ART AND CRAFT HANDIWORK CENTER

ART AND CRAFT HANDIWORK CENTER A STEP OF PRESERVATION THE HERITAGE AND CULTURE

AAR 2244 CULTURE AND HUMAN BEHAVIOUR IN THE BUILT ENVIRONMENT

PROJECT 3

NAME : MUHAMMAD FIRDAUS BIN OMAR MATRIC NO : 1914161 SECTION : 1 LECTURER : DR ZURAINI DENAN MS. UMAIRAH ALIAS

2 3 15 27 33 44

P R O J E C T

O V E R V I E W

BRIEF OF PROJECT C A S E

S T U D Y

1

KUALA LUMPUR CRAFT COMPLEX

C A S E

S T U D Y

2

THE NATIONAL VISUAL ART GALLERY

S T U D I E S

BACKGROUND, USER AND CONCEPT

D E S I G N

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

ARCHITECTURAL APPROACH

R E F E R E N C E

SOURCES OF CONTENT

E L B A T

CONTENTS F O

“Those will have gardens of perpetual residence; beneath them rivers will flow. They will be adorned therein with bracelets of gold and will wear green garments of fine silk and brocade, reclining therein on adorned couches. Excellent is the reward, and good is the resting place.”

(Al Kahf 18:31)

PROJECT OVERVIEW OBJECTIVE Once, Malaysia was a rich country with traditional handicrafts. As time pass by the handicrafts are forgotten by new generations. Many types of art and crafts are on the verge of extinction such as kris, songkok, cane furniture, Wau, pottery, and wood carving.

However, through IIUM+USIM LIGHT: Leadership programme at the Gombak District, few forgotten art and craft are identified.

This project is inline with SDG 8: Descent Work and Economic Growth and SDG 11: Sustainable city and Communities,

ABOUT BATIK

Regarding the project, the art and craft handiwork center is a specialist in batik production.

Batik is a technique for decorating textiles using wax as a resist. Batik is an antique style of art derived from the Javanese terms amba (to write) and titik (to dot). Some have even described it as wax writing or drawing with a broken line. Batik is essentially a created cloth that requires the careful and repetitive process of waxing, dyeing, and boiling.

CLIENT

Name : Farah Mohan

which will help Gombak communities

Occupation : Full time batik

to sustain

maker specialist in batik art

heritage business and increased

Social media platform:

country revenue in terms of heritage

novakbatik

tourism. Due to

farahmohan

Covid-19 pandemic, many craft makers’ losses their job. Hence, this

Preference :

centre will serve as

-more to contemporary design with

a catalyst that provides job

traditional elements

opportunities for the local

-have a lot of greenery and landscaping

communities.

-emphasize on privacy space for her own private work space

Case Studuy 1 PROJECT NAME : KUALA LUMPUR CRAFT COMPLEX LOCATION : JALAN CONLAY, KUALA LUMPUR AREA : 44 677 SQM ARCHITECT : HAJEEDAR AND ASSOCIATES SDN BHD (HAS) PROJECT YEAR : 1993

INTRODUCTION Overview and Objective

Kuala Lumpur Craft Complex (KKKL) is a tourist destination located in the heart of Kuala Lumpur. It is managed by the Malaysian Handicraft Development Corporation, an agency under the Ministry of Tourism and Culture Malaysia. This complex has brought together traditional and modern contemporary handicraft products from all over the country.

The objective of the establishment is as a

It is established based on four concepts

"one-stop craft center" for tourists from

which

within and outside the country where

enculturation, and accommodation. With

visitors

to

this, the visitors by themselves can

experience, taste, and see local handicraft

explore the lifestyle of Malaysian society

products. Unlike other shopping malls,

which is full of the glory of craft art for

KKKL provides an environment that is

generations.

have

the

opportunity

characterized by traditional Malaysian culture.

include

education,

marketing

CONCEPT Guiding principles and Research

Kuala

Lumpur

craft

complex

featuring the Malay Terengganu architectural design incorporating the influence of contemporary design.

It introduced a panoramic view of the countryside with a Malaysiathemed landscape that made the building different and contrast from other prestigious shopping malls around Kuala Lumpur.

