E-Book Magazine Journal: Batik Art and Craft Center

CULTURE ARCHITECTURAL MAGAZINE

Batik Art and Craft Center AAR 2244 CULTURE AND HUMAN BEHAVIOUR IN THE BUILT ENVIRONMENT

EDITOR'S WORDS AQILAH

ABD AZIZ SECTION 2 1911324

It is a great pleasure to present this architectural magazine with the title of 'Culture'. This magazine will be packed with exciting discussion on how culture shaped architecture and the significant of it.

I am also grateful to be given this opportunity in producing this magazine with such an interesting topic to be discussed on.

Keep on reading to find out more!

C O N T E N T S

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INTRODUCTION

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BUILDING TYPOLOGY

BATIK ART AND CRAFT CENTRE

BUILDING USER

TARGET USERS

CASE STUDY 1

KUALA LUMPUR CRAFT COMPLEX

CASE STUDY 2

SALA VISITOR CENTER

CASE STUDY 3

IOMA ART CENTER

APPLICATION

DESIGN CONSIDERATION

OUTRO

Manifestations of culture in every society have been made through language, art, traditions and also architecture which is related to the study of cultural manifestations.

Architecture as a matter of human life reflects the culture in every society interacting closely with structural, historical, political, economic and social features of society.

INTRODUCTION CULTURE IS DEFINED AS THE IDEAS, CUSTOMS AND SOCIAL BEHAVIOUR OF PARTICULAR PEOPLE OR SOCIETY.

Art and architecture are of the most important symptoms and characteristics of every society that indicate the various environment of human's lives.

Therefore, this magazine will elaborate more on how culture can give impact and shape the architecture.

"ARCHITECTURE BECOMES A FRAME FOR CONSTRUCTED SITUATIONS" -BERNARD TSCHUMI

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B A T I K A R T A N D C R A F T C E N T R E

BUILDING TYPOLOGY

BATIK HAS BEEN AWARDED AS CULTURAL HERITAGE FROM UNESCO ON 2 OCTOBER 2009.

The word batik is thought to be derived from the word 'ambatik' which means a cloth with little dots with the suffix 'tik' meaning little dot, drop, point or to make dots. At the same time, batik may also originate from the Javanese word 'tritik' describing a resist process for dying where the patterns are reserved on the textiles by lying and sewing areas prior to dying.

The origin of batik production in Malaysia is from the trade relations between the Malay Kingdom and Javanese coastal cities since the 13th century. It is known that the Javanese influenced Malay batik-making technically and also the development of batik design.

At early stage, the Malaysians used wooden blocks to produce batik-like textiles. Late in the 1920s, Javanese batik makers introduced the use of wax and copper blocks and contribute to the current hand-drawn batik in Malaysia.

Malaysian style of batik can be found on the east coast of Malaysia such as Kelantan, Terengganu and Pahang.

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BATIK ART AND CRAFT CENTRE

The most popular motives of Malaysia batik are leaves and flowers. The motives of animals or human are rarely to be seen in Malaysian batik as Islam forbids animal image as decoration.

However, the butterfly theme is a common exception. Besides, geometrical designs are also famous among the other motives.

The method of Malaysian batik-making is also quite different from the Javanese batik, the pattern is larger and simpler and the colours are lighter and more vibrant than deep coloured Javanese batik.

Batik pattern are drawn on washed cloth using hot wax which functions as a dye-resist. It uses a few kind of tools which are 'canting' for smaller pattern and copper block called cap for larger patterns before dyeing the cloth.

Nowadays, batik can be worn by both men and women as formal dress, combining batik with modern fashion.

Besides, souvenirs of batik are very popular and attract artists to produce batik in form of arts

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Today's generation is rapidly changing and going away from these traditions and culture of the older generation as they are hooked on to a lots of technologies in this modern world.

These culture and tradition of batik need to be respected and appreciated. It is important to give exposure to the younger generation about batik to continue the legacy of the unique batik-making.

Therefore, a project of batik art and craft centre has been proposed to tackle this issue.

"IF WE ARE TO PRESERVE CULTURE, WE MUST CONTINUE TO CREATE" -JOHAN HUIZINGA

BATIK ART AND CRAFT CENTRE

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T A R G E T E D

U S E R S

"PEOPLE IGNORE DESIGN THAT IGNORE PEOPLE"

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TARGETED USER 1

NOVAK BATIK

Farah Hanim binti Mohd Shah or known by the public as 'Novak Batik' is the client for this Batik Art and Craft Centre. She is a self-taught batik artist since 2017 producing batik art mainly than the traditional batik production .

Her batik style has a different approach where she combines traditional batik-making technique with contemporary motives and styles.

This technique of batik-making is considered as an effective approach in gaining interest of the younger generation towards the tradition of batik.

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TARGETED USER 2

YOUNG GENERATIONS

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TARGETED USER 3

BATIK MAKERS & FINE ART STUDENTS

Today's young generations are lacking of culture and traditions knowledge including batik-making. They no longer have interest in Malay traditions as they view it as oldfashioned. A new design of the architecture for the Batik Centre might help in attracting their interest.

These groups of people are drawn to visit the centre as batik-making has been their profession. One possible reason for them to visit is to learn more in depth about batik from the professionals who work at the centre. It is important to provide suitable facilities and environment for them.

"ARCHITECTURE IS NOT JUST ABOUT BUILDING. IT'S A MEANS OF IMPROVING PEOPLE'S QUALITY OF LIFE."

