The Architecture of Kuala Lumpur (2021)

IA HISTORY 03

PROJECT 01 : THE ARCHITECTURE OF KUALA LUMPUR

MARCH 2021 . GROUP 03

INTRODUCTION

Site Map and Building Location

1.0 MASJID NEGARA

1.1 Historical Context 1.2 Cultural Context 1.3 Architectural Context

2.0 SIN SZE SI YA TEMPLE

2.1 Historical Context 2.2 Cultural Context 2.3 Architectural Context

3.0 HOLY ROSARY CHURCH

3.1 Historical Context 3.2 Cultural Context 3.3 Architectural Context

4.0 SRI MAHAMARIAMMAN TEMPLE

4.1 Historical Context 4.2 Cultural Context 4.3 Architectural Context

CONCLUSION

INTRODUCTION

Kuala Lumpur’s architecture has been closely affiliated with old colonial influences and Asian traditions since the 19th century. The old architecture of Kuala Lumpur help paved the city’s landscape and created a strategic environment for the incubation of many more architectural styles that help define Kuala Lumpur as one of the ultramodern cities in Southeast Asia. Although the city had undergone various transformations for the past few decades, the religious buildings still kept their uniqueness and continued to thrive as the city's famous landmarks that consisted of different architecture styles.

The reason we chose religious buildings as the topic of our publication is because architecture that is partially influenced by religion are specially designed structures designated for worshipping different gods. Not only does it contribute to the diversity of our country's architecture, it also helps us understand the socioeconomic and technological level of the building at the time it was built. We are also able to understand the underlying aesthetic choices made in the building's design, as well as the purpose of each part of the building, as religious buildings usually optimize the spaces well for different usage.

In this report, we will be doing detailed research of four religious buildings situated in different parts of Kuala Lumpur: Masjid Negara, Sin Sze Si Ya Temple, Holy Rosary Church and Sri Mahamariamman Temple. We will be analyzing how did these religious buildings come to be, what materials or technology was used to build it, the cultural context of the building on site, and also analyze the design intent of the buildings with relation to the climate and religion.

SITE MAP AND BUILDING LOCATION

Sin Sze Si Ya Temple

Jalan Tun Sambanthan

Sri Mahamariamman Temple

Klang River Jalan Syed Putra

JalanKinabalu

Jalan Tun HS Lee JalanSultan

Holy Rosary Church

Masjid Negara

1.0

MASJID NEGARA

WRITTEN BY FATINI AND JAYDON

Malaysia's National Mosque, Masjid Negara, is the country'sIslamicsymbol.Itislocatedtothenorthwest oftheoldrailwaystation,afewhundredmetresfrom the end of Jalan Sultan Hishamuddin, and consists of amainprayerhallsurroundedby48smallerdomes.

Masjid Negara is situated in Kuala Lumpur's Tasik Perdana neighbourhood on Jalan Perdana. Masjid Negara was designed by architects Howard Ashley, HishamAlbrakri,andDato'BahuruddinAbuKassim.

BUILT AND ESTABLISHED

The mosque was constructed to commemorate Malaysia's independence from British rule.

The mosque was named after Tunku Abdul Rahman in honour of his contributions as the Federation of Malaya's Chief Minister from 1955 to 1957, as well as the first Prime Minister in Malaysia.

After he rejected the offer of having the mosque named after him, it was renamed

One of the significant characteristics of the mosque is its minaret that is 73 m high , which also poses as one of Kuala Lumpur's highlights when seen from up above.

Besides the minaret, the outdoor garden's pools and fountain is built with a clean and elegant white marble finish.

During 1987, the mosque went through a series of restorations, in which they replaced the roof that was layered with pink tiles into bluish green tiles.

