Architecture culture and history II project 2

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SCHOOL OF ARCHITECTURE, BUILDING & DESIGN
ARCHITECTURE CULTURE & HISTORY 2
SEMESTER 2 | 2015
Project 2
Group Members:
Ong Jia Hui 0317752
Rajan Kulandaya 0317164
Saw Hwei Ying 0318093
Song Sung Ho 0322100
Tan Wei Zhen 0318560
Tutorial Group: Ms Siti Balkish Roslan

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Content
1.0 Introduction 3
1.1 History 4
2.0 Site Context Analysis 5-8
Rajan Kulandaya
3.0 Architectural Layout of Building 9-15
Saw Hwei Ying
4.0 Architecture Style Analysis 16-19
Song Sung Ho
5.0 Building Construction, Structure & Materials Analysis 20-28
Tan Wei Zhen
6.0 Architectural Elements / Components Analysis 29-34
Ong Jia Hui
7.0 Conclusion 35
8.0 References 36

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1.0 Introduction
The Istana Budaya (The Palace of Culture) was founded in September 1999. It was built at a cost
of RM210 million with atheatre floor area of 21,000 m² as part of the 54,400 m² cultural complex.
The building is located in the heart of Kuala Lumpur, which is next to the National Art Gallery at
Jalan Tun Razak. Istana Budaya is Malaysia’s main venue for all types of theatre including
operetta, classical concert, musical theatre and opera from both local and international
performances. Its aim is to raise the standards of performing arts, popularize high-quality theatre
productions, develop artistic excellence in theatre and develop a higher sense of artistic
appreciation.
The state-of-the-art theatre was designed by a local architect, Muhammad Kamar Ya’akub, who
was a graduate of the University of Newcastle in Australia. On the grounds of being a national
cultural centre, Muhammad assimilated many Malay cultural symbols into the design of the
building, one of which is the base of the Panggung Sari, which is shaped like the Wau Bulan, the
traditional Malay kite. Also, Istana Budaya is one of the pride of a fellow Malaysian as it was the
first theatre in Asiathat has sophisticatedstagemechanismfor theatre performance. It was rated
among the ten most sophisticated theatres in the world, on par with the Royal Albert Hall in
London.
The Merry Widow, Tosca, Turandot, Carmen, The Merchant of Venice by the Royal Shakespeare
Company are a few of the many notable international performances that have taken place at
Istana Budaya. In terms of local productions, Puteri Gunung Ledang – The Musical was one of the
more successful productions staged here which opened to full house on almost all nights. Istana
Budaya is also the residence of the National Symphony Orchestra and the National Theatre
Company.

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1.1 History
The history of IstanaBudaya started in 1964 when aproposal to form the National Cultural Centre
was submitted by then Ministry of Information and Broadcasting and Ministry of Cultural and
Social Welfare. Istana Budaya was mooted during National Cultural Congress in 1971 as a
Malaysian art discourse. Its establishment was advanced by the establishment of National
Cultural Group (KBN) in 1972 under jurisdiction of Ministry of Cultural, Youth and Sports. In 1973,
KBN moved from Jalan Ampang to National Culture Complex at Jalan Tun Ismail that focuses its
activities professionally in traditional dance and music (IB History, 2015).
Istana Budaya was built in 1995 with construction cost of RM210 million with an area of 5.44
hectare with floor areaof 21,000 per square meter. Istana Budaya canbe proud of as first theatre
in Asia that has sophisticated stage mechanism for theatre performance (IB History, 2015)
The design of this building was based on Malay culture. Istana Budaya is situated near Tasik
Titiwangsa along Jalan Tun Razak, Kuala Lumpur. Its construction was completed in 1998. The
cabinet has approved the abolishment of National Theatre (Panggung Negara) to Istana Budaya
officially in 2000 (IB History, 2015).
The grand opening of Istana Budaya was launched by the former Prime Minister of Malaysia, Tun
Dr. Mahathir Mohammad in 1999 (IB History, 2015).
Fig 1.1 Location of Istana Budaya

