AAR 2244 CULTURE AND HUMAN BEHAVIOR IN THE BUILT ENVIRONMENT

E-BOOK MAGAZINE JOURNAL AAR 2244 CULTURE & HUMAN BEHAVIOUR IN THE BUILT ENVIRONMENT NURFARHANA BINTI ZAILI AZMI 1917496 SECTION 1

04 Keris

05 Human & Culture

08 Case Study

15 User Study

21 Design Considerations

01

Background Info

1.1 Keris 1.2 human & culture

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KERIS

1.1

/ BACKGROUND INFO

The original keris, Keris Buda, first appeared around the 8th century in Java during the Central Javanese Hindu Buddhist era. It was a short, broad and asymmetrical dagger used as a thrusting weapon for fighting. It was heavily inspired by the leafshaped blades of Indian weaponry.

The modern keris, a South-East Asian dagger, is long, narrow and asymmetrical and is designed either straight or wavy. The change from the previous shape is due to it no longer being used as a weapon..

The denoting quality of a Keris that differentiates it from any other weaponry is the pamor, a strip of mixed-metal decoration along the length of the blade. Nowadays, Malay culture, the keris is used more as object of veneration.

Top: Keris Buda Right: Modern keris

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1.2 HUMAN & CULTURE / BACKGROUND INFO

SITE A Kampung Sungai Pusu, Gombak, Selangor.

Site A is located at Jalan Sungai Pusu, Gombak, Selangor. Approximately it is just a 30 minutes drive from Kuala Lumpur city centre. The site is very accessible many ways as from MRR2, IIUM, and Lebuhraya Pantai Timur. It is particularly famous among locals for its calming and green environment.

This site is a small village environment with peaceful and serene surrounding as the site is near with Bukit Tabur with a lot of different types of trees offers 360 of best view. There are plenty of developed land beside it for occupational purposes.

Nationality

Gender

Age Range

Religion

Race

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ATTRACTIONS

Top: Bukit Tabur Middle: Gombak Horse Riding Club Bottom: Dusun Ali Paintball •

02

Project selection

2.1 case study 2.2 user study 2.3 design considerations

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2.2

CASE STUDY / project selection

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2.1

CASE STUDY A / project selection

KUALA LUMPUR CRAFT COMPLEX

The Kuala Lumpur Craft Complex has a wide range of real products such as souvenirs, interior decoration, costume jewelry, fashion trends and textile, home and garden decorating, and everyday use. At the Karyaneka Gift Shop, you may purchase one-ofa-kind mementos.

Meanwhile, the Karyaneka Corporate Shop has a variety of souvenirs made of silver, copper, pewter, wood, and crystal. The Karyaneka Craft Boutique also has a stunning assortment of textiles, including batik, woven cloth, and hand-woven songket, for fans of traditional fashion.

Architect: SHIN TSENG Area: 4000sqm Year: 1997 Location: Kuala Lumpur, Malaysia

PROJECT 3 | PG. 10 CRAFT MUSEUM Through exhibitions of historic relics, the Craft Museum disseminates information about the history of arts and crafts. It also shows the growth of technology in the production of craft objects and the manufacturing process.

The diorama-themed exhibition is part of the museum's conservation and documentation efforts, and it is presented as a source of information for today's generation.

Visitors can learn about local artisan products by looking at their distinctiveness, motif, materials utilized, and manufacturing method, as well as their functions. Visitors can understand and appreciate the history of a civilisation by visiting the museum, which is a source of knowledge and enlightenment.

EDUCATION The Kuala Lumpur Craft Complex's uniqueness is enhanced by activities provided through a blend of art and education aspects applied to each tourism product. Immerse yourself in a learning experience at the Craft Village to learn how to make craft items such as batik, ceramics, metal, and pewter.

Visitors can observe how the artists create Malaysianmade artwork in a range of mediums, styles, and shapes for themselves. It is then translated onto canvas, painting techniques, or portraits, with each piece of art touching the spirit.

Visitors can interact with and witness the artists as they give their ideas and inspirations, as well as grow and enhance their creativity, in addition to learning about the artworks.

CAFE Craft Delight Café is a place where you can get delicious local fare at a reasonable price. Visitors can take a break in the cafe while eating a bite to eat.

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2.1

CASE STUDY B / project selection

islamic arts museum malaysia

The Islamic Arts Museum Malaysia is the largest of its kind in Southeast Asia, with a collection spanning the entire history of Islam, both chronologically and temporally. The collection housed at IAMM grew from 500 original pieces to over 2,400 in the first ten years of operation, thanks to donations and acquisitions.

A collection of manuscripts loaned from the Jabatan Kemujuan Islam Malaysia (JAKIM), the government bureau of Islamic Affairs, supplements the main collection.

