2.3 Objectives 23
2.4 Instruments 24
2.4.1 Measurements 24

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2.4.2 Accessibility 24
2.5 Method of Research 25
2.5.1 Internet 25
2.5.2 Books 25
2.5.3 Interviews 25
2.6 Limitations 26
2.6.1 Lack of Information 26
2.6.2 Human Error 26
3.0 BLOODLINE – History, Folklore and Culture 27
3.1 History of Sin Sze Si Ya Temple 28
3.2 Social Significance 30
3.2.1 The Temple and Its role in Society 30
3.2.2 Temple and Tourism 31
3.2.3 Temple and Religion 31
3.2.4 Temple and History 33
3.2.5 Circulation of Network 34
3.3 Other Temples Around the Area 35
3.4 Summary 35
4.0 LIFEBLOOD – Rituals, Activities and Belief 36
4.1 Functions 37
4.2 Activities on Annual Calendar 38
4.3 Rituals 41
4.4 Hierarchy of Deities 44
4.5 Summary 47
5.0 CONDUITS – The Circulation and Usage of Space 48
5.1 Space Configuration 49
5.2 Spatial Articulation 51
5.3 Summary 53
6.0 PULMONARIES–Structure, Construction and Detail 54
6.1 Structure 55
6.2 The Study of the Façade 56
6.2.1 The Main Entrance 56
6.2.2 Back Entrance 56
6.2.3 Opposite the Temple 56

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6.3 Construction 57
6.3.1 Roof Details 58
6.3.2 Column Details 58
6.4 Materials Used in Relation to Climate 59
6.4.1 Tile Roofing 59
6.4.2 Brick Structure 59
6.4.3 Tile Flooring 60
6.4.4 Roof Timber Framing 60
6.5 Feng Shui 61
6.5.1 Orientation 61
6.5.2 Construction Details 62
6.5.3 Symbolic Ornamentation 63
6.5.4 Customs 65
6.6 Ornamentations 66
6.6.1 The Order and Chaos 66
6.6.2 Meanings 66
6.7 Summary 67
7.0 CONCLUSION 68
8.0 DRAWINGS 80
GLOSSARY 122
REFERENCES 123
APPENDIX 1 125
APPENDIX 2 136
APPENDIX 3 138
APPENDIX 4 139
APPENDIX 5 140

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Fig 1.01 Sketch of the road leading to the temple by Farah Ain Ismail
1.0 INTRODUCTION
This report is an outcome of an eight-week exercise undertaken by 27
students from the School of Architecture, Building and Design, Taylor’s
University, Malaysia. As part of a mandatory short semester course we, the
students, measured the Sin Sze Si Ya Temple in Kuala Lumpur with the
objective of learning methods of measuring and recording as well as to
research and report on the history and culture of the heritage building which
was constructed before formal and modern systems of design drawings were
invented. The team of measurers comprised students who had just completed
the Semester 2 and Semester 3 of the BSc (Hons.) Architecture programme,
and was supervised by Senior Lecturers, Dr Sucharita Srirangam and Ar Ian
Ng.
This report includes reduced copies of all the drawings (originally A1) and
written text from our research questions which themselves were derived from
literature review, site visits and class discussions responding to the privilege
given by the course module. The privilege was to choose to investigate either
the history or the culture of the building. We chose to research and report on
the culture of the Sin Sze Si Ya Temple.

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One of the first findings that impressed us was the circumstances surrounding
and giving rise to the building of this temple, a series of socio-political events
in the founding years of Kuala Lumpur in the mid-19th Century. This involved
protracted inter-racial and communal wars which saw its turning point when
the leader of one of the groups was beheaded. Folklore has it that white blood
flowed from his beheaded neck, a phenomenon that so startled the opposing
group that repentance and reconciliation between the warring parties
followed. The building of the temple followed in the ensuing years in
commemoration of the event.
This report, thus, takes inspiration from this generating point, entitling itself
WHITE BLOOD, and picks up on the metaphor to flesh itself out.
Following the introduction Chapter 2, Module and Methodology, tables the
module outline given for our instruction and the methodology which were in
the main prescribed. The methodology led to a guiding research question
which is, “In what way does the temple respond to the need of
contemporary users?”
Fig 1.02 Natural light shining through the opening in the main hall of the temple

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With the clear research question, reporting was naturally organized into the
ensuing five chapters.
Chapter 3, Bloodline- from history to legend to faith, records the founding
and growth of the temple to present time. It starts with the white blood
occurrence, discussing the degree of truth of the matter, and attempts to show
its relationship to the character of the faith that forms the basis of this temple.
It also discusses the value of this temple to not only its adherents and
devotees but also the neighbouring community and our multicultural nation.
Chapter 4, Lifeblood - rituals and activities, gives a descriptive analysis of
the user content that range from formal and symbolic rituals to the day to day
activities of the temple occupants, and covers the deities housed. It focusses
on the essential rituals that give this temple its unique characteristic.
Chapter 5, Conduits - the spatial articulation within the temple, moves
into an analysis of how the architectural spaces within the temple are
configured according to our contemporary values of perception. It uses the
concept that what appears to be chaos may actually be order of a “natural,
organic” kind and comments on how this dynamic between order and chaos
speaks of the life of the temple.
Fig 1.03 Staircase located in the temple storeroom

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Chapter 6 Pulmonaries - the architectonics of the temple, is a
straightforward description and analysis of the container of the space – the
physical building itself, and includes the controversial (yet fervently held)
belief of Feng Shui.
Chapter 7, Conclusion comprises 3 parts – 27 individual reflections on the
pedagogical experience of this 8-week exercise, an analysis of the group
feelings (a corporate response, so to speak) and a summary conclusion to
the project.
Following the preceding textual narratives are the measured drawings, a link
to our video on perceptions of the temple from an individual experience point
of view, and appendices which include our original English translation of the
temple manual.
Fig 1.04 Sketch of temple façade by Farah Ain Ismail

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2.0 MODULE AND METHODOLOGY
2.1 Module
The task set before us – in terms of the Learning Objectives and Outcomes
– was extremely precise with little room for creative variance as university
standards had been set and many precedents archived. We followed the
prescription as much as we could, diverging only where we felt it was
absolutely for clarity of communication or for creative impact based on the
research questions we had set ourselves.
Module outlines may be inspected in Appendix 5.
One of the rather unusual approaches we adopted was to video-record the
cultural perception of the temple through a simple narrative framework of
human relationship as we felt it was the element closes to how users might
experience the temple and for the fact that the human plot-element is often
the best way to bring the building to life. You may view our video on YouTube
at the link given in Appendix 3.
Fig 2.01 Sketch of temple entrance and face by Amir Fauzan

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2.2 Aim
Our aim was simple; to relate the architecture of the building to its
significance, highlighting how the two support the inhabitation of the building.
2.3 Objectives
The objectives of this project are to analyse the relationship between
architecture and the significance of the building as well as its inhabitation.
Furthermore, to learn to use different type of methods for researching
information.
Fig 2.02 Roof of temple and Kuala Lumpur skyline

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2.4 Instruments
2.4.1 Measurements
Measuring tape string and retractable measuring for curved and round
objects, construction laser ranger finder to measure height and distances on
high ground.
2.4.2 Accessibility
Multi-purpose ladder, Folding ladder, Safety Harness
Fig 2.03 Ladder assembly and usage

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2.5 Method of Research
2.5.1 Internet
This method was used to gather basic information about the site and its
context. It was also used to gather a deeper knowledge of the use of Feng
Shui in our temple.
2.5.2 Books
Understanding Sin Sze Si Ya histories, cultures, events, activities and type of
gods in the Chinese version of the temple’s book and translated into English
to allow others to understand it. We also got some inside of the design of the
temple in order to meet the requirements of the Feng Shui.
2.5.3 Interviews
Interviewing the worker in the temple, Miss Ranjit and Ms Lim, a committee
member of the temple, to gain more inside information about the temple.
Fig 2.04 One of the books used for the research
Fig 2.05 Interview being conducted with Ms.Ranjit

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2.6 Limitation
2.6.1 Lack of Information
Information about Feng Shui in books are limited and mostly about modern
building. Hence, we obtained the information through some elders who have
more knowledge on the Feng Shui of old buildings like temple but some of it
has various versions due to the fact of hearsay.
2.6.2 Human Error
Parallax error may occur during measuring as the eye level is not
perpendicular to the reading of the measuring tape. Besides, not all the
measurements take several attempts thus it leads to the documentation of
inaccurate measurements.
Fig 2.06 An elder praying to the deities
Fig 2.07 Members of the group conducting measuring exercise

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3.0 BLOODLINE
3.1 History of Sin Sze Si Ya Temple
Sin Sze Si Ya Temple, built in 1864 by Kapitan Yap Ah Loy, is hailed as the
oldest Taoist temple in Kuala Lumpur. The Sin Sze Si Ya Temple is an object
and place of faith for the civilians as well as a symbolic monument of the
historical fights of the Chinese. The existence of the temple allows us to look
at the backgrounds and life experiences of the Chinese heroes who were part
of the early stages of the development of Kuala Lumpur, which were
comprised of blood and tears.
According to history, in year 1859, there were two local emirates in Seremban
who were in a fight against each other due to mining and taxations rights. The
Chinese then followed the Malay landlords and were divided into two
organizations which were Ghee Hin and Hai San. At that time, Liu Ngim Kong
was a captain under the Chinese Kapitan Shing Kap and he recommended
Yap Ah Loy as someone capable who is brave, resourceful and can play a
major role in the fight to be the vice-captain.
In the year 1860, a war broke out and unfortunately, Kapitan Shing Kap’s
forces was defeated and Kapitan Shing himself was beheaded after being
captured by the opposing Malay forces. His death was extraordinary as white
blood was seen flowing from his neck after his head was chopped off. InFig 3.01 Sketch of temple main entrance by Mark Eng
History, Folklore & Culture

