Aa report

Menara Mesiniaga and Critical Regionalism: Adapting Vernacular Malay Architecture Form and
Technologies in a Modern Skyscraper
ARC 2213/2234 Asian Architecture 1
Menara Mesiniaga and Critical Regionalism: Adapting
Vernacular Malay Architecture Form and Technologies in a
Modern Skyscraper
Table of Contents Page
Abstract………………………………………………………………………………………………..3
1.0 Introduction…………………………………………………………………………………...5
2.0 Critical Regionalism………………………………………………………………………….7
2.1 Introduction to Critical Regionalism……………………………………………….7
2.2 Influence of Critical Regionalism in Malaysia…………………………………..10
3.0 Application of Critical Regionalism in Vertical Developments including the
skyscraper typology………………………………………………………………………..12
4.0 Similarities & Differences between Menara Mesiniaga and Generic Skyscraper…...17
4.1 Menara Mesiniaga As Compared to the International Style…………………..18
4.2 Menara Mesiniaga Similarities to the International Style……………………...18
4.3 Menara Mesiniaga Differences As Compared to the International Style…….19
5.0 Vernacular and Malay Architecture……………………………………………………….22
5.1 Introduction to Vernacular Architecture………………………………………….22
5.2 Characteristics and Adaptation of Vernacular Malay Architecture in a Tropical
Climate……………………………………………………………………………...23

5.3 Adaptation of Malay Architecture’s Bioclimatic Strategies in Menara
Mesiniaga…………………………………………………………………………..28
6.0 Conclusion…………………………………………………………………………………..32
7.0 References………………………………………………………………………………….33

Abstract
In the current age of globalization, architecture seeks to resuscitate local identities and
instil a psychological sense of place and belonging. However, the last thing we need today is
another simple-minded attempt to revive the hypothetical forms of a lost vernacular or the
employment of the International Style in architecture which would only result in buildings
struggling to adapt to the changed environmental or sociocultural context. Hence, Critical
Regionalism; an approach to architecture that strives to adopt Modern Architecture, critically,
for its universal progressive qualities in addition to using geographical contextual forces to add
value and meaning to the architecture, as the former lack sense of place and significance
alone. This researchpaper aims to discuss Critical Regionalism and its approach adopted into
Ken Yeang’s Menara Mesiniaga. The intention of carrying out this study is to identify the
qualities of Critical Regionalism found in skyscrapers that sets them apart from the generic
skyscraper. It is anticipated that the adaptation of vernacular Malay architecture form
technologies into the building are being discovered through this casestudy. Literature reviews
from various reliable sources regarding vernacular Malay architecture and critical regionalism
were conducted to further assist in the validation of this research. In order to provide a wider
variation of research, it is important to deliberate on Critical Regionalist architecture found
within the Asian context, in which the Bedok Court Condominium in Singapore and the Rokko
Housing I, II and III in Japan are taken to understand how the building design and its contextual
response exemplifies critical regionalism. Comparisons between Menara Mesiniaga and the
vernacular Malay architecture were also made to prove that there is a solid relationship
between the two designs. It is understood that vernacular Malay architecture is heavily
influenced by climate, where effective design steps were taken to accommodatethe warm and
humid climate found in Malaysia. Moreover, its flexibility in design through an addition system
has allowed it to cater to the widely different needs of users. These qualities could be found
in Menara Mesiniaga, therefore strengthening the fact that there are vernacular Malay

architecture influences on the building design such as the building layout, ventilation
strategies, shading and natural lighting. The vernacular influence is further enhanced through
the application of bioclimatic design in the building, where passive design strategies were
implemented in order to achieve thermal and visual comfortas a whole. Hence, this concludes
that Menara Mesiniaga is a critical regionalist architecture, where the building design has not
only taken the vernacular into consideration but has also included the environmental context,
ultimately giving meaning and sense of place to the building.