There are around 5,000 pieces in the collections. The structure is located in the heart of Kuala Lumpur, on the outskirts of a big park complex. The museum was built between 1998 and 1999.

Architect: Kumpulan Akitek Sdn Bhd Area: 3000sqm Year: 1998 Location: Malaysia

Kuala

Lumpur,

PROJECT 3 | PG. 12 EXHIBITION SPACE The continuous congruence of light and space is maintained throughout the exhibitions and throughout various zones of the historical center, such as the library and restaurant.

COURTYARD Three sturdy structures surround an open-space central courtyard that permits maximum light in response to the building climate. Three solid buildings are encircling penetration and cross air ventilation within the space, responding to the building climate.

DECORATED FACADE & DOME Its facades are covered in white marble slabs. Four domes, which designate important locations in the galleries and are ornamented on the exterior with tile mosaic done by craftsmen using traditional Central Asian methods, stand out against this white background.

Similarly, a tile mosaic revetment bearing a Qur'anic inscription in Thuluth over a background of vegetative patterns made by Iranian artists frames the main entrance. The "blue iwan" is the name given to this entryway.

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2.1

CASE STUDY C / project selection

Jetavan COMMUNITY CENTER

Jetvana is the name of one of the Buddha's most important spatial edifices in Buddhist mythology, which literally translates to "the grove of Jeta, land donated to the sangha for the establishment of a monastery." The centre is located on the site of a bio-refinery and was built specifically for the workers, their families, and residents of the nearby villages, all of whom are Buddhist.

With the goal of not harming a single tree on the property, the large project was divided into six buildings, each of which was placed in a space between the heavy planting. Two courtyards evolved as linkages during the design process, tying these buildings together.

Architect: Sameep Padora & Associates Year: 2015 Location: Monastery, india

PROJECT 3 | PG. 14 OPEN STRUCTURE The roof is separated from the walls, allowing for much-needed cross ventilation while also scaling the structure towards the courtyard.

The wooden structure's repetitive rhythm, which is designed to draw attention to a deity statue, is reminiscent of the Buddhist cave architecture's stone ribbed interior. The domed area of the cave roof was also mentioned in some of our early research models, but we believed that the logic of visually linking to the foliage of the trees outside was ultimately the more prominent and desirable experience.

ROOF The internal areas were visually integrated with the flora outside by inverting the roof design with a center valley in the middle and rising edges. The interior rooms are thus a reflection of the surrounding environment, with a lightness that belies the site's substantial programs.

The dynamism of the concrete valley from which the butterfly roof rises, which runs axially along the rectangular rooms, guiding devotees' sight towards the icons, counteracts the emptiness. The ceiling itself unfolds like pages of a book to let in the dappled light, which is accompanied by the sound of neem trees and birdsong.

PAVILLION Two courtyards that can be used for community gatherings and are lined with steps. The green canopy and mostly porous building design create a palpable microclimate, lowering the internal temperature. Given the position on the Deccan Plateau, which often experiences temperatures of above 40 degrees Celsius.

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2.2

USER STUDY / project selection

2.2

USER STUDY

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/ KERIS EMPIRE

“Tak kan Hilang Melayu di Dunia”

KERIS EMPIRE was founded on August 14, 2019, with the primary goal of preserving and sustaining the Malay traditional handcraft's heritage and history. The headquarters of this corporation are located in Kuala Kangsar, Perak Darul Ridzuan, with the main address at No.82, Kampung Kota Lama Kanan, 33040 Kuala Kangsar, Perak Darul Ridzuan.

SSM was used to register this business (Suruhanjaya Syarikat Malaysia). Irfan Khadijah Enterprise goes by the moniker Keris Empire (SA 0421393-D). Wooden and steel-based handcrafts such as keris, kerambit, golok, pedang, and other Malay traditional selfdefense devices are the company's major goods.

Furthermore, the company's objectives are to educate the customers about traditional Malay handcrafts while also making the greatest quality handcrafts using steel and wood.

CLIENT'S WISH As the brand catchphrase is "Tak kan Hilang Melayu di Dunia," which means "the Malay shall never disappear from this world" in Malay.

We sincerely hope that the name of our business would pique the curiosity of Malay traditional handcraft collectors, educate more customers about traditional handcrafts, and retain existing consumers.

Founder of Keris Empire, Edzreen Edzwan bin Kamalrudin

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VILLAGERS For them to continue the heritage by learning through the experts with the right and appliances or tools and providing them space for it.

TOURIST Promote the local heritage culture to the local and international tourist for them to broaden their knowledge on the cultural heritage and attracts their interest to learn it.

TUKANG KERIS (BLACKSMITH) & STAFFS Providing comfort for the workers and allow themselves to feel free and not suffocated.

