Culture and History 2 Report

1. Name
of
Subject
:
Architecture
Culture
and
History
2
Subject’s
Code
:
ARC
60203
Title
:
Menara
Dayabumi
Submission
Date
:
18th
November
2015
Tutor’s
Name
:
Miss
Balkish
Group
Members’
Name
:
1
1.
Nurina
Aida
Bt
Ghizan 0320035
2.
Pablo
Idris
Bin
Badrul
Ilahan 0321895
3.
Rozanna
Farah
Ibram 0317967
4.
Sia
Hong
Jie 0323506
5.
Tan
Jo
Lynn 0318518

2. MENARA
DAYABUMI
2

3. Content
Page
3
IntroducVon
4
The
Architect 6
Site
Context
Analysis
(Pablo Idris Bin Badrul Ilahan 0321895) 7
Architectural
Layout
(Nurina Aida Bt Ghizan 0320035) 10
Architectural
Style
Analysis
(Tan Jo Lynn 0318518) 17
Building
ConstrucVon,
Structure
&
Materials
Analysis
( Sia Hong Jie 0323506)
24
Architectural
Elements
&
Components
Analysis
(Rozanna Farah Ibram 0317967)
27
Conclusion 36
References 37

4. Introduc8on
Address
Dayabumi
Complex,
Kuala
Lumpur
City
Centre,
50050
Kuala
Lumpur,
Federal
Territory
of
Kuala
Lumpur,
Malaysia
LocaVon
Dayabumi
Complex
is
set
along
Jalan
Sultan
Hishamuddin,
south
of
Merdeka
Square.
4

5. Designed
by:
BEP+MAA
Contractor:
Takenaka
CorporaVon
&
Kumagai
Gumi
Co.
Ltd
Client:
UDA
CompleVon
Year:
1984
Value:
RM
320
million
Area:
150,000
sq.m
ConstrucVon
stared:
14
February
1982
Opening:
5
May
1984
Type:
Commercial
offices
LocaVon:
Jalan
Sultan
Hishamuddin,
Kuala
Lumpur,
Malaysia
Height:
157m
(515d)
Floor
count:
35
One
of
the
earliest
skyscrapers
in
Malaysia
Neo
Islamic
architecture
5

6. The
Architect
Arkitek
MAA
Sdn
Bhd
(MAA)
In
1965,
the
pracVce
of
Arkitek
MAA
Sdn
Bhd
(MAA)
was
established
under
the
style
of
Malaysian
Associate
Architects.
Their
architectural
works
included
large
scale
housing,
commercial,
industrial
and
insVtuVonal
projects
were
iniVally
centred
around
Kuala
Lumpur.The
core
of
Armtek
MAA’s
philosophy
is
the
focus
on
design
excellence.
With
the
firm's
long,
established
history
and
award
winning
track
record,
Arkitek
MAA
has
the
depth
of
professional
talent
to
respond
to
projects
of
any
size
and
complexity.
The
firm's
versaVlity
arises
from
its
mulV-­‐disciplinary
organisaVon.
Since
solving
today's
complex
design
problems
demands
the
integraVon
of
many
service
capabiliVes,
including
highly
specialised
science
and
technologies;
Arkitek
MAA's
structure
integrates
the
required
disciplines
and
staff
consultants
under
one
roof.
6
Figure
0.0:
Picture
of
Menara
Dayabumi
taken
from
MAA’s
official
website.

7. Site
Context
Analysis
(PABLO
IDRIS
BIN
BADRUL
ILAHAN
0321895)
LocaVon
Dayabumi
Complex
is
a
35
storey
building
close
to
Jalan
Sultan
Hishamuddin,
where
the
south
of
Melaka
Square
is.
This
building
was
built
id
1970,
it
was
the
first
modern
building
in
KL
to
incorporate
the
very
basic
principles
of
the
islamic
design
into
its
architectural
structure.
It
was
one
of
the
first
skyscrapers
in
the
city
of
KL.
From
the
building
30th
Floor
visitors
will
see
a
panoramic
view
of
the
city.
7
Figure
1.0:
LocaVon
of
Menara
Dayabumi
screenshot
from
Google
Maps.

