Measured Drawing Final report

NO. 3, 5& 7, LORONG IKAN,
LOT 454, SEKSYEN 22, D.T.L BANDAR GEORGE TOWN,
PULAU PINANG
JANUARY 2016
TAYLOR’S UNIVERSITY
BACHELOR OF SCIENCE (HONOURS) (ARCHITECTURE)
ARC60305/ARC2323/ARC1215 METHOD OF DOCUMENTATION AND MEASURED DRAWING

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] i
No. 3, 5& 7, Lorong Ikan,
Lot 454, Sekyen 22, D.T.L Bandar George Town, Pulau Pinang.
This report is submitted for the subject Method of Documentation and Measured
Drawings (ARC60305/ARC2323/ARC1215) to School of Architecture, Building and
Design of Taylor’s University to obtain 5 credits for Practicum 1.
A group work by:
Afrah Al Balushi 0320858
Chai Chin Ee 0907P72950
Gary Yeow Jinn Sheng 0318797
Kimberley Ee Sze Ann 0315319
Lim Chin Yi 0315627
Lim Jern Jack 0317139
Mustaqim Choo 0319879
Mohammad Hafizi Sidratul 0315470
Muhammad Nabeel Ali Joomun 0320583
Nik Afiq Amadi 0317749
Ong Seng Peng 0319016
Siew John Loong 0315871
Tan Jo Lynn 0318518
Nge Jia Chen 0317738
Bachelor of Science (Honours) (Architecture)
January 2016
Taylor’s University
Supervised by:
Ar. Zahari Zubir

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] ii
The team would like to express our deep gratitude to the individuals and organization that have helped us in accomplishing this project. The
completion of the task could not have been possible without the assistance and participation of the following:
Ar. Zahari Zubir, our lecturer and project supervisor for providing guidance in preparing journals, video, report and drawings, giving comments to
us for further improvements, and lending us a hand in collecting information during the site visit.
Dr. Nor Hayati Hussain, the subject coordinator of Measured Drawing module, Mr. Koh Jing Hao, our lecturer for organising the site visit and
providing us information regarding the project.
Mr. Lee Titus, the renovation contractor, for providing information of the buildings and warm hospitality during our site visit.
Mr. Mohd Azmi Fazil, the officer in Municipal Council of Penang (Heritage Conservation Department), in providing transport to the site on the first
day, supplying useful information such as the heritage conservation in George Town.
Georgetown World Heritage Incorporated Resource Centre for assisting in collecting information on history, documents, books, and maps of
Georgetown.
Ms Teh Siew Kim, previous occupant of Lot7, Mr. Eric Lim Lay Ho, Ms. Joan Cheong, for taking their time to be interviewed, helping us in
understanding the history, and culture of the buildings and Lorong Ikan.

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] iii
FIGURES
Figure 1.1: Measuring and recording measurements on site
Figure 1.2: Example of recorded measurements produced on site
Figure 1.3: 5 meter length measuring tape
Figure 1.4: 100 meter length measuring tape
Figure 1.5: Laser measure tool
Figure 1.6: Adjustable set square
Figure 1.7: 5 foot ladder
Figure 1.8: DSLR Camera
Figure 1.9: Butter paper
Figure 2.1: Map of Penang with black box indicating the position of Lorong Ikan (project research site) in George Town
Figure 2.2: Map of George Town with red lines indicating street grid laid out by Francs Light
Figure 2.3: Map of George Town showing the new street arrangement applied by Francis Light’s sucessor
Figure 2.4: Map of George Town showing land reclaimation at the coast of Beach street
Figure 2.5: Map of George Town showing the fully developed city
Figure 2.6: Aerial view of Georgetown
Figure 2.7: Red circle indicates Lorong Ikan’s position in George Town’s bufferzone
Figure 2.8: Lorong Ikan street sign

Figure 2.9: View of Lorong Ikan
Figure 2.10: Site plan indicating Shophouses 3, 5, 7, Lorong Ikan
Figure 2.11: Shop houses No. 3, 5, 7, Lorong Ikan
Figure 2.12: Interview with Madam The Siew Kim (left)
Figure 2.13: Front view sketch of shophouses
Figure 2.14: Lorong Ikan and shophouses No.3, 5, 7
Figure 2.15: Walking as a group to Lorong Ikan
Figure 2.16: Lebuh Campbell market
Figure 2.17: View of Lebuh Melayu
Figure 2.18: Fish and Cow artwork at Lorong Ikan
Figure 2.19: View in front of site
Figure 2.20: Buildings next to Shophouses No.3, 5, 7
Figure 2.21: View on Lebuh Prangin
Figure 3.1: Front view of the shophouses
Figure 3.2: Early Straits Eclectic Style Shophouse
Figure 3.4: Front Elevation of the shophouses
Figure 3.5: Highlight of Southern Chinese Eclectic Style windows
Figure 3.6: Centralized door height windows shutters
iv

Figure 3.7: Ground floor spatial usage plan
Figure 3.8: First floor spatial usage plan
Figure 3.9: Partition separating No.5 bedroom with the corridor
Figure 3.10: Flooring tile motifs nearby No.5 air well
Figure 3.11: No.7 front entrance
Figure 3.12: No.7 Front hall (Living room)
Figure 3.13: No.5 Staircase leading to first floor
Figure 3.14: No.3&5 Back Hall (Office)
Figure 3.15: No.7 back hall
Figure 3.16: No.5 exit door to back lane
Figure 3.17: No.3 Entrance to the bathroom
Figure 3.18: Corridor connecting No.3 bedroom and roof garden
Figure 3.19: Entrance between No.3 & No.5
Figure 3.20: No.5 entrance to bedroom
Figure 3.21: Spaces connecting No.5 & No.7
Figure 3.22: Bedroom view of shophouse No.7
Figure 3.23: Bathroom of shophouse No.7
Figure 3.24: View of roof garden and entrance to No.5 bathroom
Figure 3.25: Ventilation diagram in shophouse No.3 section
Figure 3.26: Natural lighting diagram in shophouse No.3 section
v

Figure 3.27: Sunlight streams through the windows at the corridor of shophouse No.5
Figure 3.28: Illuminated stained glass panels of the bedroom of shophouse No.3
Figure 4.1: Double-pitched roof from side view
Figure 4.2: Roof Ridge
Figure 4.3: The Fire Element Gable End
Figure 4.4: The Fire Element Gable End (Sketch)
Figure 4.5: V-shaped Terracotta Roof Tiles
Figure 4.6: Marseille roof tiles
Figure 4.7: Plain Roof Eave
Figure 4.8: Decorative Bracket
Figure 4.9: Exposed timber joists and timber planks
Figure 4.10: Timber strip ceiling (Meranti)
Figure 4.11: Sketch of the exposed ceiling in the front hall
Figure 4.12: Burnt Clay Bricks
Figure 4.13: Lime Plaster
Figure 4.14: Traditional Chi Tou
Figure 4.15: Elongated Chi Tou
Figure 4.16: Parapet wall at the central air well below the shutters
vi

Figure 4.17: Parapet wall below the timber railing
Figure 4.18: Sketch of the parapet wall below the door height shutter at the central air well at No.5
Figure 4.19: The bressummer beam
Figure 4.20: Ionic columns act as brackets
Figure 4.21: The ceramic Majolica wall tiles on a substrate wall
Figure 4.22: Wall tiles below the windows on both sides
Figure 4.23: Raised tube line design
Figure 4.24: Hall Partition of No.5
Figure 4.25: Room Partition of No.7
Figure 4.26: Sketch of the Hall Partition
Figure 4.27: No.7, Ground Floor Main Door (External View)
Figure 4.28: Brass Door Knobs on the inner door panels
Figure 4.29: Auspicious Messages Panels (Wealthy, Preferment) above the Brass Door Knobs
Figure 4.30: Pi Xiu on top of the external door
Figure 4.31: Timber Pivot
Figure 4.32: No.7, Ground Floor Main Door (Internal View)
Figure 4.33: Sketch of the Pi Xiu
Figure 4.34: Double-leaved internal door with a timber slide bolt on the ground floor
Figure 4.35: Internal door of No.5, connecting No.7 on the first floor
Figure 4.36: Internal door of the toilet at No.7 on the first floor
vii

Figure 4.37: Location of the internal door on the ground floor
Figure 4.38: Location of the internal doors on the first floor
Figure 4.39: Upper timber pivot
Figure 4.40: Location of the external door on the ground floor
Figure 4.41: Location of the external door on the first floor
Figure 4.42: External door to the roof garden at No.7
Figure 4.43: External door at No.5 to the back lane
Figure 4.44: External door at No.5 ground floor from the outside
Figure 4.45: Location of the front façade windows on the ground floor
Figure 4.46: No.5, Ground Floor, windows in a pair
Figure 4.47: Ground Floor Front Façade Window
Figure 4.48: Location of the front façade windows on the first floor
Figure 4.49: First floor front façade
Figure 4.50: Balustrade below the window
Figure 4.51: Timber lattice holder to fix the position of jalousies
Figure 4.52: Wave-shaped timber pull handles
Figure 4.53: Sketch of door height windows and shutters
Figure 4.55: Sketch of the windows with timber lattice holder
Figure 4.56: Location of the windows on the first floor
viii

Figure 4.57: Timber air vent carved with four bats
Figure 4.58: Porthole air vent
Figure 4.59: Exterior view of the porthole air vents with decoration
Figure 4.60: Terracotta air vent
Figure 4.61: Concrete air vent
Figure 4.62: Timber air vent at the backlane
Figure 4.63: Ventilation holes on the carving
Figure 4.64: Air vent below the ceiling
Figure 4.65: Air vent at bedroom partition
Figure 4.66: Sketch of air vents on the hall partition and backlane respectively
Figure 4.67: Locations of Air Wells at Ground Floor
Figure 4.68: Locations of Air Wells at First Floor
Figure 4.69: No.3 Air well central opening sketch
Figure 4.70: Air well No.3
Figure 4.73: Locations of hydraulic cement tiles at ground floor
Figure 4.74: Hydraulic cement tiles at No.5 first floor toilet
Figure 4.75: Hydraulic cement tiles at No.5 air well
Figure 4.76: Hydraulic cement tiles at No.5 Front Hall
ix

Figure 4.77: Quarry Tile at the office
Figure 4.78: Locations of quarry tiles at ground floor
Figure 4.79: Granite Slabs at five foot-way of No.7
Figure 4.80: Locations of granite flooring at ground floor
Figure 4.81: Granite Slabs at air well sink of No.7
Figure 4.82: Concrete flooring at the roof garden
Figure 4.83: Locations of concrete flooring at first floor
Figure 4.84: Timber flooring at No.5 and 7
Figure 4.85: Locations of timber flooring at first floor
Figure 4.86: Tongue and groove connection of timber plank
Figure 4.87: No.5 staircase taken from first floor
Figure 4.88: No.7 staircase taken at the stairs
Figure 4.89: No.5 staircase overall side view
Figure 4.90: No.3 staircase underside view
Figure 4.91: No.5 staircase stringer detail
Figure 4.92: No.5 staircase base
Figure 4.93: Peeling paints of No.3 column
Figure 4.94: Painter staining the back façade window
Figure 4.95: Wood stained first floor window of No.5
Figure 4.96: Painted flooring of No.3 bedroom
x

Figure 4.97: Details of No.5 partition
Figure 5.1: Locations of defects on the ground floor
Figure 5.2: Locations of defects on the first floor
Figure 5.3: Paint peeling off the wall nearby No.5 air well
Figure 5.4: Faded paint at the back of buildings
Figure 5.5: Efflorescence on the wall of back facade
Figure 5.6: Plants growth on back façade
Figure 5.7: Broken wall tiles of No.7 front façade
Figure 5.8: Chipping floor tiles of five-foot-way
Figure 5.9: Deteriorated Window panel of No.3
xi