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Malay belief, it is an indication that the person is a saint if white blood is spilled
by a dying person. After witnessing such phenomenon, the Malays begged
for forgiveness and allowed the Chinese to retrieve his body for burial.
The news spread like wild fire and had soon become a myth. It was said that
Kapitan Shing Kap was very kind and had the heart of a Buddha, hence after
he was killed, he took his place as one of the Gods. Ever since then, Shing
Kap is regarded and looked upon by the local Chinese as a deity, and a
temple was built in his honour in order to worship and commemorate him. In
1861, Yap Ah Loy became Shing Kap’s successor as the Kapitan of
Seremban.
Aside from Shing Kap, there was another hero, Sze Si Ya, who was the
commander-in-chief during the Selangor Civil War. He admired Yap Ah Loy
during that time and followed him to the war. He won a lot of battles but in the
end he was killed in the battlefield. In order to commemorate him, Yap Ah Loy
built a temple and named it as Sin Sze Si Ya Temple, which is the combination
of the name of Shing Kap and Sze Si Ya.
Sin Sze Si Ya Temple is a part of the history of Kuala Lumpur. To the Chinese
community, the temple is a clear evidence of the contribution of the Chinese
community to the country. The temple holds certain sentimental values for the
local Chinese as it reflects the hard work of their ancestors who came to
Fig 3.02 Picture of Yap Ah Loy.
Source: http://www.wonderfulmalaysia.com/kuala-lumpur- history.html

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this land and witness the birth and growth of the city of Kuala Lumpur, which
indirectly formed the core starting point for the current Chinese community
who eventually resided here in the country as their home.
Other than the Sin Sze Si Ya Temple, there are twelve other temples with the
same theme and objectives in many other towns and cities around the region,
each of them easily dates back to more than a hundred years old.
3.2 Social Significance
3.2.1 The Temple and Its Role in Society
Sin Sze Si Ya Temple is the oldest and most respectable Chinese temple in
Kuala Lumpur, it was first established during year 1864. Visitors, from tourists
to devotees, the temple and the social value it possesses is by no means
feeble nor just a dot on maps of Kuala Lumpur.
Social value is defined by a location’s value to society, be it of any aspect
whatsoever. Sin Sze Si Ya temple, most obviously would contribute upmost
to those whom value a little religion in their lives. Besides that, the temple too
serves as a tourism destination, a cultural and historical landmark, and an
architectural goldmine with many original aspects of the building still in place
from centuries abode.
Fig 3.03 Ample light is able to shine into the temple through these openings
Fig 3.04 Temple main hall when in use

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3.2.2 Temple and Tourism
As a tourism destination, the temple provides an excellent representation of
ancient Chinese culture and community in Malaysia that is conveniently
located mere feet away from another historical landmark of Kuala Lumpur,
the Central Market. Tourists and visitors of especially the western portion of
the world would find themselves greeted by friendly locals that work and
reside at the temple, showing no hesitation to speak and teach about the
ways of the temple. Tourists would learn on the fantastic architecture that had
its origins form mainland China dating thousands or years back, the expert
craftsmanship that went into the details of the ornaments, statues and
decorations made with pure precision. They may learn something new, or
trigger the most memorable portion of their trip. Needless to say the temple’s
contribution to tourism is immense.
3.2.3 Temple and Religion
Devotees appear in masses especially during the annual Chinese New Year
celebrations. Many arrive with the intentions of conducting a prayer that will
provide luck and prosperity to the prayers. Some may pray for health and the
safety of loved ones. Others may pray because it has already become a
routine for them, many familiar faces can be seen bleeding the interiors of the
temple. Sometimes, yearly event would spawn pilgrimage-esque turnouts,
such as the now famous and well documented ritual of crawling under a red
Fig 3.05 Tourists and visitors arriving at the temple
Fig 3.06 Main hall of temple, level change seen on green tile

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table of the main altar on the eve of Chinese New Year, in the hopes of
lessening mortal burdens through help from the Almighty above.
Humans from the oldest and wisest to the purest and youngest would conduct
this ritual, without any hesitation. Further influences that draw in devotees
and visitors alike include the unique ritual of praying to Wenchang Dijun,
known widely as the God of Education in Chinese history and mythology.
Most popular during times of examinations, prayers to the God of Education
himself will hopefully lead to the passing of examinations of flying colours for
hopefuls. Also ever present in the temple’s religious line up are the odd
devotee conducting a prayer that includes them circling the main altar three
times, to shower his or her with good fortune from the Gods.
Of course, a temple would not be a temple if it were not for the fortune telling
facilities as well. An extremely popular bread and butter service from the
temple, many a time the odd hopeful will seek a hint or clue to their next big
break of hitting the fortune bucket. Sadly, this service has its place well in
Chinese culture, as wealth is an ominous sign of success and social stature
that all so craved in Chinese culture. Therefore, to say that the temple’s
influence on religious matters is profound is an understatement. Serving a
city with thousands of inhabitants that observe the religion would mean that
the temple is not only influencing the social stature, it is an essential aspect
within the community.
Fig 3.07 Usage of temple with rituals
Fig 3.08 Temple helper working on fortune telling services

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3.2.4 Temple and History
The temple’s historical significance is nothing short of priceless. Groups of
individuals that may value this most are ones that may appreciate the
temple’s history, examples of which include the Chinese citizens here in
Kuala Lumpur, historians, scholars, or even hopeful architects that may study
the architecture of the temple. The temple, which has maintained its mostly
19th century built state to this day, include original pieces, bobs, ornaments
that were exclusively hand made from China. Special architecture designs
and construction methods that were unique to that era is also still available to
see. The skylights located all over the roof, a later edition to the temple,
provide a sense of purity and clarity during times of intense light. The interior
room designs, mostly used for storage too provide the opportunity to learn of
the ways interior architecture was handled during the 19th century.
Fig 3.09 Details on roof, of original state

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On a wider scale, the temple, along with the aforementioned Central Market
grew up to adapt to the changing landscape of Kuala Lumpur. Surviving horse
carts and world wars, the temple remains in its place amongst the cloud
piercing buildings of the modern era, blending in seamlessly in a beautiful
mixture of modernity and tradition.
3.2.5 Circulation of Network
The temple, too, is an important circulation on its surroundings. As it is located
sandwiched between buildings and busy roads, many people, often workers
of nearby offices and such, would cross over to nearby areas via the temple
to access restaurants and transportation hubs. Therefore, not only is the
circulation of the temple restricted to its users, non-users that belong live and
breathe in the area too use it as a connecting tool from one area to another.
Fig 3.10 Original staircase of temple still in use
Fig 3.11 Temple sillihoutte with buildings nearby

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3.3 Other Temples Around the Area
Other than the Sin Sze Si Ya Temple, there were 12 other temples which had
the same theme and objective in many other towns and cities around the
region, each of them easily dates back to more than 100 years old. The
temple signifies a lot of sentimental reasons for the local Chinese as it reflects
the hard work for early batches of Chinese who came here and witness the
birth and growth of the city of Kuala Lumpur, hence indirectly formed as core
starting point for the current Chinese community who eventually resided here
in the country as their home. Founded in 1886, this is one of the temples that
still stands today.
3.4 Summary
The temple holds strong social significance through its historical heritage and
contemporary cultural practices. The beliefs on supernatural and rituals have
been carried on for centuries and still vibrant in the contemporary urban
enclave. The temple creates surprise and contrast by its institution and
informal function in the busy commercial node of the city.
Fig 3.12 The temple and Kuala Lumpur
Fig 3.13 List of names of the influential people in the making of the temple

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4.0 LIFEBLOOD
4.1 Functions
Functions in the temple fall into three major categories:
1) Main activities of worship and rituals
a) Main Hall
b) Ancestral Hall
c) Guan Yin Hall
2) Supporting activities of administration and retail for temple offering
a) Administration office
b) Maintenance
c) Counters for selling the offerings such as incense, prayer-
scripts
3) Services:
a) Kitchen
b) Storage
c) Toilets
The functions have been taking the form of certain order; the main functions
occupy the three major halls, the supporting functions exhibit themselves in
fronting and separated spaces and the services fill-in the transition spaces.
Rituals, Activities & Belief
Fig 4.01 Sketch of the back entrance. by Yan Wai Chun

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Referring to Figure 4.02, the colours of red represent the three main halls,
while orange represents the supporting spaces and finally yellow
representing services.
4.2 Activities on Annual Calendar
Below is the list of events that happen annually in the temple:
1) New Year’s Eve – Temple opens at midnight for prayers for a blessed
year
2) Shang Yuan Dan – The act of Zhuan Yin (change of luck)
3) Cai Shen Dan (Financing Day) – Pray to the deity of Guan Yin to
gather wealth and prosperity
4) Jing Zhe (White Tiger Praying) & Villain Hitting – To get rid of bad
luck, gossips and prevent misfortune. The person engaged in the
villain hitting would give the villain a nickname and not the real name
of his/her as that will bring bad luck to all parties instead.
5) Parade Festival – Flower parades, lion dance performances
conducted along the streets. Gongs and drums along the parade are
played to ward off evil spirits.
6) Fu De Gong/ Da Bo Gong Dan (Earth God) – Celebrating the birth of
Fu De Gong, the Lord of Blessing and Virtue. Also traditionally
worshipped before the burial of any deceased, to thank him for
allowing the use of his land to return their bodies to the earth.Fig 4.02 Floor plan colour-coded according to the temple’s function, supporting spaces and services.

