Measured drawings report

METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305) OLD STATE MUSEUM OF KEDAH ALOR SETAR JANUARY – MARCH 2017

The

Old State Museum of

Kedah

Declaration This report was submitted for the module ARC 1215 / ARC60305 - Methods of Documentation and Measured Drawings, to School of Architecture, Building & Design of Taylor’ s University to obtain 5 credits for Practicum 1.

It is a group effort by: Nik Ahmad Munawwar Nik Din

Loo Yee Pei

Benjamin Tan Zi Hern

Loong Bo Lin

Chang May Chen

Muhammad Zaim Bin Azmi

Low Chi Yin

Shum Li Sze

Chia Keh Chian

Tg Nabilah Diyana Binti Tg Mohd Amran

Chloe Teh Shu-Ern

Teo Kuo Chien

Chong Jia Yi

Vincentia Mutiara Kartika

Chong Wen Bin

Wee Sue Wen

Bachelor of Science (Honours) (Architecture) January 2017 Taylor’ s University Supervised by: Mohd Adib Bin Ramli

Abstract

The following report is produced in conjunction with the completion of the Methods of Documentation and Measured Drawings module, which documents the research, analysis and measured drawings of the Old State Museum building in Alor Setar, Kedah. Data collection pertaining to building measurements, historical information and visual documentation were conducted by a group of 16 architecture students from Taylor’s University throughout a period of five days on site. The Old State Museum was Kedah’s first purpose-built museum, completed in 1961. It now serves as the office for the museum administration as well as the Kedah Historical Society after the present museum building is completed. The building is a prime example of buildings built during the early years of Merdeka, of a nation still searching for a national identity. Hence, it provides an excellent platform for architecture students to study the historical progression of architecture in Malaysia.

ii

Acknowledgement The group would like to extend its utmost appreciation to the following individuals who have actively assisted throughout the group’s journey in completing this module.

First and foremost, our gratitude goes out to our lecturer, Mr. Adib, who had provided the group with immense support, including having the patience to put up with our antics, all the way from day one up until the completion of the project.

Our appreciation also goes out to Dr. Nor Hayati for carefully designing the module to be as beneficial as it is to our learning development. We have indeed gained a lot from the experience over the short period of time.

Finally, we would like to extend our appreciation towards Lembaga Muzium Negeri Kedah and Persatuan Sejarah Negeri Kedah and their officers for allowing us to conduct measurement and research activities on the museum grounds, and for providing us with significant amount of information to ease the research process.

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CONTENTS CHAPTER 1 1.1 The Old State Museum of Kedah 1.2 Objectives and Aim 1.3 Group Structure and Organisation 1.4 Timeline 1.5 Methods of Measurement 1.6 Equipments Used 1.7 Methods of Research 1.8 Literature Review 1.9 Significance of Study 1.10 Scope 1.11 Limitations

2 3 5 11 12 13 15 16 17 18 19

CHAPTER 2 2.1 Malaysia, Kedah and Alor Setar 2.2 Local Culture and Heritage 2.3 Kedah Historical Society 2.4 Museum of Kedah Development Timeline 2.5 Purpose and History of the Old Museum

21 24 26 27 28

CHAPTER 3 3.1 Site Context 3.2 Landscape 3.3 Architectural Influences 3.4 Refurbishment Into Administration Office

31 39 45 53

CHAPTER 4 4.1 Form 4.2 Spatial Planning 4.3 Symbolism

55 61 65

CHAPTER 5 5.1 Columns 5.2 Doors 5.3 Windows 5.4 Ceiling 5.5 Lighting 5.6 Wooden Carvings 5.7 Bronze Metalwork 5.8 Portico Ornamentation

67 68 69 71 71 72 73 75

CHAPTER 6 6.1 Structural Materials 6.2 Non-Structural Materials 6.3 Floor Covering & Finishing

77 79 89

CHAPTER 7 7.1 Timber Colonnade 7.2 Roof Timber Skeleton 7.3 Timber post beam & Floor Joists 7.4 Windows & Doors 7.5 Staircase 7.6 Others

95 96 101 102 106 109

CHAPTER 8 8.1 Operation And Functionality Of The Building 8.2 Exterior 8.3 Improvement Suggestions on Design

112 115 121

CONCLUSION GLOSSARY APPENDIX

123 125 133

LIST OF FIGURES CHAPTER 1 Figures

Page

Fig 1.01: Photo of the building as a museum

2

Fig 1.02: Group structure

5

Fig 1.03: Group members

5

Fig 1.04: Group members on site

6

Fig 1.05: List of subgroups and job distribution

6

Fig 1.06: Working in the laser cutting workshop

7

Fig 1.07: Measurement instrument on site

8

Fig 1.08: Measuring and recording data on site

8

Fig 1.09: Conducting and interview with Chairman of Kedah Hostorical Society, Dato’ Wan Shamsuddin