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2.0 Site Context Analysis
In terms of the site context, Istana Budaya is situated along Jalan Tun Razak which is one of the
main roads that makes up, as well as, running through Titiwangsa. Buildings along this road
consist of public health organizations, offices and cultural centers. Due to the structure being
situated at the central business district of Kuala Lumpur, it is highly accessible to the public,
making it popular to tourists and culture enthusiasts.
Getting there is an easy task, walkways are laid out with tactile paving (a system of textured
ground surface indicators found on many footpaths, stairs and train station platforms to assist
pedestrians who are blind or visually impaired) making up 65% of the exterior sidewalks leading
to the theatre along with buildings around it (Figure 2.1). There is an overhead bridge a few
meters away from the theatre that aids in the flow for those wanting to cross the road safely to
either side (Figure 2.2). When public transportation comes to play, buses are a convenient way
to travel to and from Istana Budaya. Every 10-15 minutes or so, a KL “Hop-On Hop-Off” bus stops
by (Figure 2.3). A designated taxi stand (Figure 2.4), with a similar design of the theatre, is
stationed at the West with a proper walkway leading to the main doors of the foyer. Travelling
via a personal vehicle is plausible as well as there are 2 main entrances vehicles can access, one
on the West which is close to the taxi stand and the other at the South-Eastern entrance (where
buses travel).
Fig 2.1 Walkway with tactile paving Fig 2.2 Overhead bridge

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Ample parking is aplus for these motorists providing for largecrowds that visitthe theatre during
special occasions. These parking spots are systematically placed on both the East and West sides
of the compound and there is also an underground parking space below. The local railway
Transport (LRT) however convenient, lacks in proximity as the nearest station is a 2kmwalk away
taking roughly 30 minutes of walk time, which can be exhausting for travelers. There are long
curved ramps which can be found at the four axis‘s of the structure. The two in the front are to
regulate the flow of people and the other two at the back are to manage the props used in stage
performances and the adjacent of these is the main power supply generators designed in asimilar
fashion as the main building. There is a long flight of stairs at the center of the façade which is
considered to be the grand entrance to Istana Budaya as well as doors leading to the
amphitheater.
When demographics is of concern, the main crowds that the culture theatre attracts are middle
income to high income earning individuals who can afford the ticket pricings. There are however
occasions when schools or other organizations hold joint tours at the place. On a daily basis,
tourists are one of the main crowds. Cultural enthusiasts,visualart and music lovers canbe found
too. Without an event, the place isn’t dense as it is set out to be.
Fig 2.3 Hop on/off bus Fig 2.4 Taxi stand

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Istana Budaya is a distinct form that sort of stands out from the rest of the structures running
along Jalan Tun Razak. The structure seems to offer a more relaxed “blue-green” ambience
compared to the rest of the buildings around it. The building portrays a sense of openness as the
structure seems to be in unison with the surrounding context. There are no exterior walls
segregating each one from the other. Therefore walking to and from each building can be done
with ease. Furthermore, to help enhance this relaxed experience as mentioned above, lush
greenery local to Malaysian paints the ground around the cultural center.
The buildings around Istana Budaya, Istana Budaya Head Quarter/Main Office from the East and
The Visual Art Gallery on the west, in an exterior sense, are designed in a similar manner. They
are identified with having sharp edges on their roofs similar to traditional Malay houses. The
color schemes of these buildings are partially vibrant in Nature as compared to the others.
Another similarity found is that these buildings also emphasize the idea of having greenery
planted along their compounds. These similarities are conceivable however, when observing the
façades neighboring buildings the differences outweigh the similarities.
The structure responds well to the humid weather Malaysiais known for. Standing outside Floors
1, 2 and 3, one can notice how unbelievably breezy it can get, even during the afternoon and
evening suns. It is safe to say the structure provides great shelter away from the intense sunlight
due to the general layout of the large roofs above. The vegetation around the structure further
enhances this “cooling effect”. The trees around the structure provide natural shading from the
light. Where possible, glass panels are used as horizontal wall fittings to take advantage of the
natural sunlight. During a rain storm the structure is well sheltered from the sloped roofs leaving
no room to the area to be flooded. Proper drainage systems are setup along the exterior
pedestrian walkways around the building.

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The building is affected by high noise pollution as it is opposite a major road that occasionally
becomes congested. However this noise seems to be totally cut off once behind doors of the
structure. This is a unique gimmick the architects invested in knowing that it was important to
hide external noise from entering the building.

