The document discusses how Chinese migrants and traders from South China influenced the typology of Malaysian shophouses. It explores how the original architectural elements of shophouses have changed from the 1700s to present day, with influences from Chinese, European, and local Malaysian styles. The shophouses adapted materials and designs to suit the local climate and context over time. For example, early shophouses used attap roofs and timber walls, while later designs used terracotta roof tiles and brick walls to adapt to fires. The shophouses demonstrate the cultural exchange between different ethnic groups in Malaysia.
INTODUCTION
Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States.
The most important places for architecture during this period were Brussels, Paris and Barcelona. The name 'Art nouveau' is French for 'new art'.
It represents the beginning of modernism in design(Modern Architecture). It occurred at a time when
Mass-produced consumer goods began to fill the marketplace, and
Designers, architects, and artist began to understand that the handcrafted work of centuries past could be lost.
Flourished in major European cities and emerged in the early 1890s in all the visual arts:
1. Painting 7. jewellery
2. Sculpture 8. clothing and
3. Architecture 9. furniture
4. Interior design
5. graphic arts
6. Posters
INTODUCTION
Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States.
The most important places for architecture during this period were Brussels, Paris and Barcelona. The name 'Art nouveau' is French for 'new art'.
It represents the beginning of modernism in design(Modern Architecture). It occurred at a time when
Mass-produced consumer goods began to fill the marketplace, and
Designers, architects, and artist began to understand that the handcrafted work of centuries past could be lost.
Flourished in major European cities and emerged in the early 1890s in all the visual arts:
1. Painting 7. jewellery
2. Sculpture 8. clothing and
3. Architecture 9. furniture
4. Interior design
5. graphic arts
6. Posters
Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the academic art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants and flowers.
OUTLINE
Definition
Birth of arts and crafts
Influences
Social reforms of arts and crafts
Principles
Characteristics
Ideals
Architecture
Features
John ruskin
William morris
Architects
Decline of arts and crafts movement
Arts and crafts movement in US
Arts and crafts movement vs arts nouveau
FULL NAME: GEORGE WALTER GROPIUS
Born in berlin on 18 may 1883
He was the third child of walter Adolph Gropius and manon august
Earlier he was taughted by his father.
Educated in private elementary school
1903 he left the school and went to the technical universityin munich and studied architecture.
Although he studied architecture in berlin and munich (1903-1907) but he didn’t received no degree.
Gropius could not draw, and he was totally dependent upon the other draftsmen throughout the career.
In school an assistant is hired for him to complete his works.
This advocacy of industrialized building carried with it a belief in team work and an acceptance of standardization and prefabrication.
Using technology as a basis, he transformed building into a science of precise mathematical calculations.
An important theorist and teacher, Gropius introduced a screen wall system that utilized a structural steel frame to support the floors and which allowed the external glass walls to continue without interruption.
Ludwig Mies van der Rohe born Maria Ludwig Michael Mies; March 27, (1886 – August 17, 1969) was a German-American architect. He was commonly referred to as Mies, his surname. Along with Alvar Aalto, Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is regarded as one of the pioneers of modernist architecture. Mies was the last director of the Bauhaus, a seminal school in modern architecture. After Nazism's rise to power, with its strong opposition to modernism (leading to the closing of the Bauhaus itself), Mies emigrated to the United States. He accepted the position to head the architecture school at the Armour Institute of Technology (later the Illinois Institute of Technology), in Chicago
He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture. He worked alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.
Ludwig Mies renamed himself as part of his transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's maiden name "Rohe" (the word mies means "lousy" in German and using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage. He began his independent professional career designing upper-class homes.
sought to establish his own particular architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created his own twentieth-century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces, as also conducted by other modernist architects in the 1920s and 1930s such as Richard Neutra. Mies strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings "skin and bones" architecture. He sought an objective approach that would guide the creative process of architectural design, but was always concerned with expressing the spirit of the modern era. He is often associated with his fondness for the aphorisms, "less is more" and "God is in the details".
Short power point showing the various styles and transitions of architecture. Also includes models built by architects. This is a good piece to introduce a model building project with high school or college age students.
Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the academic art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants and flowers.
OUTLINE
Definition
Birth of arts and crafts
Influences
Social reforms of arts and crafts
Principles
Characteristics
Ideals
Architecture
Features
John ruskin
William morris
Architects
Decline of arts and crafts movement
Arts and crafts movement in US
Arts and crafts movement vs arts nouveau
FULL NAME: GEORGE WALTER GROPIUS
Born in berlin on 18 may 1883
He was the third child of walter Adolph Gropius and manon august
Earlier he was taughted by his father.