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] xii
TABLES
Table 1.1: Group tasks, members and assigned leaders
Table 3.1: Differences and Similarities of Early Straits Eclectic Style and Late Straits Eclectic Style
Table 4.1: Comparison and Similarities of Air Wells in Shophouses No.3,5 and 7.
xii

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] xiii
DECLARATION
ACKNOWLEDGEMENTS
LIST OF FIGURES
LIST OF TABLES
TABLE OF CONTENTS
CHAPTER 1
INTRODUCTION
1.1 AIM
1.2 OBJECTIVES
1.3 SCOPE
1.4 METHODOLOGY
1.4.1 WORK DISTRIBUTION
1.4.2 MEASURING METHODS
1.4.3 PRODUCTION OF DRAWINGS
1.4.4 RESEARCH METHODS
1.4.5 MEASURING EQUIPMENT
i
ii
iii
xii
xiii
1
2
2
2
3
3
3
4
5
6
xiii

CHAPTER 2
BACKGROUND INFORMATION
2.1 HISTORY OF PENANG
2.2 THE DEVELOPMENT OF GEORGETOWN
2.3 GEORGE TOWN AS WORLD HERITAGE CITY
2.4 CORE ZONE AND BUFFER ZONE
2.5 LORONG IKAN
2.6 SITE PLAN
2.7 SHOPHOUSES NO.3, 5, 7
2.7.1 HISTORICAL TIMELINE OF SHOPHOUSES NO.3,5,7
2.8 GENIUS LOCI OF THE SITE
8
9
10
13
14
15
16
17
18
19
xiv

CHAPTER 3
ARCHITECTURAL INFLUENCES& STYLE
3.1 ARCHITECTURAL STYLE AND INFLUENCES
3.1.1 CHARACTERISTICS OF SHOPHOUSES NO.3, 5, 7
3.1.2 WESTERN INFLUENCE
3.2 SPATIAL PLANNING AND ORGANIZATION
3.2.1 SPATIAL LAYOUT
3.2.2 DEFINING OF SPACES
3.2.3 CIRCULATION
3.2.3.1 GROUND FLOOR CIRCULATION
3.2.3.2 FIRST FLOOR CIRCULATION
3.2.4 NATURAL VENTILATION
3.2.4.1 ELEMENTS OF NATURAL VENTILATION
3.2.5 NATURAL LIGHTING
22
23
25
26
27
27
28
29
30
31
32
32
33
xv

CHAPTER 4
BUILDING COMPONENTS AND MATERIALS
4.1 ROOF
4.1.1 ROOF TYPE
4.1.2 ROOF RIDGE
4.1.3 GABLE AND GABLE END
4.1.4 ROOF TILES
4.1.5 ROOF EAVES
4.2 CEILING
4.3 WALLS & PARTITION
4.3.1 WALL: BRICKS, MORTARS AND PLASTERS
4.3.2 COLUMN HEAD AND CAPITAL
4.3.3 PARAPET WALL
4.3.4 BRESSUMMER BEAM AND IONIC COLUMN
4.3.5 WALL TILES
4.3.6 INTERNAL PARTITIONS
4.4 DOOR
4.4.1 GROUND FLOOR MAIN ENTRANCE DOOR
4.4.2 INTERNAL DOORS
4.4.3 EXTERNAL REAR DOORS
35
36
36
36
37
38
39
40
42
42
43
44
46
47
48
50
50
53
54
xvi

4.5 WINDOW
4.5.1 GROUND FLOOR FRONT FAÇADE
4.5.2 FIRST FLOOR FRONT FACADE
4.6 AIR VENT
4.6.1 FRONT FAÇADE AIR VENT
4.6.2 PREFABRICATED AIR VENT
4.6.3 AIR VENT ON PARTITION
4.7 AIR WELL
4.8 FLOORING
4.8.1 HYDRAULIC CEMENT TILE
4.8.2 QUARRY TILE
4.8.3 GRANITE
4.8.4 CEMENT SCREED
4.8.5 TIMBER
4.9 STAIRCASE
4.9.1 STAIRCASE DETAILS
4.10 PAINTS & COLOURS
4.10.1 LIMEWASH
4.10.2 WOOD STAIN
4.10.3 WOOD PAINT
4.10.4 GILDING METALLIC PAINT
55
55
56
60
60
61
62
64
67
67
68
69
70
71
72
74
76
76
77
78
78
xvii

CHAPTER 5
BUILDING DEFECTS
5.1 WALL DEFECTS
5.1.1 PEELING PAINT
5.1.2 FADING OF PAINT
5.1.3 EFFLORESCENCE
5.1.4 PLANT GROWTH
5.2 TILE DEFECT
5.2.1 BROKEN TILE
5.3 WOOD DEFECT
5.3.1 TIMBER DETERIORATION
CHAPTER 6
EPILOGUE
6.1 CONCLUSION
6.2 LEARNING OUTCOMES
79
80
81
81
82
82
83
83
84
84
85
86
87
xviii

LIST OF GLOSSARY
LIST OF REFERENCES
INTERVIEW TRANSCRIPT
PHOTOBOOK
SCALED DRAWINGS
89
91
94
101
148
xiv

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] 1

1.1 AIM
The aim of this measured drawing project is to document
Shophouses No.3, 5, 7, Lorong Ikan as well as to carry out research
on the building and its site context.
1.2 OBJECTIVES
The main objective of this project is to produce a complete set of
measured drawings for Shophouses No.3, 5, 7, Lorong Ikan. This
project also includes documentation of important architectural,
historical and cultural information of the building to preserve an
accurate record of historic properties that can be used in research
and conservation activities
1.3 SCOPE
The project focuses on Lorong Ikan, situated in George Town,
Penang. The building assigned for this project is a row of three
shophouses (No.3, 5 and 7) which are located along Lorong Ikan.
These shop houses were built in the year 1926 and hold great value
in terms of architectural, cultural and historical aspect. Thus, the
report will not only cover information on the assigned building but will
also include material regarding traditional shop houses in Penang as
well as an account of the history of Penang, George Town and
Lorong Ikan. This is to produce a comprehensive documentation of
the building and site context.

1.4 METHODOLOGY
1.4.1 Work Distribution
In the process of completing this project there were many different
tasks to be completed and this was carried out through group work. A
total of 14 students were divided into three groups and each group
had its own sub-leader to provide guidance on assigned tasks (Table
1.1).
Video
/Model
Report/Photobook
/Model
Measured
Drawings/Model
Muhammad Nabeel
(Leader)
Lim Chin Yi (Leader) Mohamad Hafizi
Sidratul (Leader)
Nge Jia Chen Lim Jern Jack Chai Chin Ee
Gary Yeow Siew John Loong Afrah Al Bulushi
Kimberley Ee Sze Ann Tan Jo Lyn
Ong Seng Peng
Mustaqim Choo
Nik Afiq Amadi
1.4.2 Measuring Methods
A variety of techniques were used to obtain precise measurements of
the building. In this project, the applied method was using measuring
tape and digital laser measuring devices. This equipment was mainly
used to measure the floor area, walls, columns and areas within
accessible height. Meanwhile for the ceiling and roof, the digital laser
measuring device was used, with the help of a ladder. As for the walls
which were not 90 degrees at each corner, a set square was used to
measure the angle between joining walls. Measurements were
recorded through drawings made immediately on site (Figure 1.1)
before being drafted in AutoCAD.
Figure 1.1： Measuring and recording measurements on site
(Source: Measured Drawing Lorong Ikan, Penang Group, 2016)
Table 1.1: Group tasks, members and assigned leaders

1.4.3 Production of Drawings
The measurements recorded on site (Figure 1.2) were then directly
drafted onto AutoCAD to ensure that all parts tally with one another.
During the discussion sessions at night, drawings were discussed
and further drafted. Drawings are then further improved for the final
submission.
Figure 1.2: Example of recorded measurements produced
on site

1.4.4 Research Methods
We did our research through internet resources, interviews,
institutions and books.
Internet Resources
Reliable internet resources such as research and travel blogs,
tourism websites and online journals were used to gather information
about this project.
Interviewing
Interviews were conducted with the previous resident of No.7
shophouse (Madam Teh Siew Kim), renovation contractor (Mr. Lee
Titus), the locals (Mr. Eric Lim Lay Ho, Ms. Joan Cheong), ,and also a
representative from Penang City Council Heritage Department (Mr.
Mohd Azmi Fazil), to obtain detailed information about the building
and its site context. The full interview transcript with Madam Teh can
be found on in the appendix section of this report (see page 94).
Institutions
The institutions that were visited for this research include Penang
Heritage Trust, Municipal Council of Penang and Penang Heritage
Centre.
Books
Books obtained from the institutes as well as libraries were another
source of information for this research:

1.5 MEASURING EQUIPMENT
In the process of data collection a variety of equipment was used in
order to measure, photograph and draw the shop houses.
Measuring Tape
Measuring tape was the main equipment used to obtain
measurements of the shop houses. Measuring tapes of both 5 meter
and 100 meter lengths were used to measure dimensions such as
that of the floors, walls, staircases, doors and windows.
Laser Measure Tool
Laser measure tools were used to measure the height of the ceiling,
roof and large spaces, where the use of a measuring tape was either
inconvenient or impossible.
Adjustable Set Square
An adjustable set square was used to measure the angles of certain
parts of the shop houses. This tool was especially helpful in obtaining
the angles of walls that were not joined at 90 degrees.
Figure 1.3: 5 meter length
measuring tape
(Source: http://www.screwfix.com)
Figure 1.4: 100 meter length
measuring tape
(Source: http://www.bhg.com)
Figure 1.5: Laser measure tool
(Source: http://www.amazon.in)
Figure 1.6: Adjustable set square
(Source: http://www.scribblers.co.uk)

Ladder
A 5 foot ladder was used when required to measure higher parts of
the shop houses such as the pinnacle of columns, doors and
windows.
Digital Single Lens Reflex (DSLR ) Camera
DSLR cameras were used to capture clear and detailed photographs
of the shop houses for recording, documentation and photo book
purposes. They were also used to record ornamentations, in which
they were photographed and traced back into AutoCAD.
Butter Paper
Butter papers were used as the initial medium to draw the layout of
the shop houses in order to record the measurements before they
were transferred into AutoCAD.
Graph Paper
At times, graph paper was also laid under the butter paper when
drawing as the grid enables greater accuracy when drawing out the
dimensions of the shop houses.
Laptops
Laptops were brought to site and used to produce AutoCAD drawings
directly after the measuring process was completed.
Figure 1.7: 5 foot ladder
(Source: http://www.lowes.com)
Figure 1.8: DSLR Camera
(Source: http://www.gizmodo.com.au)
Figure 1.9: Butter paper
(Source: http://www.fauzul.com.my)

2.1 HISTORY OF PENANG
In the early days, before Western powers gained control of the island
of Penang, the small island located at the Northwest coast of
Peninsular Malaysia (Fig. 2.1) was known as Pulau Pinang. The
name Pulau Pinang literally translated from the Malay language
(Malaysia’s national language), means “Isle of The Betel Nut” and
originated from the abundance of betel nut palms scattered across
the island (Tourismpenang.net.my, 2016).
When Malaya gained independence on 31 August 1957, Penang was
officially known as Negeri Pulau Pinang and became one of
Malaysia’s 13 component states. George Town, which has the oldest
municipal history in the country, was accorded City status by Queen
Elizabeth II on 1st January 1957 (Visitpenang.gov.my, 2016).
Figure 2.1: Map of Penang with black box indicating the position of
Lorong Ikan (project research site) in George Town
(Source: Measured Drawing Lorong Ikan, Penang Group, 2016.)