Due to that, it has attracted visitors to the complex to feel the rural atmosphere free from the hustle

and

bustle

metropolitan city.

of

the

USER EXPERIENCE Psychological and Sociological aspects

The Kuala Lumpur Craft Complex has an integration construction

APPRECIATION

OF THE PAST

Terengganu

between and

contemporary

elements

traditional

of

house.

Malay The

architect maintains the shape of the roof of the complex that reflects the Malay Terengganu traditional house. It can be seen toward the entrance of the main building that can create a sense of welcome to the visitors.

Even though the complex uses modern construction and material, the design of the complex still implements the features of Malay traditional houses such as the complex is built on the stilted application like most traditional Malay houses.

Also, the part of the walls, windows, and doors

of

the

complex

decorated

by

traditional motif wood carving enhances the beauty of the facade. Indirectly, the design of the complex not only reflects the identity of

the

owner

but

also

allows

the

appreciation of the culture and history of the past to the users.

The integration of heritage elements and materials with contemporary design give the uniqueness and subtlety of the architecture the building

Traditional Malay Craving cladding to the walls as facade treatment enhance the uniqueness of the building

Space for engagement between artist and visitors

Village atmosphere with the implementation of Malay Traditional House design is a step to culture resurrection

USER EXPERIENCE Psychological and Sociological aspects

Craft Village, located outside the main building

of

the

Kuala

Lumpur

craft

complex, is a place dedicated to the production of craft products such as batik, ceramics, metal, and pewter.

Visitors may observe and understand how

CONNECTION

OF ARTIST & VISITOR

the artwork is made, as well as how the artist

expresses

their

thoughts

and

inspirations in a range of materials, styles, and shapes, in this space.

Visitors may also create their own artworks with the assistance of the artists. Indirectly, it creates engagement and interaction between artists and visitors.

Aside from that, the mood formed by the architecture and landscapes that imitate the ambiance of traditional Malay houses will give visitors the impression of being in a village.

USER EXPERIENCE Psychological and Sociological aspects

The Kuala Lumpur Craft Complex is built incorporating nature. This complex has lush landscaped gardens, greenery, and trees spread over the site. It creates

SENSE

OF HOME

contrast with the surrounding context of the site which is full of buildings and constructions.

This not just minimizes the solar heat gain and acts as a natural cooling system of the complex, but it also can give an impact on the users.

The users can feel calm and can release their stress from the busyness of the city when they come to this complex. Also, the landscape of the garden in the complex features a panoramic view of the countryside that can create a feeling of homeliness, warmth, and belonging to the users.

Courtyards full of greenery creates a perfect sense and cozy environment

Gazebo is provided around the complex act as a space for socializing and interacting

ARCHITECTURAL EXPRESSION Structure, Materiality and Sustainability

The Kuala Lumpur Craft Complex was constructed using reinforced concrete posts and beams for frame structure. Post and beam system means the loads or forces that are coming from the top of the structure are transferred to the column through the beams, then down to the foundation, and then to the supporting soil beneath.

The brick wall is used to form the external walls and internal partitions of the building.

And it is covered by plaster and also the skim coat for wall finishes. At the exterior wall of the complex, it has timber Malay carvings that clad to the wall that acts as a facade treatment to the building .

ARCHITECTURAL EXPRESSION Structure, Materiality and Sustainability

The roof of the Kuala Lumpur Craft Complex is

inspired

by

the

Malay

Terengganu

traditional house. The complex uses steel trusses for the roofing structure. The steel truss is strong and can be very sturdy if it is installed neatly. It is also cheaper and lighter compared to other materials such as timber and concrete which makes it easier to handle.

Then, the roof is finished with clay tiles for the outer cladding. Clay roof tile is widely used in Malaysia because it is suitable for climate conditions. Clay tile Terengganu Malay Traditional House

gives better thermal comfort to the users. It also maximizes the aesthetic value of the roof with its natural and long-lasting earth color. The textures and patterns produced by the arrangement of tiles also have a huge impact on the beauty of the roof that attracts bystanders. The fascia and external ceiling made of wood also give a neat appearance, and the color blends well with the color of the roof tiles.

Case Studuy 2 PROJECT NAME : THE NATIONAL VISUAL ART GALLERY LOCATION : JALAN TEMERLOH, OFF JALAN TUN RAZAK, KUALA LUMPUR AREA : 13000 SQM ARCHITECT : MAA ARCHITECT, DATO MIR SHAHRIMAN PROJECT YEAR : 1998

INTRODUCTION Overview and Objective

On August 28, 1958, a year after Malaysia gained

independence

from

the

British

territory, the National Art Gallery was formed.