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3.0 Architectural Layout of the Building
3.1 Istana Budaya Plan, Elevation and Section Analysis
The unique architectural designof IstanaBudaya is inspiredby ablend of various aspects ofMalay
culture which was reflected in the form, shape and materials used. The plan of Istana Budaya is
inspired by the shape of a floating ‘wau bulan’, a traditional Malay kite. The plan is then modified
into a combination of two diamond shapes.
The shape of the building portrays the ‘sirih junjung’, a multi-tier floral arrangement of sirih or
betel leaves used as a symbolic piece for Malay weddings, festivals and welcoming ceremonies.
Fig 3.1 Plan of Istana Budaya
Fig 3.2 Elevation of Istana Budaya roof and sirih junjung

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The plan of Istana Budaya is relatively simple when compared with the elevation of the building.
There is an inverse relationship between the plan and section of Istana Budaya as the simple plan
forms relate inversely to a complex section and elevation in Istana Budaya.
3.2 Layout and Spatial Organization of Istana Budaya
The layout of the building follows the pattern of a typical Malay house which generally has three
major sections. It is divided according to the functions. The building’s lobby is the equivalent of
the ‘serambi’ or veranda, the Auditorium represents the ‘rumah ibu’ while the main stage and
rehearsal hall is equivalent to the ‘rumah dapur’ or kitchen. The serambi is the smallest space
among the other spaces in the house and usually accommodates a quarter of the house. The
floor level of serambi will always be lower than the rumah ibu floor level. The lobby of Istana
which resembles as the serambi is connected to two of the halls (stall and grand circle). The
rumah ibu is the core space of the Malay house and has the largest area while rumah dapur is
situated at the back for the stage and neighbouring rehearsal area.
Fig 3.3 Section drawing of Istana Budaya

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Fig 3.4 Layout of a traditional Malay house
Fig 3.5 Layout of Istana Budaya

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According to my observation, the lobby is located at the front of the building while the theatres
are located at the back of Istana Budaya. In my point of view, the lobby is placed at the front to
receive more natural lighting to create a welcoming ambiance hence give the visitors an inviting
sense. The treaters are located at the back of the buildings as it is quieter compared to the front
part of the building which faces the main road.
3.3 Circulation to Use-Space
Frontal approach is used in the circulation of Istana Budaya. A frontal approach leads directly to
the entrance of the building along a straight, axial path.
3.4 Accessibilities
The staircases that lead to the grand entrance of Istana Budaya depict the staircase, ‘tangga’ of
a traditional Malay House. The traditional Malay house requires stairs to reach the elevated
interior.
Fig 3.6 Frontal approach of Istana Budaya

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However, the disabled ones would not need to worry about the lengthy stairs because Istana
Budaya has wheelchair facilities. Wheelchair ramps are designed to allow wheelchair users to
access more easily. The texture of the ramp is different. The rougher surface is to prevent wheel
slippage.
Fig 3.7 Staircases leading to the entrance
Fig 3.8 Ramp for the disabled

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There are similarities between the spaces of traditional Malay house and Istana Budaya as the
layout of the building is based on the Malay culture and architecture.
Table 1: The Privacy Level of Internal Spaces in Traditional Malay House
Elements of traditional Malay house Privacy level
Serambi (Veranda) Public space
Rumah Ibu Semi private and private space
Rumah Dapur Private space
Table 2: The Privacy Level of Internal Spaces in Istana Budaya
Elements of Istana Budaya Privacy level
Lobby Public space
Auditorium Semi private and private space
Stage and rehearsal hall Private space
Fig 3.8 Section drawing of Istana Budaya

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The lobby is a public space and open to all the visitors. The auditorium is a semi private space as
it is closed during normal day and it is only opened when there is any event. The stage and
rehearsal hall is a completely private space as it is closed to all of the visitors and only opened to
those who are authorized. Both traditional Malay house and Istana Budaya have the similarities
between the privacy levels of the building.
The density of people flow in Istana Budaya varies at different part of the building. The density
of people flow in the lobby is the highest as it is the only public space in Istana Budaya. This space
allows everyone who comes to Istana Budaya to enter thus the usage of this space is the highest.
The people flow density in the auditorium is different throughout the day. This is because during
normal time it is a private space and closed to the visitors but when there is any performance it
will be opened to the audiences. Hence the people flow is different. Lastly, the people flow of
stage and rehearsal hall is the lowest. This can be proven as this space is private and closed to
most of the people. Only the people who are authorized can use this space.
3.5 Organization Analysis
From my observation, the layout of Istana Budaya is symmetrical. Although the floor plan is not
completely the same but symmetry still occurs. This is because symmetry is a kind of balance in
which the corresponding parts are not necessarily to be alike but only similar. Although the floor
plan is slightly different but overall it is still symmetrical.
Besides, the concept of symmetry is shown through the front elevation of the building. At this
stage, the concept of symmetry can be clearly seen as the corresponding elements are arranged
equally on either side of a central axis and thus create visual equilibrium.
Fig 3.9 Exterior of Istana Budaya