8. TransportaVon
The
building
is
accessible
within
walking
distance
north
of
Pasar
Seni
LRT
StaVon.
The
locaVon
of
the
structure
is
in
Jalan
Sultan
Hishamuddin.
Site
Response
The
building
was
purposely
designed
to
blend
in
with
the
pervading
Moorish
and
ByzanVne
atmosphere
of
the
structures
that
surround
it
namely
the
sultan
Abdul
Samad
Building
and
Railway
StaVon
Building.
With
Islam
being
the
official
religion
of
Malaysia
since
independence,
there
are
many
Islamic
architecture
featured
buildings
that
resides
in
Kuala
Lumpur.
Kuala
Lumpur’s
central
business
district
today
has
shided
around
the
KLCC
where
many
new
and
tall
buildings
with
Late
Modernism
and
Postmodern
architecture
fill
the
skyline.
The
shopping
arcade
and
complex
houses,
city
point
offices
and
the
General
Post
Office.
It
houses
several
commercial
faciliVes
and
is
one
of
the
earliest
skyscrape
in
the
city.
Also
located
near
the
NaVonal
Mosque
and
the
Federal
House.
Close
to
many
tourists
spots,
the
approximaVon
to
places
like
hotels
and
commercial
block
have
an
asseveraVon
to
the
relaVveness
to
the
Central
Market
of
the
City.
One
of
he
most
visible
structures
from
the
field
above
highlighted
is
the
Dayabumi.
The
cheapest
way
to
get
to
the
Complex
is
by
public
transport,
by
taking
the
KL
City
bus
which
takes
a
look
around
the
city.
There
are
four
routes
of
which
one
asses
in
front
of
the
complex.
Many
of
the
early
buildings
which
are
built
during
the
first
decade
of
independence
were
designed
white
respond
to
the
hot
humid
tropical
climate
of
Malaysia.
But
with
the
introducVon
of
air
condiVoning
systems,
the
situaVon(
designing
in
response
to
the
climate)
has
changed.
Meanwhile
the
accessibility
to
energy
resources
such
as
fuel
and
electrical
power
had
changed
the
form
and
style
of
architecture
to
the
construcVon
of
the
buildings.
Architects
and
contractors
preferred
not
to
implement
the
the
tradiVonal
climaVc
design
principles
and
favour
the
new
materials
evacuees
it
is
a
symbol
of
progress
and
wealth.
How
ever
the
amempt
to
make
invenVve
design
which
appropriately
response
to
our
climate
and
culture
is
very
few.
The
issue
in
the
Dayabumi
Complex,
due
to
the
tropical
climate’s
string
effect
on
basic
raw
construcVon
materials
8

9. deterioraVon,
intensive
experiments
on
new
materials
and
properVes
were
also
made
by
the
US
Naval
Research
and
thermal
comfort
became
the
main
issue.
Several
writers
did
also
discuss
on
the
change
in
architectural
traits
which
gives
negaVve
impact
on
the
working
environment.
This
change
is
causing
energy
to
be
a
wastage,
have
an
incrementaVon
on
the
cost
of
the
building
maintenance
and
operaVon,
psychological
stress,
security
and
fire
safety.
9
Figure
1.1:
View
of
Menara
Dayabumi
from
below.

10. Architectural
Layout
(NURINA
AIDA
BT
GHIZAN
0320035)
Plan
and
ElevaVon
Analysis
10
Figure
2.0:
First
floor
floor
plan.
Figure
2.1:
Sketched
elevaVon.

11. CirculaVon
CirculaVon
refers
to
the
way
people
move
through
and
interact
with
a
building.
It
also
refers
to
how
the
spaces
of
a
building
links
to
each
other.
There
are
a
few
components
and
structures
of
a
building’s
circulaVon
such
as
entrance,
elevators,
escalators,
and
staircases
which
are
oden
referred
to
as
circulaVon
elements,
as
they
are
posiVoned
and
designed
to
opVmise
the
flow
of
people
through
a
building.
These
things
affect
our
percepVon
of
the
forms
and
spaces
of
the
building.
The
first
component
would
be:
ENTRANCE
Entrance
is
a
component
that
connects
the
outside
and
the
inside
of
the
building.
It
provides
the
act
of
entering
which
differenVates
one
space
from
another
and
idenVfies
from
where
you
are
to
where
you
are
going.
Usually,
a
wall
is
used
to
create
enclosed
spaces
but
an
entrance
is
made
by
having
openings
in
the
plane
of
the
walls.
Although,
the
form
of
openings
can
just
be
a
simple
hole
in
the
wall
or
even
a
disVnct
gateway.
There
are
three
types
of
entrances
which
are
flush
entrance,
projected
entrance
and
recessed
entrance.
As
for
Dayabumi,
it
has
4
entrances
and
all
of
them
are
recessed
entrances.
A
recessed
entrance
is
an
entrance
that
provides
shelter
and
receives
a
porVon
of
exterior
space
into
the
realm
of
the
building.
11
Figure
2.2:
Entrances
of
the
tower.