PRESENT

RELIGIOUS INFLUENCE IN ISLAMIC ARCHITECTURE

There are two different types of Islamic belief which are Shia and Sunni. Sunni has covered the most majority in Malaysia. The difference between Shia and Sunni is that Shia mosques have many floral cravingsonthetileworkwhilstSunnimosqueshavemorecalligraphydesigns.

Floral designs influence by Islamic style

7 UNIFYING PRINCIPLES OF ISLAMIC ARCHITECTURE

ThesesevenprinciplesareveryimportantandactasguidelinestohowMuslimscooperatetheirbeliefs andrelationshipinIslamintothemosque'sarchitecture:

TAWHID IHTIRAM IKHLAS

( Unity & Uniquity of Allah )

Architects should emphasize on enhancing the relationship between Muslims and Allah

( Respect )

The building should have show obedience to Allah and respect to everyone

PURSUIT OF ILM

(Knowledge)

The building needs to share the knowledge through calligraphy from the Quran to show the importance of knowledge.

( Sincerity )

The building should take note of purity in their design intention and motivation, and meet Allah’s will

Floral designs at the ceiling

IQTISAD

( Balance )

The structure should include both practical and theological components.

Flower craving at the ceiling

HAYA DIKR

( Modesty )

The structure should be unobtrusive and respect the integrity of its users.

( Remembrance )

The building should be able to support the guidance to remember Allah

FOREIGN INFLUENCE

POST-INDEPENDENCE MODERNISM

Masjid Negara is a masterpiece of post-independence modernism in 1965. It is the first mosque in Malaysia to haveadifferent,moresymmetricallayoutstyle.

Masjid Negara is also influenced by traditional Malay architecture.

Forexample,thelivinghalloftheMalayhouseissimilar tothemainprayerhallwhichislocatedatthefirstlevel ofMasjidNegara.

Linear pathway leading prayers to the Warriors’ Tomb. The walkway is very simple and direct which allowsvisitorstonavigateeasy.Visitorswillpassbyaminaretwhichislocatednearalargepoolinthe MasjidNegara.Aminaretisasmalltowerwithabalconyinthemosque.Priortothat,thegridplanned columns is also one of the obvious space planning in the Masjid Negara layout. The grid planning columnisparalleltoeachother.

DESIGN ELEMENTS

First, the balance of space is the special element in Masjid Negara. By observing the elevation, it is balancedintermsofproportion.Theformofthebuildingissymmetricalinthelayoutplan.

One of the design elements of Masjid Negara is the repetitiveness of the columns. There are many detaileddarkgraycolumnsthatcanbefoundattheverandahwithgoldencolorskirtingdecorated aroundtheupperandthelowerofthecolumn.

CLIMATIC DESIGN

TRIANGULAR OPENING UNDER THE ROOF

Ventilation is one of the most useful solutions to solve the tropical climate in Malaysia. One of the uniqueelementsofMasjidNegaraisthetriangularopeningontheconcreteroof.Theopeningsonthe roof improves ventilation inside the building. Thus, the air quality inside the mosque is optimum in termsofclimate.Moreover,theshapeoftheroofresemblesanopenumbrella.

Ventilated through the opening at roof

OPEN VERANDAH

Other than that, there is a large open verandah which also provides great ventilation during prayers. The open verandah has a very unique structure, while it ensures the area are shaded it also gives a cool surrounding for those praying. Due to its large volume, the indoor air is more active as it allows crossventilationtobekeptwithinthemosque.

Ventilated + Enough daylight received in the verandah

MATERIALS

CREAMY COLOR MARBLE

The interior wall is surrounded by the creamy color marble with detailed patterns. The main prayer have verylimiteddecorativeitems.Beautifulcarvingswith different patterns are visible on the creamy marble wall.

CONCRETE

The main prayer hall is constructed primarily of concrete. The lower part of the wall, as well as the bottom part of the columns, are made of reinforced concrete and are covered with various finishes with geometricaldesigns.