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4.0 Architecture Style Analysis
In terms of architecture style of Istana Budaya, it has adopted both the various blending style of
Malay culture and Modern architecture.
According to an interview by THE BRUNEI TIMES on “Istana Budaya: Culture at its best” (Rosli,
2010), Director-General of Istana Budaya, Mr.Mohamad Juhari Sharani, said that the architect of
the building was inspired by traditional Malay items. For example, the top view forms the shape
of flying ‘wau bulan’(Figure 4.1) which is a Kelantanese traditional kite, while the shape of the
building illustrates ‘sirih junjung’(Figure 2), a multi-tier floral arrangement of ‘sirih’ which is betel
leaves used for used as a symbolic item for Malay wedding, festivals and welcoming ceremony
(Istana Budaya’s Information Board,2015).
He also added that the plan of the building pursues traits over the ‘rumah Melayu’ which is
traditional Malay house that is generally divided by function into three major sections, ‘serambi’
or foyer, the auditorium represents the ‘rumah ibu’ which is the main house and ‘rumah dapur’
either kitchen features the main stage and rehearsal hall.
The staircases leading to the grand entrance portray of ‘Tangga Melaka’ (Figure 4.3) which is
staircases of a traditional Melaka house while the grand entrance of the theatre reproduce the
“Balairong Seri” (palace hall) of a Malay royal palaces in the olden days (Figure 4.4).
Fig 4.1 Wau bulan Fig 4.2 Sirih junjung

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Every entrances (Figure 4.4 Figure 4.5), are decorated with the hand-carved banyan tree leaves
motifs which is derived from Hindu-Buddhism and absorbed through a process of modification
by Malay artisans and became the most dominant motifs depicted after pre-Islam period.
(Shaffeea and Said, 2013). Lim (1987) said that woodcarving has been depicted in architectural
components in terms of traditional Malay architectures such as houses, mosques, educational
facilities and palaces since the 18th Century.
Both sides of the Royal boxes on the auditorium patterned after ‘jendela’ (window) which is a
large and spacious windows of a traditional Malay house (Figure 4.6). For the lobby at the third
floor (Figure 4.7), it illustrates a ‘rebana ubi’, a large traditional Malay drum, which was
commonly used by the Malay people in the East coast of Malaysia such as Kelantan and
Terengganu (Figure 4.8) (Kelantan Travel Guide, 2010).
Fig 4.3 Staircase of Istana
Budaya representing Tangga
Melaka
Fig 4.4 Grand entrance
representing Balairong Seri
Fig 4.5 Hand-
carved motifs
Fig 4.6 Royal boxes patterned after jendela

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The building used local materials for interior finishing such as marble tile from Langkawi for
floors, stair cases and frames that surrounds the wooden entrance door, tropical high quality
timber wood for the door and hand carved floral motifs.
In addition, a few number of modern materials were used which indicates that the building is not
only influenced by Malay architecture and culture but Modern architecture. For example, pilotis
can be identified from the surface of the building which replaces the supporting walls by a grid
of reinforced concrete columns that bears the structural load (Le Corbusier, 1986) and large
extents of floor to ceiling glass providing dramatic views and introducing natural light deep into
the interior which alsoemphasis on rather than disguising,structures suchas beams and columns
are exposed to the viewer (A modern Organization, 2011). Steels were used for various parts of
the building such as hand rail for stair cases located at the grand entrance, steel finishing for the
roof at the parking lot (Figure 4.11) and steel panel were used for roof finishing at the corners
while the turquoise tiles are enveloped externally on the roof (Figure 4.12).
All of the wooden finishes including hand rails within the building, wooden wall at the third floor
lobby and floral motifs of the entrances are rather left in natural form or stained to express its
natural character rather than painting it (Figure 4. 13).
Fig 4.7 Lobby of Istana Budaya Fig 4.8 Rebana ubi

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Fig 4.9 Fig 4.10
Fig 4.11 Fig 4.12
Fig 4.13