9

Fig 1.10: Model making in progress

10

Fig 1.11: Gantt chart

11

Fig 1.12: Sketching a template to record measurement

12

Fig 1.13: Using measuring tape to determine the run of a staircase

12

Fig 1.14: 30m measuring tape for medium length measurement

13

Fig 1.15: Laser measurement tool for inaccessible locations or distance

13

Fig 1.16: Tripod stand for DSLR camera

13

Fig 1.17: Level ruler used with laser measurement tool to determine angle

13 v

Fig 1.18: 8m aluminium CAT ladder to climb up inaccessible height

14

Fig 1.19: Ruler for measurement of small details

14

Fig 1.20: DSLR camera to capture video footage and photo

14

Fig 1.21: Powerful laptop with Autocad for instance CADing on site

14

Fig 1.22: Reference materials including books, pamphlets and special publications

15

Fig 1.23: School boys and girls waiting in line to enter the old museum (c.1971)

18

CHAPTER 2 Figures

Page

Fig 2.01: Masjid Zahir and Dataran Alor Setar

22

Fig 2.02: Menara Alor Setar in city centre

23

Fig 2.03: Kedah traditional attires; Baju Melayu Cekak Musang and Baju Kurung Kedah 24

24

Fig 2.04: Performers performing Cinta Sayang dance for an event

25

Fig 2.05: Depiction of the game Sepak Bulu Ayam

25

Fig 2.06: Logo of the Malaysian Historical Society

26

Fig 2.07: Balai Besar in Alor Setar

28

Fig 2.08: The late Tan Sri Mubin Sheppard

28

Fig 2.09: School excursion at the old museum

28

Fig 2.10: The new building of Kedah State Museum

29

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CHAPTER 3 Figures

Page

Fig 3.01: Location plan of Kedah State Museum Complex

31

Fig 3.02: Site plan with landmarks

32

Fig 3.03: Entrance to Wat Siam Bakar Bata Buddhist

33

Fig 3.04: Faรงade of Persatuan Leong Say Tong Kedah/Perlis

33

Fig 3.05: Stadium Darul Aman

34

Fig 3.06: Buildings within the museum complex

35

Fig 3.07: Entrance to the new museum

36

Fig 3.08: Old museum building, now museum and administrative office

36

Fig 3.09: Headquarters for the Kedah Historical Society

37

Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the old museum

37

Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim

38

Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah

38

Fig 3.13: Drainage system around the complex

40

Fig 3.14: Concrete paves used on site

40

Fig 3.15: Planter boxes as part of landscaping

41

Fig 3.16: Blue and pink mosaic tiles at the corridor

41

Fig 3.17: Wodyetia Bifurcata

42

Fig 3.18: Ficus Benjamina

42 vii

Fig 3.19: The National flower, Hibiscus

43

Fig 3.20: Ravenala Madagascariensi

43

Fig 3.21: Ixora

44

Fig 3.22: Fruit trees on site

44

Fig 3.23: Comparison of the old museum with the design of a Malay traditional house

45

Fig 3.24: Large roof overhangs define the vernacular Malay house

46

Fig 3.25: The grand entrance to the old museum

46

Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom)

47

Fig 3.27: List of timber according to construction parts

47

Fig 3.28: Comparison of decoration openings between traditional Malay house and the old museum

48

Fig 3.29: Comparison between building layout of traditional Malay house and the old museum 48

48

Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia 49

49

Fig 3.31: Influence of colonial styled architecture on the arches shading devices 49

49

Fig 3.32: Open floor plan for the interior space, segmented by movable partitions

50

Fig 3.33: Example of open plan floor, Villa Savoye by Le Corbusier

50

Fig 3.34: Pilotis at the corridor

51

Fig 3.35: The free façade

51

Fig 3.36: Modernist motifs at the windows and entrance of the old museum

51

Fig 3.37: Roof overhang ornamentations in Thai architecture

52

Fig 3.38: Wooden overhang ornamentation on the roof of the old museum

52 viii

Fig 3.39: The old museum in its heyday

53

Fig 3.40: The old museum today

53

CHAPTER 4 Figures

Page

Fig 4.01: The team arriving at measurement site old building of Kedah State Museum 55

55

Fig 4.02: Example of ‘Gajah Menyusu’ house

56

Fig 4.03: Adaptation of Malay vernacular roof by the old museum building

56

Fig 4.04: Front portico of the old museum

57

Fig 4.05: East elevation showing evidence of symmetry

57

Fig 4.06: Building columns being repeated along the corridor

58

Fig 4.07: North elevation showing repetition elements in the building

58

Fig 4.08: Contrast in materiality between the ground floor and the first floor

59

Fig 4.09: The scale of the front portico evokes a sense of grandeur

60

Fig 4.10: The double staircase at the entrance of Balai Besar

62

Fig 4.11: The double staircase at the entrance of the old museum

62

Fig 4.12: The linear open plan for both ground floor (top) and first floor (bottom) of the old museum

63

Fig 4.13: The museum’s application of pitched roof to combat local weather

64

Fig 4.14: Diagram demonstrating stack ventilation inside the building

64

Fig 4.15: Ornamentation at the front portico

65

Fig 4.16: Inverted ‘S’ motifs around the building

65 ix

CHAPTER 5 Figures

Page

Fig 5.01: Conditions of columns around the building

67

Fig 5.02: Entrance to the first floor, accessible via the grand double staircase

68

Fig 5.03: Entrance to the office at the ground floor

68

Fig 5.04: Close up of door handle

68

Fig 5.05: Louvered ‘Jalousie’ windows around the facade

69

Fig 5.06: Wooden louvered windows on the ground floor contrast the glass louvered windows on the first floor

69

Fig 5.07: First floor interior fenestration via glass louvered windows

70

Fig 5.08: Ground floor windows are now sealed from inside.