COLOURED GLAZED WINDOW GLASS

The coloured glaze window glass come with geometric patterns that enhances the beauty of the mosque's main prayer hall. The glass colors are brown,blueandgreenontheglazewindow.

2.0 SIN SZE SI YA TEMPLE

WRITTEN BY LUK AND ADELINE

Located at 14A Lebuh Pudu near Central Market, Kuala Lumpur, Sin Sze Si Ya Temple (仙四師爺廟)isaChinesetemple alsoknownasSzeYahTemple.

It is regarded as one of the oldest Taoist temples in Malaysia. The temple was dedicatedtotwopatrondeities -SinSzeYaandSiSzeYa.

Today, the temple functions as a cultural centre for the devotees to pay visits during special occasions or pray on a dailybasis.

FIRST DEITY

Kapitan Shin Kap of Sungei Ujong (now Seremban) was beheaded by opposing Malay forces after being captured in the Sungai Ujong conflict.

The Malay forces were shocked to see that white blood was spilt from the Kapitan's head, as it was an indication of the dying person being a saint. Hence, they begged for forgiveness and allowed the Chinese community to bury his body.

The Chinese community began worshipping Kapitan Shin as a deity in compensation of his death, thus a temple was erected for this purpose.

After Kapitan Shin appeared in Yap Ah Loy's dream telling him to move to Kuala Lumpur for better job prospects he then took on the role of being Kuala Lumpur's third Kapitan and relocated the temple from its original site (Sungai Ujong) to Kuala Lumpur.

SECOND DEITY

According to the temple's story, the second deity was Chong Piang (Sze Si Ya) - Yap Ah Loy's chief general during the Selangor Civil War as he sacrificed himself during the war.

In order to commemorate these two deities as well as many other notable soldiers who perished in the war, Yap Ah Loy combined the names of the first and second deity to form the temple's name - Sin Sze Si Ya.

1883

CONSTRUCTION

The construction of the temple ended in 1883. The current site was chosen after Kapitan Yap Ah Loy consulted a Chinese medium that promised that prosperity and wealth would come if it was built there.

PRESENT (2021)

Today, the temple consists of effigies of both deities, and also tablets of soldiers on the altars.

FESTIVAL

CELEBRATION

PRAYER TIME

Apagoda-likestructurecanbeseenplacedinthe courtyard.Itfunctionsasafurnacethatburnsthe paperofferings.

The open air pavilion enables the devotees to lighttheirincenseandjosssticksforprayers.

FORTUNE READ

A container filled with kao chim (fortune-telling sticks)willberattledbythedevoteesuntiloneof it drops out. After finding the paper slip corresponding to the fallen kao chim's number, the caretaker of the temple will help decode theirfutureorprophecywiththefeeofRM1.

RELIGIOUS INFLUENCE IN CHINESE ARCHITECTURE

COLOUR SCHEME

Red is the main choice of color as it brings prosperity and joy, which is why most of the structuresandbannersareredincolor.

Splashes of yellow or gold can be seen on the statues, columns, flooring and decorations with dragonsasitsymbolizesgoodluck.

RELIGIOUS INFLUENCE IN CHINESE ARCHITECTURE

SPACE PLANNING

Thetemple'sentranceisamiddle sized structure sandwiched between a high rise building and anoldshoplot.

There are 2 entrances with a courtyard in the middle that acts as a connector which helps to chainthezonestogether.

It makes the route accessible for both users of the temple and regular pedestrians to cross from oneentrancetoanothereasily.

AccordingtoFengShuiprinciples,the temple's layout should always be a rectangular shape and the entrance hastofacesouth.

The spatial proportion is well defined in the temple, with the main prayer hall consuming the greatest area, followedbythewestandeasthall.

These main spaces are connected by transitional zones - two narrow hallways. Besides serving as a circulatory area, the ends of the hallways are also separated into private spaces for miscellaneous activities such as kitchen, toilet, storageandthelike.