1.0 Introduction
Malaysia, being an equatorial country, experiences a hot and humid climate all year
long, with frequent rains and high temperatures being the norm. The town in which Menara
Mesiniaga is located in, Subang Jaya, is located in the Greater Kuala Lumpur region, known
as the Klang Valley. Subang Jaya is also known to have an abnormally high amount of
lightning strikes in the region, and as such also has a high frequency of rain.
In general, the local architecture typically reflects the need for thermal comfort of its
occupants. While Subang Jaya itself does not have any vernacular or historical architecture
per se, its buildings do have considerations in the form of the 5-foot way (which is a public
shaded road), north facing solar orientation, small windows and clerestories for stack
ventilation. However, the Menara Mesiniaga takes its sustainable practices from more than
these modern practices.
The vernacular architecture of Malaysia could be found in the villages and kampungs
in the form of the Rumah Melayu. While the Rumah Melayu itself is a building topology and
thus many variants exist thereof, there exist general design axioms. The Rumah Melayu
exhibits a multitude of passive design solutions that result in a thermally comfortable internal
environment for its occupants.
For Ken Yeang, three main forces influence his design methodology.
1. The climate. Buildings have to be designed in response to the ambient conditions of
the site, and the design solution ultimately have to be specific to the location. With
equatorial climate of Malaysia, Ken Yeang had to account for heavy rainfall, searing
temperatures and relentless sun in its design. The local conditions of Subang Jaya
also had to be considered, with its winds and other climatic elements influencing the
Menara Mesiniaga’s design.

2. The culture. Buildings have to be designed according to the local attitude and way of
life. The Malaysian work ethic, views and priorities have to be accounted for, and thus
will influence the spatial planning as well as facilities and systems.
3. The aspirations of countries to join the developed world.
These forces can be summed up by the fact that there will never be a standard “one-
size fits all” solution in architecture. This is directly contradictory to the “International Style”
philosophy, of whichassumes there exists a “universal truth” in architecture,and thus justifying
the existence of the same approach, form and programme regardless if the building is in New
York or in Kuala Lumpur.
The Menara Mesiniaga can be seen as the physical manifestation of this methodology.
Everything from its form, to its spatial planning, to its internal systems proves that this
methodology is clearly influential on the building’s design. Most importantly, it has a relatively
high success in achieving those thermal comfort goals for its occupants.
This paper will investigate the adaptation of vernacular Malay architecture form and
technologies in a modern skyscraper by responding to the following research questions:
Question 1: What is critical regionalism and how does it influence architecture in
Malaysia?
Question 2: How is critical regionalism applied in the skyscraper typology?
Question 3: What are the similarities/differences of critical regionalism used in Menara
Mesiniaga compared to the generic skyscraper?
Question 4: How does the Malay vernacular architecture influence the design of Menara
Mesiniaga?
Question 5: How does the bioclimatic design applied in Menara Mesiniaga parallels the
strategies used in Malay vernacular architecture?

2.0 Critical Regionalism
2.1 Introductionto CriticalRegionalism
Critical Regionalism is an approach to architecture that strives to counter the
inauthentic and lack of meaning in Modern Architecture by using contextual means to give a
sense of place and identity. The term was first used by Alexander Tzonis and Liane Lefaivre
and later more famously and pretentiously by Kenneth Frampton in “Towards a Critical
Regionalism: Six points of an architecture of resistance.” As per said by Kenneth Frampton,
Critical Regionalism should take up modern architecture critically for its universal progressive
qualities but at the sametime should value the responses specifically to the context. Emphasis
should be placed on topography, climate, light, tectonic form rather than scenography and the
tactile sense rather than the visual.
Critical Regionalism vs. Regionalism
As put forth by Tzonis and Lefaivre, critical regionalism need not be directly drawn from
the context, rather elements can be stripped of their context and used in strange rather than
familiar ways.Critical regionalism is distinct from regionalism whichattempts to achieve a one-
Figure 2.1.1 Menara
Mesiniaga
(Source: AKDN,n.d)
Figure 2.1.2 Malay Kampung House
(Source: Master thesis "One Straight Story", 2015)

Figure 2.1.3 International Critical Regionalism
(Source: WorldMuseum, n.d)
to-one correspondence with vernacular architecture in conscious way without consciously
partaking in the universal.
Critical regionalism is considered as a particular form of post-modern (not to be
confused with post-modernism as architectural style) response in developing countries. The
following architects have used such an approach in some of their works: Alvar Aalto, Jorn
Utzon, Studio Granda, Mario Botta, B.V.Doshi, Charles Correa, Alvaro Siza, Rafael Moneo,
Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Ken Yeang, William
S.W Lim, Tay Kheag Soon, Juhani Pallasma and Tan Hock Beng.
The architects have to mediate the impact of universal civilization with elements
derived from the peculiarities of a particular space. There are preference to how the architect