USERS

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PROCESS SPACES 1. STORAGE MATERIAL 2. RELAU HEATING HAMMERING TONGS ANVIL HANDHAMMER

BLADE FORGING

3. ANNEALING 4. GRINDING 5. WARANG (ARSENIC POISON) 6. FINISHES STORAGE

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PROCESS SPACES 1. STORAGE MATERIAL 2. CUTTING 3. CARVING

WOOD CARVING

4. GRINDING 5. POLISHING 6. FINISHES STORAGE

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Keris need to be keep higher to avoid it from drop onto the floor “Warang” process need to be done to avoid rusty Can be keep nicely inside keris bag to avoid damage and rusty “Hulu” keris can be changed easily from time to time To keep keris long lasting it need to be placed in place with low humidity. Humidity will lead to the rusty easily

MAINTENANCE

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2.3

DESIGN CONSIDERATIONS / project selection

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2.3 DESIGN CONSIDERATIONS / ROADS AND ACCESSIBILITY Roads provide crucial access to your property, allowing firefighters to put out wildfires when they are still tiny and causing the least amount of damage. If a good road system is in place, fire and fuel breaks can be more effective. Thus why it is important to have a good roads accessibility especially on providing easy access for emergency vehicles to other areas of the property.

Responding to the site and services, the accessibility within proposed site have been control by dividing the trade or services facilitation, drop-off passengers, and parking.

As for the accessibility to the proposed site, it is also quite easy since the site is just beside the main road where it should not be a problem to discover it from the roadside.

Top right sketch: Blue - Parking Purple - Drop-off Access Green - Loading Bay Orange - Pathway

Below right sketch: Blue - From Dusun Pak Ali Yellow - From MRR2 or IIUM Green - From Sungai Pusu

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2.3 DESIGN CONSIDERATIONS / CLIMATIC CONDITIONS

The warm temperature has an impact on the Malay vernacular architecture style. Many buildings have huge apertures on the sides for ventilation, and grilles are installed at a high elevation in the gable ends. Houses built on stilts benefit from improved natural ventilation. Not just that, perforated wall panels and ventilation panels are fenestration parts of the house that allow for air circulation and natural daylight penetration through perforation.

Consequently, spaces that can be disclosed are perfect to maximize the application of ventilation panels such as cafeteria and lobby. It is in fact, the users for the spaces can also enjoy the interaction with the nature.

With the implementation of pitch roof to the building design, it secured another key points of Malay Traditional Houses. The advantage of a pitched roof is that it cools the building by allowing natural airflow to circulate around it.

Additionally, compared to a flat roof, a pitched roof has a longer lifespan because the materials are more sturdy and weather resistant, it has a far longer lifespan than a flat roof when correctly installed.

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2.3 DESIGN CONSIDERATIONS / MATERIALS & AESTHETICS

Materials play roles in a lot of things, be it from the structure foundation to the finishes. The type of material used determines the structure's nature and form.

The term "building materials" embodies the durability and aesthetics of design. It not only adds meaning to a structure, but it also improves its aesthetic value.

To express our vernacular culture, the used of materials are highly effective. Back then, timber is utilized for the construction framework, rattan and tree roots are utilized to tie up connections, and bamboo and leaves are utilized for the floors and walls in a typical Malay house.

Hence, by applying timber to the interior and exterior of the building more or less the idea of vernacular can be conveyed.

Now, building façade is one of the most vital pieces of design, which refers to the side, normally the front side of a building structure. It gives designers and architects a chance to experiment and show off their creative talents and artistic aptitude.

As the anticipation of the project is on the cultural values applied in the building, the building incorporate the concept of NeoClassic where it is a combination of the modern style with traditional essences.

Thus, the aesthetical value of the building façade is by the louvres instead of decorative perforated panels. It is applied at the corridors, office, lobby, and also musolla.

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2.3 DESIGN CONSIDERATIONS / NEGATIVE SPACE

As negative space is a background that should play an active role in design, the space can utilize their use through the respective local culture.

In Malaysia, there is a lot of culture respectively to the states it includes the cultural tradition in the dishes, costumes, dances, and even songs.

On account of this, a pavilion would be great to showcase the cultural tradition especially for performances like 'Silat'.

A pavilion is an open, flexible architectural area that welcomes people to visit and spend time there.

PROJECT 3 | PG. 26 Open cafe to maximize the used of ventilation and lighting

Showcasing the cultural tradition through performances etc Keris workshop in a semi-open space with opening to allow ventilation.

Reacting to the surrounding by facing northerly and Qiblat

GROUND FLOOR

Welcoming the visitors with the nature surrounding as the space enclosed

FIRST FLOOR

Applying the perforated ventilating panel like Old Malay House instead of solid wall to make it more comfortable for the staffs

SCHEMATIC DIAGRAMS

SECOND FLOOR

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