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7) Wen Chang Dan – Celebrating the birth of Wen Chang, the God of
Culture and Literature. Believers flock to be blessed with good
academics and smooth education.
8) Kapitan Yap Ah Loy Dan – Celebrating the birth of Yap Ah Loy to
commemorate his prominent role in history, his influence to the
temple and to obtain his blessings.
9) Guan Yin Dan – Celebrating the birth of Guan Yin. Devotees offer oil
to Guan Yin;s lamp and pray for health and peace, while others offer
long silk scrolls in hopes of bearing a son. Some pray to Guan Yin to
bless their child with longevity.
10) Yee Yong Chee Dan – To commemorate Yee Yong Chee
11) Tham Gong Dan – Celebrating the birth of Tham Gong and
Siddhartha Gautama
12) Jin Hua Dan - Celebrating birth of Jin Hua, praying for blessings and
fertility
13) Guan Yin Dan (to reach illumination – Buddhism) – Celebrating the
birth of Guan Yin
14) Guan Di Dan – Celebrating the birth of Guan Di
15) Si Ya Festival – Taoist Masters conduct reading of the sutra,
celebrating the birth of Si Ya
16) Zhong Yuan Dan – Zhuan Yin (changing of luck)
17) Cai Bai Dan – Celebrating the birth of Cai Bai
Fig 4.03 Visitors taking photographs in one of the temple halls

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18) Guan Yin Dan (to become a Buddhist monk or nun) – Celebrating the
birth of Guan Yin
19) Tai Sui Dan – Celebrating the birth of Tai Sui
20) Anniversary of temple – Yearly celebrations
21) Hua Guang Dan – Celebrating the birth of Hua Guang
22) Xia Yuan Dan – Zhuan Yin (change of luck)
Thus the temple is full of liveliness throughout the year. Figure 4.04 illustrates
the locations of one of the key-event in the Chinese calendar. During Chinese
New Year the three main halls, highlighted in red, are frequently visited and
used for rituals and activities, becoming the most used spaces in the temple.
This explains the culture of the space, with people performing religious
activities and rituals.
Fig 4.04 Floor plan showing the places (red) that is most frequent in-use

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4.3 Rituals
A few of the most unique rituals carried out by this temple are the activities
carried out on the eve and first day of Chinese New Year, Jingzhe Day, and
Wen Chang Day.
To begin with, devotees will visit Sin Sze Si Ya temple on the eve or first day
of Chinese New Year to get blessings for peace and security for the whole
year. Devotees will have to crawl under a table in front of the altar to secure
a smooth sailing year.
On Jingzhe Day, devotees will worship the White Tiger God and perform the
“Da Xiao Ren” (villain hitting) ritual. According to folklore, on this significant
day the insects will awake from hibernation and the White Tiger God should
be worshipped. Devotees are to silently say a verse while worshipping along
the tones of
“Hope to get away from villains, dispel all bad luck,
turn around dangers to be safe, enjoy good luck”
These devotees then carry out the ritual of hitting villains whereby paper
effigies representing said person would be hit in hope that they would be
defeated.
Figure 4.05 An elder standing next to the main altar

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When perceived psychologically, this activity actually ensues in emotional
relief to the villain hitter without causing any danger to the “villain”. This ritual
is only done to expel bad luck and negative gossip to prevent misfortune, and
not to put the said villain in harms’ way. In fact, the real names of the “villains”
are not encouraged to be written on the paper as the hitter itself will acquire
bad luck too. Nicknames are encouraged to be written on the paper effigies
instead.
Another unique activity provided by the temple is Wen Chang Day, whereby
folks pray for smooth sailing education for their children. Offerings will be
brought to worship Wen Chang Di Jun (God of Culture and Literature) that
comprises mainly of fresh vegetables so that their children can have good
luck while facing their examinations. The significance of the vegetables is as
such:
1) Celery: diligence and perseverance
2) Garlic Sprout: ability to calculate accurately
3) Onion Sprout: intelligence and wisdom
4) White Carrot: auspicious omen
Fig 4.06 One of the many skylights in the temple
Fig 4.07 Picture of the ancestral hall

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5) Osmanthus flower: achievement of noble and honourable status
6) Steamed sponge cake and glutinous rice dumpling: excellent results
in examinations
7) Bamboo Shoot: smooth sailing in all efforts
8) Steamed bun and glutinous rice dumpling: assurance for passing
examinations
9) A bottle of oil: efforts to cheer somebody on.
There are also considerable amounts of the mix of visitors; may it be Chinese
or other races, locals or tourists, pedestrians or car-drivers. This proves that
the temple is a vibrant cultural anchor in the urban configuration of the KL City
Centre.

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4.4 Hierarchy of Deities
Hierarchy exists in everywhere. Just like social hierarchy, hierarchy of gods
and immortals exists in Taoism. At the top of the hierarchy are the gods of
the highest ranks – the Celestial Worthy of Primordial Beginning, the Celestial
Worthy of Numinous Treasure and the Celestial Worthy of the Way and Its
Virtue, who are the epitome of Tao or the Tao itself. Below them are the gods
of the lower positions, who are depended with the obligations as indicated by
their fulfilments in Tao and Virtue.
The Three Pure Ones, San Qing (三清) are the greatest deities in Taoism.
They transcend the entire hierarchy of Taoist deities. The Three Pure Ones
are known as the avatar of Taoism which has come to signify ‘an embodiment, a
substantial indication of the heavenly’.
When all things are created, Tai Shang Lao Jun (太上老君) descends and
settle on the right. He holds a mystical fan which symbolizes the
consummation of the Universe, and that Taoism can be spread far and wide,
and living things can seek salvation.
According to the Chinese Folklore, the Jade Emperor, Yu Huang Da Di (玉皇
大帝) is the supreme ruler of the Heavens, the hades and the protector of
mankind. He is said to be the highest ranking deity among the Taoist
Fig 4.08 Statues of the Goddess of Mercy at the altar
Fig 4.09 Drawings of deities in the temple

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pantheon and directs Heaven and Earth. His birth, commonly known as Tian
Gong Dan (Festival of the Heavenly God) is an important festival to the
Chinese community and is celebrated on the ninth day of the Lunar New Year.
Taoist temples throughout the world will hold gatherings and prayers together
to worship him, to entreat him to allow peace, plenteous harvest, and
assurance from catastrophes for the year.
Despite the hierarchy of deities in Taoism, the main deities in Sin Sze Si Ya
Temple are none other than Si Sze Ye (四师爷) and Sin Sze Ye (仙师爷),
as the temple was deliberately built in their honour. Hence, they are both
seated in the centre altar in the main hall. However, the two main deities
worshipped were not traditional deities originating from China, instead, they
were two local people that had elevated to the status of deities based on their
merit.
The two deities are considered patron deities of the local population of Kuala
Lumpur and are very important and prominent to the local community as the
deities had guided Kapitan Yap Ah Loy in his dreams, which helped to defeat
the enemies and defend Kuala Lumpur during the Civil War from year 1870
to 1873.
Devotees will visit the temple when the white tiger opens its mouth annually
which is what the temple is famous for, the Tai Sui and the White Tiger
Prayers.
Fig 4.10 “Sedan” used by the Gods in certain times of the year

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Aside from that, devotees will also come forth to the temple to pray to the
deities listed below:
1) Tai Shang Lao Jun (太上老君) – The Grand Supreme Elderly
Lord (TheTaoist Ancestor)
2) Zhu Sheng Niang Niang (注生娘娘) – Goddess of Child Birth
3) Fu De Zheng Shen (福德正神) – God of the Soil and Graves
4) Guan Di Sheng Jun (关帝圣君)
5) Guan Yin Pu Sa (观音菩萨) – Goddess of Mercy
6) Tian Hou Sheng Mu (天后圣母) – God of Wind and Safety
7) Wen Chang Da Di (文昌大帝) – Deity of Education Scholar and
Prosperity
8) Di Zang Wang Pu Sa (地藏王菩萨) – the Bodhisattva of the
Great Vow (to save all souls before accepting Bodhi)
9) Da Ye Be (大爷伯) – Deity of Prosperity
10) Qi Tian Da Sheng (齐天大圣)
11) Hua Guang Da Di (华光大帝) – Deity of Artistes and Craftsmen
12) Tai Sui Ye (太岁爷) – Master of Deities of Prosperity, Health
and Good Luck
13) Cai Bo Xing Jun (财帛星君) – Deity of Business
14) Hu Ye Gong (虎爷公)
15) Shi Jia Mu Ni (释迦牟尼) – the historical Buddha and founder
of Buddhism
Fig 4.11 Sketch of the offerings. by Valentine Hew