Figure 2.1.5 ISM Apartment Block 1951
(Source: Hilary French: Key Urban Housing of the
Twentieth Century, Lawrence King Publishing,
London, 2008)
Figure 2.1.4 National Museum of Roman Art,
Rafael Moneo
(Source: Archdaily, 2015)
deals with the irregularities of the physical landscape rather than how he or she employs local
culture. The architects should enter “a dialectical relation with nature”, taking clues from
topography and avoiding bulldozing in order to flatten space. Using top-lighting and exposing
the elements of construction is a way to express critical regionalism, and it must be speaking
more of the relationship of the building to its space.
Sometimes Regionalism goes back to just conservation and resorts to blind use of
vernacular but critical regionalism seeks architectural traditions that are deeply rooted in the
local conditions. This results in a highly intelligent and appropriate relevant architecture. In its
broadest sense, then, the Critical Regionalist sensibility looks to the uniqueness of site and
location when deriving the formal aspects of any given project.
All point to a design method that is assuredly modern but relies on the organic unity of
local material, climatic and cultural characteristics to lend coherence to the finished work. The
result is an architecture suited light and touch. Through a studied and careful appreciation of
provincial traditions, regionalism in the post-war years resulted in designs permeate with
sensitivity to the specifics of local climates and materials, topographies and building methods.
In a global aspect, its influence can be felt in the work of the Tichino School in
Switzerland, the sophisticated urban infusions of many contemporary Spanish architects
(including Rafael Moneo), or the austere concrete forms of the Japanese master Tadao Ando.

Figure 2.2.1 Menara Mesiniaga
(Source: AKDN, n.d.)
Figure 2.2.2 Menara Dayabumi
(Source: Panaromio, 2013)
The Southern California work of Richard Neutra in the 1930s, for example, or the
brilliant projects designed by the Barcelona architect J.A Coderch, demonstrate a variety of
innovative alterations of local forms and methods to the requirements of modern functionality.
The results are formally and conceptually divorced from received notions of style, as in the
case of Coderch’s celebrated ISM apartment block (1951), which represents a modern brick
veneer mediated by carefully realized interpolations of traditional elements such as full-height
wood shutters and thin overhanging cornices.
2.2 Influence of Critical Regionalism in Malaysia
The influence of critical regionalism is blatantly displayed in Malaysian context, as there
are plenty of skyscrapers imbued with our very vernacular qualities. The architects KenYeang
with Menara Mesiniaga, Nik Mohammed with Menara Dayabumi, and Cesar Pelli with our
proud Petronas Twin Tower have appropriately expressed our culture into the internationally
influenced building to create our very own identity.

Figure 2.2.3 Petronas Twin Tower
(Source: Momoc, 2009)

3.0 Application of CriticalRegionalism in VerticalDevelopments
including the skyscrapertypology
According to Collins English Dictionary (2000), a
skyscraper is defined as a tall building of multiple stories,
especially one for office or commercial use. In the
modern context, the term was coined when Chicago had
one building to first employ the use of steel structure,
which was the Home Insurance Building, built in 1885. It
was a major stepping-stone toward modern skyscraper
construction in the years to come (History.com, 2010).
Today, most skyscrapers are merely designed to be the
tallest and outstanding structure, thus devoid of sense of
contextual identity.
Applying Critical Regionalism in vertical developments especially skyscrapers can be
a tedious process.It involves understanding the context to which the skyscraperwould be built
upon, ultimately reflecting locality and contributing to place identity. This is extremely important
as skyscrapers stands as a monumental structure and the intention of applying critical
regionalism approach in skyscraper design will be outstanding as it will definitely differ from
other modernist skyscrapers. Failure to design a skyscraper to respond to both context and
culture will result in the conformation of skyscraper that shows placelessness and lack of
identity, similar to skyscrapers that have adopted the International Style or Modernism
approach.
Figure 3.1: Home Insurance Building
(Source:
https://upload.wikimedia.org/wikipedia/com
mons/3/38/Home_Insurance_Building.JPG)

Two case studies were made to identify how critical regionalism is applied to the
skyscraper typology. The case studies chosen are located in London and Singapore
respectively. This is to show the various approaches these skyscraper designs were made
across different context and climate, displaying critical regionalism.
Case Study 1:
London - 1 Undershaft
By Avery Associates
1 Undershaft (Figure 3.2) is a proposed skyscraper to be built in the financial district of
London, replacing the currently standing St Helen’s building. It is set to be the world’s
exemplary skyscraper in applying Critical Regionalism in its design.
St. Helen’s building as shown in Figure 3.3, is a skyscraper that has applied the
International Style in its design. Due to the site being bought by a different owner, plans were
made to demolish the building and to build a brand new skyscraper (Skyscrapernews.com,
Figure 3.2: 1 Undershaft
(Source:
http://www.architectsjournal.co.uk/pic
tures/606x422fitpad[0]/5/5/4/1406554
_14-12-16-1-Undershaft-AAA-5.jpg)
Figure 3.3: St. Helen’s building
(Source: http://www.e-
architect.co.uk/images/jpgs/london/l
ondon_building_aw050507_204.jpg)