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5.0 Building Construction, Structure & Material Analysis
The Istana Budaya with its folds turquoise ceiling and intricate design of the lobby houses the
National Theatre of Malaysia, Panggung Negara, also known as Cultural Centre Kuala Lumpur or
Palace of Culture. This modern theater, a particular and sophisticated space for national and
international events that has puzzled experts and scholars with its particular architecture, is rated
as one of the top 10 theaters in the world, alongside the Royal Albert Hall in London (Istana
Budaya in Kuala Lumpur, 2015).
Fig 5.1 Exterior of Istana Budaya

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4.1 Building Construction
The construction began in 1995 and was completed four years later, with an area of 21.000m².
Istana Budaya was built as part of a cultural complex that occupies 54,400 m² (Istana Budaya –
Architecture, 2015).
The roof was constructed according to a roof type called gable roof. The roof of Istana Budaya is
a repetition of gable roof and it was constructed by using the ‘folding’ method.
Architect Muhammad Kamar Ya'akub chose to use reinforced concrete columns and beams as
the grid system due to the strength and versatility of reinforced concrete (Figure 5.4). The grid
system applied on this building is the Construction Grid. This grid system allows to reflect any
characteristic spacing of the building. The Construction Grid can also be used to define the
foundation footings or the column grid of a building. The columns were constructed with steel
bars and covered with reinforced concrete (Istana Budaya – Architecture, 2015) (Figure 5.5).
Fig 5.2 Gable roof of Istana Budaya Fig 5.3 The roof is constructed in a
manner of repetition

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The rigging and suspension steelwork to support the control room, fly and loading gallery for the
counterweight system, rigging and hanging acoustic panel was the most challenging part for the
Istana Budaya. According to the structure engineer, the total allowable hanging weight on the
slab cannot be more than 55 tons and they had to redesign the suspension steelwork a few times
in order to comply with the allowable weight. The final structure suspension consist of Control
Room platform at 3.65m, Fly Gallery left and Right at 6.5m and Loading Gallery left and Right at
10m, crossover gallery at level 10.9m and massive pulleys system for the lighting barrel. No
wielding was done on the existing main ceiling slab and using only the girder and clamping
method to hold the new suspension steelwork. There are 17 sets of double purchase
counterweight system with rated load of 500kgs and 1000kg weight slabs for balancing the load
between the ladders fly beam and cradle (Istana Budaya Lambang Sari, 2008).
Fig 5.4 Fig 5.5

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4.2 Structure
Designed by local architect, Muhammad Kamar Ya’akub, Istana Budaya is one of Kuala Lumpur’s
most striking structures due to its turquoise-blue tiled roof – the ‘folds’ remind one of a giant
origami piece (Figure 5.6, Figure 5.7).
As in a traditional Malay house, the theatre is divided into three areas: the ‘serambi’ (lobby and
foyer)(red), the ‘rumah ibu’ (auditorium)(blue) and the ‘rumah dapur’ (stage or rehearsal
hall)(green)(Istana Budaya in Kuala Lumpur, 2015) (Figure 5.8). The main building takes the shape
of the ‘sirih junjung’ – traditional betel leaf arrangements used during Malay weddings and
welcoming ceremonies – with the foyer claiming the spot as the theatre’s most intricately
designed aspect.
Fig 5.6 Perspective view of Istana Budaya Fig 5.7 Front façade of Istana Budaya
Fig 5.8 Floor plan of Istana Budaya Fig 5.9 Section of Istana Budaya

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4.3 Material Analysis
The turquoise folds of tiles on the roof and the intricate design of the foyer are just two of the
interesting features of the building (Figure 5.10).
Aluminum was selected to be used on the exterior walls due to its resistance of rust towards the
humid climate (Figure 5.11). The interior walls and floors are mostly built by using reinforced
concrete and steel bars in it (Figure 5.12).
Fig 5.10
Fig 5.11 Fig 5.12

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The interior was constructed using local resources such as Langkawi’s marble (Figure 5.13) and
high-quality tropical wood for the doors (Figure 5.14), crafted by hand to shape flowers and leaf
motifs (Figure 5.15).
The verdant carpets in the entrance hall and lobby feature cempaka flower and the banyan tree,
inspired by traditional Malay opera or Mak Yong (Figure 5.16). In the auditorium, there are royal
boxes on each side, patterned after the windows of a Malay house (Figure 5.17). The entrance to
the theatre, too, replicates a palace’s main hall, or the Balairong Seri and is said to be modelled
after one in Malacca (Istana Budaya in Kuala Lumpur, 2015).
Fig 5.13 Fig 5.14 Fig 5.15