Educated in private elementary school
1903 he left the school and went to the technical universityin munich and studied architecture.
Although he studied architecture in berlin and munich (1903-1907) but he didn’t received no degree.
Gropius could not draw, and he was totally dependent upon the other draftsmen throughout the career.
In school an assistant is hired for him to complete his works.
This advocacy of industrialized building carried with it a belief in team work and an acceptance of standardization and prefabrication.
Using technology as a basis, he transformed building into a science of precise mathematical calculations.
An important theorist and teacher, Gropius introduced a screen wall system that utilized a structural steel frame to support the floors and which allowed the external glass walls to continue without interruption.
Ludwig Mies van der Rohe born Maria Ludwig Michael Mies; March 27, (1886 – August 17, 1969) was a German-American architect. He was commonly referred to as Mies, his surname. Along with Alvar Aalto, Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is regarded as one of the pioneers of modernist architecture. Mies was the last director of the Bauhaus, a seminal school in modern architecture. After Nazism's rise to power, with its strong opposition to modernism (leading to the closing of the Bauhaus itself), Mies emigrated to the United States. He accepted the position to head the architecture school at the Armour Institute of Technology (later the Illinois Institute of Technology), in Chicago
He worked in his father's stone carving shop and at several local design firms before he moved to Berlin, where he joined the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture. He worked alongside Le Corbusier and Walter Gropius, who was later also involved in the development of the Bauhaus. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.
Ludwig Mies renamed himself as part of his transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's maiden name "Rohe" (the word mies means "lousy" in German and using the Dutch "van der", because the German form "von" was a nobiliary particle legally restricted to those of genuine aristocratic lineage. He began his independent professional career designing upper-class homes.
sought to establish his own particular architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created his own twentieth-century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces, as also conducted by other modernist architects in the 1920s and 1930s such as Richard Neutra. Mies strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings "skin and bones" architecture. He sought an objective approach that would guide the creative process of architectural design, but was always concerned with expressing the spirit of the modern era. He is often associated with his fondness for the aphorisms, "less is more" and "God is in the details".
Short power point showing the various styles and transitions of architecture. Also includes models built by architects. This is a good piece to introduce a model building project with high school or college age students.
The Strait Chinese or Peranakan Chinese or Baba Nyonya is an unique culture, fused with elements from the Chinese, European and Malay influences. Although they are mostly ethnical Chinese (mainly from Guangdong & Fujian), with some Malay blood. They speak a varieties of languages, Chinese dialect, mainly Cantonese and Hokkien but also Malay and English. Today, they are distinctive and differ from other Chinese cultural groups like the mainland Chinese, the Hong Kong Chinese or the Taiwanese Chinese. This is achieved primarily by preserving the older traditional Chinese culture of Southern China together with influences from European and Malay. This is in contrast to other overseas Chinese immigrant groups living in North America and Europe, which tends to be absorbed into the general Western culture as their offspring, move out into the wider society. If the Peranakan or Baba Nyonya is to keep their unique identity then it is important to maintain and to develop their own cultural traits, amongst an ocean of global cultural diversity. They have been doing this for the last several hundred years, there is no reason why they would not succeed in doing so in the future. As time past their uniqueness will be strengthen as their culture diverge from their roots, which are also evolving.
In reality the picture is mixed, their community, excluding Singapore is under pressure from political and social discriminations. In Malaysia, their proportion of the total population in their country of birth is in declining at a rate about 2% per decade. In Indonesia, the Chinese cannot even use their own Chinese sounding names, since 1966. Many professionals, the young and the brightest are leaving for wealthier countries like Singapore, Australia, England, USA and Canada, that offer more equal job opportunity for them or for their children. Malaysia and Indonesia is a country rich in natural resources but in recently years it has being left behind. The 2012 figures from the IMF on GDP (PPP basis) per capita listed Singapore as the third highest ($60,799), Hong Kong ($50,936 equal with the US) in the 6th place, with Taiwan ($38,400), Japan ($35,855), South Korea ($31,950), whilst Malaysia ($16,794) and Indonesia ($4923) are trailing behind.
TOLLINTON MARKET
In 1864 as a result of the Industrial Revolution of the 1850’s, a movement started in Punjab for developing local arts and industries. Subsequently, it was decided to organize the First Punjab Exhibition in Lahore.
