AAR 2244 PROJECT 3: CULTURAL INFLUENCE ON BUILDING DESIGN

AAR 2244 CULTURE AND HUMAN BEHAVIOUR IN THE BUILT ENVIRONMENT

PROJECT 3: CULTURAL INFLUENCE ON BUILDING DESIGN

AHMAD IZZUDDIN BIN IBRAHIM | 1916069 | SECTION 1

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table of content

INTRODUCTION SITE BACKGROUND CASE STUDY 1 CASE STUDY 2 CASE STUDY 3 CASE STUDIES SYNTHESES USER STUDY - STAFFS - ARTISAN - PUBLIC USERS DESIGN CONSIDERATION

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INTRODUCTION

THIS ASSIGNMENT IS THE INTEGRATION BETWEEN CULTURAL AND BEHAVIOR STUDY OF PEOPLE WITH THE DESIGN PROJECT. THREE CASE STUDIES WERE CHOOSEN AS TO ANALYZE HOW THE BUILDINGS RESPOND TO THE CULTURE AND BEHAVIOUR OF THEIR USERS. THE SYNTHESES OBTAINED FROM THESE CASE STUDIES WILL BE APPLIED TO THE DESIGN PROJECT OF THE ART AND CRAFT CENTER FOR KERIS PRODUCTION.

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SITE BACKGROUND SITE A: KERIS

KEY PLAN

LOCATION PLAN

SITE PLAN THE PROPOSED SITE IS LOCATED NEAR MAHALLAH BILAL IIUM, GOMBAK, SELANGOR. THE SITE AREA IS 2000 SQM WITH THE BOUNDARY OF 40m X 50m.

THE SITE IS SURROUNDED BY TREES WITH THE WIND MAINLY COMES FROM THE NORTH AND WEST OF THE SITE. THE SITE IS GENERALLY FLAT WITH A BIT SLOPE AT THE WEST PART. IT HAS 360° BEST VIEW THAT FACING MAHALLAH BILAI AT THE WEST AND CALMING GREEN VIEW OF THE TREES AT THE NORTH, EAST AND SOUTH.

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CASE STUDY 1 KUALA LUMPUR CRAFT COMPLEX

THE FIRST CASE STUDY IS ONE OF THE FAMOUS ART AND CRAFT CENTER IN MALAYSIA WHICH IS KUALA LUMPUR CRAFT COMPLEX THAT LOCATED AT THE HEART OF THE CITY OF KULA LUMPUR. THIS COMPLEX ATTRACTS THE LOCAL AND FOREIGN VISITORS BY DISPLAYING A LOT OF PENINSULA AND BORNEO CRAFT PRODUCTS. THE BUILDING WAS GREATLY INFLUENCED BY MALAY TERENGGANU ARCHITECTURE STYLE. IT IS GENERALLY CONSISTS OF FOUR SEPARATE BUILDINGS WHICH ARE EXHIBITION HALLS, MUSEUM, SHOPS AND WORKSHOPS TO ACCOMPLISH ITS FUNCTION FOR EDUCATION, MARKETING MALAY CULTURE AND ACOMODATION PURPOSES.

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ANALYSIS HAS A VERY GRAND ENTRANCE THAT EXTENDED OUT OF THE BUILDING AS A SYMBOLISM OF VERANDA OF TRADITIONAL MALAY HOUSE IS THAT ATTACHED TO RUMAH IBU. THE VISITORS WILL INITIALLY ACCESS THIS GRAND ENTRANCE FIRST BEFORE THEY CAN GO INSIDE THE MAIN BUILDING OF THE COMPLEX. THIS COMPLEX APPLIED TRADITIONAL MALAY ARCHITECTURE TO SYMBOLIZE AND REVITALIZE MALAYSIAN CULTURE SUCH AS THE USE OF TIMBER, MALAY PITCH ROOF DESIGN AND ALSO LOT OF WOOD CARVING PATTERNS AS A DECORATION FOR THE WALL AND INTERIOR.

AS TO EXPOSE THE VISITORS TO MALAY CULTURES, WIDE GALLERY HALL WAS DISPLAYING ALL KINDS OF ART AND HANDICRAFT PRODUCTS FOR EXHIBITION AND EDUCATION PURPOSES. USE OF TRANSPARENT GLASS BOXES FOR THE CRAFTS THAT NEED MORE PROTECTION AND NOT ALLOWED TO BE TOUCHED BY VISITORS.