This gallery is a constitutional entity that receives yearly funding from the Ministry of Tourism, Arts and Culture. To host its subsidiary arts programs, this gallery has received grants from corporate entities and sponsors.

The main goal of the national art gallery would be to present exhibits from within and outside the country, hold seminars, workshops, and other art competitions and activities, and work to expand its fixed collection, which currently numbers over 2,500

works,

to

raise

community

awareness and appreciation of the arts.

To put it another way, it aspires to develop expertise and build a national art collection.

CONCEPT Guiding principles and Research

The National Visual Art Gallery combines vernacular revivalism and modernist expressionism, with traditional Malay architecture influences yet structured in a modernistic manner. Traditional Malay architecture was incorporated into vernacular revivalism as a reaction to the government's need to display a national architectural identity.

The National Visual Art Gallery has executed this through the restrained usage of the long ridge roof, which was inspired by the traditional Malay mansion "Rumah Gajah Menyusu."

While

the

gallery's

modernist

manifestation may be found in the structuralizing

of

the

abstract

extraction of conventional metaphor and form.

Rumah Serambi Gajah Menyusu

USER EXPERIENCE Psychological and Sociological aspects

The roof of the national visual art gallery combined contemporary lines with aspects of traditional Malay architecture known as " Rumah Serambi Gajah Menyusu," which

SENSE

OF IDENTITY

is distinguished by a high and low roof that evokes the picture of a suckling elephant.

This roof was created to fit the Malaysian culture

and

environment

which

is

providing shade, rain protection, and ventilation.

Elevation of the National Visual Art Gallery

The exterior of this gallery is coated in contemporary metallic and glass tiles while maintaining the character of Malay architecture by integrating the traditional long ridge roof. This structure stands out with clean contemporary lines and a light blue origami-style metallic roof, which blends traditional Malay architecture with clean modern lines. It also gives a sense of identity to the user when they see the facade of the national visual art gallery.

Elevation of "Rumah Serambi Gajah Menyusu"

The use of modern materials and form with traditional elements gives new breath in promoting the culture

The architecture of gallery respond well to Malaysia climate

The exhibition space follows the current trend provide attraction to the young generation

The sitting area provided to visitors to rest while enjoy viewing the artwork

USER EXPERIENCE Psychological and Sociological aspects

The interior facades of the galleries are painted white to retain their neutrality and allow the artwork to take center stage. The contrast between the pure white wall and the famous artworks on display in the museum will draw attention visitors toward the paintings' beauty and understand the hidden gallery's

meaning

behind

white-washed

them.

walls

EXPRESSION

OF THE ART

The

likewise

exude a feeling of purity and beauty.

The exterior façade on the side of the building, in contrast to the interior façade, which produces an attractive and polished environment, exudes a passionate artistic emotion.

Graffiti murals which adorn the exterior walls, for example, are far more flamboyant and outrageous than fine art in galleries.

In addition, the exhibitions always change depending on the theme and the artworks which are produced by artists in the various forms of expression in paint, design, and other art forms give inspiring to be seen, make this gallery somewhere to visit repeatedly.

USER EXPERIENCE Psychological and Sociological aspects

The ramp dominates the middle space of the main lobby, greeting guests as they pass through the reception area and into

CREATING

NEW EXPERIENCE

the gallery.

Polished

wooden

flooring

and

warm

lighting in the inside employ special lighting to create a nice environment, and the interior shape is much more flowing and

fluid,

enhancing

the

building's

modernist design.

The spiraling ramp that connects the three floors generates a sense of unity in the structure. The ramp's large magnitude slows the user's speed and allows them to appreciate the building's beautiful and exquisite atmosphere. This ramp is also not simply a way to link floors; it's also space where users may immerse themselves in a whole new level of experience.

On the ground floor of the ramp, it has a large space that acts as a space for socializing among the users. There are a lot of engagement activities can do in this area.

The fluidity of the ramp gives a sense of enjoyment to visitors

Large space at the ground becomes a multipurpose space and acts as an engaging space

ARCHITECTURAL EXPRESSION Structure, Materiality and Sustainability

The national visual art gallery is built on a column and beam construction, which is a modified version of the traditional Malay house's "post and lintel" construction.