To display the vast number of exhibits, a special building, now known as Tollinton Market, was erected in the vicinity of the famous Anarkali Bazaar.
While Mr Lockwood Kipling, C.I.E. was Curator of the Museum, the design of the building was prepared by Bhai Ram Singh. The building was completed in 1894, and all the collections were immediately transferred to it.
Sir Robert Montgomerie opened the exhibition in January 1864.
In May 1864 it was converted into a Central Museum.
In 1893 the Old Central Museum was shifted to the new Building.
Tropical Cities: George Town, Penang Presentation Slidesdouglasloon
Taylor's University Lakeside Campus
School of Architecture, Building & Design
Bachelor of Science (Hons) in Architecture
Tales of Three Cities (ARC 3113)
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
1. How has the Chinese Migrants and traders
from South China influenced and adapted the
typology of the Malaysian Vernacular
Shophouses to the Malaysian Context
r e s e a r c h t o p i c
O n e Y u h H u e y 0 3 3 0 2 8 9 | C h a i P a u l I e 0 3 3 0 3 1 2 | E d w a r d L o h C h u n S e n g 0 3 3 0 4 3 1 | L i m E v i a n 0 3 3 0 4 0 5 |
L o y X i n Y i 0 3 3 0 4 7 5 | N g Y o o n g S h e u n , B e r n i c e 0 3 3 0 4 2 3 | N g Z h o n g Y a n g 0 3 3 1 0 4 1
2. i n t r o d u c t i o n
The purpose of doing this study on how has the chinese migrants and traders from
south china influenced and adapted the typology of the malaysian vernacular
shophouses to the malaysian context is to identify the architectural heritage of
Penang . Francis Light founded George Town as a free port to entice traders away.
Since then, greater number of newer immigrants from China throughout the 19th
century, effectively made the Chinese the largest ethnic group in Penang by the
1850s. Chinese immigrants brought with them architecture from their ancestral
land as can be seen in the many Chinese temples and clan houses thus influenced
and adapted the local architecture of the old Malayan. With that began the
emergence of the evolution of the typology of the malaysian vernacular shophouses.
Elavation of Sun-yat-sen museum.
3. i n t r o d u c t i o n
Penang’s architectural heritage is one of the finest in Southeast Asia. Perhaps the
most characteristic building form is the shophouse whose design style has evolved
over nearly two hundred years, picking up influences from many different cul-
tures. After the British East India Company founded George Town in 1786, ethnic Chi-
nese began to move to Penang in increasing numbers.
槟城
penang
4. r e s e a r c h q u e s t i o n s
The research will be based on the following questions :
How are the orginial architectural elements of the Sun Yat Sen museum
different from the 1700s and 1800s to present day ?
What are the local architectural elements that have been adopted in the
design of the shophouses ?
How has they use materials in the shophouses to suit our local context ? Do
they adapt to the local context ? Are they any changes ?
How have they modify their design to suit local climate ?
How did they create new designs with the local technology and
socio-economic development that was available the time ?
1
2
3
4
5
5. m e t h o d o l o g y
The methods that was used to carry out the research was through qualitative method.
Qualitative methods used includes reading through journals,case studies and
research papers done by researchers. We have also used articles and online e-journals
to conduct our research.
qualitative method
6. q u e s t i o n o n e
01
The transition of shophouses design in 1700s, 1800s
til present day
7. q u e s t i o n o n e
‘’Early
Penang Style
“
1790-1840s
1-2 storeys
(low)
Simple
Facade
Design is
simple
Unglazed
roof tiles
Wall orna-
mentation is
minimal
“Early Straits”
1890-1910s
2-3 storeys
Chinese influ-
ence: carved
timber door, air
vents, gable
end, air well.
European influ-
ence: full
length shut-
tered windows,
geometric-pat-
terned coloured
clay tiles.
“Neo
Classical”
1910-1930s
Adapt to Gre-
cian and Roman
Styles building
Wall painted in
pastel or white
finishing
Ornamented
window frames
Keystones on
the top of
window arches
“ A r t - d e c o
style”
1943-1960s
Granulat-
ed/Shanghai
Plaster
High pediment
or parapet wall
Heavy use of
straight lines
either vertically
or horizontally
“Early modern
Style”
1950-1970s
Typified by simple
geometric forms
Glass curtain rail-
ing
Reinforced con-
crete construction
No ornamenta-
tion
Flat roof
“Southern Chi-
nese Eclectic
Style”
1840-1910s
2-3 storeys
Chinese influ-
ence : carved
timber door, air
vents, gable end.