2.2 THE DEVELOPMENT OF GEORGE TOWN
In the year 1786, Francis Light, the founder of Penang began working
on the physical development of the trading settlement in George
Town. Light was granted the title of Superintendent and it was in his
interest to develop Penang such that British trade could be brought
into the Malay States. A grid of streets was laid by Francis Light (Fig.
2.2) to mark the commercial centre of the trading port (Arts-Ed, 2016).
Figure 2.2: Map of George Town with red lines indicating street grid laid
out by Francs Light
(Source: www.slideshare.net/penangshophouse/1-early-history-of-george-town-may-
2011)

From the year 1795-1798, the trading settlement was further
developed by Francis Light’s successor, Lieutenant Governor Major
MacDonald (Arts-Ed, 2016). The haphazard streets of George Town
were straightened out in a more orderly fashion (Fig. 2.3).
Figure 2.3: Map of George Town showing the new street arrangement
applied by Francis Light’s sucessor
2011)

From 1881 to 1904, George Town grew in size when reclamation was
carried out on the coast of Beach Street (Fig. 2.4). The reclaimed
land was then used for the development of Weld Quay and was part
of the port expansion project (Arts-Ed, 2016).
By 1957, George Town was fully developed (Fig. 2.5) and was
granted city status by royal charter from Queen Elizabeth II (Arts-Ed,
2016).
Figure 2.4: Map of George Town showing land reclaimation at the
coast of Beach street
2011)
Figure 2.5: Map of George Town showing the fully developed city
(Source: www.slideshare.net/penangshophouse/1-early-history-of-
george-town-may-2011)

2.3 GEORGE TOWN AS WORLD HERITAGE CITY
George Town became a UNESCO World Heritage Site on 7 July
2008. George Town and Malacca are both jointly inscribed as the
Historic Cities of the Straits of Malacca, and together, the two cities
stand as testimony to the centuries of maritime trade that shaped
Malaysia and had a significant influence on the region
(Whc.unesco.org, 2015).
"Melaka and George Town, Malaysia, are remarkable examples of
historic colonial towns on the Straits of Malacca that demonstrate a
succession of historical and cultural influences arising from their
former function as trading ports linking East and West. These are the
most complete surviving historic city centres on the Straits of Malacca
with a multi-cultural living heritage originating from the trade routes
from Great Britain and Europe through the Middle East, the Indian
subcontinent and the Malay Archipelago to China. Both towns bear
testimony to a living multi-cultural heritage and tradition of Asia,
where the many religions and cultures met and coexisted. They
reflect the coming together of cultural elements from the Malay
Archipelago, India and China with those of Europe, to create a unique
architecture, culture and townscape." – UNESCO
Figure 2.6: Aerial view of Georgetown
(Source: http://www.starproperty.my)

2.4 CORE ZONE AND BUFFER ZONE
As a UNESCO World Heritage Site, George Town is divided into two
zones. These two zones are called the core zone and the buffer
zone (Fig. 2.7).
Lorong Ikan is also categorised as a World Heritage Site and falls
into George Town’s buffer zone (Fig. 2.7).
Figure 2.7: Red circle indicates Lorong Ikan’s position in George
Town’s bufferzone
(Source: http:// www.visitpenang.gov.my)

2.5 LORONG IKAN
Lorong Ikan, or Fish Lane when translated from Malay, is a small lane
in the Lower Beach Street section of George Town. In Chinese, Fish
Lane is called “Kiam Hu Thnia” which means salted fish yard (Khoo,
2007). Lorong Ikan developed as a working-class neighbourhood
during the mid-19th century, and was once filled with activities such
as the drying of salted fish. In the nearby vicinity of Fish Lane there
was also the larger Prangin Lane which was home to the popular
local market named Sia Boey market. The reason that Fish Lane was
used as a place to dry salted fish is its close proximity to Sia Boey
market where the salted fish produced was sold (Tye, 2016).
Today, Lorong Ikan, is a small and quiet street, lined with old colonial
shophouses and rich with history (Fig. 2.8, 2.9). The historical and
cultural significance of Lorong Ikan has been recognised also by
UNESCO and the small street is listed as a heritage site in the buffer
zone of Georgetown
Figure 2.8: Lorong Ikan street sign
Figure 2.9: View of Lorong Ikan

2.6 SITE PLAN
The site plan (Fig. 2.10) shows the location of Lorong Ikan and
Shophouses No.3, 5, 7. Lorong Ikan is located between Lebuh
Melayu and Lebuh Prangin.
Through an interview with Penang City Council Heritage Department
representative Mr. Mohd Azmi Fazil, we have also been informed that
the shophouses located at lot 3, 5 and 7 in Lorong Ikan are classified
as Category II heritage buildings displaying Late Straits Eclectic Style.
Heritage buildings classified under Category I are buildings or
monuments of exceptional interest whereas Category II buildings,
such as the Lorong Ikan shop houses are buildings that have special
interest and warrant every effort being made to preserve them.
Figure 2.10: Site plan indicating Shophouses 3, 5, 7, Lorong Ikan

2.7 SHOPHOUSES NO.3, 5, 7
An interview was conducted with Madam Teh Siew Kim (Fig. 2.11) to
find out more about the history of Shophouses No.3, 5, 7 (Fig. 2.12).
Madam Teh was a former tenant of the shophouse No.7 and she
informed us that the shophouses were built and owned by a
Peranakan family with the surname Wong since 1926. The Wong
family used Shophouses No.3 and No.5 while No.7 was for the aunt
of the owner. Later, these owners changed and the shophouses were
rented out to people like Madam Teh herself. However, in 2013, there
were new plans for the shophouses and it is now under renovation
and will be converted into a boutique hotel. Historical events of the
shophouses will be summarized in the timeline of the following
subtopic.
Figure 2.11: Shop houses No. 3, 5, 7, Lorong Ikan
Figure 2.12: Interview with Madam The Siew Kim (left)

2.7.1 Historical Timeline of Shophouses No.3, 5,7
Built by Peranakan owner
Occupied by owner and
his family
Rented out several times
to different occupants
Flooding happened often
Occupied by owner and
his family
Rented out as frozen food
storage and hostel for
labours
Fire broke out from first
floor
Occupied by owner’s sister
Rented to Madam Teh and
her family
Sold to be converted as
boutique hotel
Renovation in progress
boutique hotel
boutique hotel
1926
JAN 2016
2012/2013
Figure 2.13: Front view sketch of shophouses
N O . 3 NO. 5 NO. 7

2.8 GENIUS LOCI OF THE SITE
Lorong Ikan is a small street that could easily go unnoticed in the
bustling city that is George Town. The locals in this part of the city are
mostly elderly shop owners that have been continuing their trade over
decades and prefer a casual lifestyle. Thus, Lorong Ikan remains
virtually unchanged from how it was years ago and is rich with
architectural, cultural and historical value (Fig. 2.14).
Over the few days of our stay in Penang, we walked to Lorong Ikan
every morning, and we have observed the lifestyle and culture of the
place (Fig. 2.15). Most of the shop owners start their business around
9am and close at around 6pm. Also, there are many activities
throughout the day such as the morning market nearby Lebuh
Campbell (Fig 2.16).
Figure 2.14: Lorong Ikan and shophouses No.3, 5, 7
Figure 2.15: Walking as a group to Lorong Ikan

As we walked along Lebuh Melayu, a street next to Lorong Ikan, we
saw art-deco styles buildings at the road junction (Fig. 2.17). After
taking a right turn at Lebuh Melayu to Lorong Ikan, we were greeted
by the famous ‘Fish and Cow’ steel artwork with a trishaw parked in
front of it (Fig. 2.18).
Figure 2.17: View of Lebuh Melayu
Figure 2.18: Fish and Cow artwork at Lorong Ikan
Figure 2.16: Lebuh Campbell market

There is only little traffic on Lorong Ikan because some buildings
aren’t occupied at the moment. Apart from our shophouses, there are
also two rows of shophouses under renovation at the opposite of our
buildings (Fig. 2.19). The shophouses are going to be used as hotels
in the future. Next to our shophouses, there are some activities being
carried out such as lorry transportation business and art display
business (Fig.2.20). We also observed religious activity that take
place nearby Lorong Ikan. There is a small Taoism temple located on
Lebuh Prangin, a street next to Lorong Ikan (Fig. 2.21).
Figure 2.19: View in front of site
Figure 2.21: View on Lebuh Prangin
Figure 2.20: Buildings next to Shophouses No.3, 5, 7

3.1 ARCHITECTURAL STYLE AND INFLUENCES
There are six main architectural styles in Penang shophouse
revolution. They are Early Penang Style (1790s-1950s), Southern
Chinese Eclectic Style (1840s-1910s), Early Straits Eclectic Style
(1890s-1920s), Late Straits Eclectic Style (1910s-1930s), Art Deco
Style (1930s-1960s) and Early Modern style (1950s-1970s).
Each of the styles reflected the introduction of new technologies,
building techniques and global architectural influences at the period
(Tan, 2015). The styles can be identified by observing the facades
appearance of the shophouse.
The architecture style of the Shophouses No.3, 5, 7 in Lorong Ikan
can be categorised as Late Straits Eclectic Style based on the design
of the façade and their year of build, 1926. The style was popular in
George Town vernacular shophouses in the early 20th century when
the city was experiencing its prosperous era (Tye, 2016). However, it
is easily confused with the Early Straits Eclectic Style as they share
similar appearance. The differences and similarities of the Early and
Late Straits Eclectic Style are shown in Table 3.1.
Figure 3.1: Front view of the shophouses

(Source: http://penangshophouse.com.my/?page_id=180)
Popular in 1890s-1910s, 3D decorative plaster wall with
Chinese and European influenced decoration, Dado panels
below windows with Majolica tiles, Fire break walls
between units, Cement tiles on five-foot-way, Central
carved door with solid inner door, Decorated air vents
Differences
Figures
Table 3.1: Differences and Similarities of Early Straits Eclectic Style and Late Straits Eclectic Style
Early Straits Eclectic Style Late Straits Eclectic Style
Popular in 1840s-1910s, Plaster arches and central
keystones, Geometric pattern cement floor tiles, Presence
of roof ridge, Tessellated or encaustic tiles on five-foot-way,
Central comb door with solid inner door, Chinese air vents
(Source: Adapted from Penangshophouse.com.my, 2016)
Similarities
Usually 2-3 storeys high, Terra cotta U/V shaped roof tiles, Carved timber door, Air vents,
Granite edge block and steps, Full length louvered windows,

3.1.1 Characteristics of Shophouses No.3, 5, 7
The shophouses are categorised as the Late Straits Eclectic Style as
they were built in 1926. This is also supported by the characteristics
of the facade stated in the figure below. However, a common feature
from the Early Straits Eclectic Style – central keystone of the windows
arches can be observed at the facade. Tan (2015) has mentioned
that the shophouses styles could be overlapped with some of the
elements in earlier styles remained.
Figure 3.4: Front Elevation of the shophouses
Ceramic Majolica tiles
Decorated air vents
Central carved door
with solid inner door
Hydraulic cement
floor tiles
Fire break wall
Central keystone
Granite edge block
and steps
Door height
louvered windows
Decorative plasterwork

3.1.2 Western Influence
Western influence can be seen at the facade of the shophouses.
During Late Straits Eclectic Style, door height windows shutters were
introduced, replacing the full width row of windows shutters (Fig.3.5)
above the low walls that were used during the Southern Chinese
Eclectic Style.
Influenced by the neoclassical windows of Europe, the shutters of the
shophouses are in centralized paired arrangements (Fig. 3.6). The
door height shutters increase the openings size, thus providing
maximum ventilation (Tan, 2015).
Figure 3.5: Highlight of Southern Chinese Eclectic Style windows
Figure 3.6: Centralized door height windows shutters