To establish a concrete skeleton structure for a building, precast columns are aligned per

row

and

supported

by

precast

prestressed floor beams. They're all lined up in a row, with some of them attached to the wall as part of the art piece's background. It is maintained white to preserve neutrality and allow the artwork to take center stage.

The gallery's interior is mostly white, with white-plastered concrete and white tiles, notably in the galleries, where all of the floorings are subdued in white to focus on the

artwork

and

create

the

greatest

atmosphere for artificial lighting of the artwork. Apart from the gallery, the ramp and corridors are also white-plastered to give the gallery a sense of beauty, purity, and modernism.

The facade of the gallery is coated in white and blue aluminum panels. Aside from its contemporary appeal, aluminum is also a highly robust and weather-resistant material, making it a fantastic choice for the outer facade.

ARCHITECTURAL EXPRESSION Structure, Materiality and Sustainability

The roof of the national visual art gallery is made of a vaulted parallel chord steel truss.

The trusses have parallel top and bottom chords and merge in the center ridge to produce a characteristic "A" frame shape, with the center of the roof left unoccupied for maximum air ventilation, like in a traditional Malay house.

Vaulted Parallel Chord Steel Truss

Steel-framed glass windows were used in the roof to enable natural light to enter and give the normally closed-off museum a feeling of transparency. The gallery maintains its modern appearance by using glass windows across the facade and rooftop.

The

buildings'

windows

are

entirely coated and glazed to avoid direct sunlight,

which

uncomfortable

glare

can and

produce a

rise

in

temperature, due to Malaysia's hot, sunny weather.

Aluminum tiles in a light blue tint are used to complete the roof. The light bluecolored tiles come in a variety of hues, which creates a fascinating visual pattern while also blending in with the tinted reflecting glass.

Studies of Background & Concept

BACKGROUND STUDIES Human and Culture

Art and craft handiwork center located at Kampung

50-59 8.7%

Pusu, Gombak Selangor. Kampung Sungai Pusu is a small village located near the main campus of International Islamic University Malaysia (IIUM).

70+ 2.2%

0-9 17.6%

40-49 13.2%

This village has approximately more than 700

10-19 17.3%

people that consist of Malays, Chineses, Indians, and also orang Asli. The major people who live in this village are the students aged between 20 to 29 years old. It also has government workers, private sectors, farmers and also retired people that live together in this village.

30-39 17%

20-29 23.4%

Age Distribution of people live in Kampung Sungai Pusu

IIUM

The site is surrounded by fields of business, education, sports, and workshops. There are lots of shops around the site and IIUM is one of the nearest institutions to the site which is occupied by lecturers and students. There are also sports places and workshops nearby.

The frequent activities of people around the site location are daily prayers for Muslims, daily commercial, cycling in the morning and evening, exercise, and study.

BACKGROUND STUDIES History of the site

In the 1800s, Gombak was first established by Minangkabau immigrants that came from West Sumatra, Indonesia. The first settlement started at Kampung Padang Balang by Datuk Balang, a Minang Datuk Ampat, around 1820 to 1830. He led a group of Batang Kapas Minangkabau refugees from the Dutch Invasion which occurred in West Sumatra, Indonesia. Datuk Balang and his Batang Kapas followers arrived in Sungai Ujong first, before they moved together with a group of Payakumbuh people from Negeri Sembilan to the north of Kelang in the late 1820s to establish a new settlement in Ulu Kelang (Kuala Lumpur), today known as Gombak. From that, they established Padang Balang in 1830 and it became the first village in Kuala Lumpur's Gombak district.

From there, the spread of the Minangkabau people began throughout Gombak. This is due to the nature of the Minangkabau people who love to travel and explore so that new settlements have been established around the Gombak area such as Kampung Changkat, Kampung Tengah, and Kampung Simpang Tiga.

After a few years, Kampung Sungai Pusu was first opened in 1958 by Orang Besar Daerah Gombak iaitu YAD Tan Sri Datuk Paduka Raja Haji Wan Mahmud Pa’Wan Teh and first occupied in the early 1960s. It is also said that there are settlements of Minangkabau

Location of Gombak District in Selangor

people living in this village.