Use of ornamen-
tation on wall.
Bright facade co-
lours.
9. q u e s t i o n t w o
Simple attap huts
introduced by Chinese. The
roofs of early shophouses
were made of attap. Also
terracotta roof tiles
replace wooden shingles.
The materials commonly
used in the shophouses
includes, Timber, clay bricks,
limestone, granite , U or V
shaped Terracotta roof tiles
and also floor tiles.
In the 1890s, European
influences can be seen
from their full length
wooden shutter windows
Introduction of
geometrical pattern
coloured floor tiles
(tessellated encaustic clay
floor tiles). Then, this was
replaced by brick and
mortar wall with two or
three windows.
Included fanlights above
the windows with majolica
ceramic wall tiles
By 1930 Art Deco has
become the latest trend on
the streets. The highly
stylized Art Deco period was
characterized by vertical
emphasis on the façade.
Pilaster elements were
applied that stretched
through the entire height of
the building. Metal framed
windows became part of
the shophouse.
10. q u e s t i o n t w o
03
The materials in shophouses to
adapt to local context
11. q u e s t i o n t h r e e
Instead of producing replicas of buildings from their country of origin, builders took
note of what local Malay houses had to offer and adapted accordingly. These
features, along with the building materials, were largely borrowed by other
traditions such as chinese and european influences as they went about building their
own abodes.
Elavation and section of Sun-yat-sen museum.
12. q u e s t i o n t h r e e
These earliest shophouses were:
1. The first shophouses were built of timber and roofted with attap.
2. Sloping atap roof offered shade over the verrandah.
3. Squat and crudely built by local builders
4. Mangrove logs and roughly - sawn planks
5. Meranti wood to construct the underside of roof structure ceiling
6. Merbau or Balau wood for the facade parapet walls.
However, after a few early fires in Georgetown, the inhabitants were forced to build
with bricks and tiles. Apart from that, Malaysia has a strong tradition in geometric
and floral pattern work. This can be seen in the application of Malay designs in
ceramic tiles that were laid down on the ground of the walkway in front of each
shop.
Interior of the Sun-Yat-Sen museum.
14. q u e s t i o n f o u r
2
2
4
3
1
1. COURTYARD
Help facilitate the ventilation between levels
as well and bringing in natural light into the
center of the shophouse.
2. ATRIUM
Serve as airwells for ventilating. Reduce
overheating during daytime and to increase
cooling of building structure during
night-time.
3. OVERHANGING EAVES
Minimizes direct sunlight on exposed walls.
4. TERRACOTTA TILES
Absorbs the moisture from the ground and
allows them to evaporate through the tiles and
allows to cool the ground floor. Terracotta roof
tiles allow easy drainage of rainwater and it
keeps moist and cool long after the rain.
5. LIME WASH WALL
Traditional permeable lime wash wall coating
further cools the walls via evaporation.
Lime plaster acts as a breathable skin. It helps
to deflect the light and heat from exterior
walls.
16. q u e s t i o n f i v e
For the late 19th century shophouse walls, thin clay bricks with irregular sizes were
used. The brickwork was of Chinese origin common bond without a regular course
repetition pattern.
Decorative elements such as cement tiles and majolica tiles also appeared mostly in
the 20th century.
The bricks also came in
thicker and more
consistent sizes.
Moreover, the brickwork
became English bond
with a distinguished
pattern.
RC beams and concrete
slabs also began to
appear.
17. q u e s t i o n f i v e
4
2 1 3
The minimum open-space provision of a two-storey shophouse was
determined at 10 feet or 15 feet for houses with more storeys, including the
service area and the regulations on open space were tightened.
The width of the openings was to be no less than one-tenth of the room
frontage, the room height no less than 10 feet.
All new houses were to be provided with access to a back lane with a second
entrance to facilitate drainage and sewerage. The construction of the earlier
compact blocks of back-to-back houses was thus forbidden.
Timbers that are susceptible to rot were separated from the ground and supported
by clay brick walls.
1
2
3
4
18. c o n c l u s i o n s
This research has explore on the contextual response of how the Chinese
traders that migrated here to Malaya and influence the art and architecture
here with their culture and tradition. As we can see, the shophouses of
penang has a rich influence from both eastern and western influences.