12. The
locaVon
of
the
entrance
relates
to
the
form
of
the
space
being
entered
will
determine
the
configuraVon
of
space
and
the
pamern
of
the
acVviVes
within
the
space
inside
the
building.
CONFIGURATION
OF
SPACE
ConfiguraVon
of
space
is
the
sequence
of
the
spaces
that
links
to
one
another
and
influenced
each
other.
It
can
have
a
paralleling
pamern
or
it
could
be
contrast
with
the
form
of
the
spaVal
organisaVon.
There
are
six
types
of
configuraVon
of
spaces
and
they
are
linear,
radial,
spiral,
grid,
network
and
composite.
Menara
Dayabumi
has
a
grid
configuraVon
which
consists
of
two
sets
of
parallel
paths
that
intersect
at
regular
intervals
and
create
square
and
also
rectangular
fields
of
space.
The
parallel
path
starts
from
the
four
entrances,
to
the
lobby,
going
through
the
food
court
and
straight
to
the
exit.
12
Figure
2.3:
Recessed
Entrance
at
Dayabumi.
Figure
2.4
(a)

13. PATH
–
SPACE
RELATIONSHIPS
Path
may
be
related
to
spaces
they
link
in
3
ways
which
are
pass
by
spaces,
pass
through
spaces
and
terminate
in
a
space.
In
Dayabumi,
the
type
of
path
–
space
relaVonship
is
pass
through
spaces.
Pass
through
spaces
means
the
path
may
pass
through
a
space
axially,
obliquely
or
along
its
edge.
It
cuts
through
the
space
and
the
path
creates
pamern
of
rest
and
movement
within
it.
13
Figure 2.4 (b)
Figure 2.4(a) and (b): Grid configuration.
Hallway Lobby Foodcourt
Figure
2.5
Figure
2.6

14. FORM
OF
THE
CIRCULATION
SPACE
The
form
of
a
circulaVon
of
space
varies
according
to
how
its
boundaries
are
defined,
how
its
form
relates
to
the
form
of
the
space
it
links,
its
qualiVes
of
scale,
proporVon,
light
and
view
are
arVculated
and
how
the
entrances
open
onto
it.
A
circulaVon
of
space
could
be
enclosed,
open
on
one
side
or
open
on
both
sides.
For
Menara
Dayabumi,
the
circulaVon
space
is
open
on
both
sides
and
it
is
wide.
It
forms
a
colonnaded
passageway
that
becomes
a
physical
extension
by
merging
with
the
spaces
it
passes
through.
14
Figure
2.7
Figure
2.8:
Open
on
both
side.

15. The
structures
of
the
Dayabumi
building’s
circulaVon
are:
ESCALATORS,
ELEVATORS
AND
STAIRCASE
Escalators,
elevators
and
staircase
provide
verVcal
circulaVon
between
the
levels
of
a
building.
It
determines
the
direcVon
of
our
path
as
we
ascend
descend
its
steps.
Since
this
Dayabumi
building
has
37
floors,
it
mainly
uses
escalators
and
elevators
but
there
are
sVll
staircase
to
be
used
during
emergency
and
so
on.
OrganisaVon
Analysis
15
Figure
2.9
Figure
2.10
(a) Figure
2.10
(b)

16. Symmetry
and
Balance
Symmetry
finds
its
ways
into
Dayabumi’s
architecture
at
every
scale,
from
the
overall
external
views
of
the
building,
through
the
layout
of
the
individual
floor
plans,
and
down
to
the
design
of
individual
building
elements
such
as
the
Vle
mosaics.
Its
architectural
style
is
modern
Islamic
architecture
and
Islamic
buildings
make
elaborate
use
of
symmetry
both
in
their
structure
and
in
their
ornamentaVon.
Geometry
The
whole
Dayabumi
building
is
actually
made
up
of
geometrical
shapes.
As
we
can
see
from
the
top
view
of
the
roof,
the
overall
exterior
is
actually
consist
of
a
combinaVon
of
squares
and
triangles
including
the
interior
as
well.
However,
only
for
the
first
floor
of
Dayabumi,
the
plan
shows
that
it
is
made
out
of
combinaVons
of
squares,
triangles
and
also
rectangulars.
SpaVal
RelaVonship
SpaVal
relaVonship
is
a
connecVon
between
rooms
to
the
buildings,
buildings
to
the
site.
The
pamern
of
how
each
space
corresponds
to
the
others
may
be
a
visual
pleasing
or
a
reflecVon
of
its
funcVon.
There
are
four
types
of
spaVal
relaVonship
which
are
space
within
a
space,
interlocking
spaces,
adjacent
spaces
and
spaces
linked
by
a
common
space.
The
spaVal
relaVonship
for
Dayabumi
building
is
‘Space
within
a
Space’
which
is
defined
as
a
large
space
that
contains
a
smaller
space
within
its
volume.
Visual
and
spaVal
conVnuity
between
the
two
spaces
can
be
easily
accommodated.
16
Figure
2.11:
Space
within
a
space.