2015). In result, the proposed design for the new building was made and has actually
succeeded in its design due to its sensitive response to its context.
1 Undershaft is set to be built among the London skyline, standing along notable
skyscrapers such as 30 St Mary Axe (the Gherkin), the Leadenhall building (the
Cheesegrater), The Scalpel and 20 Fenchurch Street (the Walkie-Talkie). Its design is
intended to correlate closely with its surroundings, especially having the lowest possible visual
impact on the skyline (The Angry Architect, 2015).
Note, in Figure 3.4, how the building has its massingresponding directly to the adjacent
Leadenhall building and has taken into consideration of not obscuring the view of the Gherkin
(Weston, 2015). The building’s design also pays attention to its climatic response as shown in
Figure 3.5.
1 Undershaft
Leadenhall
building20 Fenchurch
30 St Mary Axe
30 St Mary Axe
1 Undershaft
Leadenhall
building
Figure 3.4: 1 Undershaft among London skyscrapers
(Source: https://acdn.architizer.com/thumbnails-
PRODUCTION/68/fc/68fc7df057869e2a2b04776a73111855.jpg)

In short, the prospect of a context-sensitive architecture in the heart of a commercial
business centre has shown that 1 Undershaft design has successfully applied Critical
Regionalism. The building has brought in principles of modernism and has responded to
surrounding formal and cultural factors,allowing it to compete with its surrounding skyscrapers
yet maintaining the sense of place within the London skyline. Although the proposal fell
through in the last minute due to new ownership, it undoubtedly would have been the first
skyscraper in the world to attempt Critical Regionalism in this scale and context.
Case Study 2:
Singapore – Oasia Hotel Downtown
By WOHA
Figure 3.6: (L-R) Oasia Hotel Downtown among Singapore’s Central Business District, View of
Hotel from Gopeng Street, Carved-in skygarden viewed up close.
(Source: http://www.woha.net/#Oasia-Hotel-Downtown)
Figure 3.5: Section and diagram of 1 Undershaft
(http://www.skyscrapercity.com/showthread.php?t=1791935)

Oasia Hotel Downtown is one of the few skyscrapers that eschew the International
Style of a sealed glass box. The building design has taken into consideration its tropical
climate based on its context. The double-skin façade system functions as an environmental
buffer, shading against harsh tropical sun from warming up the hotel rooms and sky terraces
(Figure 3.6). It also visually blurs out the transition between the air-conditioned interior from
the naturally ventilated public space and the building exterior (Furuto, 2012).
WOHAhas adopted the club sandwich approach by splitting the building into 3 different
strata, each with its own sky garden. This creates generous public areas for recreation and
social interaction within the hotel. The open sky terraces also allows good cross-ventilation
apart from allowing visual transparency, ultimately ensuring thermal comfort (WOHA, 2016).
This way, the hotel has successfully incorporated open, functional and comfortable public
space in contrast with the typical hotel design typology which is enclosed air conditioned
spaces.
In short, Oasia Hotel Downtown was designed to combat the generic, International-
Style skyscraper by creating open spaces throughout the high-rise. The design also caters to
its tropical climate where ventilation is prioritized in order to achieve thermal comfort.Its unique
façade has also stood out among neighbouring skyscrapers in Singapore’s Central Business
District, providing a fresh look to the area.

4.0 Similarities & DifferencesbetweenMenara Mesiniagaand
Generic Skyscraper
The “generic skyscraper”is a misnomer,as it implies there exists a “standard template”
of which all skyscrapers around the world follow. While effectively this may be true, we first
have to understand that the modern stereotype of a skyscraper being a tall, narrow, glass
covered box did have its roots influenced by cultural and climatic situation in the place where
it was first designed.
The problem arises when this climatic and cultural response is assumed to be the
same the world over, and thus the design is exported all over the globe (thus the term,
International Style, a term which was not coined by any of the Modernist architects) with this
very assumption, resulting in the general population assuming that there exists a “generic
skyscraper”.
Thus, we can now define the “generic skyscraper” as a tall, office building built
according to the International Style of architecture, and would then exhibit characteristics
common to it.
Figure 4.1: Typical characteristics of an International Style skyscraper
(Source: Bill Zbaren, 2015)