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K U A L A L U M P U R C R A F T C O M P L E X CASE STUDY 1

Located in the heart of Kuala Lumpur city, it is known as an iconic art tourism destination for both local and foreign visitors. This one-stop craft centre doe not exhibit traditional Malay crafts only but also sells various traditional and modern contemporary products of Malay arts and crafts.

The centre was built to achieve four main concepts which is to tackle education, marketing, enculturation and accommodation.

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MALAY TERENGGANU ARCHITECTURAL DESIGN

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The complex is characterized by a Malay Terengganu architectural design to reflect Malay vernacular house in the east coast of Malaysia that are known with the production of these traditional arts and crafts.

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PANORAMIC VIEW OF COUNTRYSIDE

Rather than using the approach of blending in with existing features, this complex is using a contrasting design style to distinguished the building from other prestigious shopping malls around Kuala Lumpur.

A panoramic view of countryside with a Malaysian-themed landscape was created despite the complex being at the heart of a city.

This is to give the visitors an experience of exploring the lifestyle of Malaysian society. when they are visiting the centre.

KUALA LUMPUR CRAFT COMPLEX

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KUALA LUMPUR CRAFT COMPLEX

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V I S I T O R CASE STUDY 2

LOCATED IN HUA HIN, THAILAND BY SOH DESIGN STUDIO IN 2008.

A vision to design a building that beholds impressive vineyard against the backdrop of picturesque mountains in order to capture the beauty of traditional Thai architecture while remaining cotemporary style.

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C E N T E R

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BUILDING FORM AND MATERIAL

Curvilinear roof has been a significant element in Thailand vernacular architecture that reflects Thai sensuality and elegance. The roof form is being applied in the design to portray the characteristic of traditional Thailand.

The three overlapping curve roofs from Cedar shingles were reflecting the mountainous backdrop.

The design used natural materials such as clay bricks, bamboos, rattan and wood which are also widely used in Thai traditional building.

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TRADITIONAL PASSIVE COOLING SYSTEM The traditional system was widely practice around central and North Thailand. The strong and modern curve feature serves as a main passive cooling structure.

Building layout follows the rules of passive cooling system which are large open walkways, high roofs, generous overhangs and elevated from ground.

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SALA VISITOR CENTER

SALA VISITOR CENTER

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NATURAL DAYLIGHTING

Most of the spaces have large openings cladded with tall glass windows where users can enjoy the views of lush landscape around the building.

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I O M A

A R T

C E N T E R

CASE STUDY 3

LOCATED IN BEIJING, CHINA BY ARCHSTUDIO IN 2019.

Designed with the concept of "symbiosis", the design aimed to realize harmonious coexistence between the new and old, inside and outside, architecture and nature, as well as art and mankind.

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IOMA ART CENTER

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SMOOTH TRANSITION OF SPACES

Smooth transition was created by reflecting back the norm of the spaces on which spaces they will connect to. Public spaces has been made as the connection between the nature to the exhibition of the building. Hence, new communal spaces were created such as restaurant, art store and leisure hall.

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LOOP-SHAPED ROUTE INSIDE BUILDING

conventional and monotonous route caused visitors to go back along the circulation to exit the building which resulted in boring spatial experiences and caused visitors to loose interest.

Therefore, a loop-shaped route allows visitors to experience all spaces without repeating them.

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GARDEN AS CENTER

The loop-shaped route allows visitors to walk around the center space. Taking this advantage, an indoor garden is placed at the center to provide experiences of touring a garden even we are still inside of the building.

IOMA ART CENTER

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D E S I G N

C O N S I D E R A T I O N

"GREAT DESIGN IS GREAT COMPLEXITY PRESENTED VIA SIMPLICITY" -M.COBANLI

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MALAY TRADITIONAL PASSIVE DESIGN

This system has long been applied in Malay traditional houses as it takes consideration on our climate and culture.

Stilted and elevated building are best for natural ventilation as it catches the wind. This is also to take advantage on the sloppy terrain of the site.

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DESIGN CONSIDERATION

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MALAY TRADITIONAL PASSIVE DESIGN Fully openable windows allow ventilation at body level which is best to be applied at the batik workshop area that needs natural ventilation.

Ventilation through roof joint is one of the best option due to high temperature in our climate that allows hot air to be release through the roof.

Open plan interior spaces with double volume allow good ventilation inside the building as it promotes cross ventilation to happen.

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LOOP-SHAPED ROUTE SURROUNDING GARDEN

Loop-shaped route inside the building is created by connecting all the spaces with main circulation surrounds the center.

Indoor garden is placed at the center to reflect the external natural environment and to give a feeling of close to the nature.

DESIGN CONSIDERATION

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TIMBER FACADE Timber is chosen for the façade material to reflect back towards Malay vernacular building that use natural material.

Decorative element on the façade is an important element to attract the interest of the visitor even before entering the building.

The pattern of the facade will reflect back towards modern Batik motives to attract younger generations to visit the art and craft center.

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Culture reflected in architecture is important to maintain our identity in today's world of globalization and internationalism and also the integrity of a good society. Hence, good societies need architecture sensitive to their culture.

OUTRO "THE FUTURE OF ARCHITECTURE IS CULTURE" -PHILIP JOHNSON

However, today's generation seems to have forgotten the way our ancestors used to do things. We must realize that architecture and culture are two sides of the same coin. People should always be allowed to express themselves and buildings should let them be.

"THE FUTURE OF ARCHITECTURE IS CULTURE" -PHILIP JOHNSON

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