17. Architectural
Style
Analysis
(TAN
JO
LYNN
0318518)
IntroducVon
All
buildings
are
sure
to
consists
of
one
or
more
architectural
style.
The
style
of
a
construcVon
and
their
details
provide
important
clues
to
their
age
and
much
more.
It
expresses
the
frame
of
mind
of
the
community
who
designed
and
commissioned
the
building
and
the
decoraVve
programs.
An
architectural
style
is
defined
by
the
elements
that
make
a
building
or
a
structure
illustrious
and
historically
idenVfiable.
A
style
may
include
such
features
as
form,
building
materials,
local
character
and
manner
of
construcVon.
Islamic
architecture
style
The
most
evident
architectural
style
of
the
building
is
the
Islamic
architecture.
Islamic
architecture
is
in
part
comprised
of
those
buildings
and
built
environments
intended
for
use
in
Islamic
commemoraVon,
instrucVon,
worship
and
etc.
Mosques,
madrasas
or
schools,
mausoleums,
and
shrines
are
examples
of
this
architecture
group.
Islamic
architecture
may
also
be
recognised
as
the
establishment
of
builders
and
patrons
who
avow
Islam
or
ones
that
live
in
a
region
ruled
by
Muslims.
In
a
Muslims
ruling
district,
these
buildings
can
generally
be
described
as
secular,
which
include
marketplaces,
office
buildings,
houses
etc.
One
of
the
essenVal
concepts
of
Islamic
architecture
is
that
of
privacy,
and
for
this
reason
it
is
referred
to
as
"architecture
of
the
veil."
Although
Islamic
architecture
is
infinitely
varied
in
plan,
elevaVon,
building
material,
and
decoraVve
elements,
there
are
several
recurring
forms
found
in
all
types
of
construcVon,
be
they
secular,
public,
private,
or
spiritual.
These
central
components
are
the
domes,
the
arches,
and
the
vaults.
However,
the
Islamic
architecture
that
is
seen
on
the
outer
appearance
of
the
building
is
to
be
clarifies
as
Modern
Islamic
architecture
style.
Islamic
architecture
has
tended
to
sVck
to
historical
tradiVon
with
limle
changing
in
house
or
mosque
design
over
the
centuries.
However,
the
17

18. Middle
East
oil
boom
and
the
emergence
of
ciVes
such
as
Dubai
as
major
trading
places
for
the
whole
world
has
introduced
a
new
approach
to
Islamic
architecture.
For
example,
the
Burj
Khalifa
tower
in
Dubai
may
look
like
a
typical
21st
Century
glass
and
steel
construcVon
shooVng
up
into
the
sky
like
a
glass
shard,
but
its
design
is
based
on
a
desert
flower
called
the
Hymenocallis
(refer
to
Figure
3.0).
This
reflects
the
tradiVonal
Islamic
principle
of
converVng
vegetal
shapes
into
geometric
designs.
18
Figure
3.0:
Burj
Khalifa
tower’s
Y-­‐shaped
plan.
According
to
the
design
architect,
Adrian
Smith,
the
triple
lobed
footprint
of
the
building
was
inspired
by
the
flower
Hymenocallis.
Figure
3.1:
Arches
and
vault
found
on
the
lower
exterior
of
Menara
Dayabumi.

19. Moorish
architectural
style
Besides
that,
another
the
architectural
styles
that
could
be
seen
on
the
exterior
of
the
building
is
the
Moorish
architecture.
It
is
a
variaVon
of
Islamic
architecture.
It
is
developed
by
the
Moors
in
the
later
Middle
Ages
especially
in
North
Africa
and
Spain
and
a
style
of
architecture
common
in
Spain
from
the
13th
to
16th
centuries.
The
Moorish
architecture
consists
of
several
moVfs
and
repeVVon
of
pamerns.
19
Figure
3.2:
The
picture
above
shows
the
use
of
conversion
of
vegetal
shapes
into
geometrical
designs
that
is
common
to
be
seen
in
Modern
Islamic
architecture.
Figure
3.3:
Islamic
8
point
star
concept
can
be
seen
as
a
decoraVve
component
on
the
exterior
on
the
building.

20. The
Moorish
architecture
is
greatly
influenced
by
the
Islamic
architecture
that
developed
in
the
Middle
East.
Although
mosques
are
the
most
familiar
precedent
of
Moorish
architecture,
featured
moVfs
spread
to
the
design
of
homes
and
commercial
places.
One
of
the
most
disVnct
examples
of
Moorish
architecture
is
the
Mezquita
or
Grand
Mosque
of
Cordoba,
Spain,
is
today
the
region's
Catholic
cathedral
(refer
to
Figure
3.4(a)
and
(b)).
There
are
few
central
characterisVc
elements
of
Moorish
architecture,
which
are
muqarnas,
horseshoe
arches,
voussoirs,
domes,
crenellated
arches,
lancet
arches,
ogee
arches,
courtyards,
and
decoraVve
Vle
work.
20
Figure
3.4
(a) Figure
3.4
(b)
Figure
3.4(a)
and
(b):
Grand
Mosque
of
Cordoba,
Spain
Figure
3.5
(a) Figure
3.5
(b)
Figure
3.5(a)
and
(b):
Clarifies
just
a
few
and
exhibits
an
overview
of
the
Moorish
architecture
moVfs:
different
styles
of
arches,
calligraphy,
vegetaVve
design,
and
decoraVve
Vles.