PLAYABLE WORKSHOP AREA FOR THE ARTISANS TO DO THEIR CRAFT WORKS AND FOR THE VISITORS TO TRY TO DO CRAFTS FOR FUN AND EDUCATION PURPOSES.

PLAYABLE OUTDOOR AREA WITH NATURAL FEATURES THAT FUNCTION AS A PLACE TO HANG AROUND TOGETHER WITH FAMILY OR FRIENDS AND TO ACHIEVE THE HOPE OF URBAN PEOPLE TO SEE MORE CALMING GREENERIES SCENERY.

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CASE STUDY 2 AN' GARDEN CAFE/ LE HOUSE

THE SECOND CASE STUDY IS AN' GARDEN CAFE THAT IS LOCATED AT VAN QUAN, VIETNAM. THE CONCEPT COMES FROM IMPROMPTU HANGING PLANT POTS WHICH CONJURING A VISION OF A DREAMLIKE HANGING GARDEN THAT FUNCTIONS AS AN EXCLUSIVE COFFEE CAFE FOR THE VIETNAMESE. THE DESIGN RESPONDS TO THE CULTURE OF VIETNAM PEOPLE THAT LIKE TO DRINK COFFEE AS VIETNAM IS WELL-KNOWN TO BE ONE OF THE LARGEST COFFEE PRODUCER. THE CAFE DESIGN EXPRESS BOTH INDUSTRIAL STYLE AND DOMINATES OTHER SPACE DESIGN PRINCIPLE OF TRADITIONAL CAFE SHOPS THAT CAN BE FOUND ON ANY VIETNAMESE STREETS.

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ANALYSIS GENERALLY, THE CAFE WAS DIVIDED INTO TWO PARTS WHICH ARE INDOOR CAFE AND OUTDOOR CAFE ( ON THE GROUND FLOOR AND SECOND FLOOR)

GROUND FLOOR

FIRST FLOOR

THE HANGING TREES ARE USED AS THE GREEN ELEMENTS WITHIN THE CAFE AND TO SYNCHRONIZE WITH THE GREENERIES OUTSIDE THE CAFE.

SECOND FLOOR INDOOR CAFE

HANGING TREES

OUTDOOR CAFE

VOID

THIS CAFE IS DIALOGICAL IN WHICH ALLOWS THE USERS TO HAVE A CASUAL CHATTING INSIDE IT.

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ANALYSIS OUTDOOR CAFE ALLOWS THE USERS TO ENJOY THE BEST VIEW OUTSIDE THE CAFE AND DIRECTLY GET FRESH AIR. MINIMALIST AND COMFORTABLE FURNITURES WITH CALM CAFE ENVIRONMENT ALLOWING THE PEOPLE TO FIND INSPIRATION AND IDEAS OR TO DO THEIR WORK PEACEFULLY.

EXCELLENT CHOICE OF COLORS THAT FULLY UTILIZE THE EARTH COLOR TO PROVIDE A CALM AND HARMONIOUS ENVIRONMENT FOR THE USERS. THIS IS ACHIEVED BY SYNCHRONIZING COLORS FROM DIFFERENT OBJECTS SUCH AS THE WHITE-GREY COLOR OF THE CEMENT WITH THE BROWN WOOD COLOR, THE BLACK COLOR OF STEEL FRAMES AND WARM YELLOW LIGHTING. A FULL GLASS WALL WAS USED AT THE FRONT OF THE BUILDING TO ALLOW NATURAL DAYLIGHT AND WIDE SIGHTSEEING FROM INSIDE TO OUTSIDE THE CAFE. THE CAFE INTERIOR WAS DESIGNED WITH TRIPLE VOLUMES TO ALLOW STACK VENTILATION OCCURRED IN THE CAFE AS WELL OFFERING THE USERS AN OVERVIEW OF EVERY INCHES AND DIMENSIONS OF THE ENTIRE CAFE FROM UPPER FLOORS.

APPLICATION OF DECORATIVE AND HARMONIUS STEEL FRAME ANGULAR FACADE ON THE GLASS WALL TO SYMBOLIZES THE BAMBOO TREES WHICH IS A SIGNIFICANT SYMBOL OF VIETNAMESE CULTURE. BAMBOO REPRESENTS PEACE OF MIND AND A BALANCE OF POSITIVE AND NEGATIVE ENERGY IN THE ENVIRONMENT.