Front Elevation of Temple

Longitudinal Section of Temple

Cross Section of Temple

DESIGN ELEMENTS

The temple's intricate design of interiors and roofing structures are said to have been built by craftsmenfromSouthernChina,whichmakesitagreatexampleoftraditionalChinesearchitecture.

Wood is mainly used for the temple's columns and beams in Chinese architecture, and the joinery is sturdyenoughtosupportasinglestorybuildingformanyyears.

Exploded Isometric Drawing of Central Slice of Building

DESIGN ELEMENTS

Traditionally, Cantonese temples favor square pillars over cylindrical ones, however Sin Sze Si Ya templeusedcylindricalbeamsandcolumnsinsteadasitmeans"YuanMan"(Harmony)inChinese.

Also, based on Chinese architecture which emphasizes symmetry, the temple has an even number of columnsoneachsidethatcreatesanoddnumberofbays.

The external wooden columns supporting the temple are connected using "Ping Ban Fang"- perimeter girders which helps in providing extra support in the roof installation.

DESIGN ELEMENTS

Thetemple'sstructuralconnectionsmadeoutofwoodsuchasthetrusses,columnsandbeams.

The load bearing timber frames interlock with each other to form a sturdy skeleton of the temple's framework.

The roofing structure of the temple is supported by the intersection of horizontal girders and vertical posts.Thereisalsoa"capandblock"bracketcomponentcalled"Dougong"(⽃拱;dǒugǒng)supporting thehorizontalparts.

CLIMATIC DESIGN

VENTILATION - TEXTURED GLASS WINDOWS

Most temples refrain from using airconditionersduetoreligiousreasons.

To create a comfortable indoor environment, the temple relies on naturalventilationstrategiesinstead.

The windows are placed on both sides of the temple's main hall to increase air flow and ventilate the areathathasmostuseractivity.

Textured glass windows are remained open all the time to improve the indoor thermal comfort. Hot air and incense smoke can be channeled to outside through the openedwindows.

Direction of air flow from the temple interior towards the windows

MATERIALS

Steel has high tensile strength and good compressive strength. It can be easily assembled,

3.0 HOLY ROSARY CHURCH

WRITTEN BY ZI XIAN AND ZHE YIK

A Neo-Gothic style church thathasexistedforalmosta centuryinMalaysia.Itisalso regarded as one of the wellmaintained churches in KualaLumpur.

Located at 10, Jalan Tun Sambanthan, 50470 Kuala Lumpur,visitorscanwalkfor 10 minutes from Kuala Lumpur's KTM station to get tothechurch.

1903 BUILT AND ESTABLISHED

Constructed by Father Francis Emile Terrien, a French missionary and assisted by Father Lambert.

1942 SURVIVED FROM WORLD WAR ll

The stain-glass window as one of the most precious heritage of the parish was saved from World War ll

1948-1951 RENOVATION

Fr. Moses Koh added North, South transepts, installed a tall steeple for the old bell tower and replaced the flat roof to a proper gable roof and hexagonal roof

2003 REPAIR WORK

It took almost a year for the repair works to be done - replacing the wooden roof beams, the termite-plagued wooden window louvres and repairing the belfry on top.

2013 110TH ANNIVERSARY

In conjunction with the church's 110th anniversary, Fr. Joachim Tan led the restoration, reconstruction and repainting works and installed additional fans for better ventilation. The goal was to give the church a new and exquisite appearance.

RELIGIOUS INFLUENCE IN CHRISTIAN ARCHITECTURE FOREIGN INFLUENCE

Throughout the building form it also represents some of the Christian architecture. Holy Rosary Church was built facing South - East to cater the culture as nearly all Christian prayed facing the east because Jesus rose on the day of the resurrections in that direction. Next, the cruciform cross of the layout plan resembles Jesus's death and sacrifice. Besides, the circular spaces in the interior which include sanctuary, altar and apse represent the eternal nature of god. Furthermore, the suspended vaulted ceiling connects to heaven and reaches towards god and for each of the stained glass, it represents stories of the saints from the bible. The design of the transept door to the interior resembles the hierarchy of human and god and this design encourages respect from the parishioner totheirgod.