21. InternaVonal
style
of
Modern
Architecture
Other
than
Modern
Islamic
architecture
and
Moorish
architecture,
the
style
that
appears
on
the
building
is
the
InternaVonal
architecture.
The
phrase
‘InternaVonal
Style’
depicts
a
form
of
design
that
developed
mainly
in
France,
Germany
and
Holland
during
the
1920s,
before
spreading
to
America
in
the
1930s,
where
during
the
middle
decades
of
the
20th
century,
it
became
the
dominant
impulse
in
American
architecture.
Although
it
never
became
trendy
for
residenVal
buildings
in
the
United
States,
it
was
especially
appropriate
for
skyscraper
architecture.
This
is
due
to
its
features
like
sleek
modern
look,
absence
of
decoraVve
elements
and
use
of
steel
and
glass.
21
Figure
3.6:
Lancet
arches
found
on
the
lower
exterior
part
of
Menara
Dayabumi.
Figure
3.7:
RepeVVve
of
geometrical
vegetaVve
design
on
the
exterior
of
Menara
Dayabumi.

22. The
style
became
interchangeable
with
corporate
modernism
during
the
period
1955
to
1970.
It
also
became
the
essenVal
architecture
style
of
20th
century
for
insVtuVonal
and
commercial
buildings,
and
even
superseded
the
tradiVonal
styles
for
schools
and
churches.
The
InternaVonal
Style
developed
immensely
as
a
result
of
rising
dissaVsfacVon
with
building
designs
that
integrated
mixture
of
decoraVve
elements
from
different
architectural
periods,
specifically
where
the
product
design
have
no
connecVon
to
the
funcVon
of
the
construcVon.
It
was
also
caused
by
the
need
to
build
huge
number
of
commercial
and
civic
buildings
that
served
a
promptly
industrialising
society.
Besides
that,
other
causes
that
have
lead
to
the
existence
of
InternaVonal
style
is
the
evoluVon
of
new
construcVon
techniques
involving
the
use
of
steel,
reinforced
concrete,
and
glass;
strong
desire
to
create
a
modern
style
of
architecture
for
‘modern
man’.
The
essenVal
characterisVcs
of
InternaVonal
Style
buildings
comprise
recVlinear
forms
and
plane
surfaces
that
are
completely
devoid
of
applied
ornamentaVon.
It
also
supports
open
and
even
fluid
interior
spaces.
This
style
could
be
said
to
be
the
early
form
of
minimalism,
which
had
a
peculiar
modern
look,
reinforced
by
its
use
of
modern
materials,
including
glass
for
the
facade,
steel
for
exterior
support,
and
concrete
for
interior
supports
and
floors.
At
the
same
Vme,
the
use
of
marble
is
very
favourable
in
this
style.
This
is
due
to
its
simple
yet
very
interesVng
appearance.
Just
like
one
of
Mies
Van
Der
Rohe’s
work;
he
designed
the
Barcelona
Pavilion
and
used
planes
of
marbles
to
make
it
more
interesVng
instead
of
adding
ornamentaVons.
22
Figure
3.8
(a) Figure
3.8
(b)
Figure
3.8(a)
and
(b):
Usage
of
marble
in
Barcelona
Pavilion’s
interior
as
a
feature
wall
and
parVVon
instead
of
an
ordinary
concrete
wall.

23. 23
Figure
3.9:
Decorated
glass
panel
Figure
3.10
(a) Figure
3.10
(b)
Figure
3.10(a)
and
(b):
The
accentuaVon
of
recVlinear
forms
is
shown
with
the
arrangement
of
Vles
and
clean
simple
linear
lines.
Figure
3.11
(a) Figure
3.11
(b)
Figure
3.11(a)
and
(b):
Usage
of
types
marbles
on
Menara
Dayabumi.

24. Building
Construc8on
,
Structure
and
Materials
Analysis
(SIA
HONG
JIE
0323506)
Dayabumi
tower
was
the
tallest,
and
most
expensive
skyscraper
ever
built
in
1984’s
Malaysia.
It
was
completed
in
1984
by
two
Japanese
companies,
Takenaka
CorporaVon,
and
Kumagai
Gumi
Co.
Ltd.
.
Designed
by
Arkitek
MAA
and
BEP
Arkitek,
the
35-­‐storey
building.
It
is
amazing
that
the
building
only
took
two
and
a
half
year,
1982
to
1984
to
finish
the
construcVon,
which
is
a
really
short
Vme.
It
required
high-­‐rise
engineering,
which
at
that
Vme
Malaysia
not
familiar
with.
Building
the
Dayabumi
Tower
was
a
project
of
an
unprecedented
scale
considering
the
absence
of
digital
and
technological
resources.
Both
of
the
contractors
they
choosed
were
very
reliable
as
they
managed
to
complete
the
building’s
foundaVon
within
four
and
a
half
months
instead
of
six
months
as
scheduled,
meaning
to
say
that
the
further
stages
of
construcVon
will
speed
up
as
well.
Dayabumi
tower
is
the
one
of
the
building
that
introduced
massive
usage
of
steel
structure
in
the
80s
of
Malaysia.
However,
designers,
architects,
engineers,
constructor
at
that
Vme
are
not
really
familiar
with
the
new
material
steel.
Steel
did
not
appear
frequently
in
Malaysia
unVl
the
mid
80s,
mostly
because
there
was
no
shortage
of
cheap
labor,
and
the
scale
of
projects
were
generally
small.
Furthermore,
steel
was
considered
as
an
expensive
material.
Moreover,
construcVon
speed,
which
steel
can
vastly
improve,
was
not
considered
as
major
problem.
Most
of
the
steel
were
imported
from
Japan,
and
also
Europe
and
US
during
the
construcVon
of
Dayabumi
tower.
24