This can be evidenced by the Minangkabau dialect which is used as the daily language and some customs and philosophies that are still the culture of life among Gombak locals.

However, due to the rapid development and housing in Gombak, this culture and dialect are rarely practiced nowadays, especially among the younger generation. It is only practiced among older generations. If this happens over a long period of time, it is feared the Minangkabau culture cannot be traced anymore in Gombak and it can lead to loss of cultural diversity.

USER STUDIES Target and Behaviour

ARTIST Will be the working hands of the project, working on all workshops and products.

STAFF Will responsible for managing and organizing the whole center.

TOURIST Can be from local or overseas that want to learn and understand about the culture and batik. They also can increase the income of the center by selling the batik products.

YOUTH A generation that will ensure continuous culture and batik production from lost through understand and learn about it. Most of them are students.

ARTIST

STAFF

TOURIST

YOUTH

SPATIAL REQUIREMENT : 1) Production space

1) Working space

1) Learning space

1) Learning space

- Workshop

- Office

- Workshop

- Workshop

-Seminar room

-Seminar room

-Lounge

2) Resting space

2) Resting space

-Cafe

-Cafe

-Cafe

-Studio -Changing room 2) Resting space

2) Resting space

-Lounge -Cafe

3) Economy space -Souvenir shop HOURS OF USAGE :

8AM - 6PM

8AM - 6PM

10AM - 5PM

10AM - 5PM

CONCEPT Guiding principles and Research

The art and craft handiwork center features vernacular revivalism incorporating contemporary expressionism. The center responded to the history of the location of the site that is Gombak which was first established by Minangkabau immigrants that came from West Sumatra, Indonesia in the 1800s.

Due to that, the center implements the Minangkabau architectural elements into the design to the resurrection of the origin history and culture which is increasingly forgotten by the people, especially the younger generation.

Rumah Gadang

The architect is interested in using

The linearity of the response well toward the

linearity as the concept of this art and

axis of the wind that comes from the

craft center. This was inspired by the

northeast of the site. However, because of

linearity

the

the irregular shape of the site, the form of

Minangkabau house known as Rumah

the center has a slightly irregular shape but

Gadang which is the traditional home of

it does not make a problem to achieve the

the Minangkabau in West Sumatra,

concept of linearity.

of

the

planning

of

Indonesia.

W

D IN D

IR E

CTI

ON

Plan Layout

Design Consideration

SPATIAL CHARACTER Layout and Design components

GALLERY

LOBBY GAZEBO

WO

H RKS

OP DROP OFF

SH

OP CA

FE

PARKING PARKING

IN OUT

OUT

GROUND FLOOR PLAN

SEMINAR ROOM

STUDIO ROOM

MUSOLLA

FIRST FLOOR PLAN

SPATIAL CHARACTER Layout and Design components

SECOND FLOOR PLAN

USER EXPERIENCE Psychological and Sociological aspects The first impression of the users toward the building is very important to draw attention and attraction to come and visit

CREATING

THE IMPRESSION

the building. This can succeed through utilizing the exterior facade of the building in creating an impression to the users. It is because the facade of a building is the first thing that people see before they go inside of the building. Because of that reason, the art and craft handiwork center uses the facade of the building to give an impression to the users.

By applying Minangkabau architecture elements

incorporated

with

the

contemporary lines make the facade of the building more aesthetic and unique. The hornlike roof structure of the center inspired by Rumah Gadang reflects the culture and values of the Minangkabau. It indirectly creates this center contrasting with the design of housing surrounding the site which uses a typical contemporary house design. It became an opportunity for Construction components in Rumah Gadang

the center to attract visitors to the center.

Also, the use of modern materials such as metallic for roofing and glass tiles while maintaining the character of Minangkabau architecture by integrating the hornlike roof structure can stand out and enhance the aesthetic of the building. It also reflects its progression of being a modernist building yet retaining the tradition through the construction method.

USER EXPERIENCE Psychological and Sociological aspects

carved wooden wall panels with batik motif at the facade of the centre as daylight filtering devices and allow the ventilation

use white metallic for roofing to

Architecture expression inspired

creates a fascinating visual

from Minangkabau Architecture

pattern

to give sense of identity

Proposal for Architecture Expression

USER EXPERIENCE Psychological and Sociological aspects

A social space is a gathering place where people can gather and interact. To

CREATING

THE SOCIALIZING

achieve a successful building, providing social space is compulsory to consider in design layout. It is because this space will connect all the users of the building to get interaction and get to know each other.