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16) He He Er Xian (和合二仙) – two Taoist immortals known as the
‘Immortals of Harmony and Unity’
17) Tan Gong Xian Shi (谭公仙师) – Deity of Medicine and Health
18) Di Mu Niang Niang (地母娘娘)
19) Hua Fen Fu Ren (花粉夫人) – Deity of Beauty
20) Jin Hua Fu Ren (金花夫人) – Deity of Fertility
The locations of statues of the deities (figure 4.12) in the temple correspond with
previous information mentioned before in that the deities are placed in order of
importance and hierarchy to the temple the same way that places the activity
locations to their importance in the temple. In this case, deities that are very
important will be placed in the main hall (red), in terms of religious beliefs and also
corresponding to the history of the temple. Other deities (orange) are placed in the
smaller halls hence their separation and distinction from each other.
4.5 Summary
The temple has significantly unique rituals such as nailing-the-villain etc. The
architectural space adapts to activities of varied time of the annual calendar.
The simplicity of form offers great flexibility to the ways of those temporal and
permanent activities.Fig 4.12 Location of statues of deities

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5.0 CONDUITS
5.1 Space Configuration
An architectural study is never ever complete without studying form and
function. Within the discipline, form and function almost always become two
entities that co-exist with one another. Some may argue that the former is
more significant than the latter and vice versa. Nonetheless, we can always
agree that these two aspects of architecture are derived almost always by its
surroundings – a manifestation of a response. The solution to a question.
Prior to building the form, an architect and his team goes through a cultivated
process of design – deriving from the needs of the users, the needs of the
surroundings, the urban fabric of the location, the weather, the required
spaces, the materials of the building – the list goes on.
The Circulation & Usage of Space
Fig 5.01 Sketch of main hall. By Amir Fauzan
Hew

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Situated in the middle of Central Market, a busy bustling city at Leboh Pudu,
the temple immediately sets itself apart from other traditional Taoist temple.
Sin Sze Si Ya Temple is sandwiched between a bank tower and colonial shop
lots, causing the façade to be constraint to the template, in terms of the size
of the entrance, again, following the likes of its neighbours with regards to the
dimensions and the height. Yet, the architecture that partakes in the façade
is purely traditional Chinese architecture – allowing the form to emulate the
function of the temple being a sacred place, a temple. Referring to the location
plan, we can observe where the façade acts as the main entrance, and the
back alley houses the long stretch of gate, the temple’s back entrance.
The form of Sin Sze Si Ya Temple itself has a degree of symmetry to the
design. Cutting the section through the main hall, you could see that the
essence of the building is based on symmetry, an element very commonly
applied in sacred buildings. The very initial purpose of the building as a sacred
place for Taoist believers has initiated the extensive use of traditional Chinese
architecture, apparent in the ornamental design of the roof, the façade, the
high volume of space constructed by a high ceiling and open spaces evokes
a certain ambience to assist the emphasis on the spaces being a sacred
place. The temple has also paid attention to its décor by relishing it in
masterpiece paintings with symbolic meanings as it goes to the ornaments
and details.
Fig 5.02 Back entrance and alley of temple
Fig 5.03 Section of temple

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The continuous changes of the form of the building itself has been contributed
by the cultural advancements and changes in the social, political and
economy of Kuala Lumpur itself. Due to the dire needs of advancements in
the social and economic success in the city, the temple has come to offer
believers to cleanse apart from having rituals for good fortune, and fortune
telling. The design of the temple exists a clash in the uses of modern
materials, indicating that a few renovations and expansions were made due
to the increasing need of space within the temple as the outstanding interest
for these activities has resulted in an increase of influx of visitors and staffs.
5.2 Spatial Articulation
In terms of architecture, articulation means to delineate spaces so different
functions are clear and meaningful and avoids ambiguity. It simultaneously
makes spaces more functional and interesting. The public spaces in Sin Sze
Si Ya Temple, though are not separated by doors, one can still clearly make
out where one function of a room ends and another begins. The spaces in
the temple are well articulated as they do not blend indiscriminately into
another by adopting certain architectural features and elements to help
articulate the functions of spaces and make them more meaningful.
Fig 5.04 The use of wrought iron suggests that this part of the building is an add-on
Fig 5.05 Arc doorway that serves as a connector between halls

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Aside from the obvious use of doors for the separation of the private areas
(the office and store room) from the public areas, the other spaces in the
temple were separated by the use of different floor levels, arc doorways, and
in the case of a temple, a threshold. The use of these architectural elements
provide the users an idea of when they are entering another place of different
functions or purposes while maintaining the flow of the space. Also, these
subtle architectural elements segregate the crowd according to what they
intend to do or where they intend to go in the temple. This in turn brings an
order to the otherwise overwhelming or sometimes – chaotic – crowd in the
temple.
Sin Sze Si Ya Temple possesses a uniqueness that differs itself from other
traditional temples where the deities that were worshiped were not of the
traditional Chinese deities, rather it was for two people – Sin Sze Ya and Si
Sze Ya, who were elevated to the status as deities through their merit.
Therefore, to accommodate the patron deities, the building’s main component
consists of two wings, the west and the east for the two deities and a main
hall.
Fig 5.06 Traditional use of threshold to separate spaces in the temple
Fig 5.07 The main hall

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Spatial proportion plays an important role in space planning as well. In Sin
Sze Si Ya Temple, the main hall has the greatest area and volume followed
by the west and east halls. Aside from praying, most activities such as fortune
telling and the selling of joss sticks and other tokens for the deities are taken
place at the main hall, while the two other halls are solely for praying. On the
other hand, there are two hallways which are narrow in comparison to the
three main halls as the hallways serve as a form of connector from the main
hall to the west and east wing. Besides that, the spaces delegated at the
hallway are the kitchen and toilets, which the activities taken place there are
considered inconsequential in a temple.
5.3 Summary
The connection between the main and supportive functions happens through
the transition spaces which are effectively used for services. The simplicity of
the form, once again, allows effective or layered connection between the
prayer halls, i.e., main functions, and linear connection inside any hall or given
space.
Fig 5.08 The kitchen, located in the middle of two halls

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6.0 PULMONARIES
6.1 Structure
The building was built on 1864, ancient Chinese wooden architecture was
used to build this temple. There are few significance components that can be
found in this building such as the timber frame and the decorative roof.
The fundamentals of Chinese wooden architecture are the load-bearing
timber frame and a network of interlocking wooden supports forming the
skeleton of the building. Unlike western architecture, in Chinese traditional
architecture, the wall is only defined by an enclosure, and did not form a load-
bearing structure. The building in Chinese traditional architecture are being
supported by wooden frame. There are several types of wooden joint can be
found in this buildings such as, half lap joints, mortise and tenon, and cross
lap joints.
This building also features architectural bilateral symmetry, one of the
significant element from Chinese architecture. The building emphasizes on
articulation and bilateral symmetry, which signifies balance, it can be seen
from plan to elevation. The building tends to contain an even number of
columns in a structure to produce an odd number of bays. The plan of
renovation of an extension often try to maintain overall bilateral symmetry.
Structure, Construction & Details
Fig 6.01 Sketch of Back entrance. by Chew Jia Chen

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6.2 The Study of the Facade
6.2.1 Main Entrance
The primary function of this entrance is to allow cars to enter and park in the
building. The second floor houses the office for the temple.
The main entrance is sandwiched between two buildings. The ornament
heavy facade stands out because it contrasts the facade of the two buildings.
The facade is asymmetrical balanced. It has like a framed effect going on
each part of the facade is framed. This gives an illusion of many stacked
painting.
6.2.2 Back Entrance
The back entrance primary function is to allow easier entrance to the building
for patrons that walk. It is shorter and has light ornamentation.
It uses bright colours to stand out rather than ornamentation as the main
entrance. It is not symmetrical due to a longer right side.
6.2.3 Opposite The Temple
The facades opposite the temple is mostly monotonous and the back
entrance is facing the back alley. The back alley is mostly bare walls with
some small entrances.
Fig 6.02 The parking as seen from the office
Fig 6.03 The back entrance of the temple

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6.3 Construction
Sin Sze Si Ya temple's construction has many distinct features that relates to
traditional Chinese architecture such as its massive columns and beam
structure which supports this edifice. The exterior is mainly brick and stone
work while it's counterpart is mostly made out of wood. It uses the technology
of skylights which is becoming very popular in architecture nowadays
although it being built hundreds of years ago. Temple roofs were also made
of glazed ceramic tiles and have an overhanging cave distinguished by a
graceful upward slope. The roof arch comes from the intricately fitted rafters,
which were jointed together. The ridges of each roof are topped with figures
of mythical creatures, each curve no more than a sweep. The roof has wave-
like tiles that run horizontally, and vertical round ridges that run vertically.
Fig 6.04 The main hall of the temple with wooden beams and columns

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6.3.1 Roof Details
The roof construction is very complex due to the fact its components are
made from timber. The roof mainly consists of horizontal girders that gives
support to the vertical posts. The brackets supporting the horizontal
components are called Dougong. Dougong (Figure 6.05) is a ‘cap and block’
bracket system. A dou is an inverted cap holding a gong, a block, or a beam
on top of it, and each dou has a small hole drilled in the bottom into which a
matching pin protruding from a gong is mated.
6.3.2 Column Details
The external columns are connected with the installation of Pingban Fang
(perimeter girders). The connection continues with other components such as
Ying Ding until roof installation is completed.
Fig 6.05 The section of the temple
Fig 6.06 Dougong and column components