25. Industrialised
Building
System
(IBS)
allowed
every
structural
part
(except
cladding),
including
supporVng
steel
frames,
the
five-­‐storey
high
arches
at
the
front
of
the
tower,
to
be
precast
and
assemble
on
site,
which
really
does
save
a
large
amount
of
Vme.
Every
floor
of
the
building
is
steel
plasorm,
laced
with
concrete,
which
requiring
four-­‐day
cycle
before
the
next
floor.
Thirty
months
to
erect
the
thirty-­‐five
storey
building
seemed
like
a
impossible
challenge,
but
steel
made
it
possible.
The
original
architectural
design
of
the
tower
is
actually
similar
to
other
high-­‐rise
structure
in
other
countries,
but
Tun
Dr
Mahathir
wanted
a
uniquely
Malaysian,
and
different
from
the
skyscrapers
found
all
around
the
world,
rather
than
just
being
a
plain
square
based
box.
Other
than
the
Islamic
moVf,
the
design
should
also
harmonise
with
the
exisVng
Moorish
surroundings,
the
old
Sultan
Abdul
Samad
Building
and
the
Railway
staVon.
The
chosen
materials
helped
bringing
out
the
characterisVc
of
Dayabumi
Tower.
White
mosaic
Vles
were
the
main
finishing
cover
for
the
facade
of
Dayabumi.
The
choose
material
has
gentle,
pure,
and
elegant
white,
which
represents
the
purity
of
muslims.
Although
steel
is
the
main
structure
of
the
building,
instead
of
looking
like
a
steel
giant,
it
is
dressed
with
elegant
glass
mosaic,
sodening
the
sharp
edges.
The
theme
runs
throughout
the
building
with
the
interior
projecVng
the
same
graceful
ambience
as
exterior.
25
Figure
4.0:
Steel
structure
of
Menara
Dayabumi

26. Ornaments
were
used
on
the
tower,
such
as
the
white
powder
coated
aluminium
grilles
on
the
exterior.
Instead
of
being
a
funcVonless
ornament,
it
actually
act
as
sun
screens.
The
sun
screen
was
designed
to
replicate
the
pierced
marble
characterisVc
of
Moorish
architecture
of
the
Alhambra.
Dust
and
Dirt
would
be
impossible
to
clean
with
the
complicated
eight
pointed
stars
of
islamic
moVf
pamerns
on
the
grilles,
so
these
grilles
were
subjected
to
aerodynamic
wind
tunnel
tests
and
affixed
on
the
tower
at
an
angle
before
the
installaVon,
to
ensure
that
dust
would
not
be
collected,
only
minimal
cleaning
is
required.
26
Figure
4.1:
White
mosaic
Vles
used
on
Dayabumi
tower’s
facade.
Figure
4.2:
White
powder
coated
aluminium
grilles
on
the
exterior.

27. Architectural
Elements
and
Components
Analysis
(ROZANNA
FARAH
IBRAM
0317967)
The
Dayabumi
Complex
design
is
mainly
inspired
by
the
Islamic
architecture,
integrated
into
the
modern
architecture.
The
significant
elements
of
the
Islamic
architecture
inspiraVons
are
the
Islamic
geometric
pamern
of
the
claddings,
the
arches
and
vaults,
and
the
mosaic
Vling
for
the
exterior
walls.
These
elements
are
applied
to
the
exterior
of
the
building
creaVng
its
disVnguishable
façade
that
separates
itself
from
any
other
building
in
the
context
as
well
as
the
era
it
was
in.
Even
so,
these
elements
are
applied
in
the
modern
architecture
is
also
the
reason
the
building
fits
into
the
context
because
the
older
buildings
surrounding
it
are
more
prominently
inspired
by
Islamic
architecture
such
as:
the
TexVle
Museum;
the
NaVonal
Mosque
of
Malaysia;
Kuala
Lumpur
City
Gallery;
Sultan
Abdul
Samad
building
and
the
Jamek
Mosque
that
the
Dayabumi
complex
did
not
stood
out
like
a
sore
thumb.
27
Figure
5.0:
NaVonal
Mosque