NEO-GOTHIC ARCHITECTURE

Gothic architecture style: The Holy Rosary Church has some similar features to elements seen from Europeanchurches,asthisstylepeakedduringtheHighMiddleages(1000AD-1250AD).

Elements of Gothic Architecture

Steeple, Finial and Pinnacles

Stained Glass Window

Lancet Door

Lancet Window

AsMalaysianChristianweremerely9.2percent occupied from Malaysian population. The Holy Rosary Church was built to ingratiate the needs among the Catholic Chinese Community, other Christian ethnicityand foreignerstoperformchurchservices.

RELIGIOUS CONTEXT FUNCTIONS

WEDDING CEREMONY

It is a very famous place for the Chinese Catholics to hold their wedding there as the churchhasaromanticambience.

WEEKLY PRAYER CELEBRATION

Celebration of feast day also occurs during the season. For example, celebration of Theophany of God Incarnate as Jesus Christ and Solemnity ofMary,Motherofgod.

Some small talks will be hold by the church onceawhile.

SPACE PLANNING

The Holy Rosary Church was built in a cruciform and faced towards the South-East as to follow the direction which Jesus rose on the day of the resurrections. The church was shaped in symmetrical form to balance each proportion of spaces and giveharmonytotheinteriorofthe church.

1 Apse

A semi-round area that is usually situated at the church's eastern end. It is covered by an arched or domedroofontop.

3Nave

Central part of the church, extending from the entrance tothetransepts.

2

Crossing

Area in a church where the nave and transept intersect. It is also situated between NorthandSouthtransepts

4 SouthTransept

Located at the right side in a rectangularareaofthechurch. It is opposite the North transept.

5NorthTransept

Transept is located in a rectangular area which cuts across the main axis of the building.Itseparatesbetween apseandnave.Northtransept islocatedattheleftside.

DESIGN ELEMENTS

.

Finial

Located at the end of the steeple. The finial functions as a decorative ornamentation which connect towards heavens and god and symbolizeChristianity.

Steeple

Locatedontheuppermostpartofthechurch. Steeple or known as a church tower which includesaspireinthestructure

BellTower

Itisastructurethatholdsabellandfunctions as a reminder for worshippers to assemble duringChurchservices.

Pinnacles

. Pinnacleslocatedonbothsidesoftheparapet .

LancetDoorsandWindows

It is a tall vertical door and window with pointedarch. It shows the characteristic of early Gothic ArchitectureStyle.

DESIGN ELEMENTS

Transept

Alsoknownasacrossinginthechurch. LocatedinthecruciformofthelayoutplanandspreadtobecometheNorthwingandSouth wingofthechurch.

Elevation of Holy Rosary Church

COLUMNWITHDECORATIVEFLORALPATTERNS

Located on the main entrance and on the wall of the altar, the fullbloomofrosesrepresentMaryasamysticalrose.Eachrosses bringblessingtoworshippers.

STAINEDGLASSWINDOWS

Each of the stained glass windows are located on the wall of the churchshowingthestoryofthesaintsfromthebible.

PLASTERVAULTCEILING

The Rosary Church used a selfsupporting arch to support the load of roof and provide a larger placeinchurch.

STATUESOFAPOSTLES

Twelve apostles or twelve disciples statues are located on each side of the interior wall to convey the penitence toward Jesus Christ.

CLIMATIC DESIGN

RIBBED VAULTING

In order to adapt with Malaysia's weather, the suspendedceilingtransmitshotairupwardsleaving the cool air in the lower part of the building and gives a pleasant environment to the user while prayinginthebuilding.