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The ceiling of the Istana Budaya was built using the mineral fibre ceiling tiles and the gypsum
ceiling board (Figure 5.18). Tempered glass was also used as windows in order to increase the
natural light penetration in the building (Figure 5.19).
Fig 5.16 Carpet in the lobby incorporated with
the cempaka flower
Fig 5.17 Royal boxes on each side of the
theatre
Fig 5.18 Fig 5.19

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The floor of the Istana Budaya was covered by travertine tiles in the interior (Figure 5.20). On the
other hand, the exterior floor was covered by the ceramic tiles (Figure 5.21).
4.4 Comparison
In comparison of Istana Budaya by Muhammad Kamar Ya'akub and a western modern building,
in this case, the SeagramBuilding in New York by Ludwig Mies van der Rohe, the façade of Istana
Budaya involves in protruding where the Seagram Building has a clean and calm façade.
Furthermore, the façade of Istana Budaya is covered with solid walls with lesser windows, this is
becausethe architect wanted to remain the privacy in the building from the outside. On the other
Fig 5.20 Fig 5.21
Fig 5.22 Istana Budaya by Muhammad
Kamar Ya’akub
Fig 5.23 Seagram Building by Ludwig Mies
van der Rohe

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hand, the façade of the Seagram Building is mostly cover with glass and it achieve higher light
penetration as well as showing the publicity of the building.

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6.0 Architectural Elements / Components Analysis
Despite being built in the era of modernism, the design of Istana Budaya is largely influenced by
the local culture, building design and elements as Muhammad has taken a lot of measures and
considerations in incorporating elements from traditional Malay houses and Malay cultural
symbols into the design of the building in view of it being a national cultural centre.
Roof
The patron is welcomed by the grandiose roofs of Istana Budaya that rises majestically above the
treetops be it from any directions. The roof makes the building one of Kuala Lumpur’s most
striking structures due to its unique turquoise tiled roof. The traditional Malay house is reflected
in the overall design of the building as the roof portrays a traditional floral and leaf arrangement,
which is the sirih junjung, a multi-tier floral arrangement of betel leaves used for welcoming
ceremonies and weddings among the Malays.
The designand form of the roof of IstanaBudaya is climate responsive towards Malaysia’s topical
climate as it provides a total control on two of the main climatic factors namely sun and rain. Just
like the roof of a vernacular Malay house, the pitched roof is steep and have wide overhangs for
shading againstdirect solar radiation and control glarefrom the open sky (Figure 6.1). Aside from
being a decorative element, the steep roof of Istana Budaya is efficient in rain water evacuation
and also provides protection against the driving downpour (Figure 6.2).
Having a pitched roof also means the internal accommodation of the building will not suffer from
the extremes of temperature that tend to afflict rooms under flat roofs as it will be more
efficiently insulated. In case of an extension, pitched roof allows the building to blend in more
effectively into the rest of the property while retaining a sense of individuality and character.

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Malacca Trademark Staircase
The staircases that lead to the grand entrance in Istana Budaya depict the staircase of a Malacca
traditional Malay house (Figure 6.3). In the olden days, most of the Malacca houses welcomed
visitors with a very elegant brick stairway or staircase made from multi-colored decorated tiles
imported from China and India (Melaka Museum Corporation, 2008). Staircases in the traditional
Malay house in Malacca serves not just as a set of steps leading from one floor to another, but it
also represents and reflects the social status and wealth of the house owner. This is due to the
fact that imported decorative tiles were very expensive and could not be afforded by just anyone.
The tiles of the staircases are usually arranged creatively by the craftsmen, with more tiles
representing greater capital of the house owner (Figure 6.4, Figure 6.5).
Present house with such staircases in Malacca are old houses which age around 100 to 200 years
old as no new houses are built with this kind of designanymore. The existing are listedas heritage
by the state government and has been restored with the heritage fund.
The use of the Malacca trademark staircase in the building of Istana Budaya is a way of
representing the richness of the Malaysian culture inherited in the building as a national cultural
centre.
Fig 6.1 Wide overhangs for shading against
direct sunlight
Fig 6.2 Steep roof to aid in better rain water
evacuation