28. Islamic
Geometric
Pamern
(IGP)
Cladding
The
most
significant
element
on
the
Dayabumi
Complex
is
the
geometric
pamerned
claddings
that
covers
the
facade
of
the
building.
Architectural
cladding
is
a
layer
of
material
applied
on
the
exterior
of
a
building
for
the
purposes
of
protecVon
and
aestheVc
(What
is
Cladding,
2014).
Claddings
comes
in
varied
materials
such
as
wood,
stone,
concrete,
steel
and
syntheVc
materials.
The
tradiVonal
intenVon
for
cladding
is
to
provide
protecVon
from
the
environment
such
as
rainwater
and
wind.
However
due
to
versaVlity
of
manipulaVng
cladding
materials,
most
are
used
to
create
aestheVcally
pleasing
exterior
for
buildings.
The
pamern
on
the
cladding
is
one
of
the
basic
Islamic
geometric
pamern
that
includes
the
interlacing
polygons
and
the
eight
point
star.
Islamic
Geometric
pamern
has
been
implemented
for
a
few
centuries
and
is
designed
tradiVonally
with
just
a
set
of
compasses
and
a
straight
ruler.
The
Islamic
Geometric
pamern
has
been
dated
28
Figure
5.1:
Sultan
Abdul
Samad
building
Figure
5.2:
Jamek
Mosque

29. back
since
the
eighth
century
on
Islamic
arts
and
architecture.
They
are
found
on
wood
carvings,
glassware,
leather,
stone,
metals,
Vlework,
secular
and
religious
buildings,
carpet
weaving,
texVles
as
well
as
borders
on
illustrated
manuscripts
(Islamic
Geometric
Pamerns,
2012).
Muslim
arts
are
not
allowed
to
assume
the
role
of
God
by
creaVng
humans
or
animal
forms
on
arts
and
architecture.
Therefore
most
will
turn
to
the
art
of
calligraphy
and
vegetal
pamerns.
However
not
all
cradsmen
were
trained
in
arts
or
expert
in
calligraphy.
As
a
result,
creaVng
pamern
of
geometric
designs
where
straight
lines
intersecVng
each
other
with
a
center
point
as
a
basis.
It
was
deemed
a
more
pracVcal
way
to
cover
and
decorate
expansive
buildings
with
varied
forms
(Islamic
Geometric
Pamerns,
2012).
29
Figure
5.3:
AestheVc
cladding
on
building
Figure
5.4:
DecoraVve
Cladding

30. 30
Figure
5.5:
Kharaghan
twin
towers
(1067
AD)
exterior
carvings.
Figure
5.6:
Carvings
found
in
Ibn-­‐Tulun
Mosque,
very
similar
to
the
claddings
on
the
complex.

31. The
basis
of
the
Islamic
geometric
pamern
is
draw
a
grid
and
draw
the
pamern
design
on
top
of
the
grid
and
finally
once
the
design
is
completed
the
grids
are
removed.
The
remarkable
mathemaVc
elegance
of
these
pamerns
is
no
mamer
how
intricate
the
design
is
the
basis
is
sVll
according
to
the
iniVal
gridlines.
31
Figure
5.7:
8-­‐point
star
and
interlaced
polygons.
Figure
5.8:
Cladding
covers
the
height
of
building.
Figure
5.9:
Basic
of
obtaining
polygons
and
stars
used
in
Islamic
pamerns.

32. The
pamern
on
the
Dayabumi
complex
is
specifically
simplified
to
accommodate
and
be
relevant
to
the
modern
style
of
the
building,
intricate
flower
design
were
avoided.
The
simple
overlapping
polygon
and
eight
point
star
design
is
repeated
throughout
the
whole
structure
to
create
the
sense
of
uniformity
and
relevance.
Many
architecture
in
Malaysia
are
integraVng
the
Islamic
Geometric
pamern
into
the
building
design
due
to
the
fact
that
Malaysia’s
official
religion
is
Islam.
Other
famous
structures
that
implements
the
Islamic
geometric
pamern
is
the
Petronas
Twin
Towers.
The
form
viewed
from
plan
view
shows
a
shape
of
polygons
overlapping.
32
Figure
5.10:
Overlapping
polygons
.
Figure 5.11: 8 points star
.
Figure 5.12: The shape of the twin towers was
developed from overlapping polygons and circles based
on gridlines.