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6.4 Material Used In Relation to Climate
6.4.1 Tile Roofing
The material used in relation to this climate is the overlapping clay tiles used
in the steep sloped roof of Sin Sze Si Ya temple as it reacts to the hot climate
because of its high solar reflectivity causes it to be a popular cool roofing
material. The tiles are glazed to enhance its solar reflectance ability. In moist
locations, cool roof surfaces can be more susceptible to algae or mold growth.
So, the clay tiles are also coated with special chemicals to prevent mold or
algae growth.
6.4.2 Brick Structure
The whole Sin Sze Si Ya temple structure is basically constructed with bricks.
Bricks have excellent thermal mass as it helps adjust the building’s
temperature by storing cool air and heat, keeping the internal temperature in
the comfort zone. They provide great cooling effect especially in a tropical
climate. Situated in a high humidity climate, bricks can easily absorb humidity
as they have a surface which is more diffusion-open than other materials. As
they are 100% inorganic and absorb humidity, this combination minimises the
risk of mildew.
Fig 6.07 Roof of the temple
Fig 6.08 Brick usage in temple, such as this furnace

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6.4.3 Tile Flooring
Tile is suitable in tropical climate because of its high thermal mass. The
flooring of the Sin Sze Si Ya temple uses tile flooring as it can store energy
absorbed from the sun and release it over time. Conversely, it can resist
heating up too fast from solar radiation.
6.4.4 Roof Timber Framing
As the tile roofing minimizes the heat intake and has moisture prevention,
timber frame can be used due to its ability to heat up quickly and retain that
heat for longer. The openings in the timber roof construction also allow air to
escape as heat rises so that air can flow through all areas.
Fig 6.09 Floor tiles at the main hall
Fig 6.10 Timber framing at the top of the main hall skylight

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6.5 Feng Shui
The Sin Sze Si Ya temple showcases multiple informal codes of Feng Shui,
which means the absence of formality in its exhibit of Feng Shui. The
architecture of the temple can sometimes influence the culture of its
occupants and this chapter is to uncover the informal practices that the temple
fulfils to balance the yin and yang ergo creating a harmonious surrounding,
ranging from its apparent to its obscure details.
In the past, the temple was built on the site as it was an open space. However,
due to development around the area, the temple is now ensconced by various
buildings. This causes ‘poison arrows’ to be pointed at the temple (as can be
seen on the plan). Poison arrows are the edges of the surrounding buildings
pointed at the temple. If not fully understood, bad luck could fall upon the
occupants. Therefore, many steps have to be taken to prevent ‘bad energy’
in the temple.as explained below.
Most may think that Feng Shui is just a belief that may not even work but most
of it has scientific reasoning behind it. In other words, Feng Shui brings order
to the building.
6.5.1 Orientation
History informs that Yap Ah Loy decided to build the temple on its present site
after consultation from a Chinese medium. The deity who spoke through this
medium promised good Feng Shui, prosperity and wealth if the temple was
Fig 6.11 ‘Poison arrows’ pointing at the temple

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to be built on that land. The temple was the Chinese religious and community
center of Kuala Lumpur at that time. It was the place where the leaders of the
Chinese community held meetings and made important decisions about the
administration of Kuala Lumpur.
It is said that a temple should be built far away from residential areas as there
are a lot of Chi energy in a temple. The negative Chi will flow to the
surrounding thus people should avoid living near to that area. In regards to
that, temples are normally built at quiet places due to the negative Chi.
A temple built in an urban area must have a lot of tall trees or tall buildings in
its surroundings to reflect the negative Chi away. In year 1864, when the Sin
Sze Si Ya Temple was first built, it was not built in an urban area. The
buildings such as the Hong Leong Bank only erected along the stages of the
development of its surroundings. In order to balance out the negative energy,
many plants are planted and placed along the perimeter of the Sin Sze Si Ya
Temple so as to create a harmonious balance between the energies.
6.5.2 Construction Details
The Chinese belief is that any sharp edges or corners should be avoided as
it can be harmful to the occupants, and gable roofs are said to have a better
Feng Shui than flat roofs. Which is why the roofs of Sin Sze Si Ya Temple, be
it during the initial construction or the renovations after that, had taken the
propensity to use gable roofs over any other roofs. Besides, a higher ceiling
Fig 6.12 The beam and column

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can be constructed using a gable roof as the temple could use the source as
a form of passive ventilation from the smoke of the incense sticks.
The beams and columns in the interior of the temple is cylindrical because in
Chinese, yuan man (圆满) means harmony, where the first word yuan (圆)
means round in English. Round pillars signify Chi moving upwards and brings
the promise of abundance. Hence, we can see that the preferred shapes of
the beams and columns inside Sin Sze Si Ya Temple are cylindrical rather
than square-shaped.
Additionally, the rain water down pipes are placed strategically through the
inside of the temple as the rainwater from the roof will flow from the exterior
to the interior and then to the underground. According to Feng Shui, it is
believed that this will bring wealth to the temple as the flowing of rainwater
symbolizes wealth.
Another belief is that earth materials should be used on the floors as anything
broken suggests an unstable foundation. The tiles that cover the floors of the
temple are good earth materials as they suggest a stable foundation.
6.5.3 Symbolic Ornamentation
A powerful Feng Shui features is to have personalized main doors which has
a small roof to symbolize protection, as can be seen on the main door of Sin
Sze Si Ya Temple. The door open inwards to welcome the Chi and to create
a positive flow of Chi into the temple. The personalized doors of the temple
are painted with a pair of gate guardians with fierce faces and glaring eyes,
powerful presence, muscular bodies and threatening poses while bearing
weapons. These guardians serve to ward off evil spirits and show their power
by carrying out their duties in protecting the temple. They are the
manifestation of the Bodhisattva Vaiparani, protector deity and are a part of
the Mahayana pantheon believed to have travelled alongside the historical
Buddha to protect him.
Fig 6.13 Main door and the Door God

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Also, Fu Dogs are placed in a pair flanking the main door of Sin Sze Si Ya
Temple as it will guard against wandering spirits from entering the temple.
Their fearful faces and muscular bodies are believed to ward off evil
influences and spirits. The male Fu Dog is placed on the left while the female
Fu Dog is placed on the right side with both of them facing outwards. They
are placed near the doorway to ensure protection of the visitors and devotees
when they exit the abode.
It is widely believed that dragons bring prosperity and success. Thus, a pair
of dragons made in the color of gold flank the urn in the main porch. Gold
dragons are said to best portray the dragons.
Spiritual consciousness can also be heightened through the sense of smell.
The aroma of incense purifies and revitalizes spatial energy to the temple.
The fragrant scent of the sandalwood is particularly uplifting and has the
power to break down negative Chi. It brings out the creative spirit of the
devotees’ consciousness and is wonderful for transcending into other
dimensions.
Besides that, a seven metal Tibetan singing bowl is placed on the central
table of Sin Sze Si Ya Temple to create a fresh new energy in the abode and
absorb and transform negative Chi. A small mirror is also placed facing away
from the deities so as to reflect away evil. To bring Yang life into the temple,
the bell and gong in the main hall is used periodically as it will bring the energy
alive instantly.
Fig 6.14 Sketch of dragon ornamentation on the urn outside the temple by Valentine Hew

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6.5.4 Customs
Each and every gestures are significant in a temple. Upon arriving at the Sin
Sze Si Ya Temple, devotees are required to bow to the Jade Emperor Urn
outside (heaven) to show respect to the deities of the temple as well as to
inform that they are here to pay their respects to the deities of the temple.
Whilst entering the main hall of the temple, the devotees will be sure to cross
the red frame, which symbolizes them passing into another dimension and
cleanse one’s physical body, mind and soul. The traditional Chinese belief is
to enter with the left leg and exit with the right leg as this will ensure that upon
exiting, one’s ‘bad luck’ will be retained by the deities and they will be blessed
upon with ‘good luck’.
6.6 Ornamentations
6.6.1 The Order and Chaos
This principle is seen throughout most of the ornamentation and the motifs
used in temple, the chaos being the ornamentation and motif itself while their
arrangement is order. The order they are arranged in, is always balanced. It’s
either symmetrically or asymmetrically balanced.
Fig 6.15 The main porch of the temple
Fig 6.16 Fu Dog 1 Fig 6.17 Fu Dog 2

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6.6.2 Meanings
Chinese guardian lions, also known as Fu Dogs are believed to have powerful
protective powers, discovering the bad intentions from someone who is
coming into the temple and help to ward off evil spirits and influences. Fu
Dogs are often display in pairs. According to Feng Shui, the female lion
should be placed on the left with her left paw fondling a cub and the male lion
on the right playing with a ball. The female is said to protect the interior of the
place as well as its worshipping believers or inhabitants and the male guards
the structure.
The Door gods (Figure 6.12) are the earliest gods worshipped by the Chinese.
They are regarded as the Spiritual Guardians of the Entrance. People believe
that peach wood has spiritual properties and can ward off evil spirits so they
started making auspicious carvings on peach wood, made and pasted on
gates in the hope of attracting good luck and scaring away evil spirits.
The door gods usually come in pairs, facing each other; it is considered bad
luck to place the figures back-to-back.
Ancient Chinese Dragons are ultimate symbols of cosmic Chi (energy). It is
said to be the most potent symbol of good fortune in the Chinese pantheon
of symbols. The Dragon stands for new beginnings.
Fig 6.18 Main Door
Fig 6.19 Dragon ornamentation

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6.7 Summary
The symmetry in the temple offers a lot of order in the architectural form and
thus the detailing. The magnificent form is put together with simple structural
logics on load bearing walls, columns and struts, rafters and beams. The
entire composition offers comfort in the interior and poetic qualities such as
light and shadow, human scale and visually cuing perspectives.
Fig 6.20 Boundary of the temple

68. 68

69. 69
GROUP DISCUSSION AND CONCLUSION
The journey of this this course has taken us to the final chapter to discuss -
how did the Sin Sze Si Ya Temple manage to respond to the need of
contemporary users? Based on fore-mentioned arguments, Sin Sze Si Ya
has embodied the essence of duality, time and time again. The duality of
order and chaos has become very apparent through the temple’s form and
activities, where form becomes the order and activities represent chaos. To
elaborate further, the form and the activities continuously complements one
another and as the activities within the temple evolves, the form changes to
quip to the user’s needs.
The temple was created in symmetry, with two identical wings attached to its’
main hall in order to accommodate the specific rituals carried out in the
temple. In contrast to the orderly form, Sin Sze Si Ya is wedged in between
two shop-lots in an asymmetric manner. This significant concept of duality
then supports the inhabitation of the building, balancing again between its’
architecture and its’ significance.
Finally, we learnt the importance of coordination in the team in order to
succeed. One of the key examples are when tallying all the measurements to
produce an accurate drawing.