STAINED GLASS WINDOW

Functionasthesunshadingdevicetoreducedirect glare into the building and prevent high temperature inside the church whilst providing colorfulambiencelightingtotheinteriorspace.

LOUVRE WINDOW

To regulate air flow or light penetration and moistureoutfromtheinterioroftheChurch.

CEILING FANS AND WALL FANS

As a modern devices to regulate indoor air circulation.

MATERIALS

WHITE PAINT

The exterior and interior wall of Holy Rosary Church iscoveredwithwhitepaint.

White correlates with Jesus Christ which represents his innocence and sacrifice. Concurrently it also symbolizes purity, virginity, birth, truth and righteousness. It is also the liturgical color of Christmaseveandeaster.

CONCRETE

The columns in the interior and exterior of the church are made of concrete as this material is durableandcanwithstandloads.

BRICKS

Bricks was used for the wall structures. This is because bricks are easy to obtain, require low maintenancecostandbalanceindoorhumidity.

TIMBER

Roof trusses, window frame and furniture such as pewsandfencesaremadeoftimber.Thisisbecause timber is a variable material and durable which can belastingaverylongtime.

MOSAIC FLOOR TILES

Overall material used for floor is cement and cover with mosaic floor tiles as finishing. Mosaic floor tiles are used to highlight the nave flooring and showing routetothetransept.

4.0

SRI MAHAMARIAM MAN TEMPLE

WRITTEN BY SHUK CHIE AND SHUE ER

This temple is regarded as one oftheoldestfunctioningHindu temples as well as one of the richest due to its popularity in KualaLumpur,Malaysia.

This Hindu temple is listed as oneoftheculturalandnational heritage of Kuala Lumpur. This temple is dedicated to Māri (Mariamman),oftenworshipped byIndianimmigrants.

1873

FOUNDING

Founded by a Malaysian Tamil man named K. Thamboosamy Pillai (Tamil: தசாமி பைள), during the pre-independence years of Malaya, later known as Malaysia when united with Sabah, Sarawak and Singapore.

It was formerly used as a private shrine in the Pillai family.

1885

RELOCATION

Moved to its current location which is along Jalan Tun H.S. Lee.

1920s

OPEN TO PUBLIC

After Thamboosamy passed in 1902, the temple was opened to the public. Later on, the Board of Management of Sri Maha Mariamman Temple Devasthanam took on the role of managing the temple's operations.

1968-1972

RECONSTRUCTION

The present temple was built in 1968, while the Gopuram, it was built in 1972.

1973

DECLARATION OF DEITY

The new temple was officially declared dedicated to the deity: Mariamman.

PRESENT (2021)

OFFERINGS

Koozh

A common dish consumed as breakfast or lunch sold by street venders in Tamil Nadu. It is made from millet and broken rice in a clay pot. Usually served hot consumed at Mariamman temple festival.

FESTIVAL CELEBRATION

MARIAMMAN (MĀRI)

Mariamman is the South Indian Hindu goddess of rain, and also the main South Indian mother goddess. The word “Mari” has origin from Sangam Tamil, which means “Rain”, while the word“Amman”means“Mother”.

Mari is worshipped as bringer of rain that gives prosperitytothelandforcrops,as well as curing diseases. Overseas Indians worshipped her as their guardian during their stay in foreign lands. Mari defend her devotees from unholy and demonic incidents. Mari is associated with Parvati, Kali and Durga. Every 12 years,thetempleisreconsecratedintraditionof Hindu.

Pongal

A popular South Indian rice dish, made with boiling. Generally, pongal refers to spicy venn pongal made with additional clarified butter commonly served as breakfast, while chakarai pongalissweetandmadeduringPongalfestival.