3.2 SPATIAL PLANNING AND ORGANIZATION
According to Tye (n.d.), the Straits Eclectic terrace houses in George
Town can also be categorised into two types, the traditional
shophouse and the townhouse. In traditional shophouse, the ground
floor is usually used as business area while the level above is used
for living purpose. On the other hand, the whole unit of townhouse is
used for residential purpose.
3.2.1 Spatial Layout
After the shophouses were sold to new owner, they are currently
under renovation and will be used as a boutique hotel in the future.
As a result, some functions of the spaces have changed. Figure 3.7
and Figure 3.8 shows the previous and future use of spaces in
ground floor and first floor respectively.
Figure 3.7: Ground floor spatial usage plan
1. Five-foot-way (R)
2. Temple (P)
Living room (F)
3. Frozen food storage (P)
Living Room (F)
4. Business area (P)
Living room (F)
5. Air well (R)
6. Leisure area (P)
Dining area (F)
7. Bathroom (R)
8. Dining area ( P)
Office/ Reception (F)
9. Leisure area (P)
Dining area (F)
10. Bathroom (R)
11. Leisure area (P)
Unknown (F)
(R) – Remain of Usage
(P) – Previous Usage
(F) – Future Usage

3.2.2 Defining of Spaces
There are several elements used in the shophouses to define the
spaces. First of all, the spaces are defined by solid walls which are
common in most buildings. Besides, timber partitions are also used
as dividers between spaces; eg. bedroom – corridor (Fig.3.9) and
front hall – second hall (Fig. 3.12).
Figure 3.8: First floor spatial usage plan
12. Bedrooms (R)
13. Corridor (R)
14. Bedroom (P)
Lounge (F)
15. Bathrooms (R)
16. Kitchen (P)
Bathroom (F)
17. Unknown (P)
Roof garden (F)
(R) – Remain of Usage
(P) – Previous Usage
(F) – Future Usage
Figure 3.9: Partition separating No.5 bedroom with the corridor

Apart from that, the spaces are also zoned by flooring tile motifs. The
contrast of the tiles gives visual signal to the users, allowing them to
define the spaces without using walls. For example, green-polygon-
motif tiles are installed at the air well which form a zoning to separate
itself from the corridor that installed with mixed-colour tiles (Fig.3.10).
3.2.3 Circulation
The shophouses have frontal entrance with centre placement of door
opening at each of the shophouses. The entrances are recessed and
sheltered by the five-foot-ways (Fig.3.11). The entrances can be seen
decorated with Chinese ornamentation and embellishment, giving an
oriental vibe to the buildings.
Apart from that, the buildings have linear circulation which is common
in Malaysian shophouses. However, there are some paths that
branch out to the next unit as the No.3 and No.5 shophouses are
connected on the ground floor. The shophouses are all connected on
the first floor.
Besides, there is also a vertical circulation through the staircases with
their direction facing inwards, which appears unwelcome to the public
as the staircases are leading to the private spaces (Fig.3.13).
The path is usually determined by the activity that is being carried out
at the time and the user is always able to pause or reorientate at his
will in the buildings.
Figure 3.10: Flooring tile motifs nearby No.5 airwell

3.2.3.1 Ground Floor Circulation
Figure 3.12: No.7 Front Hall
(Living room)
(Source: Measured Drawing Lorong
Ikan, Penang Group, 2016)
Figure 3.13: No.5 Staircase
leading to first floor
Figure 3.15: No.7 Back Hall
Figure 3.16: No.5 exit
door to back lane
(Source: Measured
Drawing Lorong Ikan,
Penang Group, 2016)
Figure 3.14: No.3&5 Back
Hall (Office)
(Source: Measured Drawing
Lorong Ikan, Penang Group,
2016)
Figure 3.17: No.3 Entrance to
the bathroom
Figure 3.11: No.7 front entrance
(Source: Measured Drawing Lorong Ikan,
Penang Group, 2016)

3.2.3.2 First Floor Circulation
Figure 3.20: No.5
entrance to bedroom
2016)
Figure 3.19: Entrance
between No.3 & No.5
(Source: Measured
Penang Group, 2016)
Figure 3.21: Spaces
connecting No.5 & No.7
2016)
Figure 3.22: Bedroom view
of shophouse No.7
2016)
Figure 3.23: Bathroom of
shophouse No.7
2016)
Figure 3.18: Corridor connecting
No.3 bedroom and roof garden
Figure 3.24: View of roof garden
and entrance to No.5 bathroom

3.2.4 Natural Ventilation
Ventilation is important in the shophouses which have long and
narrow forms. With effective ventilation in the buildings, excessive
moisture and odour can be removed while bringing fresh air into the
buildings. Figure 3.25 shows the cross ventilation across shophouse
No.3 and stack ventilation that happens at the air well.
3.2.4.1 Elements of Natural Ventilation
a. Air Well (see page 64)
The air well plays an important role for ventilation in the long
shophouse. It allows stack ventilation to occur, removing the stale air
in the building.
b. Air Vent (see page 60)
It is installed close to the ceiling height of the walls or partition to
enhance the ventilation of the building.
c. Window (see page 55)
Window allows air to flow in and out of the building. Louvred windows
are used in most parts of the shophouses allowing optimum
ventilation.
d. Lattice Screen
It is installed above the partition wall of No.7 bedroom (Fig.3.22),
creating a naturally ventilated space.
Figure 3.25: Ventilation diagram in shophouse No.3 section

3.2.5 Natural Lighting
Air well and windows are the significant elements that illuminate the
interior during the day. Without them, the long shophouses have
insufficient natural lighting, thus are required to rely heavily on
electrical lighting to brighten up the interior. The areas nearby the
windows and air well received more day light than the others
(Fig.3.26).
Besides, the natural lighting also enhances the spatial quality of
building. For example, sunlight that streams through the windows
onto the floor and furniture (Fig.3.27), creating a serenity atmosphere
in the building. Besides, the interior is also livened up by the
illuminated stained windows as sunlight shines through them
(Fig.3.28).
Figure 3.26: Natural lighting diagram in shophouse No.3 section
Figure 3.27: Sunlight streams through the windows at the corridor of
shophouse No.5

Figure 3.28: Illuminated stained glass panels of the bedroom of
shophouse No.3

Roof elements include pitched roof, roof ridge, gable and gable end,
roof tiles, and roof eaves.
4.1.1 Roof Type:
The double-pitched roof is a very common roof type used in Penang
shophouses. The shophouses on Lorong Ikan have the double-
pitched roof (Fig.4.1), which is made up of two slopes joined at the
top or ridge to discharge the rain water (Tan, 2015).
4.1.2 Roof Ridge
The roof ridge (Fig.4.2) is the upper junction at which two slopping
roofs meet, where tiles on both sides are sloping down or
descending towards the eaves, and there is a capping to prevent
water penetration. In this case, the tile and plaster roof ridge is using
U- or V-shapped capping tiles bonded with lime mortar and finished
in lime plaster (Tan, 2015).
4.1 ROOF
Figure 4.1: Double-pitched roof from side view
Figure 4.2: Roof Ridge

4.1.3 Gable and Gable End
The gable wall is the pitch-shaped side wall that follows the slope of
the roof where the gable end (Fig.4.3) is the upper part of the wall
that is usually higher than the roof to seal the roof’s edge. The gable
wall is normally an exposed end wall or a party wall that rises above
the tiles and acts as a firebreak between two neighbouring buildings
(Tan, 2015).
Gable ends have a series of figures which represent the 5 elements
Geomancy in FengShui, which are gold, wood, water, fire and earth.
The gable end of the shophouses is the Fire element (Fig.4.4) that
its shape is in a pointed form, which is believed to bring blooming
development to the house owner, and also creates the Earth
element for the balance of Yin and Yang (Teh, 1988). Furthermore,
the 5 elements Geomancy of gable ends only appear in the Early
Straits Eclectic style and the Late Straits Eclectic style buildings.
This is because during the period of the Early Penang style and the
Southern Chinese Eclectic style, people had not had the affluent
status yet to create a more lavish and exquisite housing.
Figure 4.3: The Fire Element Gable End
Figure 4.4: The Fire Element Gable End (Sketch)
(Source: https://nanyangtemple.wordpress.com/category/2-visiting-guide/)

4.1.4 Roof Tiles
V-shaped terracotta roof tiles (Fig.4.5) were widely used in the Late
Straits Eclectic style, and were normally hand-made and kiln baked
(Tan, 2015). These roof tiles are thin and tend to become more
fragile over time. Hence, in the shophouses on Lorong Ikan, they
were replaced with Marseille roof tiles (Fig.4.6), which are usually
used in the Art Deco style and the Early Modern style buildings
because they are more regular in size compared to the terracotta
roof tiles.
Marseille roof tiles have different origins but most of them come in
the standard size, 419.1mm x 254mm x 31.75mm. They are factory
produced, moulded and kiln-dried, and are hung on horizontal timber
battens, supported by vertical battens fixed to the purlins or beams
(Tan, 2015). However, the Marseille roof ridge tiles are also using
the same material, clay. This is because clay roof tiles have a
property of high thermal insulation to keep the building cool and
provide comfortable internal spaces for the users.
Figure 4.5: V-shaped Terracotta Roof Tiles
Figure 4.6: Marseille roof tiles

4.1.5 Roof Eaves
The roof eave (Fig.4.7) is one of the roof parts that overhang the
walls of a building to protect the junction of the roof and wall from
rain. These shophouses have the decorative bracket (Fig.4.8) and a
plain panel soffit eave. This eave type returns to the basic
construction of the visible timber eave, replacing the simple bracket
projecting from the party wall columns with a decorative bracket, and
adding a horizontal panelled ceiling board (soffit) to hide the
underside of the tiles and battens from view (Tan, 2015). This eave
type could only be seen in the Late Straits Eclectic style and the Art
Deco style. The soffit contains of the usage of asbestos that is
banned nowadays because it may pose health risk (Asbestos
Banning Proposal, n.d.).
Figure 4.7: Plain Roof Eave
Figure 4.8: Decorative Bracket

The ceiling is a panel or strip covering that hides the structure of the
roof or floor from the room below. The underside of the floorboards
and the supporting timber joists of the first floor (Fig.4.9), as seen
from the ground floor of a shophouse, were traditionally exposed,
which is without a ceiling. However, in the Late Straits Eclectic style,
the underside of the roofs, supporting purlins and battens are
covered by a timber strip ceiling (Fig.4.10), made of Meranti timber,
following the slope of the roof towards the front or rear wall and air
well, but was flat at the centre below the roof ridge (Tan, 2015).
4.2 Ceiling
Figure 4.10: Timber strip ceiling (Meranti)
Figure 4.9: Exposed timber joists and timber planks

Figure 4.11: Sketch of the exposed ceiling in the front hall
 Hall Partition
 Exposed Timber Joist
 Cornice
 Timber Planks

Wall elements include building materials of wall, column head and
capital, parapet wall, bressummer beam and ionic column, wall tiles,
and internal partitions.
4.3.1 Wall: Bricks, Mortars and Plasters
Burnt clay bricks (Fig.4.12) were used for structural load-bearing
walls and columns before 1930s, and hence the shophouses on
Lorong Ikan are still using the burnt clay bricks which are close to 3
inches in thickness and more regular in size (Tan, 2015).
Lime mortar, a combination of lime, river sand and water, is a
workable paste used to bond bricks and rows of bricks in the
construction of a wall. Lime plaster (Fig.4.13) is a primary coating to
protect wall surfaces, in which lime, made from burnt shells, coral or
limestone, is the key ingredient of lime plaster. It is important for
load-bearing clay brick construction typical of shophouses, as it
allows ground moisture to rise and evaporate through the walls to
keep the shophouses cool, and it has also the benefits of absorbing
harmful carbon dioxide and reducing pests (GTWHI, 2013).
4.3 Walls & Partitions
Figure 4.13: Lime Plaster
(Source: Georgetown World Heritage Incoporated Brochure, 2013)
Figure 4.12: Burnt Clay Bricks