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PERSONAL CONCLUSION
AMIR FAUZAN
Based on my personal
experience, Sin Sze Si Ya Temple
is a building which had full of
complexity. A temple built
surrounded by rebel cityscape and
urban development that had a
simple spatial layout but in term of
religious circulation (function) it’s
a bit crowded. Other than that, this
exercise is an opportunity for me
to expose into a different world
which is very important nowadays,
`Seeing is believing` not because i
believe on their religion but
because of knowing the
importance of cultural sensitivity
and humility as an acknowledge
the country where you live, its
culture and be to others as you
would have them be to you what
you give is what you get
Getting access to different
cultures is important in
appreciating the positive aspects
of our multicultural society has to
offer and as an architect it offers
me to learn more about the form
and function and how it serve to
the people(user).
TEO HONG WEI
When I first step into Temple Sin
Sze Si Ya, I found out that the
surrounding is totally different from
the outside. Being in this Chinese
temple, I was surrounded by the
elements of Chinese Temple
Architecture, which is flooded by
lots of carvings, ornaments and
red colour. Once stepped into the
main hall of the temple which is
always crowded, my senses were
completely impacted by the
surrounding inside the temple,
which is extremely saturated. The
skylight, ornaments, and the altars
formed a very nice view which
gives a spiritual feeling. The sound
of people chatting, the drum and
bell, is one of the things which is
unforgettable from the temple. The
smell, of course, coming from the
burning sticks which people use
for praying, the special smell and
the smoke coming out from them
would be the most unforgettable
element in the temple. While
measuring, I found out that it is just
a simple building with a lot of
furniture, ornaments and carvings,
which increases the complexity of
the temple. And that is why, the
important elements are all in the
details of the temple. “God is in the
details” as Mies Van de Rohe said.
Temple Sin Sze Si Ya, which is
around 200 years old, was well
taken care of. We, who were doing
the measuring, found out that the
temple, which is not made human
scale, covered by ashes. We were
told to be careful while measuring,
as the building is very old and we
risked breaking something.
Anyways, it all when out smoothly
and we had a different experience
staying that long in a temple.
SHALINN TAN
From this exercise, I have learnt to
be a better team player and to take
the lead when the situation calls
for it. Moreover, I learnt to put
down my ego and listen to the

71. 71
team leader and lecturers and
learn greater insights from that. I
have also learnt to document the
significance of the building to
accompany this module. Other
than that, I am able to identify and
describe architectural cultural
heritage and apply it to this
project. Besides, this module has
pushed me out of my comfort zone
which allowed me to further hone
some skills and also learn new
skills such as AutoCAD Drawings,
report writing, on site measuring,
on site sketching, researching,
triangulating information, the skill
of interviewing and interacting with
people and many more. It was an
eye opener for me because it is
the first time that we have been
given so much freedom in
completing our respective parts of
the module, and being able to
dabble in so many different areas
all at once. It has been a real
pleasure to be in this group
because most of the members has
been very cooperative and
efficient in their completing their
work.
CHONG JIN FENG
I think that this project was very
successful. All of the group
members co-operated well. We
get a chance to visit to a temple
which was fulfilled with the smell of
Chinese culture. With a lot of
awesome and patience
teammates, we get to finish our
project in time.
In this project, we had learned a lot
of things like how to solve the
problems about fining data, to get
along with our group members.
We have learned many things
about the Sin Si Sze Ya Temple.
Through this semester i get to
meet new friends and work
together as team, this was really
great.
VALENTINE HEW
It was certainly breath-taking as I
ventured into the temple. When I
entered the main hall I could see
the joss sticks burning with
smokes billowing up at the
background silhouetting the
statues of the deities, god and
goddesses. It gives me a peaceful
break in this bustling city although
there’s an influx of crowd in here.
The design of the building may not
be appealing but it really does
serves its own function and
purposes. The ancestral hall is
where the people have their
recitation ceremony and it is much
more packed compared to the
other two halls. Whereby the guan
yin hall has a totally different
surrounding, as it illustrated an
environment of serenity with the
light penetrating into the hall
through the skylight.
Bell ringing can be heard from
time to time, from my perspective
bell works as an antidote to one’s
mind. It is said to believe that the
ringing sound is to invite the deity
to accept the worship and prayers,
also to drive away the evil forces.
Sin Sze Si Ya temple is a sacred
place, when you are in there it set
apart from turmoil of the outside
world. Hence, the heightened
sense of awareness of Sin Sze Si
Ya temple stays with me as I leave
and somehow influences my
perspective on life.

72. 72
YAN WAI CHUN
‘’ Gain ‘’ would be the only word I
can used to describe this whole
activity throughout the week. It
was different compared to other
site visit that I’ve participated as it
was truly an eye-opener trip down
to Kuala Lumpur. In the first day,
when I stepped out the bus, the
scent of joss sticks flow through
the air into my nose. The
unfamiliar scent of the joss sticks
made me uncomfortable. This had
worried me as I need to bear with
this situation for the rest of the site
visit. Once I entered the temple’s
compound, my feelings changed
180 degrees, thoughts rushed
through my mind, questioned
myself why there is a heavenly
nice place inside a hustle and
bustle area. I think I am attracted
to this temple not because of the
architecture itself, it’s the warmth
of the area that protruded through
the culture activity in the temple.
Not sure if I am the only one who
felt like a little kid inside the
Disneyland. My vision was
attracted by every single details of
the temple such as the carvings or
the detail parts of the temple.
Besides, the Taoist temple that
I’ve visited was air-conditioned
and cement were used mostly in
the temple. The presence of the
vintage wooden windows,
Skylights, and other different
materials used to construct Sin
Sze Si Ya temple were interesting
for me. Coming from a Chinese
person, I never experience such
ambiance and culture as I never
been in a temple for so many days
in a row. It was a privilege to
participate and visit this temple.
MARK ENG SHANG
This project has helped me to
enhance my leadership skills and
guide me to better express my
feelings. I have learnt skills that
will be with me for the rest of my
work life. Being the group leader,
it was essential that I know the
skills for measuring on site, etc.
Thankfully, I have some
experience in that before and I
relayed my knowledge to my
group mates. They were eager to
learn and very hardworking, that I
must commend. As the AutoCAD
Drawings compiler, I have
experienced various ups and
downs during the compiling such
as having conflicting
measurements in the drawings
and having to triangulate
everyone’s data. It can sometimes
be very frustrating but once I’ve
fixed the issue it felt very
satisfying. I have pushed myself to
the limits during the 5 days at the
temple while doing the
measurements. A fine example is
when I climbed onto the very
fragile roof to help my group
members with their
measurements. This has been a
wonderful experience and I will
remember everything we went
through to ensure the smooth sail
of this project.
SARAVANAN VYTELINGUM

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During our visit to the Sin Sze Si
Ya temple, we got to learn about
the ancient architectural wonders
of the Taoist culture ranging from
long narrow corridors to large
open main halls depicting
longevity and abundance. We also
learned about how light and
shadows affects the emotions
transmitted to the visitors and
what kind of remembrance it will
hold in their mind. We also
acquired new skills on measuring
a building in the proper ways with
the help of real on-field measuring
tools and surveying equipment.
Furthermore, we were able to
assess the functionality of the
architecture to its people and its
environment. In the end, it was
quite an experience and it helped
us understand a building in its
every nook and cranny.
TANG JU YI
Through this exercise, I have
gained more knowledge about
Taoist Temple Architecture. I think
that this temple is really
meaningful because it blends the
Taoist theories and believes with
the traditional Chinese methods of
construction. Together, they
create a unique Taoist style.
Another thing that impressed me
was the excellent ventilation of the
temple. The use of double-height
space allowed windows to be
positioned at a higher level, thus
provides good air and light
ventilation. The most interesting
part is the natural light that
penetrates into the dark space,
they are so beautiful! They give
out a feeling of warmth and hope.
Besides that, I have also learned
to gain measurements of the
building through various methods
with some help of mathematics.
This made me paid more attention
the details of the temple, for
example the fruit ornaments on
the roof, flower paintings on the
wall, human paintings on the front
façade. Through research, I found
out that in Taoist architecture, they
enhance the principle of harmony,
thus ornaments and murals are all
related to nature. That was the
reason why whenever I was in the
temple, I always felt calm and
comfortable. The concept of
embracing nature, compactness
of space and the magnificence in
height made Sin Sze Si Ya temple
emphasized a lot on harmony. For
me, Sin Sze Si Ya Temple is a
truly unique architecture in
Malaysia.
JASON LIM CHEE SHEN
A student of the measured
drawing course. A member of SIN
SZE SI YA TEMPLE’s group. I
would like to thanks to the
organization that giving us this
great opportunity for us to learn
something that we never get to
learn before. Especially doing
work at a historic structures and
also the safety awareness. I
realized that doing at all these
measurements at the historic
temple is much more different
compare to other structures,
because of every single details
measurement, we need to get it
right.