ARCHITECTURE STYLE

Dravidian Architecture, also known as South Indian temple style which has existed thousands of years ago by Dravidian people. This architecture style has developed tremendously throughout its thousands years of history. It is a Hindu temple architecture emerged from South India and Sri Langka. The temples were not just a place for worshiping and praying, but also utilize as centre of educating. In addition,religiousrituals,festivals,dancingperformancesandreligiousthemedramasisalsoheldatthe temple. Thereare5sub-dividedDravidianArchitecturestyle:

The Main

Niches and deities sculptures on roof

Interior of the Main Temple

Mariamman Shrine

The main temple in the middle of the compound

ARCHITECTURAL ELEMENTS

Gopuram, which means as the “temple gateway” in Tamil. It is the entrance of the temple located at the east, symbolizing the“feet”. The Gopuram functions as a threshold between the physicalrealmversusthespiritualrealm.

Gopuram isthetallestfeatureofthetemple,measuring 22.9m in height with 5-tiers. The 5 tiers symbolize the 5 senses. The Gopuram is a towering pinnacle shaped structure decorated with 228 sculptures of the Hindu deities sculpted by artisans from Southern India. The team was lead by S.T.Muniappa, the chief sculptor from Tamil Nadu, who was commissioned for thecreationoftheidolsonthe Gopuram

Shikhara acts as a crowing cap abovethe vimana,similartocupola.

Vimana is also known as inner sanctum, a tall pyramid-shaped toweroverthe garbagraham

Garbagraham, the rear structure which indicates the"head" of a lying human located at the west. It is the main prayer hall of Sri Mahamariamman. The chief deity of the temple: Mariamman is installed in the vimana of this structure. When performing puja, which means prayers in Tamil, the priest would standinfrontofthe garbagraham

The structure has beautifully ornamentation carvings on the pillars and ceilings with the "4 just and necessary pursuits of life": “kama, artha, dharma, and moksa”, which means “desire, wealth, righteousnessandliberation”.

Shikhara Vinama

Garbagraham

Mandapa

ARCHITECTURAL ELEMENTS

DESIGN ELEMENTS

Mandapa,astructureliesbetweenthevinamaand gopuram, indicating the "body" of the lying human. It is a pillared, open-spaced hall used for public rituals during festivals. At usual times, it is usedformusicanddancinginfrontofthevinama.

Roof design, filled with niches for sculptures of deities with many flora and fauna features as well as sculpteddomes.

Floral ceiling design, filled with floral ornamentation andsculpture,supportingalongthemandapa.

Pillar, filled with floral ornamentation and sculpture, supporting along the mandapa

The Dravidian order has develop throughout its thousands of years of history

CLIMATIC DESIGN

The east side is the main entrance which is mostly open while the north side of the temple has lower wall that allows air circulation throughout the temple. The west side is blocked by Bangunan Mariamman, which helps to shelter against heat gain and humidity. The open-space concept improves naturalventilation andallows naturallighting tolight uptheinteriorofthestructure.

Heat blockage (yellow) and air flow (blue) of the temple

Bangunan Mahamariaman

Open space design in the temple that allows room for circulation of air and visitors.

CONCLUSION

In conclusion, religious buildings play an important part in everyone living in Malaysia as these are landmarks where members of each religion can come together and celebrate their festivities, pray to their Gods, uphold sacred rituals, as well as showcasing the colors of their community. These religious buildings have withstood the test of time and witnessed the evolution of Kuala Lumpur and its livelihood. Because of its attractiveness and sacredness, the architectural value of these buildings are irreplaceable as it blends nicely in the context of an urban city.

Throughout this report, we have managed to do an in depth analysis for each religious building. From its history, materials, technology and religious representations, each building is unique in its own ways. By using sketches, diagrams and relevant pictures to show how each part of the building is and the components of cultural heritage material included.

All in all, these religious buildings should be preserved and maintained so that the religious communities can continue to have a safe spot for them to fulfill their religious roles as well as carry out their community events. It is also crucial to educate the future generations about the significance of these buildings so as to protect the identities of these religions that have formed part of the multicultural framework in Malaysia.