4.3.2 Column Head and Capital
The capitals of the shophouses are the head of a column which
typically broadens out at the junction between a beam and an arch,
an influence of the Tuscan column. However, Chi Tou (螭头), in
traditional Chinese architecture, it is a stone carving hornless dragon
(Fig.4.14) on the pillars and stairs flight of the palace to signify
auspiciousness to the host (Xiu, 1054). Hence, by the turn of 20th
century, due to the early eclecticism, it was common to find both
Chinese column heads (brackets) and European capitals together
where Chi Tou is built above the Tuscan capital (Tan, 2015).
On the façade of the shophouses, the elongated Chi Tou (Fig.4.15)
and the capital can be seen on the columns, pillars and pilasters.
The materials were usually steel I-beam, clay brick and lime stucco
that are very durable.
Figure 4.14: Traditional Chi Tou
(Source: http://baike.baidu.com/view/988258.htm)
Figure 4.15: Elongated Chi Tou

4.3.3 Parapet Wall
The parapet wall is a waist-high low wall, usually found at the front
façade of the upper floor, the air well, and the rear terrace as a
safety feature next to the open kitchen air well (Tan, 2015). Yet, in
the Late Straits Eclectic style shophouses, parapet walls are not
often shown on the front facades but they are still retained at the
central air well below shutters (Fig.4.16).
The sunken, recessed panel with moulded edges parapet walls
below the window (Fig.4.17) are made of clay bricks, lime mortar,
lime plaster and stucco.
Figure 4.17: Parapet wall below the timber railing
Figure 4.16: Parapet wall at the central air well below the shutters

Figure 4.18: Sketch of the parapet wall below the door height shutter at the central air well at No.5
 Parapet Wall
 Door-height Shutters
 Visible Timber Eave

4.3.4 Bressummer Beam and Ionic Column
The bressummer beam (Fig.4.19) is the main structural beam
supporting a wall above and creating a wide opening below, allowing
the ground floor entrance façade to be open at the street edge,
recessed from the street by approximately five feet to create a
covered verandah or five-foot way (Tan, 2015). A granite corbel
(bracket) is usually supporting at the end of the bressummer beam
but in these shophouses, Ionic columns (Fig.4.20) were attached on
the both sides of the main columns, acting as a supporting elements
for the horizontal I-beam.
Figure 4.20: Ionic columns act as brackets
Figure 4.19: The bressummer beam

4.3.5 Wall Tiles
The ceramic Majolica wall tiles (Fig.4.21) were introduced after the
Early Straits Eclectic style as decoration and protection to the lower
portion of the front facades, below the windows (Fig.4.22), where
this area was none as a dado panel on a substrate wall (Tan, 2015).
During the Late Straits Eclectic style era, the society had become
more affluent and people were demanding a more lavish and
comfortable living, so they chose to decorate their front façade to
indicate their wealth and status, and to evolve from the past. The
ceramic Majolica wall tiles with raised tube line design (Fig.4.23)
were using white clay coloured glazes, and were known as a fashion
applied in new buildings (Tan, 2015).
Figure 4.21: The ceramic Majolica wall tiles on a substrate wall
Figure 4.23: Raised tube line design
Figure 4.22: Wall tiles below the windows on both sides

Internal partitions is a non-structural component, consist of timber
frames and panels to divide a shophouse into different spaces, such
as a front hall from the inner private spaces, and a bedroom from the
upstairs living area (Tan, 2015). They give privacy for the people at
the inner spaces without sacrificing the air ventilation to take place
amongst the spaces.
The hall partition (Fig.4.24) on the ground floor at the front hall
consists of 4 timber posts and a lintel, and is divided into 3 sections,
where the outer sections are openings and the centre section is a
decorative carved timber screen with central pivot panels, Ge Shan
(隔扇), in which each panel has 4 parts: head, body, waist and skirt.
The body is latticework, where the top of the screen is timber lattice
and a crisscross pattern that allows air ventilation and illumination.
The materials used are usually Merbau, Balau or Meranti with a
layer of gilding on carvings of flora and fauna (Tan, 2015). However,
the room partition (Fig.4.25) on the first floor is using timber panels
and lattice panels for ventilation purpose.
4.3.6 Internal Partitions
Figure 4.24: Hall Partition of No.5
Figure 4.25: Room Partition of No.7

Figure 4.26: Sketch of the Hall Partition

Doors elements include ground floor main entrance door, internal
doors and external rear doors.
4.4.1 Ground Floor Main Entrance Door
A double-door system (Fig.4.27) is used for the front entrance on
Lorong Ikan where it is a timber comb external door to allow day
illumination, ventilation and security. A timber comb door refers to
the upper half of the external door, which has carvings and cavities
in a comb order, originated from Fujian, China (Tan, 2015).
However, the internal solid plank doors, offering security, are painted
and lightly carved with auspicious messages (Fig.4.28) with a brass
door knocker below (Fig.4.29), facing the interior by day and the
exterior when closed at night.
4.4 Doors
Figure 4.29: Auspicious Messages Panels (Wealthy, Preferment) above
the Brass Door Knobs
Figure 4.28: Brass Door Knobs on
the inner door panels
Penang Group, 2016)
Figure 4.27: No.7, Ground
Floor Main Door (External View)

Nonetheless, in the traditional Chinese architecture, two Pi Xiu (貔
貅) are placed in front the main entrance to bring prosperity to the
house owner. Yet in the Penang context, a shophouse has a very
limited space to place these large stone carvings and could have
obstructed the five-foot way. Hence, people turned them into a
smaller scale, and set them on the external timber comb door
(Fig.4.30), acting as upper pivots at the same time.
Besides, the internal doors are also pivoted (Fig.4.31) and locked
with an internal timber slide bolt (Fig.4.32).
Figure 4.32: No.7, Ground Floor Main Door (Internal View)
Figure 4.31: Timber Pivot
Figure 4.30: Pi Xiu on top of the external door

Figure 4.33: Sketch of the Pi Xiu

Double-leaved, timber-framed paneled doors (Fig.4.34) with metal
hinges can be seen in the shophouses, where they have six panels,
which were of eclectic Western and Chinese design (Tan, 2015). They
are usually an access to a room (Fig.4.35) or a toilet (Fig.4.36).
4.4.2 Internal Doors
Figure 4.34: Double-
leaved internal door
with a timber slide
bolt on the ground
floor
(Source: Measured
Penang Group, 2016)
Figure 4.35:
Internal door of
No.5, connecting
No.7 on the first
floor
(Source: Measured
Penang Group, 2016)
Figure 4.36:
Internal door of the
toilet at No.7 on the
first floor
(Source: Measured
Penang Group, 2016)
Figure 4.37: Location of the internal door on the ground floor
Figure 4.38: Location of the internal doors on the first floor

A rear door of a shophouse accessing to the back lane or upper-floor
rear terrace (Fig.4..42) is normally a double-layer system. Its internal
door was made of solid timber plank (Fig.4.434) with timber pivots
(Fig.4.39) and an internal slide bolt system, which has less
ornamentation than that of the front entrance. Conversely, the
external door was made of a timber frame with metal grilles
(Fig.4.44) for security reasons.
4.4.3 External Rear Doors
Figure 4.39: Upper timber pivot
Figure 4.41: Location of the external door on the first floor
Figure 4.40: Location of the external door on the ground floor

4.5 Window
Windows are the openings to allow illumination and natural ventilation
for the inner space. They include ground floor and first floor front
façade windows.
4.5.1 Ground Floor Front Facade
The shutters and windows on ground floor front façade in the Late
Straits Eclectic style always come in pairs, one on either side of the
main door (Fig.4.46). Hardwood frame complete with transom, curved
fanlights, vertical bars, internal bi-fold glass window and solid timber
shutter (Fig.4.47) can be seen in these shophouses. The materials
used are Meranti timber, solid iron bar and moulded glass.
Figure 4.42:
External door to the
roof garden at No.7
(Source: Measured
Penang Group, 2016)
Figure 4.44: External
door at No.5 ground
floor from the outside
(Source: Measured
Penang Group, 2016)
Figure 4.43: External
door at No.5 to the
back lane
(Source: Measured
Penang Group, 2016)
Figure 4.45: Location of the front façade windows on the ground floor

4.5.2 First Floor Front Façade
The shophouses on Lorong Ikan have 9 shutters and windows on
the first floor front facades, 3 shutters and windows for each
shophouse (Fig.4.49). They are made of hardword frames, closed
timber fanlights and timber balustrades below (Fig.4.50) for security
purpose. They are all door-height louvred shutters (jalousies) with
solid timber lower panels (Tan, 2015). The shutters from the inside
usually have either timber lattice holders (Fig.4.51) or wave-shaped
timber pull handles (Fig.4.52) that are fixed on the frames
symmetrically.
Figure 4.47: Ground Floor Front Façade Window
Figure 4.46: No.5, Ground Floor, windows in a pair

Figure 4.49: First floor front façade
Figure 4.50: Balustrade below the window
Figure 4.52: Wave-shaped timber pull handles
Figure 4.51: Timber lattice holder to fix the position of jalousies

Figure 4.53: Sketch of door height windows and shutters
Figure 4.54: Location of the front façade
windows on the first floor
(Source: Measured Drawing Lorong Ikan, Penang
Group, 2016)

Figure 4.55: Sketch of the windows with timber lattice holder
Figure 4.56: Location of the windows on
the first floor
(Source: Measured Drawing Lorong Ikan, Penang
Group, 2016)

Air vents are to promote better air ventilation. They include front
façade air vents, prefabricated air vents and air vents on partitions.
4.6.1 Front Façade Air Vent
On the front façade of the shophouses, there are air vents on both
floors. On the ground floor, the air vents (Fig.4.57) were placed
above the windows, and carved to depict four bats (蝙蝠, biān fú),
which are homonymic to happiness (福, fú) in Chinese language
pronunciation, symbolising grandeur and a blessed life (Tan, 2015).
However on the first floor, there are porthole air vents which are
made of precast concerte with flora decoration (Fig.4.58), looking
from the exterior view (Fig.4.59).
4.6 Air Vent
Figure 4.58: Porthole air vent
Figure 4.57: Timber air vent carved with four bats
Figure 4.59: Exterior view of the porthole air vents with decoration

4.6.2 Prefabricated Air Vent
The prefabricated air vents made of unglazed clay, such as the
terracotta air vents (Fig.4.60), are usually placed on the parapet wall
and toilet wall. Besides, concrete air vents (Fig.4.61) made of cast
Portland cement-based concrete can be seen at the lounge wall
facing towards the backyard (Tan, 2015). Yet, a simple carved
timber air vent with solid iron bars (Fig.4.62) can also be seen at the
lounge to promote better ventilation and for security purpose.
Figure 4.61: Concrete air vent
Figure 4.60: Terracotta air vent
Figure 4.62: Timber air vent at the backlane

4.6.3 Air Vent on Partition
The internal partitions are usually made of timber frames and panels,
and to promote air ventilation between spaces, ventilation holes are
introduced on the partitions. The partition at the ground floor front
hall, apart from the openings, also have air vents in between the
carvings (Fig.4.63) and below the ceiling (Fig.4.64). However on the
first floor, the bedroom partition has air vents below the ceiling with a
different criss-cross pattern (Fig.4.65).
Figure 4.64: Air vent below the ceiling
Figure 4.63: Ventilation holes on the carving
Figure 4.65: Air vent at bedroom partition