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CASE STUDY 3 ISTANA BUDAYA

THE THIRD CASE STUDY IS ISTANA BUDAYA (PALACE OF CULTURE) THAT LOCATED IN KUALA LUMPUR AND NEXT TO THE NATIONAL ART GALLERY. IT IS ALSO CALLED AS MALAYSIAN NATIONAL THEATRE. ISTANA BUDAYA IS HIGHLY AND EASILY ACCESSIBLE DUE TO ITS STRATEGIC LOCATION THAT IS LOCATED IN THE CENTRAL BUSINESS DISTRICT OF KUALA LUMPUR. AS A NATIONAL CULTURAL COMPLEX, THE DESIGN OF ISTANA BUDAYA FOR SURE ASSIMILATES AND REPRESENTS MANY TRADITIONAL MALAY CULTURAL ELEMENTS WITH THE COMBINATION OF MODERN ARCHITECTURE STYLE. IT CAN BE NOTICED BY THE LAYOUT OF THE FLOOR PLAN, ROOF DESIGN AND SPACE ORGANIZATION. THIS BUILDING AIMS TO ENSURE HIGH QUALITY THEATRE PERFORMANCE AND RAISE THE STANDARD OF ART PERFORMANCE AND SENSE OF ART APPRECIATION.

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ANALYSIS ISTANA BUDAYA FLOOR PLAN WAS INSPIRED BY THE SHAPE OF WAU BULAN, ONE OF THE TRADITIONAL MALAY KITES. THE WAU BULAN SHAPE WAS TRANSLATED AND SIMPLIFIED INTO TWO GEOMETRICAL SHAPE (DIAMOND SHAPE).

THE OVERALL SHAPE OF THE BUILDING REPRESENTS THE SHAPE OF SIRIH JUNJUNG. SIRIH JUNJUNG (TRADITIONAL ARRANGEMENT OF BETEL LEAVES) IS ONE OF THE MALAY CULTURAL HERITAGE THAT IS USED DURING PROPOSALS, WEDDINGS AND CEREMONIES.

EMPHASIS ON TRADITIONAL MALAY HOUSE ARCHITECTURE CAN BE SEEN BY SPATIAL ORGANIZATION OF ISTANA BUDAYA THAT CONSISTS OF THREE MAIN SPACES WHICH ARE PUBLIC, SEMI PUBLIC AND PRIVATE SPACE. ISTANA BUDAYA LOBBY REPRESENTS THE TRADITIONAL VERANDA, AUDITORIUM AS RUMAH IBU AND REHEARSAL AREA AS RUMAH DAPUR. LOBBY (PUBLIC)

AUDITORIUM (SEMI PUBLIC)

APPLICATION OF REPETITION AND RYTHM DESIGN PRINCIPLES ON THE ROOF DESIGN WITH DIFFERENT SIZES AND ORIENTATIONS. THE COMBINATION BETWEEN TRADITIONAL MALAY PITCH ROOF WITH MODERN ARCHITECTURE STYLE USING FOLDING METHOD CREATE A HARMONIUS FACADE AND ELEVATION FOR THE BUILDING.

REHEARSAL AREA (PRIVATE)

ION

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CASE STUDIES SYNTHESES GRAND ENTRANCE

BASED ON THE CASE STUDIES, THE ENTRANCE SHOULD HAVE A GRAND AND GOOD SENSE OF ENTRANCE TO WELCOME THE VISITORS GOING INSIDE THE MAIN BUILDING.

SPACE PLANNING

THE BUILDING MUST BE DIVIDED INTO THREE MAIN PARTS WHICH ARE PUBLIC, SEMI-PUBLIC, AND PRIVATE SPACES. THIS SUITS CULTURE OF MALAY PEOPLE THAT REALLY EMPHASIZES ON THE PRIVACY AND MANNERS. THE SPACE ORGANIZATION MUST BE DESIGNED ACCORDING TO THE PRIVACY LEVEL OF THE SPACES. THE PRIVACY FLOW OF SPACES SHOULD BE FROM PUBLIC TO SEMI PUBLIC TO PRIVATE SPACES.

FACADE MATERIAL

IN ORDER TO KEEP THE TRADITIONAL MALAY CULTURE IN BUILDING DESIGN, LOCA MATERIAL SUCH AS TIMBER CAN BE USED AS THE FACADE OF THE BUILDING ALONG WITH THE TRADITIONAL CARVING PATTERNS TO DECORATE THE WALLS AND BUILDING INTERIOR. AT THE SAME TIME, FULL GLASS WALL CAN BE USED AT SOME SPACES TO ALLOW THE VISITORS TO ENJOY THE OUTDOOR SCENERY WHILE THEY ARE INSIDE THE BUILDING.