There are influences from Chinese architecture, dutch and also british influ-
ences intto the shophouses designs. The shophouses in Penang demon-
strates how the Chinese traders have made their influence through the ar-
chitecture here in Malaysia. To conclude, architecture should response to
the culture and context of a site.
conclusions
19. r e f e r e n c e s
Books
TAN, Y. (1960). PENANG SHOPHOUSES: A HANDBOOK OF FEATURES AND MATERIALS. Penang: Tan Yeow Wei Culture
and History Research Studio 2015.
ZWAIN, A., & BAHAUDDIN, A. (2017). THE TRADITIONAL COURTYARD ARCHITECTURAL COMPONENTS OF ECLECTIC
STYLE SHOPHOUSES, GEORGE TOWN, PENANG. Journal of the School Of Housing, Building & Planning, Universiti
Sains Malaysia, Penang, MALAYSIA, 8(2). ISSN 2228-9860. Retrieved from http://tuengr.com/V08/069M.pdf.
Website
AHMAD, G. SOUTHERN CHINESE ARCHITECTURE. Retrieved from http://www.hbp.usm.my/conservation/chi-
nese__architecture.htm
QUAINT CHARM OF SHOPHOUSES - METRO NEWS | THE STAR ONLINE. (2015). Retrieved from https://www.the-
s t a r . c o m . m y / m e t r o / c o m m u n i -
ty/2015/08/05/quaint-charm-of-shophouses-architect-and-author-speaks-on-intricate-elements-of-the-buildings/
#mK3bAScdFvQcP0DU.99
WAGNER, A. (2017). "MALAYSIAN SHOPHOUSES: CREATING CITIES OF CHARACTER”. ARCHITECTURE UNDERGRAD-
UATE HONORS THESES. 20. Retrieved from http://scholarworks.uark.edu/archuht/20
TUT, C. (2011). LEARNING FROM THE SINGAPORE SHOPHOUSE: TOWARDS A SUSTAINABLE TROPICAL ARCHITEC-
TURE. Retrieved from http://etd.fcla.edu/UF/UFE0043863/GUAN_T.pdf
TAN, C., & FUJITA, K. (2014). BUILDING CONSTRUCTION OF PRE-WAR SHOPHOUSES IN GEORGE TOWN OBSERVED
THROUGH A RENOVATION CASE STUDY. Journal of the EX Research Institute Ltd., Japan, 13(1), 199 - 200. doi:
10.3130/jaabe.13.195. Retrieved from https://www.jstage.jst.go.jp/article/jaabe/13/1/13_195/_pdf.
20. Website
AHMAD, G. SOUTHERN CHINESE ARCHITECTURE. Retrieved from http://www.hbp.usm.my/conservation/chi-
nese__architecture.htm
TUT, C. (2011). LEARNING FROM THE SINGAPORE SHOPHOUSE: TOWARDS A SUSTAINABLE TROPICAL ARCHITEC-
TURE. Retrieved from http://etd.fcla.edu/UF/UFE0043863/GUAN_T.pdf
TAN, C., & FUJITA, K. (2014). BUILDING CONSTRUCTION OF PRE-WAR SHOPHOUSES IN GEORGE TOWN OB-
SERVED THROUGH A RENOVATION CASE STUDY. Journal of the EX Research Institute Ltd., Japan, 13(1), 199 - 200.
doi: 10.3130/jaabe.13.195. Retrieved from https://www.jstage.jst.go.jp/article/jaabe/13/1/13_195/_pdf.
PERANAKAN HERITAGE | SUN YAT SEN MUSEUM PENANG. Retrieved from http://sunyatsenpenang.com/per-
anakan-heritage/
SHOPHOUSE STYLES | PENANG SHOPHOUSE. (2018). Retrieved from http://penangshop-
house.com.my/?page_id=191
HUSSIN, N. (2014). SHOP HOUSES IN PENANG. Retrieved from http://www.penangheritagecity.com/shop-hous-
es-in-penang.html
SABAH, O. (2016). PENANG/ GEORGETOWN’S SHOPHOUSE FACADE AND VISUAL PROBLEMS, ANALYTIC STUDY.
Retrieved from https://www.academia.edu/25979471/PENANG_GEORGETOWNS_SHOP-
HOUSE_FACADE_AND_VISUAL_PROBLEMS_ANALYTIC_STUDY
r e f e r e n c e s