33. The
façade
of
the
Dayabumi
Complex
is
majorly
covered
by
the
Islamic
Geometric
pamerns
as
to
assimilate
the
Islamic
architecture
into
the
modern
skyscraper
design
of
Kuala
Lumpur,
the
center
of
development
in
Malaysia
and
where
many
skyscrapers
were
being
built
at
the
Vme.
To
accommodate
to
the
Islamic
culture
and
tradiVon
emphasized
in
the
country,
the
architect
designed
the
building
into
the
context
of
Islamic
influenced
development
area.
Arches
On
the
exterior
of
the
ground
floor
stretching
up
to
the
first
floor,
the
architecture
design
showcases
a
series
of
arcades
that
extends
at
every
sides
of
the
building.
The
arcades
consists
of
arches
that
are
supported
by
columns.
Arches
are
relevant
to
early
architecture
where
the
Romans
and
ByzanVne
developed
from
Greeks’
and
EgypVans’
use
of
lintels
to
semi-­‐circular
arches
instead.
In
a
basic
arc,
the
thrust
is
exerted
verVcally
by
the
weight
of
loads
imposed
above
the
arch,
and
exerted
horizontally
by
the
cumulaVve
wedge
acVon
of
the
voussoir
(Saud,
2015).
This
acVon
of
corresponding
thrust
gives
the
arches
it
elasVcity.
The
arches
have
been
used
in
Muslim
architectures
for
centuries
and
has
been
using
arches
more
than
other
civilisaVon.
They
imitated
the
graceful
curve
of
the
palm
trees
branches
in
their
construcVons.
Furthermore,
the
arch
was
also
derived
from
the
mysVc
meaning
behind
the
spherical
nature
of
the
universe
and
it’s
divine
symbolism.
It
is
also
their
understanding
and
advancement
in
the
geometry
knowledge
played
a
part
in
arches
as
an
essenVal
element
in
their
architecture.
Arches
were
iniVally
constructed
for
strictly
pracVcal
and
structural
means.
However
as
Vme
passes
it
has
been
realised
the
arches
are
33
Figure 5.13: National Planetarium has incorporated
Islamic Geometric patterns as well as the overall
structure, domes and minarets.

34. able
to
provided
aestheVcs
values
to
buildings
and
furniture.
There
many
types
of
arches
designed
throughout
the
history
of
Muslim
architecture
such
as:
The
horseshoe
arch,
the
transverse
arch
and
the
pointed
arch.
The
arch
that
is
used
for
Menara
Dayabumi
complex
is
the
pointed
arch.
History
resources
shows
evidences
of
Sicily
playing
the
role
of
middle
transmission
for
many
Muslim
moVfs,
the
pointed
arch
included.
Amalfitan
merchants
from
Sicily
who
has
trades
with
the
Egypt
established
connecVons.
Egypt
is
home
to
the
Ibn
Tulun
Mosque
has
pointed
arches.
Pointed
arches
were
first
used
in
Gothic
architecture
as
their
means
to
overcome
the
problems
with
Romanesque
barrel
vaulVng.
Arches
and
columns
erected
for
Muslim
architectures
are
tradiVonally
ornamented
and
pamerned,
however
Menara
Dayabumi
colonnades
are
simplified
and
modernised
lined
and
covered
with
white
mosaics.
It
is
to
establish
the
modernisVc
design
to
match
the
concept.
34
Figure
5.14:
Al-­‐Aqsa
Mosque,
PalesVne.
Figure
5.15:
The
great
mosque
of
Kiarawan,
Tunisia.

35. 35
Figure 5.16: The grand mosque of Sheikh Zayed, Abu
Dhabi.
Figure 5.18: Cross vault.
Figure 5.17: Arches and column of Dayabumi Complex.

36. Conclusion
Through
this
project,
we
have
learnt
that
buildings
and
structures
subsist
of
one
or
more
architectural
style.
It
is
essenVal
for
a
monument
as
the
details
defines
its
age,
theme,
character
and
etc.
As
for
Menara
Dayabumi,
it
is
to
be
classified
as
one
of
the
modern
architecture
in
the
Kuala
Lumpur
centre.
Architectural
styles
that
could
be
seen
on
the
building
are
Modern
Islamic
architecture,
Moorish
architecture
and
InternaVonal
architectural
style.
Besides
that,
we
have
understood
that
the
overall
design
of
Menara
Dayabumi
admits
to
modernism
and
of
its
simplicity,
however
the
design
also
complies
its
inspiraVon
on
Islamic
architecture.
The
ornamented
and
pamerned
elements
of
the
tradiVonal
Islamic
architecture
is
reduced
to
simple
lines
and
polygons
on
the
cladding
as
well
as
the
arches
of
Menara
Dayabumi.
Moreover,
although
internaVonal
style’s
pracVcal
manner
saves
materials
and
Vmes,
but
instead
of
being
a
giant
steel
box,
Menara
Dayabumi
gives
reason
why
people
can
sVll
find
inspiraVon
from
precedents.
At
the
same
Vme,
it
also
proves
the
importance
of
using
the
newest
construcVon
technology
during
the
era.
Moving
on,
as
a
team
of
5,
we
managed
to
pull
through
even
though
it
took
a
lot
of
teamwork.
Individually,
we
have
improved
ourself
in
wriVng
skills
and
also
learned
a
lot
in
modernism
styles
building
through
the
process.
We
were
quite
happy
with
the
staff
that
guide
us
through
the
building
although
the
permission
for
the
guide
was
hard
to
get.
They
were
really
friendly,
helpful
and
informaVve.
With
only
few
informaVon
on
the
internet
and
library,
we
felt
a
sense
of
achievements
compleVng
the
report
on
the
Menara
Dayabumi.
36

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