4.1 Menara Mesiniaga As Compared to the International
Style
In general, Menara Mesiniaga exhibits the Structural Expressionism style of
architecture, a contemporary approach during its construction period that, as its name
suggests, exhibits its structural systems and expresses it as a part of the building’s form. This
style can be traced back to the Modernist style of architecture, where buildings have a certain
degree of expressing its structure, although it was largely hidden away in the building’s walls.
However, though Menara Mesiniaga does seem to tick all of the boxes for being an
International Style building, the beauty of the Critical Regionalism approach is that, while it
may have the physical characteristics of an International Style structure, the method and
deployment of these characteristics define the Menara Mesiniaga as a contemporary example
of Asian architecture.
4.2 Menara Mesiniaga Similarities to the InternationalStyle
At first glance, the Menara Mesiniaga does seem to have large International Style
influences (unsurprisingly considering its origins). While it may not have a rectilinear form, it
does have a central, cylindrical massing. It has no ornamentations, and has a lot of planar
surfaces. Interior spaces are relatively open, with very little structure obstructing circulation or
views. There is a heavy usage of glass and steel, and cantilever construction could be found
on the ground floor’s foyer.

Figure 4.2.1: Similarities to the International Style of skyscraper
(Source: Aga Khan Development Network, 1995)
4.3 Menara Mesiniaga Differences As Compared to the
InternationalStyle
As discussed in the previous Section (4), the employment of the Critical Regionalist
approach to architecture has resulted in the adoption of vernacular architectural tectonics,
technologies and approaches in the Menara Mesiniaga. This has resulted in the Menara
Mesiniaga displaying the following principle differences:
Figure 4.3.1: Principle differences between Menara Mesiniaga and International Style skyscrapers
(Source: Aga Khan Development Network, 1995)

Broken Up Massing
Description: In stark contrast to the smooth
homogenous surfaces of the International Style
skyscraper, the Menara Mesiniaga’s smooth
cylindrical form is highly punctuated by apertures
that appear to have “penetrated” into the building in
an upward, spiralling pattern.
Rationale: This broken-up massing is done for
principally for the usage of greenery as well as
introducing permeable interior spaces. Similar to a
vernacular Malay house.
Figure 4.3.2: Instead of a smooth, homogenous massing, Menara Mesiniaga has created voids in its
cylindrical form, allowing for the use of passive design elements.
Usage Of Greenery
Description: The usage of vegetation in any building
as a thermal control strategy is concept employed by
the vernacular Malay house. While International Style
skyscrapers seem to be extremely reluctant in the
employment of any vegetation, the Menara Mesiniaga
uses it liberally to cool and shade the interior from the
sun.
Rationale: It can be argued that it is a necessary
approach given its climatic context.
Figure 4.3.3: Use of vegetation in Menara Mesiniaga highlighted

Permeable Spaces
Description: International Style skyscrapers are known to
have relatively airtight environments. In fact, the rise of sick
building syndrome cases can be directly linked to the
increasing use of HVAC in office buildings. Menara
Mesiniaga, in contrast, employs the use of permeable
spaces (i.e. allowing outside air to flow inward).
Rationale: This is a form of cross ventilation that is also
used by the Malay house, an effective form of passive
design for the climatic situation.
Figure 4.3.4: Wind enters through permeable façade and into the interior, ventilating and cooling the
internal environment.
Emphasis On Sunshading
Description: Menara Mesiniaga is renowned for its
expressed use of large, sun shading louvres that are
hung. This creates a visual depth compared to the
relatively flat surfaces of International Style skyscrapers,
and proves the local context’s importance on the usage of
sunshading devices due to the existing climatic condition.
Rationale: The local climatic situation requires extensive
sunshading devices to minimize solar gain.
Figure 4.3.5: Large sunshading louvres are expressed
While Menara Mesiniaga already bears a rather obvious difference to the “generic
skyscraper”, it is worth bearing in mind the reasons, rationale and justifications for this. Ken
Yeang did not design Menara Mesiniaga just sohe could put Malaysia on a map with its radical
form; rather, it is an exercise in necessity – a design specifically for the given site conditions.