Figure 4.66: Sketch of air vents on the hall partition and backlane respectively

4.7 AIR WELL
Air well is a common feature in Malaysian shophouses. It is an
interior courtyard space rising from the sink to the roof eaves. The
air wells located at the near middle part of the shophouses
(Fig.4.67& Fig.4.68). It allows daylight to illuminate the internal
space of the long narrow shophouses. The opening provides
natural ventilation (Fig.4.69), not only increasing the energy
efficiency but contribute to an enjoyable private outdoor space for
the residents. (Ahmad & Rasdi, 2000).
Air well also functioned to discharge the rain water from the roof to
the sunken well. As water represents wealth in the Chinese belief -
‘Feng Shui’, the flowing of rain water into the buildings also
symbolises the accumulation of wealth.
Figure 4.67: Locations of Air Wells at Ground Floor
Figure 4.68: Locations of Air Wells at First Floor

Figure 4.69: No.3 Air well central opening sketch

No. 3 No. 5 No. 7
Air Well Shutters and
Windows
Timber frames and timber louvred shutters on walls made with clay bricks, lime mortar and plaster
Penang Group, 2016)
Penang Group, 2016)
Penang Group, 2016)
Timber joists with wire mesh sheets
installed on top (Fig 4.70).
Low impact addition to the building
as it still allows adequate daylight,
natural ventilation and water
draining.
Open-air airwell (Fig 4.71).
Function effectively for natural
ventilation.
Waterproof canvas installed to shield
interior from rainwater.
Timber joists with wire mesh sheets
installed on top (Fig.4.72).
Narrow air well.
Allow daylight, natural ventilation
and water draining.
Air Well Central
Openings
Interior
Perspectives
Table 4.1: Comparison and Similarities of Air Wells in Shophouses No.3,5 and 7.

4.8 FLOORING
The flooring in the shophouses are hydraulic cement tile, quarry tile,
granite, cement screed and timber flooring.
4.8.1 Hydraulic Cement Tile
Made of white Portland cement mixed with coloured pigments.
Cement mixture then poured into metal mould and the pigment layer
is pressed into tile by hydraulic press. The tiles are laid on lime
concrete floors with weaker breathability compared to terracotta tiles
(Tan, 2015). The tiles in the shophouses are all original and the
colours are still clearly seen on tiles despite many years of usage
(Fig.4.74, 4.75 & 4.76). They are mainly installed on the halls and
five foot way (Fig.4.73).
Figure 4.76: Hydraulic cement tiles at No.5 Front Hall
Figure 4.73: Locations of hydraulic cement tiles at ground floor
Figure 4.74: Hydraulic cement tiles at No.5 first floor toilet
Figure 4.75: Hydraulic cement tiles at No.5 air well

4.8.2 Quarry Tile
Quarry tiles are made of mixture of clay and shale electric kiln fired
at high temperature. The tiles are slip resisting and are suitable for
areas subject to heavy spills and moisture. They also have high
performance at outdoor application and extreme climates (What is
quarry tile? n.d.). However, the high temperature firing reduces the
porosity and breathability of the tile. Tiles are arranged diagonally at
45 °, see Figure 4.77. The tiles are installed at the office located at
the back of No.3 and 5. (Fig.4.78).
Figure 4.77: Quarry Tile at the office
Figure 4.78: Locations of quarry tiles at ground floor

4.8.3 Granite
Granite is an igneous rock forms from the slow crystallization process
of magma below Earth’s surface which composed mostly by quartz
and feldspar (King, n.d.). Granite slabs are used for the edge five foot-
way (Fig.4.79), the slabs across the open drain in front of five foot-
way, the edges of air wells in No.3 and No.5, and the air well sink of
No.7 (Fig4.81). The current condition of granite flooring is good due to
the characteristic of granite as hard wearing material.
Figure 4.80: Locations of granite flooring at ground floor
Figure 4.81: Granite Slabs at air well sink of No.7
Figure 4.79: Granite Slabs at five foot-way of No.7

4.8.4 Cement Screed
Cement screed is made of cement, sand and water mixtures. They
are laid at the first floor roof garden. It is a durable and non-
absorbent material therefore it is suitable to be used as flooring for
the semi-open roof garden connected between the No.3 and No.5
(Fig.4.83) which is exposed to rainwater. It also gives a smooth
finishing surface that required only low maintenance (Fig.4.82).
Figure 4.83: Locations of concrete flooring at first floor
Figure 4.82: Concrete flooring at the roof garden

Figure 4.85: Locations of timber flooring at first floor
4.8.5 Timber
The shophouses first level flooring material is timber planks
(Fig.4.84) that are nailed on timber joist supports. The joists act as
the load bearing members and are exposed underneath as the
ceiling of ground floor. The weight of timber plank flooring is lighter
than concrete flooring but has poorer acoustic proofing as noise of
walking can be heard at ground level.
Figure 4.84: Timber flooring at No.5 and 7

Figure 4.86: Tongue and groove connection of timber plank
.
Tongue
Groove
4.9 STAIRCASE
Staircase is a construction of steps connecting between two
different levels in the building (Tan, 2015). There are total of 3
staircases, one in each of the shophouse. For shophouses No.3
and No.5, the staircases are located next to the air well, facing
inward and separated by the corridors. However for shophouse
No.7, the staircase is located at the second hall, facing inward to
the building.
All 3 staircases are timber made winder staircases (Fig.4.87). In
shophouses No.3 and No.7, there are timber panels installed at the
openings leading to the upper floors. The panels can be locked
from first floor, preventing access to the area from the ground
levels (Fig.4.88).
Joinery of timber planks
Tongue and groove connection is used to connect the timber planks
(Fig.4.86). It is a method of arranging timber planks together where
each plank has both the tongue and the groove at sides (Tan, 2015).
By having this connection, the flooring becomes more airtight thus
preventing the intrusion of damp air. Besides, the joinery offers
better stability because the edges are locked into each others.

Figure 4.87: No.5 staircase taken from first floor
Figure 4.88: No.7 staircase taken at the stairs

Figure 4.89: No.5 staircase overall side view
Figure above highlighted the traditional vase and
torus shaped balusters and square vase-shaped
carved timber newel post.
Figure 4.90: No.3 staircase underside view
The underside of staircase is covered with
horizontal timber panels. Part of the area under
the staircase is used as storage space.
4.9.1 Staircase Details

Figure 4.91: No.5 staircase stringer detail
Figure 4.92: No.5 staircase base
Figure above shows No.5 timber staircase with enclosed risers
sitting on a solid base of granite block.

4.10 PAINTS & COLOURS
Paints and colours are used to enhance the aesthetic and durability of
the building components. The significant colouring substances used in
the shophouses are limewash method, wood stain, wood paint and
gilding metallic paint.
4.10.1 Limewash
The wall of the shophouses are presumed to be limewash finishing.
Tan (2015) researched that traditional Penang shophouses were
finished in limewash, made of lime putty diluted with water. Limewash
is a very suitable finish as it can bond well with the lime plaster,
maintaining the breathability of the walls.
Figure 4.93 showing the peeled limewash paints on a front façade
column, revealing the colours painted previously. The column was
originally painted in pale yellow then recoloured with wheat brown. It is
currently painted in white.
Figure 4.93: Peeling paints of No.3 column

4.10.2 Wood Stain
Many of the wooden components such as windows (Fig.4.95), and
doors are finished in wood stain. Wood stain allows the natural grain
textures on the wooden surface to be visible after the application
(Padmanabhan, 2011). Besides, with the application of wood stain,
the wooden components are protected from moisture, sunlight,
termites, mold that can cause rot and degradation.
Figure 4.95: Wood stained first floor window of No.5
Figure 4.94: Painter staining the back façade window

4.10.3 Wood Paint
Wood paint is also used to paint wooden components in the
buildings. For example, the first level flooring of No.3 is painted with
peach brown glossy wood paint (Fig4.96). Unlike wood stain, wood
paint does not get absorbed into the wood as it only forms a thin film
on the wood surface (Padmanabhan, 2011). Therefore, the wooden
flooring gets a consistent look across its surface.
Figure 4.96: Painted flooring of No.3 bedroom
Source: Measured Drawing Lorong Ikan, Penang Group, 2016
4.10.4 Gilding Metallic Paint
Metallic paints are apply on the carvings and ornaments in the
buildings to give a metallic finish to enhance the aesthetics. Figure
4.97 shows the metallic paint on the partition carvings .
Figure 4.97: Details of No.5 partition
Source: Measured Drawing Lorong Ikan, Penang Group, 2016

A total of seven building defects are found in the shophouses which
can be categorised into wall defect, tiles defect and wood defect.
Figure 5.1 and 5.2 below show the location of the defects that will be
elaborated in the following subtopics.
5.2.1 Broken Tiles 5.1.1 Peeling Paint 5.1.2 Fading of Paint
5.1.2 Fading of Paint
5.3.1 Timber Deterioration
5.1.3 Efflorescence
& 5.1.4 Plant Growth
Figure 5.1: Locations of defects on the ground floor
Figure 5.2: Locations of defects on the first floor

5.1 WALL DEFECTS
There are several defects found on the walls in the buildings such as
peeling paint, fading paint, efflorescence and plant growth.
5.1.1 Peeling Paint
Peeling paint usually occurs on the walls that are exposed to the sun
and rain. Part of the paint can be seen cracking and peeling off the
wall surface (Fig.5.3) next to air well of No.5. This could be caused by
the changing weather and moisture seeping through substrate
causing the paint coating to lose its adhesion then forced off from the
wall surface.
5.1.2 Fading of Paint
Fading of paint occurs due to the weathering and ultraviolet rays. It is
a common problem in old buildings as paint faded after decades of
usage. Figure 5.4 shows the back and right facades of the building
with faded white paint. The problem can be fixed by repainting the
wall.
Figure 5.3: Paint peeling off the wall nearby No.5 air well
Figure 5.4: Faded paint at the back of buildings

5.1.3 Efflorescence
Efflorescence is a white deposit of water soluble salts left on the wall
surface as the water evaporates (Fig.5.5). It happens when there is
sufficient moisture to turn the water soluble salts in the wall into salt
solution. Then the migration of solution to the wall surface turns to
crystallised salt after the evaporation of moisture (Masonry Institute of
America, n.d.).
5.1.4 Plant Growth
Ferns and small plants can be seen growing from the small cracks on
the wall (Fig.5.6). The sunny and humid climate of the site has
contributed to the growth of the plants. As soft-stemmed plants, the
ferns give almost little to none damage to the buildings other than the
aesthetic. However, the unidentified small plant has woody stem that
can penetrate the wall and weakened it.
Figure 5.5: Efflorescence on the wall of back facade
Figure 5.6: Plants growth on back façade

5.2 TILE DEFECT
Tile defect is found mainly at the area exposed to the outdoor such as
the five-foot-way.
5.2.1 Broken Tile
Figure 5.7 shows the broken wall tiles of the No.7 front façade. The
wall tiles on both sides of the door are broken, exposing the bricks
beneath. Meanwhile, figure 5.8 shows the defect floor tiles of five-
foot-way. Minor chipping can be seen at the edges and this is
probably cause by the impact of pedestrians walking along the area
through the years.
Figure 5.8: Chipping floor tiles of five-foot-way
Figure 5.7: Broken wall tiles of No.7 front façade

5.3 WOOD DEFECT
Timber defect is common in old building, and there is no exception in
our buildings.
5.3.1 Timber Deterioration
Timber window panels exposed to outdoor can be seen decayed due
to the weathering. The combined effects of rain wetting, sun drying
and exposure to ultraviolet radiation have caused the wooden
components to deteriorate (State Forests of New South Wales, 1995).
The wood component in Figure 5.9 can be seen flaking and cracking.