ROOF DESIGN

AS THE BUILDING IS SPECIFICALLY DESIGNED FOR KERIS, A PITCH AND SHARP ROOF IS SUITABLE TO REPRESENT THE SHARPNESS OF THE KERIS. THE SYMBOLISM OF THE SHARPNESS OF KERIS CAN BE ENHANCED BY COMBINING BOTH TRADITIONAL MALAY PITCH ROOF DESIGN WITH MODERN FOLDED ROOF STYLE IN ORDER TO CREATE SHARP LOOKING ROOF.

OUTDOOR CAFE

THE ART AND CRAFT CENTER SHOULD HAVE AN OUTDOOR CAFE FOR THE VISITORS TO HANG OUT AND HAVE A CASUAL CHATTING WHILE ENJOYING THE VIEWS AND GETTING FRESH AIR. OUTDOOR CAFE ALSO SHOULD HAVE GREEN ELEMENTS TO CREATE BALANCE BETWEEN BUILDING WITH NATURES.

PLAYABLE OUTDOOR AREA/ROOFTOP

THE OUTDOOR AREA OR ROOFTOP OF THE BUILDING SHOULD BE PLAYABLE SO THAT THE VISITORS ALSO ABLE TO DO ACTIVITIES OUTSIDE THE BUILDING IF THEY FEEL BORED BEING IN THE BUILDING FOR A LONG TIME.

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USER STUDY THE PROPOSED ART AND CRAFT CENTER IS SPECIFICALLY DESIGNED FOR KERIS PRODUCTION AND EXHIBITION PURPOSE. THE MAIN USERS OF THIS BUILDING ARE THE ADMINISTRATION STAFF AND ALSO THE ARTISAN WHO ARE SPECIALIZED IN PRODUCING KERIS. AS THE SITE LOCATION OF THE BUILDING LOCATED IN THE DISTRICT OF GOMBAK AND VERY NEAR TO INTERNATIONAL ISLAMIC UNIVERSITY MALAYSIA, THUS THE MAIN TARGETED PUBLIC USERS ARE INCLUDING THE SELANGORIANS AND THE STUDENTS (MAINLY FROM IIUM).

THE BUILDING ALSO AIMS TO BECOME MAIN KERIS ART AND CRAFT CENTER ATTRACTION FOR TOURISTS FROM INSIDE AND OUTSIDE THE COUNTRY. TIME USAGE: MONDAY - FRIDAY 8:00 AM TO 5:00 PM DOESN'T WANT ANY DISTURBANCE WHEN DOING THEIR WORKS

ADMINISTRATION STAFFS

WANT TO MONITOR & SEE VIEWS INSIDE AND OUTSIDE THE BUILDING

TIME USAGE: MONDAY - FRIDAY 8:00 AM TO 5:00 PM NEED A PRIVATE RESTING & MONITORING SPACE

ARTISAN: WORKSHOP WORKERS

WANT A COMFORTABLE SPACE IF THEY WANT TO STAY OVER NIGHT IN THE BUILDING

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LIKE TO HANG OUT (LEPAK) INSIDE OR OUTSIDE THE BUILDING (EX: MALL, PLATFORM, PLAZA

WANT TO SEE MORE GREEN VIEW AS THEY STAY IN CITY SURROUNDED BY BLOCKS OF BUILDINGS

PUBLIC USERS/ VISITORS

SELANGORIANS

LOVE TO SHOPPING

STUDENTS NATURE IS THEY LOVE TO HANG OUT TO RELEASE THEIR STRESS AFTER DOING ASSIGNMENTS EAGER TO LEARN SOMETHING NEW

IIUM STUDENTS

LOVE TAKING PHOTOS AND POST AT SOCIAL MEDIAS ALLOWED TO GO OUT FROM THE CAMPUS FROM 8:00 AM UNTIL 10:00 PM

LOVE TAKING PHOTOS LIKE TO SHOPPING AND BUYING SOUVENIRS AS THE MEMORIES

LOCAL AND FOREIGN TOURISTS

LIKE TO SHOPPING AND BUYING SOUVENIRS AS THE MEMORIES

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DESIGN CONSIDERATION 6

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1) THE LOBBY IS EXTENDED FROM THE BUILDING AS TO CREATE A GRAND AND WELCOMING ENTRANCE FOR THE VISITORS TO ENTER THE BUILDING. IT IS ALSO TO SYMBOLIZE THE VERANDA OF TRADITIONAL MALAY HOUSE THAT ATTACHED TO MAIN PART OF THE BUILDING.