74. 74
This site visit gave me a chance to
experience and learn what cannot
be gain during the lectures. One of
the first thing that I have learnt is
understanding the importance of
safety which is a basic knowledge
before we get to measure at the
site.
Furthermore, I have learnt many
things by identifying different types
of construction materials and their
uses at this temple. All these might
help in AutoCAD as well, and it is
also a benefit to know more about
AutoCAD.
LEE KAI YUNG
This building is the oldest and
most respected Chinese temple in
Kuala Lumpur. It is built on 1864
and there are few significance
components can be found in this
building such as the timber frame
and the decorative roof. Elements
such as architectural bilateral
symmetry can be found anywhere
in this building, from the floor to
roof. The building emphasizes on
articulation and bilateral
symmetry, which signifies
balance. This symmetrical
element enhances the spiritual
feeling from inside out. Besides
that, the use of Chinese wooden
architecture as the building
structure is now very rare to be
found. It is a network of
interlocking wooden supports
forming the skeleton of the
buildings, making it as a load-
bearing timber frame. This can be
found in the main hall of the
temple. And with this construction
method, walls are only use to
define an enclosure, unlike
western architecture. There are
several types of wooden joint can
be found in this buildings such as
half lap joints, mortise and tenon
and etc.
SHERY EDRINA
It was indeed an interesting
experience being able to go to a
temple for a first time. Getting to
know its architecture elements,
learning the meaning of each
ornaments and getting to know
their culture and way of praying is
a fascinating eye-opener. The
thing that impressed me the most
is how the building maintained its
structure for the past 200 years
still while still using some of old
wooden structure and just by
adding another structure over the
old ones to throughout the
renovations. The first time I
entered the temple, it was filled
with the smell of incense and for
the first two days it was quite hard
to adapt to the surrounding but
after a while, being in the temple
actually give me a sense of
calmness and peace. Situated in
the middle of Kuala Lumpur, it was
also an exciting and somehow
surprising to see the busy city
centre of Kuala Lumpur and how
the culture and people
surrounding that area doing their
daily activities every day. I also
learned in a more in depth way on
how to take proper measurements
for documentation. All and all, it
was a nice experience and it
taught me a lot.

75. 75
HARIISH KUMAR
My experience in the gained me
new knowledge of how a design
building influences the way the
people interact to it. As simple as,
how a concrete slab made for the
drain can become a meeting area
or how a bench can become a
home of a cat. What I learnt from
this is that design isn’t what it was
meant to, but what it becomes. As
an example, there is an office on
the entrance. I don’t think it was
put there on purpose, it was
evolution that made it there. Now,
the office has become a meeting
area that has privacy from the rest
of the building.
LOH YU JIN
The cultural significance of Sin Si
Sze Ya Temple has proved that
how the historic culture of its own
is actually the key to why the
temple itself is still standing strong
today. The foundation of
architecture also resembles the
beliefs, hard work and dedication
of the devotees. Throughout my
journey in measured drawing, I
have gained more understandings
about the traditional construction
of Taoism and its cultural attribute.
It is a whole new experience for
me to visit the oldest temple in
Kuala Lumpur as it holds a
significant meaning and pride of
locality.
LIEW JIN
I personally think it was a great
practice to experience a different
environment and having an on-site
measuring work for 4 days
straight, with a huge team
consisting of around 26 people. To
experience a different culture and
having to adapt to that particular
lifestyle for a few days was pretty
much a ‘once in a blue moon’ kind
of thing. After all, we’ve all got to
meet new people and friends to
work together with as a team, it
was all great, and I think that’s
what matters the most.
AIDA JUNITA
Through the task of observing and
analysing the building assigned –
Sin Sze Si Ya Temple, I have
acquired a deeper understanding
as well as appreciation for
architecture, specifically Taoist
temple architecture.
From my personal experience
during and after the site visit, I
have come to the realization that
function precedes form is a
predominant idea of the Sin Sze Si
Ya Temple. In terms of
architecture, the temple has basic
blocks of spaces – a main prayer
hall with two smaller prayer halls
on each side, which shows
simplicity in its form. Culturally, the
152-year-old temple holds a
significant meaning to its visitors,
mainly consisting of local Taoist
worshippers who visit the temple
on a regular basis, be it for normal
prayers or special prayers during
important festivities such as
Chinese New Year. The temple
also functions as a strong symbol
of history, culture and religion to
the community.
Nonetheless, the spirit or sense of
place would not be as prominent
without physical details such as

76. 76
the ornamentations, statues of
deities, smoke from the burning of
incense as well as intangible
aspects such as the togetherness
of the temple’s community and
ethereal ambience of the temple.
All in all, my overall insight of this
assignment is heavy on the
significance of a building and how
it still holds a strong importance for
the people and its surrounding,
even years after it is built.
CHEW JIA CHEN
Measurement is not made with
eyes but is made by using different
tools. Through this project, our
given place is Sin Sze Si Ya
Temple. At my first glance at the
temple's main hall, the red pillars
seemed to be symmetrical. But
our repeated measurement shows
that the difference is quite
significance. Most of the Chinese
temples have the same
architecture style as carvings,
ornaments and openings are in
the same style. Last of all,
communication and cooperation is
the most important thing to make
this project successful.
ONG JIA HUI
A building is like a clock and the
people resembles the machines
that make it function and whole.
This thought is what settles in
when one steps into Sin Sze Si Ya
Temple. The essence of the place
is strongly molded by the
architecture of the building, the
people and culture. A building,
especially one like the temple, is
hollow without its people and the
culture.
Also, throughout the visits to the
temple, I came to understand that
like humans, adaptation is likewise
important in terms of architecture,
which can be seen from how the
temple adapted to the need of the
users to park their cars by adding
in front porches on a later date.
Lastly, I have learned that the
function of a design is very crucial.
The design may not be very
appealing or pleasant, but it
should be adequate as long as it
serves the function or purpose.
The openings in the temple is
mundane with the absence of
fancy designs, yet the openings
served their purpose by allowing
sufficient natural light into the
building, which in turn creates a
very divine and holy ambience to
the building when the light shines
in - an attribute fitting for a temple.
LEE HUI QIN
During the 5 days’ field trip, I
learned about Taoism culture and
the history of Sin Sze Si Ya
Temple. Even though we were
busy on that day for measuring,
we were given some time to walk
around the temple, sat down and
sketched. Through sketching
session, we were able to enjoy the
beauty and significance of the
temple where every corner fully
decorated with ornaments. By
looking at both interior and exterior
of the temple, I was surprise to see
the uniqueness of every single
architecture element back to the
past where modern construction
technique was not introduced yet.

77. 77
The ornaments, the statues, the
motifs on walls, columns and
beams have their own special with
every single detailed parts.
Besides, we also got some
information about the history, facts
and Feng Shui of the temple from
the visitors, mainly devotees
through hearsay when we were
having break time. There is a
saying “Better spend your time
travelling ten thousand miles than
reading ten thousand books” and
definitely, I agree with this.
Architecture, is something we
need to see on the spot while
culture, is something we need to
feel on the culture. It is a totally
different feeling from getting know
through books and internet.
KAN JIA WEI ADRIAN
Personally the greatest takeaway
from this journey is how I
managed to work with different
types of fellow students and
different lecturers in the form of
them being master’s lecturers as
well. This has provided me with a
greater chance to work with, and
understand various forms of
techniques of work and learn from
it, values which were of my
personal ambition throughout this
course. Furthermore, the ability to
work on a temple made me realise
how culturally colourful and
meaningful Chinese architecture
and culture can be, from the
temple to the inhabitants that were
very fond of us as well as users of
the temple, many whom which I
have made friends with and also
fits into my university life agenda
or aim that is to meet as many
people from different walks of life
as possible. Architecturally, the
experience of working on this
temple allowed me greater
appreciation of more ancient
architectural styles, something
which I previously was not fond of
given its many small details and
what I had seen as unnecessary
ornamentations, all of which have
been cleared throughout the
journey of this module.
VICTOR HENG WEI YEN
The architectural style of the
temple is very unique compared to
the architecture that we will see in
the modern days. Although it is not
very eye-catching on its façade
because of the typical temple-
look, but it has contained some
elements that makes the building
stand out among other temples in
Kuala Lumpur. The building was
built in the early days before Kuala
Lumpur become a developed city
in Malaysia, and it has significantly
present the history of KL by the
building itself in the modern days.
The building has mainly split into 3
main spaces, which is, Ancestor
Hall on the left, Main Hall in the
middle, and Guan Yin Hall. In the
middle of every hall, there will a
long corridor with low ceiling that
lead people walk into the hall.
When entering the hall, it gives
people a kind of spiritual
perception due to the ceiling
height contrast and light
penetration. The temple has been
designed with lots of skylights right
above the idols and altars, it
makes believers feel the holiness
while kneeling down in front of
their god. This is all I feel about the
temple during the days I visited the
temple, I think it is a good building.