6.1 CONCLUSION
Shophouses No.3, 5, 7 are hidden gems located in Lorong Ikan, a
part of Penang that is not often even frequented by locals. However,
upon first glance it is easy to tell that the building is more than what it
seems. Inscribed in black paint, upon the first column of shop house
No. 3, is the year the building was built, “1926”. Almost a century old,
the building holds many tales of the past in its architecture and design.
Furthermore, many rooms within the building even retain some of
their original furnishing.
Through this assignment, we were truly privileged to be able to walk
through the corridors of this historical building. Furthermore, as we
carried out the documentation of the building we were intrigued to
discover the construction techniques applied by architects and
builders of the past and through research and interviews with the
locals we were also treated to the rich cultural background of not only
the shophouses but also Lorong Ikan and its neighbouring streets.
As we carried out this project, we soon came to realise the
importance of the conservation of historical sites and their value to
future generations. The presence of these historical sites not only
enriches the city in which they stand but are also a valuable treasure
of significance to the entire country.

6.2 LEARNING OUTCOMES
This assignment has given us an insight into conservation work as
well as the job of an architect. During the period of this course, we
have learnt several standard architectural techniques used in
producing a set of measured drawings to provide an accurate
representation of historical structures.
Furthermore, we were also able to get hands on experience in
learning to record measurements and were introduced to a variety of
measuring equipment as well as measuring methods that we had not
been familiar with before.
Our tasks not only included the documentation of the buildings
measurements but also of its architectural, cultural and historical
value. As of such, we were also exposed to many research methods
such as conducting interviews, visiting local organisations as well as
research through online and printed resources.
Through our research, we were able to appreciate the buildings
construction, its diverse historical background and significance to
future generations. Thus, with the completion of this project we hope
to provide as close to an accurate documentation as possible that
highlights the building’s importance and historical significance.

1. Bai Tian Gong – Chinese ritual of praying the heaven god.
2. Bressummer – Load-bearing supporting beam set above an
opening in a wall, such as the shophouse façade or internal air
well.
3. Chi Tou- Projecting gable eave supporting the rood eave beam
and made by stepping out (staging or corbelling) brickwork; in the
shophouse it bears the same shape and function as a column
head to the top of the façade column.
4. Comb door – Outer decorative door to the main entrance where
the upper half of the door is made of a comb-like panel of sliding
vertical bars.
5. Corbel – Load-bearing projection jutting out from a wall to support
a structure above it.
6. Dado panel – Lower part of the wall measured from the floor to
above waist height decorated with plaster moulding, painting or
tiles.
7. Eave – Part of a roof that overhangs the external walls of a
building.
8. Fanlight – Arched, semi-circular or rectangular section of a door
or window frame which is above the door, shutters or window,
allowing the light and ventilation when the door, shutters or
window are closed (also known as transom light).
9. Gable end – Triangular upper part of a shophouse wall at the
side of a double-pitched roof, or at the top of a party wall between
roofs.
10. Hydraulic cement tiles – Decorative floor tiles that are made by
pouring coloured liquid cement into brass moulds on a cement
base.
11. Lime – White caustic alkaline substance consisting of calcium
oxide, obtained by hearing limestone, shells or coral.
12. Lime mortar – Composed of lime putty, clean river sand, water
and pozzolan additive.
13. Lime plaster – Composed of lime putty, clean river sand, water
and pozzolan additive and applied in three layers; for each layer
a finer sand is used.
14. Lieutenant Governor - a deputy or subordinate governor.
15. Majolica tiles – Moulded or tube line wall tiles decorated using an
opaque brightly coloured glaze on a white clay base.
16. Marseille tiles – Moulded and pressed clay roof tile with rain
channels and interlocking edges, top hung on horizontal battens.

17. Meranti – Light hardwood medium red to deep red-brown
(Shorea spp) used in joinery, floors, partitions and furniture.
18. Mortar – Traditional mixture of lime, sand, water and pozzolan
used to separate bricks in the construction of a wall; Portland
cement was added in post-war construction of the early 1950s.
19. Municipal - of or relating to the government of a city or town.
20. Parapet – Low protective wall along the edge of a roof, terrace or
balcony.
21. Peranakan - an old established Chinese immigrant of West Java.
22. Pilaster – Rectangular column built within a wall and projecting by
one-third of its width from the wall either side.
23. Pi Xiu – A timber carving set on top of the front entrance door,
believed to bring wealth to the host.
24. Soffit – Underside of an architectural structure such as an arch,
balcony or overhanging eave.
25. Stucco – Mixture of lime, sand and water applied wet and
hardens when dry forming a protective surface to the walls or
architectural mouldings such as architraves, keystones and
three-dimensional figurative work (also referred to as plaster or
render).
26. Superintendent - a person who directs or manages a place,
department, organization, etc.
27. Terracotta – Type of fired clay, typically of a brownish-red colour,
unglazed and porous used as flat tiles for floors and sills to walls
or in a curved half-cone form as roof tiles.
28. Tongue and groove – timber planks where each piece has a slot
cut along one edge, and a thin deep ridge on the opposite edge

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MADAM TEH SIEW KIM (68) :
PREVIOUS OCCUPANT OF LOT7
Date: 27 January 2016
Interview by: Gary Yeow, Jason Nge, Nabeel
Interviewer: 你好，我们是 Taylor’s University 的建筑系学生。我们
有些关于 Lorong Ikan 店屋的问题想要请教你可以吗？
Interviewer: Good afternoon, we are architecture students from Taylor’s
University. We would like to ask you some questions about the shophouses
in Lorong Ikan, do you have time for this?
Madam Teh: 好，你们问吧。
Madam Teh: Sure.
Interviewer: 你住的店屋以前是跟隔壁的店屋连在一起吗？
Interviewer: Was Lot7 connected with Lot3 and 5 when you were living
there?
Madam Teh: 不是，没有连着的，我们住的 7 号是独立的，而那 3，
5 号则是通的。
Madam Teh: No, it was not connected when I lived there, but Lot 3 and Lot
5 was already connected back then.
Interviewer: 那么你认识 3，5 号店屋的主人吗？第一代的店主。
Interviewer: Do you know the first owner of Lot 3 and 5?
Madam Teh: 我认识第一代的屋主呀，不过你们找他做什么？好
像也没什么帮助。
Photo of interviewee, Madam Teh, the woman on the left
(Source: Measured Drawing Lorong Ikan Group, Georgetown, 2016)

Madam Teh: Yes, I know the first owner of the shophouses but why are you
looking for him?
Interviewer: 我们想知道他的一些资料，比如他的贵姓。。
Interviewer: We just want get some basic information about him such as his
name..
Madam Teh: 他姓王/黄。
Madam Teh: His surname is Wang (Wong/Huang).
Interviewer: 哦。。那么这三间店屋是一起建的吗？
Interviewer: Did the three shophouses build at the same period?
Madam Teh: 对，三间店屋一张 Geran，不能单间卖，所以我们没
有买下 7 号店屋。
Madam Teh: Yes, the shophouses were built at the same time, with a grant,
so the shophouses could not be sold separately. This is why we didn’t buy
the Lot7.
Interviewer: 只能租店屋而已？
Interviewer: So, you only rented the shophouse?
Madam Teh: 嗯。
Madam Teh: Yes.
Interviewer: 你说王氏是建这三间店屋的人。那么你有他子孙的下
落吗？
Interviewer: You said that Mr. Wang was the owner of the shophouses. Do
you know any of his next generations?
Madam Teh: 不知道了，历史太久远了。
Madam Teh: I don’t know about that, I have lost track about that.
Interviewer: 好的。那么你的父亲跟他租店屋来做生意?
Interviewer: That’s alright. Then was it your father who rented the shop for
his business?
Madam Teh: 对，租来住，还有做点窗帘生意。
Madam Teh: Yes. He rented the shophouse for us to stay and to do his
curtain-making business.
Interviewer: 我们在店屋前厅里看到个屏风，这是从以前就在那里
的吗？
Interviewer: We saw a partition at the front hall when we went there. Was it
there back then?
Madam Teh: 有，那屏风从以前就一直都在那里了。三间（店屋）
里都有，只是三号店屋的屏风因为要拿来用做摆放神位的地方
而后来被拆除了。

Madam Teh: Yes, the partition was there when I lived there. In fact, there
are partitions in the other shophouses too (Lot3 & Lot5). However, the
partition in Lot3 was removed to make room for worshipping purpose.
Interviewer: 你们以前是在屏风前做生意吗？
Interviewer: Did your family carry out your business activities in front of the
partition?
Madam Teh: 对，在前面缝纫些布料。。
Madam Teh: Yes, that’s right. We also sewed the curtains there.
Interviewer: 你有没有旧照片呢？
Interviewer: Do you have old pictures of it?
Madam Teh: 没有。
Madam Teh: I don’t have them.
Interviewer: 屏风后是你们吃茶点，日常生活的地方吗？
Interviewer: Was the space behind the partition used for dining and daily
activities?
Madam Teh: 嗯，煮东西，吃饭等。。屏风后有个天井，后边是
休闲用途，煮饭的地方则是在楼上的后边。
Madam Teh: Yes, we used the space for cooking, dining and so on. There
is an air well behind the partition wall, the area at the back was used for
leisure activities and the back of the first floor was used for cooking.
Interviewer: 那天井那以前有水井吗？
Interviewer: Was there any well at the air well?
Madam Teh: 没有。以前天井口太大，经常喷雨，所以我们把一
部分遮盖起来，雨就不会喷进来，活动空间也比较大了。
Madam Teh: No, there wasn’t any well in the building. The air well opening
was too huge back then, so we covered up part of it to prevent the rain
water to get into the interior. By doing so, we got larger indoor space too.
Interviewer: 哦。。那么屏风后的那张圆桌子是你们留下的吗?
Interviewer: Oh I see. Then is the round table behind the partition belongs to
you?
Madam Teh: 不是，那是现在屋主的桌子。以前那个地方是我们
的休闲区。
Madam Teh: No. It belongs to the current owner. We used the area for
recreation purpose back then.
Interviewer: 以前一楼的后方阳台一开始就是厨房吗？
Interviewer: Was the back balcony of the first floor used as cooking kitchen
since the beginning?

Madam Teh: 不是。那原本只是阳台，我们在改建加上顶盖后才
在那里煮饭。那里空气比较流通，所以油烟易排放，方便多了。
Madam Teh: No, it was actually just a balcony in the beginning. It is used
for cooking after we covered the top. The ventilation was better over there
so the interior did not get oily easily after cooking.
Interviewer: 请问以前多少人住在那里？
Interviewer: May I know how many people lived together in there last time?
Madam Teh: 四，五个人。
Madam Teh: Four, five people.
Interviewer: 你还有几位兄弟姐妹？
Interviewer: How many siblings do you have?
Madam Teh: 弟弟，妹妹还有父母。现在父母都不在世了，我母
亲刚过世，以前都住在一起。
Madam Teh: My brothers, sisters and my parents lived there last time. My
parents are no longer in this world, and my mother just passed away
recently.
Interviewer: 不好意思。。那你是长姐了？
Interviewer: We are sorry to hear that….Are you the eldest children?
Madam Teh: 对。一些结婚后就搬出去了。楼上只有两间房，不
能住太多人。
Madam Teh: Yes, I am the eldest children. Some of my siblings moved out
after marriage. There were only 2 bedrooms at the first floor so the spaces
were limited.
Interviewer: 一间是前房，还有一间是楼梯隔壁的了？
Interviewer: So one of the rooms located at the front and the other room is
the one next to the staircase then?
Madam Teh: 对，现在他们把楼梯隔壁的房打通了。
Madam Teh: Yes. Now they connected the room next to the staircase with
Lot5.
Interviewer: 我们之前去了 3 号发现屋子好像斜向一边。。
Interviewer: We went to Lot3 earlier and found that the room seemed to be
slanting towards the side.
Madam Teh: 我们 7 号也有些斜了，屋子久了，地就沉下了一点。
以前那里也常常淹水，我们也没什么办法，只能关上门让水淹
进来了。
Madam Teh: Yes, that happened to Lot7 too. The buildings have been there
for years, so there could be some settlement of the ground. Besides, the
area was prone to flood and we could not do anything to prevent it.