5.0 Vernacular and MalayArchitecture
5.1 Introductionto Vernacular Architecture
According to an analysis by Connor Janzen (2015), in terms of architecture, vernacular
defines the built environment as structures created by untrained individuals, suited for
particular needs of the individual who built the structure. For example, macro climate of an
area is a significant influence on vernacular architecture. In Malaysia, the hot and humid
climate affect the use of low thermal mass materials and application of cross-ventilation.
Characteristics of vernacular architecture is also governed by local environment and
construction materials. For instance, Malaysia – being covered in rainforest and abundant in
trees and timber as building materials, developed a wooden vernacular. In other words,
vernacular architecture can be seen as designing based on local needs, availability of
construction materials and reflecting local traditions.
Apart from that, the way of life of users and the use of the building heavily influence
the building’s form. Interaction between users and cultural aspects also affect the layout and
size of buildings in vernacular architecture.
Vernacular is meant to be sustainable – thus not exhausting the local resources
available. Unsustainability of the local resources makes it unsuitable for local context, hence
it is not considered as vernacular.
Vernacular architecture in any region creates a connection between both culture and
architecture, and people in the region. Vernacular architecture is not stringently limited to any
specific region, but it is becoming more popular as a design strategy in modern day urban
planning and building.
Vernacular architecture is inclined to develop in order to reflect the environmental,
cultural, technological, economic and historical context. Specifically to Malaysia, some of the

ideals in vernacular architecture include sustainability, cultural significance and adaptability.
Through understanding and analyzing these ideals, they can be utilized to further improve
schemes and design regarding architecture.
Figure 5.1.1 Example of a Malay House (Yuan, 1987)
5.2 Characteristicsand Adaptation of Vernacular Malay
Architecturein a TropicalClimate
Among the characteristics of vernacular Malay architecture is that there is an extensive
comprehension and consideration of nature. As villagers were highly dependent on nature to
provide for their needs, a deep understanding of the study of ecology was widespread. Their
daily necessities including building materials were acquired directly from nature. The
traditional Malay house is designed directly with nature in its approach through its climatic
design. In order to grasp the adaptation of the traditional Malay house, the environmental
conditions of the tropical climate must be understood.

Set up wholly by the villagers themselves,the traditional Malay house is an outstanding
house form which takes the local climatic conditions as well as the social life of the inhabitants
into consideration. It is designed to adapt to the warm and humid climate of Malaysia as well
as for functional purposes. Its flexible design meets the various needs of the users.
Design for Climatic Control
Figure 5.2.1 Climatic Design and Considerations in a Traditional Malay House
The design and form of the traditional Malay house illustrates several characteristics that
equips its house form with the suitability to adapt to the hot and humid climatic conditions in
Malaysia.
(a) Ventilation for passive cooling and humidity control;
(b) Direct solar radiation control;
(c) Control of glare from the surroundings and open sky;
(d) Protection from rain;
(e) Natural vegetation in the surroundings for a cooler environment;
(f) Building materials of low thermal capacity (for minimalheat transmissioninto the house

The traditional Malay house is mainly focused on the ventilation and solar radiation control for
the climatic comfort for the inhabitants in the house as these are the effective criteria for
climatic comfort in a hot and humid environment.
Design Approach for Ventilation
Figure 5.2.2: Design Approach for Ventilation in a Traditional Malay House
Ventilation in a traditional Malay house consists of three strategies: top, bottom and
cross ventilation at an appropriate body height. With these approaches, appropriate design
features and adaptive devices are practised.
1. Planning Layout/ Site Planning
Figure 5.2.3: Random Arrangement of Malay Houses

a) Random arrangement of houses
This is to ensure that the wind has a comparatively unrestricted passage through the
community.
b) Orientation
Due to religious purposes, traditional Malay houses are oriented to face Mecca (in an east-
west orientation). This minimises exposure to heat from solar radiation. The direction is also
appropriate for the wind direction in Malaysia (north-east and south-west).
Figure 5.2.4: Ventilation Aided by Raised Floor in a Traditional Malay House
c) Raised Floor
The traditional Malay houses are raised on timber stilts or pile to elevate the building for natural
ventilation as well as a form of protection from floods.
d) Vegetation
The compound of the Malay house is often heavily shaded with trees and covered with
vegetation. This sets the house in a cooler environment as well as reduces glare from the
surrounding environment with the less reflective natural ground covers.