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NUR EMILY
After spending a week in the heart
of Kuala Lumpur, measuring our
chosen site – The Sin Sze Si Ya
Temple, I have learned to
appreciate the surrounding
architecture throughout the whole
project. The temple itself is located
in the busy streets of KL, which
offers exposure in the diversity of
the cultures as well as in
architecture. The opportunity we
had showed that there are so
many ways one can learn that are
both fun and educational. I’ve
became proficient in measuring to
the finest details of the temple. I’ve
learned to work and communicate
better in the group. I feel that I
have largely developed more
architectural thinking skills and
how to solve problems related to
the temple. This project also
teaches us how to properly
document our measurements in
detail and organised manner for
reference to the future
generations.
MUHAMMAD AZZAM
Architecture is what we
experience, this is one of the
aspects that really struck me
about this temple. The moment I
entered the temple, the light that
struck in the middle and the smoke
dissolving to it created an instant
holly feel. This what amplified as
the light shined through the brass
statues and furniture. The play of
the temple with light and shadows
is instantly clear even for a normal
goer. It still amazes how just light
and shadows can affect an
experience to that degree.
ADAM TAN YEN SHENG
During the visit to Sin Sze Si Ya
temple, I have managed to absorb
new knowledge through my whole
experience there. What I’ve
learned is that every detail counts,
how small or big it all may matter
in bringing the Chinese Taoist
experience out from the temple.
This can’t get any truer than Sin
Sze Si Ya temple itself.
Everywhere you turn a detail/
ornament can be seen, it’s like
every inch of the temple is covered
with details. Just the sheer amount
of work that has gone into making
the building it is today is simply an
awe for us to experience. Even a
small space in the temple have a
motif. While researching through
the detailing and ornaments that
are in the temple, I’ve gotten a
huge appreciation for it and have
found out that a lot of the
ornaments and detailing are would
relate to the Feng Shui of
protecting or warding the temple
off evil spirits and bring fortune
and happiness. Every detail
matters.
REION TAN

79. 79
After the visit to Sin Sze Si Ya
Temple, I have gain new
knowledge about Kuala Lumpur
as the temple’s was built to honor
Sin Sze Ya and Si Sze Ya. As the
temple started to attract local
residents to come and pay them
respect, statues of other Gods
were brought in for them to pray.
When measuring the building, I
have noticed that each and every
ornamentation and structures has
different measurement even
though they have the same shape.
This is because in the early
constructions, these structures are
hand crafted instead of machine
made. This enhances the beauty
of craftsmanship as each and
every item there is made using the
skills and experience of an artist.
As he devoted his time crafting
ornaments to make each and
every one special in their own
way.
When researching the God’s
background and their meaning for
the report, I have also found out
that the spaces are set according
to the position of the Gods. For
example, in the main hall, the
statue of Sin Shi Ye and Xie Shi
Ye are found here. Even though
they are not Gods, their position in
the temple is higher than the rest
as the temple is dedicated to
them.
In the temple, each and every
ornamentation and structures has
their own specialty. This is what
makes the temple an interesting
place to be in.
CHAN JIA XIN
In what we have learn from this
module, normally Chinese temple
should be in a peaceful and quite
place, as well as Sin Sze Si Ya
Temple but slowly as times
passed, more and more high rise
buildings and shop lots were built,
but the structure of this temple still
remains as a remembrance of
traditional Chinese ornaments and
constructions technique since it
was strong enough to stand for
152 years as to date (2016). The
location of Sin Sze Si Ya Temple
were also relevant to the
battlefield of Kuala Lumpur.
Learning how to use different type
of instruments which I had not use
before in measuring the exterior
and interior of the building and
convert it to full architectural
drawings was also a new
experience for me. For example,
using the construction laser range
finder to measure the height of an
object such as the ceilings is
easier than climbing up the ladder,
this method is safe and accurate,
it also shortens the time taken,
FARAH AIN BINTI ISMAIL
I think that it was a great
experience to be given an
opportunity to be doing what we
have just done. Measuring a
temple in the heart of Kuala
Lumpur, it really shined a light
on my thoughts and
perceptions of Chinese culture
and have a new found
understanding of it. Through
this experience I also learnt to
work with many different
people, and gained many new
friends from this as well.

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GLOSSARY
1. Bodhisattva Vajparani - He is the protector and guide of Gautama
Buddha and rose to symbolize the Buddha's power
2. Chi – “energy force” in Chinese culture.
3. Feng Shui - Feng Shui is an ancient art and science developed over 3,000
years ago in China. It is a complex body of knowledge that reveals how to
balance the energies of any given space to assure health and good fortune
for people inhabiting it.
4. Fu Dogs - Chinese guardian lions, guardian dogs or stone temple dogs.
5. Mahayana - is one of two (or three, under some classifications) main
existing branches of Buddhism and a term for classification of Buddhist
philosophies and practice
6. Sutra - a Buddhist or Jain scripture.
7. Yin - Yin energy is the cool, slow, passive, feminine energy of darkness
and slow ice.
8. Yang - Yang is heat and action, movement, fire, and masculine force.

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REFERENCES
1. Bramble, C. (2003). Architect’s guide to Feng Shui: exploding the myth.
Burlington, Mass.: Architectural Press.
2. Too, L. (2003). Feng shui life planner. London: Hamlyn.
3. Ranjit, M., & Lim, M. (2016). Interview with workers of Sin Sze Si Ya
Temple. Sin Sze Si Ya Temple, Kuala Lumpur.
4. Feng Shui and Taoism. (n.d.). Retrieved February 19, 2016, from
http://fengshui.about.com/od/historyoffengshui/a/Feng-Shui-Taoism.htm
5. Magazine, K. (2016). Sin Sze Si Ya Temple - Oldest Taoist Temple in
Kuala Lumpur. kuala-lumpur.ws. Retrieved 16 February 2016, from
http://www.kuala-lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo
6. MUST SEE Feng Shui Tips And Taboo When Looking For House | Feng
Shui Beginner. (n.d.). Retrieved February 17, 2016, from
http://fengshuibeginner.com/must-see-feng-shui-tips-and-taboo-when-
looking-for-house/
7. T Which way does my property face? (n.d.). Retrieved February 20, 2016,
from http://www.fengshuiweb.co.uk/advice/property.htm

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8. Yapahloy.tripod.com,. (2016). The Sin Sze Si Ya Temple. Retrieved 28
January 2016, from
http://yapahloy.tripod.com/the_sin_sze_si_ya_temple.htm
9. A Temple That Tells Where Great Fortune Lies. (n.d.). Retrieved
February 20, 2016, from http://holidaysinmalaysia.org/kuala-lumpur/sze-
ya-temple/
10. Overseas Chinese in the British Empire. (n.d.). Retrieved February 20,
2016, from
http://overseaschineseinthebritishempire.blogspot.my/2011/12/chan-
sow-lin.html
11. Sin Sze Si Ya Temple - Oldest Taoist Temple in Kuala Lumpur. (n.d.).
Retrieved February 20, 2016, from http://www.kuala-
lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo
12. XIAN SI SHIYE / SIN SZE SI YA Temple, Kuala Lumpur, Malaysia - Index
Page. (n.d.). Retrieved February 20, 2016, from
http://www.mir.com.my/leofoo/landmarks/shiyemiaoKL/index.htm
13. Overseas Chinese in the British Empire. (n.d.). Retrieved February 20,
2016, from
http://overseaschineseinthebritishempire.blogspot.my/2011/12/chan-
sow-lin.html
14. Sin Sze Si Ya Temple - Oldest Taoist Temple in Kuala Lumpur. (n.d.).
Retrieved February 20, 2016, from http://www.kuala-
lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo
15. TAOISM. (n.d.). Retrieved February 19, 2016, from
http://mvtao.blogspot.my/2008/09/god-and-goddess-level-structure.html
16. Taoism Religion. (n.d.). Retrieved February 19, 2016, from
http://www.patheos.com/Library/Taoism/Beliefs/Ultimate-Reality-and-
Divine-Beings
17. Golden Dragon Mythology: Pangu. (n.d.). Retrieved February 20, 2016,
from http://www.goldendragontruro.co.uk/index.php/cult-deities-three-
purities-e

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APPENDIX 1
Translation of Sin Sze Si Ya Commemorative Book

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APPENDIX 2
Q: The thing inside the glass, is it the thing that they use for the parade?
A: Yes, they will carry the thing during the parade.
Q: What other events are there in the temple?
A: They have the White Tiger Festival and 'Zhong Hiong'. That is something
very interesting which is why people will come and pray. For the 'Zhong Hiong'
ritual, people will go around the table three times. Everybody will come and
'Zhong Hiong' and put the joss sticks, and they will go under the table for
blessing. Very interesting. During the eve of the festival, the crowd cannot
see each other. It's a yearly thing, ever since I'm here, I see all this thing.
Maybe when we were young that time we don't come in, so I was not used to
it.
Q: All these (the festival/events), are they celebrated on the second day as
well?
A: No, I don't think so.
Transcript of Interview with Ms.Ranjit