Interviewer: 以前常常淹水吗？
Interviewer: So I was flooded often back then?
Madam Teh: 对呀，一下大雨水就涨上来。我们 7 号因为位置处
于较低，所以总比 3，5 号先进水。
Madam Teh: Yes. The water level rose whenever it rained heavily. Lot7 is
located at the lower level compared to Lot 3 and 5, so it was always the
earliest building to be flooded among the three shophouses..
Interviewer: 以前 3 号店屋是神庙对吗？那在成为神庙之前还有什
么别的营业吗？
Interviewer: We heard that Lot3 was used as temple before this. Was the
Lot3 rented for other businesses before it became a temple?
Madam Teh: 没有，只是被租出住去罢了。在换了几位租户才被
租成庙二，三十多年。后来这店屋卖给了现在的老板，要改成
旅馆，我们就搬出来了。
Madam Teh: No. it was only rented out several times for staying purpose.
Then it was converted into a temple for about twenty to thirty years. The
tenants moved out after the shophouses were sold to be converted into a
boutique hotel.
Interviewer: 四，五十年前还有人在 Lorong Ikan 晒咸鱼吗？
Interviewer: Do people around here still drying salted fish?
Madam Teh: 没有了啦。
Madam Teh: No, people don’t do that anymore.
Interviewer: 5 号店屋以前是拿来干什么的？
Interviewer: What was Lot5 being used as before this?
Madam Teh: 5 号之前是冷冻库，放些蔬菜之类的。后面则让外
劳住。有一次 5 号发生火灾，火势从上楼蔓延，吓得我们赶紧
逃跑。
Madam Teh: The front area of Lot5 was used as storage area for frozen
food while the back was used as accommodation for labours. There was a
fire incident spreading from the first floor, we were all taken by surprise.
Interviewer: 哦。。7 号楼上的格局怎么比较特别?
Interviewer: Why does the plan of Lot7 differ from the other two shophouses?
Madam Teh: 因为建房子的时候后面必须让些空间做为后巷，再
加上剩下的空间也不多，所以 7 号比较小间.
Madam Teh: When the shophouse was built, there had to be some area to
be left empty for the back lane, therefore the plan f Lot7 was designed this
way to cater to the area.
Interviewer: 以前的屋主王氏跟你的父母都认识有来往吗？

Interviewer: Were your parents close with Mr. Wang (Wong)?
Madam Teh: 有，都是朋友。听说也挺富有，只是不清楚他做什
么生意，好像房产，橡胶之类的。
Madam Teh: Yes, they are friends. I heard he is a wealthy man but I am
not sure what business he was doing. It might be related to real estate or
rubber business.
Interviewer: 哦。。以前 Lorong Ikan 大致上是这样。。
Interviewer: Oh I see…so this was the situation in Lorong Ikan back then..
Madam Teh: 嗯，也没什么大变化，只是这三间屋子装修后比较
好看吧。这屋子以前建的时候一间才大约 1000 块。。
Madam Teh: Yes, Lorong Ikan hasn’t changed much actually. Just that
the shophouses look nicer after renovation. Oh and it only costed around
1000 bucks to build a shophouse back then.
Interviewer: 哇。。以前钱价值很大，现在 1000 令吉都不够我们
铺地砖。。
Interviewer: Wow, the money had huge value long ago, and it costs much
more than that to just have tiles installation nowadays.
Madam Teh: 我看 10000 也不够。呵呵。。
Madam Teh: I don’t think even RM10000 is enough for that.
Interviewer: 那七号旁边的店屋是后来才建的吗？
Interviewer: Were the shophouses next to Lot7 built later on?
Madam Teh: 对，9 号等是 10，20 年后才建的。9 号，11 号， 11A，
15，17。没 13 号因为不吉利。
Madam Teh: Yes, the shophouses were built about 10 to 20 years later.
There were Lot9, Lot11, Lot11A, Lot15, and Lot17. Lot13 was substituted by
Lot11A because 13 is considered unlucky in Chinese tradition.
Interviewer: 那对面的店屋历史更久吗？
Interviewer: Were the shophouses opposite our site built earlier than
Lot3,5,7?
Madam Teh: 对。我看都有百年历史了，主人是丘/邱氏。都是住
家，不是用来做生意的。住户都是华裔。
Madam Teh: Yes, I think the buildings have about 100 years of history.
Owned by Mr. Qiu (Khoo), the buildings were used only for housing
purposes. The occupants were all Chinese.
Interviewer: 以前华人新年都很热闹咯.
Interviewer: It must be bustling with activities during Chinese New Year.
Madam Teh: 嗯，很热闹，都会拜天公等。我们也会到观音亭上
香，那离这里最近的庙宇。

Madam Teh: Yes, the street was lively during the period. We would have
‘Bai Tian Gong’ ritual and some of us would worship at the Guan Yin
Temple nearby.
Interviewer: 请问你今年多少岁了？
Interviewer: May I know how old are you?
Madam Teh:快 70 了，今年 68 了。
Madam Teh: I’m 68 years old, almost reaching 70.
Interviewer: 哦。。幸好我们找到你，不然都不知道找谁访问才好
呢。
Interviewer: Oh, we are really glad that we found you or there would be
nobody else to get information from.
Madam Teh: 以前住那儿的多数都搬了。那店屋以前至今才卖了
一次，也就是卖给了现在的老板。第一手屋主住过后就把店屋
租出来了。王氏是 Baba Peranakan, 两夫妇有个孩子，以前住在 3，
5 号，所以那两间店屋是通的。隔壁 7 号则给他的姑姑/妹妹住。
7 号楼上也是最近才打通。之后屋主妹妹没住了，才把 7 号租给
我们。
Madam Teh: That’s because majority of people who lived there has moved
to other places. The shophouses were only sold once. After few years of
residency, the first owner decided to rent out the places. He is Peranakan
Chinese, and he lived there with his wife and children in Lot3 and 5. This is
why Lot3 and 5 are connected. Whereas, Lot7 was occupied by his sister
and it was not connected with the next building back then. Lot7 was rented
out to us when Mr. Wang’s sister moved out.
Interviewer: 哦。。难怪这店屋和马六甲 Baba 店屋这么相似。
Interviewer: Oh, no wonder the interior of the shophouses were so similar to
the Peranakan Shophouses in Melaka.
Madam Teh: 嗯。。在这三间店屋中，我们 7 号算是保留得最完
整的了，其他的都装修了不少。
Madam Teh: Indeed. Among the three shophouses, Lot7 is the most original
of all, the other two were renovated a lot.

All photos taken by: ( Measured Drawing Lorong Ikan Group, Georgetown, 2016)

The church of St George, Kuan Im Teng temple, Seri Mahamariamman temple and Kapitan Keling mosque which are located on Masjid Kapitan Keling road,
which is a main road parallel to Lorong Ikan

Lebuh Prangin, which is the main road that is perpendicular to Lorong Ikan.

Long Yen Association which is situated at the cross junction of Lebuh Melayu and Lorong Ikan.

Metal artwork by local artist at the roadside of Lorong Ikan showing the identity of the lane.

The neighbouring shophouses are offices for different sectors of businesses.

The front façade of the assigned building is in renovation to be converted into a boutique hotel.

A narrow corridor at the side of the building, which is also a back lane for the proximate shophouses, is slippery with patches of wet moss.

The fire element gable end shows the attribute of the shophouses.

The flora pattern bracket and plain roof eave represents the era of the building.

The carved timber panels with auspicious messages on the front doors, meaning ‘Preferment’, ‘Wealthy’, ‘Propitious’ and ‘Prosperity’
respectively. The first two panels look duller than the other panels because they have not been refurbished yet.

A Pi Xiu sits on top of the lintel of the front door of every shophouse. Every front door leading into the shophouses was adorned
with a Pi Xiu on top of the lintel.

Shophouse No. 7 has a well maintained front hall with partition, hydraulic cement floor tiles and re-upholstered furniture.

Shophouse No.3 has a vintage Chinese screen instead of a hall partition where the light fades as it goes deeper into the inner space.

Sunlight beams down into and reflects of the walls of the central air well of shophouse No.5.

The play of light and shadow with a few random opened shutters at the central air well of shophouse No. 3.

Some potted plants at the air well of shophouse No.5 makes the space greener.

The edge of the granite sink at shophouse No. 7.

The manager of the boutique hotel at the hotel lounge, located at the back hall of shophouses No.3 and 5.

Recycled cardboard, newspapers and other mixtures were used as plaster to solve the problem of water leakage from the
ceiling of the lounge.

Simple plants and discarded furniture under the metal deck awning at the back lane of shophouses No.3 and 5.

The back lane of Shophouse No.7 is shared with other shophouses on its left and is home to a myriad of plants.

Timber staircase sits on a solid base of granite with the hydraulic cement floor tiles.

Simple wave-patterned stringer caps under the balustrade.

Five solid timber panels to shut the stairs for security reasons.

Light penetrates from the shutter to the stairs on the first floor at shophouse No.5.

Fanlights and stained glasses above the shutters are well-lit.

Sunlight reflecting off the antiques gives a sense of serenity.

The beautiful stained glass internal door of the room partition on the first floor of the shophouse No. 5.

The bedroom of shop house No. 5 with its old furniture and decorative lamps.

A lively union of light and shadow illuminating the bedroom.

The silhouette of the shutters that open out to the opposite building.

The iconic building of Penang, KOMTAR, viewed from the bedroom.

View of the roof garden at shophouses No. 3 and 5 where the water fountain is still under renovation.

The rusty wire mesh and iron railing above the air well with a climbing plant, viewed from the bedroom of shophouse No. 3.

The plant growing from the wall beside the metal railing caused a little crack to the wall.

The Meranti timber planks flooring is badly scratched, caused by the people movements and the moving of heavy objects.
Yet, functionally it is still in good condition.

From the substrate wall, the burnt clay bricks are all in a regular size. These bricks were made during 1920s, the era of the
Late Straits Eclectic style.

The flora pattern ceramic Majolica wall tiles on the substrate wall can be seen at the front façade below the windows on both
sides of the main entrance.

A different pattern of ceramic Majolica wall tiles were found at the lounge, and were ready to be set on the walls.

Different motifs of hydraulic cement floor tiles or Peranakan tiles were used at the front hall and central air well in the shop houses respectively.

Quarry tiles were used at the lounge or back hall to differentiate the spaces.

A worker was painting the timber doors using transparent and opaque wood stain to restore them to their original condition.

The worker was painting the timber panel of the opening using wood stain at the back lane.

Madam Teh was a tenant of shop house No.7; she was sewing the curtain during the interview.

A photo taken after an interview by Lim Jern Jack (left) with Mr. Eric (middle) and his friend, Mr. Peter (right).

A group photo with our tutor, Ar. Zahari (front row, 4th from right), the manager, Ms Joan Cheong (front row, 3rd from right), and the
contractor, Mr Lee Titus (front row, 1st from right).

22

[ End of report ]

Measured Drawing Final report

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