For the art and craft center, the architect identified that the cafe is the best location to connect all users of the center such as artists, staff, and visitors. The cafe of this center not just provides food for the users but also acts as a meeting and socializing area. The users will chat about all kinds of subjects including work-life in this area.

The location of the cafe is located at the strategic place at this center that serves well its functionality to engage the users. The cafe is located near the road and parking lot. It is accessible for visitors from outside to go there to eat right here. It also reflected Malaysian culture that loves to eat at "Warong" or Mamak restaurants. One of the reasons is the location of the restaurants near the road makes it easier for customers to find restaurants and easier to park their vehicles.

USER EXPERIENCE Psychological and Sociological aspects

GARDEN

WORKSHOP

PARKING

Location of Cafe Also, due to this cafe becoming a place of communication, background noise that comes from here can be irritating and disturb other spaces such as workshop and office. To solve this problem the cafe was located far at the end of the center. Hence, it will minimize the noise that can disturb other spaces.

In addition, the cafe of the art center is integrated with the garden that can help to provide the perfect atmosphere of the space. It is good for the users, especially staff and artists, to go there to relax and chill from work fatigue. By integrating with the garden also can help the user to change their state of mind immediately.

USER EXPERIENCE Psychological and Sociological aspects Connecting with the audience is one of the most important things about being an artist. The artists not only get to know more people but also can grow the network

exponentially

through

conversation two-way between artists and the audience. The network between the audiences becomes important due to it

CREATING

THE NETWORK

being a step to promote the artwork to other people. The artists without the audience, their artwork doesn't go far.

Due to that, as a step to connecting

between

the

audience and artists in this art

g& k in s o a in g d ry

and craft center that specializes col

our

in batik production, workshop

in g d ra

t ja

w in

g

ng n ti

space context,

is

provided. the

In

this

audience

that

intends to be connected is the Location of Workshop

visitors that visit the center.

The workshop is located adjacent to the lobby for convenience for visitors to access the workshop. In this workshop, visitors can see by themselves and learn how the batik production is done. The visitors also can directly ask the question to the artists in the workshop if they have doubts as to the art produced. This indirectly creates conversation and engagement between the visitors and artists.

Also, The layout of the workshop is arranged according to the order of batik making from painting to soaking and drying the batik fabric. This can give visitors a clearer understanding of the flow of batik production.

USER EXPERIENCE Psychological and Sociological aspects

Feeding the visitor with the experiences

CREATING

NEW EXPERIENCE

can make the building successful. Due to that, the art and craft handiwork centre provided the space and batik kit for visitors to experience by themself to do the batik production.

This Space is located at the gazebo outside of the building. Integrating this open space with nature with different experiences to the visitor and at the same time allow the visitor to get fresh air when doing the batik is good for mental health.

Gazebo design is influenced by the Minangkabau element and can increase the uniqueness of the landscaping of the Location of Gazebo

site.

References Adya, A. (2015, June 17). Penghijrahan Orang Minang ke Kuala Lumpur - Kompasiana.com. KOMPASIANA. https://www.kompasiana.com/afandri_adya/552f99276ea83405768b45b3/penghijrahan-orang-minang-kekuala-lumpur Wikipedia contributors.

(2021a, April https://en.wikipedia.org/wiki/Gombak_District

20).

Wikipedia contributors.

(2021b, May 8). https://en.wikipedia.org/wiki/Kampung_Padang_Balang

Kampung

Masjid Kg Sungai Pusu. (n.d.). http://masjidkgsungaipusu.blogspot.com/

Masjidkgsungaipusu.

Gombak

Padang

Retrieved

District.

Balang.

June

15,

Wikipedia.

Wikipedia.

2021,

from

KUALA LUMPUR CRAFT COMPLEX. (n.d.). Official Portal Malaysian Handicraft Development Corporation.

Retrieved June 15, 2021, from https://www.kraftangan.gov.my/en/craft-complex/kuala-lumpur-craft-complex Homepage – National Art Gallery. (n.d.). National Art Gallery. Retrieved June 15, 2021, from https://www.artgallery.gov.my/?page_id=15&lang=en