The document provides details about various architectural features of Istana Bandar, including ornate balustrades, columns, staircases, and roofing elements that blend influences from Moorish, Mughal, Malay, Chinese, and colonial styles. It notes restoration work addressing issues like rising damp and describes how elements like ventilation blocks, minarets, and carved details continue to showcase the skilled craftsmanship from when the palace was built over a century ago. Photos document architectural blending of cultures as well as maintenance of original structures like the brick kitchen stove.

1. The main gate of Istana Bandar now escorts to the rear section of the palace. This view is the first impression and perception of the building given to visitors
that till today still create timeless sensation that people will unconsciously fail to remember that the building is already more than a hundred years old.
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2. The front elevation of the main entrance of the whole palace is the throne room or Balai Rong Seri. The magnificent staircase act as the front façade
effortlessly where it invites into the huge common hall where the sultan conduct official ceremonies. It is considered a workspace to the ruler where
he holds council or grants audience.
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3. The back elevation of the rear section was added in 1914, eleven years after its completion. The veranda and façade is evidently the most noticeable
due to the richness of details in the ornamentation. It have combination of Moorish, Mughal, Malay, Chinese and Colonial architecture which depicts
the greatness and significant of the building in the most prominent part of Kampung Bandar.
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4. The façade of the Princess’s Kamar Beradu is located on the right elevation. It is beautified with the fine ornamentation that make the building appear majestic
and magnificent on all sides. It proves wonderful and undying architecture can be achieved even it was built more than a century ago. Moorish architecture can
be seen from the used of geometric elements on the ornamentation, ogee arches, crenellated rooftops and horseshoe arches on the pinnacle of the façade.
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5. A parasitic oak fern plant can be seen growing wrong side up through the opening the roof gutters. Fern plant prefers shady and warm and moist area which
explains a lot why the plant is creeping beneath the roof to avoid direct sunlight as well as to obtain moisture from the drenched gutter using its hairy rhizome
root. Lack of proper maintenance is the main reason for its growth and the plant may cause wood to decompose if not exterminated.
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6. The stove is situated the royal kitchen or dapur which was used back the the days by the royal chef. It is one of the original standing furniture as it’s made of
bricks and cement furnished which were meant to withstand heat from the burning fire. The smaller but higher opening is used for small pan while the lower
but bigger holes were used for huge pot when boiling soup or water.
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7. This particular Corinthian column is located in the second assembly hall which is in colonial style. The details of the capital of the column underneath the
archivolt possesses floral motive that symbolizes Malay and Chinese carving culture. It was belief the Sultan himself is involved in the craftsman-works.
The absolute precisions and detailing evoke how quality art works can be produced even without advance technology.
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8. Close-up of the baluster found from the front entrance’s double dog leg stairs. The concrete staircase which leads to the Balai Rong Seri depicture the colonial
influence of the building gave a magnificence and elegant first impression back when it was used as the only access to commoners.
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9. Synchronized arrangement of passage or doors can be seen on the ‘Forbidden Garden’, located on the right side of the Balai Menggadap and Balai Beristirehat of the building.
It differs from the private internal courtyard as it is considered semi-private, where all royal members can assess. The four rows of brick walls provide the three internal spaces
for royalties to enjoy outdoor activities without their safety being compromised.
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10. The brick walls or divider in the Forbidden Garden is decorated with both geometrical colonial style as well as Malay influenced sculptures. The Malay Gable Finial or Buah Batton
is normally used to decorate bumbung limas roof which represents supremacy and might is now found on the garden walls which many take for granted.
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11. The triangular components and sculpture on the garden walls portray the mighty and powerful ruler. It immediately reminds the commoners when they step into
the palace compound, the need to respect and obey the rightful and legitimate Sultanate.
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12. Damage done by soft-root fungi on the external door located on the third garden wall. The fungus secrete cellulose to break down the fiber in the wooden door, especially
the lower part as it is situated to the fungi infested garden ground as well as longer exposure to moisture being the lowest point of the vertical panel.
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13. Strip of wall found on the left elevation of the Balai Beristirehat. Restoration progress can be seen on the stripped brick walls which are getting ready to carry out
Cocoon treatment as well as Chemical Damp-proof Injection Course on the base of the walls to treat salt attack and rising damp issue.
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14. The last garden barrier that divide the rear access compound and the ‘Forbidden Garden’. This horizontal structure created a separation of public spaces and semi-private spaces.
The well ornamented vertical columns crafted a portal-like access into the garden.
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15. The close-up of a modernized bench with minimal Istana Bandar’s style can be seen in the landscape area of the rear section of the palace.
The sense of mutualism over the years of inhabitant can be seen on the pathway with grass forcefully sprouting through the ground brick gaps.