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2) MAIN EXHIBITION HALLS AS THE HEART OF THE BUILDING DISPLAYING ALL STUFF RELATED TO KERIS.

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GROUND FLOOR 6) PRIVATE OFFIICE BETWEEN METAL WORKSHOP AND TIMBER WORKSHOP THAT FUNCTION AS A MONITORING AND RESTING AREA FOR THE ARTISANS (WORKSHOP WORKERS). IT ALSO FUNCTION AS A TEMPORARY HOME FOR THE ARTISANS IF THEY WANT TO STAY IN TN THE BUILDING.

7) OUTDOOR AREA THAT ALLOW THE VISITORS TO DO ACTIVITIES OUTSIDE THE MAIN BUILDING SUCH AS HANGING OUT, PLAYING WITH CHILDS AND TAKING PHOTOS.

3) SPECIAL EXHIBITION AREAS WHICH IS AN ENCLOSED SPACE WITH GLASS WALL FACADE ALLOWING THE VISITORS TO ENJOY BOTH EXHIBITION AND OUTDOOR GREENENRIES. 4) AS TO FULFILL THE BEHAVIOUR OF SELANGOR PEOPLE, STUDENTS AND TOURISTS WHO LOVE TO SHOPPING, A SOUVENIR SHOP WAS PROVIDED THAT OFFERS THEM A LOT OF SOUVENIRS.

5) GROUND CAFE WITH FULL GLAS WALL OFFERING THE VISITORS TO HANG OUT AND HAVE A CHIT CHAT WHILE ENJOYING FULL VIEW OF THE TREES AT THE WEST PART OF THE BUILDING. INTEGRATING DESIGN WITH NATURE BY PROVIDING GREEN ELEMENTS INSIDE THE CAFE AND BLENDING TH CAFE WITH OUTDOOR GREENERIES.

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8) OPEN OUTDOOR CAFE ON THE FIRST FLOOR OFFERS A BETTER VIEW OF THE CALM GREEN FOREST AT THE WEST OF THE BUILDING. OUTDOOR CAFE SUITABLE FOR THE VISITORS TO HANG OUT, HAVING A CASUAL CHAT AND FINDING INSPIRATION AND IDEAS.

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9) OPEN ROOFTOP AREA ON THE FIRST FLOOR FUNCTION AS A SIGHTEEING AND PHOTOGRAPHY PORT FOR THE VISITORS. BENCHES ARE ALSO PROVIDED FOR THE VISITORS TO TAKE A REST WHILE ENJOYING THE GREENERIES.

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FIRST FLOOR

10) TRIPLE VOLUME VOID AT THE CENTER OF THE BUILDING ALLOWS THE ADMINISTRATION STAFF TO MONITOR AND SEE THE VIEW OF THE LOWER FLOORS AT THE SAME TIME ENABLE THE PROCESS OF STACK VENTILATION AND ALLOWING THE DAYLIGHT FROM THE ROOF SKYLIGHT TO REACH THE GROUND FLOOR.

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SECOND FLOOR

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APPLICATION OF MODERN CONTEMPORARY ARCHITECTURE STYLE IN WHICH BY COMBINING ELEMENTS FROM BOTH TRADITIONAL MALAY ARCHITECTURE AND MODERN ARCHITECTURE.

12 11 10 FRONT ELEVATION 10) LOCAL AND TRADITIONAL MATERIAL WHICH IS TIMBER WAS USED AS THE CLADDING TO BECOME THE WALL FACADE OF THE BUILDING. BESIDES, TIMBER ALSO USED AS THE LOUVERS WHICH IS AESTHETICALLY BEAUTY AT THE SAME TIME HELPS TO AVOID DIRECT SUNLIGHT AND GLAZE.

11) GLASS WALL FACADE IS USED FOR THE VISITORS TO ENJOY THE OUTDOOR VIEW FROM INSDE THE BUILDING. GLASS WALL FACADES WAS USED AT CERTAIN SPACES THAT NEED VIEW AND DAYLIGHTING SUCH AS STAIRCASE AREA, CAFE AND ALSO WORKSHOPS.

12) THE COMBINATION OF MALAY TRADITIONAL PITCHED ROOF WITH MODERN FOLDED ROOF CREATES A PITCHED, SHAPRLOOKING, AND ANGULAR ROOF. THIS TYPE OF ROOF IS SELECTED TO REPRESENT THE SYMBOLISM OF THE SHARPNESS AND CHARACTERISTICS OF KERIS.

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THANK YOU

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