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Door
The doors at Istana Budaya are made out of high quality tropical wood, which featured hand-
carved flower and leaf motifs (Figure 6.6). The door at the main entrance was designed to be
more grand and lavish by incorporating symmetrical keris as its door knob (Figure 6.7). The keris
is a royal sovereign symbol and is considered a prized work of art.
Fig 6.3 The staircase leading to the grand entrance depict the staircase of a traditional
Malacca house
Fig 6.4 Fig 6.5 Staircase in Malacca house represents
the socialstatus and wealth of the house owner
Fig 6.6 The door features high quality tropical
wood with hand-carved motifs by its side
Fig 6.7 Keris was incorporated at the door
knob of the main entrance

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Window and Fenestration
The use of industrial large glass panels at the lobby is one of the features that made the building
stands out as one of the building built in the era of modernism. Despite being heavily influenced
by localtraditional Malay architecture, largetempered glass is usedas means of windows in place
of vernacular windows of a Malay house in order to boost light penetration and quality of
openness (Figure 6.8).
According to my observation, the large glass panels are only employed at the entrance hall. This
is to ensure sufficientlight penetration into the building, yet protect the interior from the searing
glare from entering the building, as the entrance hall is orientated in the southwest direction,
which is away from the direct sunlight during the day.
Aside from glass panels, perforated concrete is also used at the back of the building. This creates
visual interest as well as reduces glare and improve ventilation (Figure 6.10).
Fig 6.8 Largeglass panels are used to allow light penetration
Fig 6.9 The glass panels can only be found at the entrance hall
Fig 6.10 Perforated concrete is
used at the back of the building

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Embellishments
Embellishments and carvings are widely used in the building as a mean of representing the Malay
cultures and values. The motifs used in such embellishments are usually plants which possesses
significant values In the Malay society such as its medicinal values, edibility, aesthetics and
fragrance.
The bunga cempaka and the banyan tree which serves as a reminiscent of the traditional Mak
Yong performance are featured in the lobby and the verdant carpets in the entrance hall (Figure
6.11, Figure 6.12). In addition, pohon beringin (banyan tree) which was influenced by the Hindu
culture and soon entrenched in the Malay culture are reflected in the Malay carving skills and
expertise. The pohon beringin motifs are used in the embellishments of the theatre lobbies as it
signifies the beginning of wayang kulit (shadow play).
Bunga cempaka (Michelia Chempaca), a flower which has aesthetic values and fragrant scent is
one of the plant motifs used in the carvings at the door of the building (Figure 6.13). To produce
carvings which appear soft, a leaf is usually carved in a curved manner as in the character of the
wayang kulit (Kraftangan, 2009).
Fig 6.11 The lobby was embed with motif of bunga cempaka
Fig 6.12 Motifs of bunga cempaka are found at the ceilling
Fig 6.13 The motifs at the side
of the door were hand-carved

34. 34
Natural Cooling and Shading Components
In a traditional Malay house compound, high-branched fruity trees and crop-bearing trees such
as coconut trees are planted. Aside from providing fruits, these plantations are used to shade the
pedestrian walkways and indicate individual boundaries.
Istana Budaya too, incorporated such elements as it features symmetrical greeneries and water
feature in its compound. The greeneries provide shades and cool the surroundings as well as
lessen the reflective glare for the building to set in (Figure 6.14) while the water feature is
employed as a natural cooling device and to create a picturesque surrounding.
Aside from that, the building is orientated in southwest-northeast format, which indirectly
minimizes the exposed area to direct solar radiation during the day (Figure 6.16).
Fig 6.14 The greeneries in the compound provide shades and are arranged in a symmetrical
manner
Fig 6.15 The water feature aids in cooling
the surroundings
Fig 6.16 The entrance to the building faces
southwest, away from the direct sunlight
N

35. 35
7.0 Conclusion
Istana Budaya is a national cultural centre built in the year of 1995 and was completed three
years later. The building is mainly equipped with theatres as a means for local artiste to develop
an artistic excellence in stage performing art.
Istana Budaya is considered an architecture of statehood by portraying the country’s vernacular
heritage in the form of expressive monuments. Amidst the integration of Malay architecture into
the building, the essence of modernism is sustained as it is seen incorporating a few of Le
Corbusier’s five points of architecture into the building, of which includes having pilotis,
horizontal windows and having a free design of the façade. Aside from that, the use of industrial
materials such as glass is also one of the characteristics of being a building of modernism.
The adaptation of vernacular architecture to modern building design is most evident in Istana
Budaya which strives to offer the patron an environment that reflects the surrounding cultural
heritage.

36. 36
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