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16. The three flag pole can be seen on the rear section of the palace. What’s left is the ripped Jalur Gemilang, while the state and school logo pole is vacant. This area was used for
tahfiz school student’s morning assembly ground back in 1997 to 1999.
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17. The interior of the front assembly hall or Balai Mengadap located in the Balai Rong Seri. This spacious hall can contain up to 50 people as a gathering hall for commoners,
and palace officials, or sometime unofficial events for the royal families. Preservation work can be seen with all plaster stripped from the concrete walls and columns.
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18. An aerial shot of the Balai Rong Seri component of the palace gives an illustration of how the roof looks like from the bird’s perpective. The Bumbung Limas made of
terracotta tiles have mixture of influences of the West, Chinese and Malay architecture and Moorish ornamentations. The different height of roof is depending upon
the different hierarchy of the internal spaces.
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19. A roof lantern can be spotted among the sea of roofs. This component clearly stands out from the rest as it portrays the highest hierarchy order of the importance
of the space underneath it. It is the fact the room belongs to the Sultan, the owner himself. It is a hybrid of western roof lantern concept and Chinese pagoda roof
finishing that allows direct sunlight into the Sultan’s bedroom.
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20. Porcelain balustrade is used to support the handrail which found at the veranda of Istana Bandar. The balustrade is stained green to give a false sense that it is made of jade
which in the Chinese context symbolizes the inviting of love and wealth as it strengthens mental faculties and assists in clear reasoning.
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21. A single step staircase provokes user with a sense of entering into a different space which leads to the Bilik Beristirehat located on the first floor of the rear section.
The wooden suspended walk way which is connected the princess’s Kamar Beradu is decorated with Chinese ventilation block on the handrail which allows light
to lit the shaded corridor.
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22. This internal wooden staircase can be seen leading up to the princess’s Kamar Beradu room. The carved wood shows an aesthetic and elegant design for the palace,
thus the balustrades enhance the Malay architecture trade in the palace. Wood made staircase is resistant to temperature and humidity fluctuations as the building
is located beside the sea.
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23. A close-up shot of the Malay Gable Finial or Buah Batton located on the garden wall. The delicate and artisanal handicraft shows how much details and curves was projected even
on the small detail of a less significant component during the olden days when handmade sculptures was ones in cooperated into architecture and not just a mere fragile art piece.
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24. Balustrades can be seen on the handrail that separates the palace compound and the public. The intervals of the balustrades allow the both region to coexist as a single plane
as it doesn’t completely segregate the garden from the common area without compromising the security expect.
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25. This single image depicts how much details are applied on the roof. The fascia board or known as Penutup Kasau located under the overhang have carvings and pattern that
symbolizes the moon and stars which play a major role in the Islamic Architecture. The edge of the rood is also decorated with Sulur Bayung roof ornamentation carved by
Chinese craftmen that symbolized the Chinese dragons that can fend off evil spirits.
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26. The conventional stove showed was used back in the times of yore before electrical kitchen appliances was invented and produced. This concrete stove require
zero maintenance and upgrade as it focus hundred percent on its practicality and function which explains a lot why is it still robust and usable till the present.
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27. The mammoth size structure portray its significant and power to the public eye upon stepping into the palace compound without even entering the building. The flat and
grassy landscape emphasizes and reinforces the massive scale of the building.The coconut trees illustrate how a typical local kampong would looks like which gives
the building its identity of the Malaysian context.
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28. The opening of the stove can be observed in detail where the charcoal is inserted into the fuel shaft underneath and providing adequate amount of inflow of oxygen.
The projecting size of stove pipe allows the combustion chamber to function more efficiently by providing a larger heating surface.
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29. The roof lantern on the Sultan bedroom is decorated with Malay Gable Finial or Buah Batton, Sulur Bayung and Sisik Naga. Every one of them possesses a positive figurative
symbolism although originated from different cultural background. This proves that cultural attribution holds an important role back in the earlier period.
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30. Mongul architecture style arches with the influence of Arab along the walkway to the kitchen can be noticed immediately upon stepping into the worker’s quarters
or Ruang Pekerja. The arches provide high intensity of light into the space and un-doubtedly creating a pleasant and pleasing façade for the servant’s bedroom
behind the doors.
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31. This image clearly shows the post and beam structure of the building that carries the first floor above it in the Balai Rong Seri region. This traditional Malay tongue and groove
slotting construction method require no bolts and nails. The joists are slotted perpendicularly into the beam before topping it with the wooden planks that form the
first floor’s flooring.
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32. A detailed image of how the inverted ‘v’ shape terracotta roof tile are arranged on the roof. They are stacked on top of each other and held by the permanent longitudinal
stretch of concrete underneath them, unlike conventional roof tiles that are designed to interlock with each other without the help of concrete.