2. Building Layout
Figure 5.2.5: Floor Layout of a Traditional Malay House
a) Elongated open plans to allow easy passage of air and good cross ventilation.
b) Minimal partitions for natural lighting and air circulation within the whole interior space.
3. Openings
Figure 5.2.6: Ventilation Openings of a Traditional Malay House
a) Full-length fully openable windows and doors (due to the body level being the most vital
area for ventilation) to achieve cross ventilation. Exterior winds are also encouraged to
ventilate the spaces in the house.

b) Decorative elements (intricate carved wooden ventilation grilles and panels – tebar layar)
for air passage through roof area.
4. Roof Elements
a) Ventilation joints and panels in the roof construction (tebar layar) to trap and direct air for
roof ventilation.
b) No ceiling panel to assure no air blockage.
c) Ventilated roof space for cooling of the house.
d) Large overhangs for provision of good protection against heavy rainfall, solar radiation and
to allow for windows to be left open most of the time for ventilation.
e) Construction materials with low thermal capacity for minimal heat retention.
5.3 Adaptation of Malay Architecture’sBioclimatic
Strategiesin Menara Mesiniaga
Bioclimatic high-rise is a skyscraper with designs and spaces which provide passive
low energy benefits. Connections with Malay architecture are evident in the caseof the design
of the Menara Mesiniaga. The architect’s intention in taking the Malay sensitivity to comfort,
climate and nature is encapsulated in the building. The principles and technologies of shading,
openness, permeability to air movement, linkages to water and the garden are abstracted and
applied to high-rise office towers. Besides that, an extensive use of natural ventilation and
natural light reflected of open and permeable Malay house forms are prominent in the building.
Menara Mesiniaga has adapted a few of the traditional Malay house features which have
created excellent bioclimatic designs with both internal and external features to produce a low
energy building ideal for the tropical climate.

The traditional Malay house is raised up by silts. The space between the ground and
the house is well shaded with minimum blockage by structures.Besides to protect the building
from flash flood, this allows cross ventilation (Figure 5.3.1) to occur in between the space,
creating a cooling effect at the bottom of the house.
The exoskeleton of Menara Mesiniaga has exposed steel and reinforced concrete
structure (Figure 5.3.2) that wraps around the curtain wall to block the sunlight off. It is useful
as a heat sink component and to minimize heat absorption. The sloped berm and open
mezzanine floors (Figure 5.3.3) which circles the circumference of the building allows air
movement underneath the building. This has created a well-shaded and ventilated lobby
entrance without mechanical systems.
The random arrangement of tall treesin the kampong provides shade and also does
not block the flow of winds into the house. With adequate natural vegetation in the
surroundings, this can create a cooler environment of external and internal of the house.
(Figure 5.3.4)
Menara Mesiniaga has stepped terraces (Figure 5.3.5) which can be seen spiralling
up and away from the berm, generating an atrium which not only provides transitional spaces
and natural ventilation but also the planting enhances the shade and increases the oxygen
supply into the building.
Figure 5.3.3Figure 5.3.2Figure 5.3.1

Besides that, the traditional Malay house has minimum amount of partitions used to
create open interior spaces. This promotes good ventilation throughout the interior spaces.
Body level is the most important area for ventilation, thus full-length fully openable windows
are important in the house. (Figure 5.3.6)
In Menara Mesiniaga, besides reflecting the sun rays, the exposed columns and
beams are open to encourage air circulation within the building. (Figure 5.3.7) Also, all office
floors terraces are provided with full-height sliding glass doors that allow fresh air in.
Internal enclosed rooms are placed as a central core which provides natural lighting and
a good view of the surrounding context around the building.
In traditional Malay house, attap roof is used as thermal insulator and to provide shade.
It has low thermal capacity which holds less heat and cools down at night. (Figure 5.3.8)
In Menara Mesiniaga, a cantilevering rooftop pool is designed to ‘green’ the rooftop
by insulating and reflecting the overhead sun. Ken Yeang has also adopted and implemented
Figure 5.3.5Figure 5.3.4

the idea by making the central core as extensive passive heating and cooling strategies
(Figure 5.3.9) of the building. The concrete core of the building is situated on exterior of the
east side of the tower. This creates sun shading for the building and its material construction
allows it to become a heat sink that will reradiate absorbed heat into the interiors at night.
Furthermore, large roof overhang and the low exposed vertical areas (windows and
walls) are essential to traditional Malay Houses to provide protection against driving rain, good
shading and allow the windows to be left open most of the time for ventilation.
In Menara Mesiniaga, the curvilinear overhang roof (Figure 5.3.11) minimises the
south façade from exposing to solar radiation from the high angled sun. On north and south
façade, double-glazed curtain walls are used to control solar gain whereas on the east and
west façade, aluminium fins and louvers(Figure 5.3.12) are installed to provide sun shading
for the interior spaces.
Figure 5.3.11Figure 5.3.10 Figure 5.3.12