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33. The Selangor Royal Symbol is carved on the pediment in the Bilik Beristirehat area where royal members spent quality time together. It shows the flag of Selangor, D.Y.M.M.
Sultan's Official Flag as well as the Jata Selangor Logo with a Crescent Moon underneath it.
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34. The double dog leg staircase located in front of the Balai Rong Seri allows great arrangement of spaces that occupies a shorter, though wider floor area compared to a straight path.
This design also allow user to observe and appreciate the building from a different angle before entering the palace.
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35. A drastic change in atmosphere occurred when moved from the Mogul and Moorish rich architecture style exterior to the Greek ornamentations-filled interior.
A Greek style archivolt can be seen at the end of the hall, as if it’s biding adieu to the leaving personal. Upon closer observation, the capital of the columns
was in fact sculpted with Malay and Chinese cultural motive.
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36. A detailed image of the Islamic influenced Ande-Ande or Tumpu Kasau found on the roof eaves. The geometrical and horizontal decorative timber roof eaves
prevent rain water from splashing into walls and also to reduce glare from direct sunlight during the day.
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37. Three stand tall minaret Mogul sculptures can be seen on the corners of the hind veranda of the Bilik Beristirehat. The minarets portray an indication of power of the ruler or the king.
It is used to hide the timber joint as well as acting as elements of the rear façade. They also symbolize strength and protection of the royalties.
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38. The door that leads to the left veranda beside the princess room. It’s a double hinged door with pointed trefoil arch with influence of Mughal architecture traits.
The fixed window above allows sunlight to penetrate to the user before even opening the doors which gives a sense of invitation.
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39. The truthful gable roof structure of the Ruang Pekerja or worker’s quarters can be seen and also being admired and appreciated without being covered with plaster ceiling or so.
Terracotta tiles are laid on top of the ridge and rafter without any insulation as the gap in between the tiles already provide natural ventilation to the space beneath
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40. Jawi carving can be seen on top of the garden gate upon entering the ‘Forbidden Garden’. The Jawi words that translate into “Allah”, “Ingat-ingat” and “Jalan Kecelaan”
which reminds user the need to behave and be truthful to the Sultan.
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41. The detailed carved planks connect the upper part of the columns in the Balai Rong Seri where official events took place. The ornamentation influenced by
Malay architecture showcase geometric and floral patterns that also act as an interior façade to this very important space. They gives a unconscious
division of space in the huge hall without obstructing the ventilation.
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42. From this angle, princess’s Kamar Beradu or bedroom can be seen decorated with the Moorish and Mughal ornamentation and architectural elements that
didn’t cause the whole structure to look disorganized or chaotic but instead elegant and majestic. The false concrete door and window can be seen to avoid
the disruption of the whole symmetrical balance without jeopardize the privacy and safety of the princess.
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43. The royal bath used by the sultan himself and other male royal members can be seen located at the heart of the whole palace. The initial bath has another outer water-filled section
but was demolished during one of the restoration. It is strategically located beside the Sultan’s room and male’s dorm.
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44. The permanent stove is strategically located at the upper left corner of the whole kitchen. This allows the other remaining place to be utilized for other cooking activity
without disrupting the circulation and function of the space.
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45. The distributed structures of the palace created a handful of mysterious and atmospheric alley ways that was used by servants without disrupting the circulation
of the royal families.The grilled opening underneath the building was meant for out flow of cold air from the internal spaces.
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46. This Malay style ventilation block can be seen occupying the external walls of the building. The geometrical Islamic patterns allow air to circulate the building,
allow indirect sunlight to lit the interior spaces as well as beatifying the whole palace without conflict with the other cultural elements.
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47. Close up of the minarets specify the fine and delicate craftsmanship of the Mogul style architectural elements. Worn out and stained white minaret blends in harmonically
with the cloudy sky of tropical weathered Malaysia magnify the strength and power symbolism of the element.
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48. The empty land in front lays a vast grass field that looks like any other typical school field. It was in fact told by an interviewed personal, caretake Raja Sulong
that it was once a huge lake that used by Sultan himself as a source of food as well as place for community activity back in the olden days. It is now being
backfilled and maintained as a bare land.
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49. Masjid Sultan Alaeddin, built by Sultan Alaeddin himself 16 years after (1920) staying in the Istana Bandar, it is just 200 meters away from it. The architectural influence is
mainly from Deli in Medan, North Sumatra. Being the religious leader, the Sultan delivered sermons on every Friday prayers. Even after his death, Masjid Sultan Alaeddin
is still used and maintained by the residents till today.
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50. This column was in fact from Colonial Architecture but the capital is being localized and modified with Malay floral pattern that is designed and helped carved
by the Sultan himself. The column acts as a decorative feature in the same time function as the structural unit of the palace.
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