6.0 Conclusion
Critical regionalism is an approach to architecture that seeks to mediate between the
global and the local languages of architecture, in addition to regionalism in vernacular
architecture. The term typically denotes an architecture that is derived from its local setting,
ultimately becoming inherently site specific, while responding to the local climate and culture.
It places emphasis on the reflection of local tradition and culture of a building’s site through its
design and material to prevent the lack of identity and placelessness in the building.
The influence of critical regionalism in skyscraper typology and in the Malaysian
context has significantly affected the design of Menara Mesiniaga, as did the adaptation of
vernacular Malay architecture.
These design approaches and bioclimatic principles implemented were not only
quintessential to make a mark in the world of architecture, but also vital in order to create a
sustainable built form which responds fittingly to the site context.

7.0 References
A HISTORY OF ARCHITECTURE - CRITICAL REGIONALISM. (n.d.). Retrieved November
25, 2016, from http://www.historiasztuki.com.pl/kodowane/003-02-05-ARCHWSP-
REGIONALIZM-eng.php
Ahmad, A. MALAY VERNACULAR ARCHITECTURE. Hbp.usm.my. Retrieved 28 October
2016, from http://www.hbp.usm.my/conservation/malayvernacular.htm
An Architecture of Resistance – Kenneth Frampton (1983). (2011). Retrieved November 27,
2016, from https://criticalregionalismdotcom.wordpress.com/2011/03/03/an-
architecture-of-resistance-kenneth-frampton-1983/
Bromberek, Z. (2004). Contexts of architecture: Proceedings of the 38th Annual Conference
of the Architectural Science Association ANZAScA and the International Building
Performance Simulation Association - Australasia, Launceston, 10-12 November,
2004. Retrieved November 20, 2016, from
http://anzasca.net/.../uploads/2014/08/ANZAScA2004_Kamal.pdf
Critical regionalism. (n.d.). Retrieved November 21, 2016, from
https://en.wikipedia.org/wiki/Critical_regionalism
Critical Regionalism. Retrieved November 23, 2016, from
http://www.slideshare.net/ar_suryas/critical-regionalism
Furuto, A. (2012). Oasia Downtown / WOHA. ArchDaily. Retrieved 18 November 2016, from
http://www.archdaily.com/215376/oasia-downtown-woha
History.com (2010). Home Insurance Building - Facts & Summary - HISTORY.com.
HISTORY.com. Retrieved 14 November 2016, from
http://www.history.com/topics/home-insurance-building
Janzen, C. (2015). Vernacular Architecture in Malaysia – Connor Janzen. Retrieved
November 15, 2016 from http://connorjanzen.com/vernacular-malaysia/

Menara Mesiniaga. (n.d.). Retrieved November 15, 2016, from
http://www.mesiniaga.com.my/about-us/menara-mesiniaga.aspx
Nasir, A. & Teh, H. (1996). The traditional Malay house (1st ed.). Shah Alam: Fajar Bakti.
skyscraper. (2000). Collins English Dictionary - Complete & Unabridged 10th Edition.
Retrieved 13 November 2016, from Dictionary.com
website http://www.dictionary.com/browse/skyscraper
Skyscrapernews.com (2015). Avery Associates Aviva Proposals - Article #3508.
Skyscrapernews.com. Retrieved 26 November 2016, from
http://www.skyscrapernews.com/news.php?ref=3508
Surya Ramesh, Architect at Government Engineering College, Thrissur Follow. (2008).
The Angry Architect (2015). Hidden in Plain View: Is This the World’s First Contextual
Skyscraper?. Architizer. Retrieved 16 November 2016, from
http://architizer.com/blog/hidden-in-plain-view/
Weston, R. (2015). The Contextual Tower: Avery Associates' No 1 Undershaft. Architects
Journal. Retrieved 16 November 2016, from
https://www.architectsjournal.co.uk/buildings/the-contextual-tower-avery-associates-
no1-undershaft/8674823.article
Wijnen, B. Malay Houses. Malaysiasite.nl. Retrieved 20 October 2016, from
http://www.malaysiasite.nl/malayhouse.htm
WOHA (2016). WOHA. Woha.net. Retrieved 18 November 2016, from
http://www.woha.net/#Oasia-Hotel-Downtown

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