70

Fig 5.09: Tinted casement windows replacing the original louvered windows

70

Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building

71

Fig 5.11: As wood carvings are common in Malay traditional architecture, they are used abundantly in the design of this building. They can be

72

found below the windows and roof Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outwards from the middle to create a star-like shape

72

Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar inverted ‘S’ pattern as seen in the picture are repeated

72

throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the Fig 5.14: Bronze metal artwork on the first floor

73

Fig 5.15: Close up of bronze metal art work

73

Fig 5.16: Rubber tappers collecting latex

74 x

Fig 5.17: Farmers harvesting on paddy field

74

Fig 5.18: Farmer ploughing the land with a bull

74

Fig 5.19: Locals pounding rice the traditional way

74

Fig 5.20: Multiculturalism in Malaysia

74

Fig 5.21: Traditional activities of the locals

74

Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico

75

Fig 5.23: Application of the ornamentation on a triangular window

75

CHAPTER 6 Figures

Page

Fig 6.01: Building elements made out of chengal at the front portico

77

Fig 6.02: Reinforced concrete column and footing

78

Fig 6.03: View of reinforced concrete columns from the corridor

78

Fig 6.04: Bricks wall on the ground floor

79

Fig 6.05: Museum display cases made of clear glass

80

Fig 6.06: Office partition walls made of clear glass

80

Fig 6.07: East elevation tinted glass door

81

Fig 6.08: East elevation tinted glass casement windows

81

Fig6.09: Tinted glass office partition wall

81

Fig 6.10: Texture of frosted glass

82

Fig 6.11: Application of frosted glass

82 xi

Fig 6.12: First floor louvered windows made of frosted glass

82

Fig 6.13: Timber door and timber partition wall at the interior

83

Fig 6.14: Nyatoh and meranti building elements at the front portico

83

Fig 6.15: Iron work ornamentation at the portico

84

Fig 6.16: Close up of iron work ornamentation

84

Fig 6.17: Application on the window grille

84

Fig 6.18: Staircase baluster made out of iron

84

Fig 6.19: Barrel lock made out of iron

84

Fig 6.20: Tinted windows with aluminium frame

85

Fig 6.21: Close up photos of frosted glass window with aluminium mullion

85

Fig 6.22: A row of bronze metal artworks in the first floor as part of interior decoration 86

86

Fig 6.23: Reinforced concrete double staircase

87

Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer 87

87

Fig 6.25: Concrete flooring with mosaic tiles

87

Fig 6.26: Concrete drainage

87

Fig 6.27: Unglazed ceramic mosaic tiles

89

Fig 6.28: Ground floor plan shows the usage of unglazed ceramic mosaic tiles

89

Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridor

89

Fig 6.30: Layers of paint coating accumulated over the years

90

Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions

90 xii

Fig 6.32: Roof coverings made of clay roof tiles

91

Fig 6.33: Texture of clay roof tiles

91

Fig 6.34: Ground floor plan shows the usage of unglazed ceramic mosaic tiles

92

Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles

92

Fig 6.36: First floor plan showing areas covered by carpet

93

Fig 6.37: First floor interior carpet flooring

93

CHAPTER 7 Figures

Page

Fig 7.01: Ground floor plan showing the location of timber colonnades

95

Fig 7.02: Timber colonnades at the corridor

95

Fig 7.03: Axonometric detail of the roof construction

96

Fig 7.04: East elevation

97

Fig 7.05: Section showing construction details

98

Fig 7.06: Tenon and mortise joint

99

Fig 7.07: Bird’s mouth joint

99

Fig 7.08: Timber roof trusses

99

Fig 7.09: Image shows the steel straps connectors

99

Fig 7.10: Connection of clay roof tiles

100

Fig 7.11: Sketch drawing of construction of clay roof tiles

100

Fig 7.12: Timber fascia boards at the roof edge

100 xiii

Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection

101

Fig 7.14: South elevation shows the location of aluminium-framed louvered windows

102

Fig 7.15: Details of louvered windows with aluminium frame

102

Fig 7.16: South elevation shows the location of casement windows with aluminium frame

103

Fig 7.17: Details casement windows with aluminium frame

103

Fig 7.18: Casement windows with aluminium frame

103

Fig 7.19: South elevation showing the location of traditional timber louvered windows

104

Fig 7.20: Perspective view of the windows

104

Fig 7.21: Details of traditional timber louvered windows

104

Fig 7.22: North elevation shows the location of timber door with glass panels

105

Fig 7.23: Details of timber door with glass panels

105

Fig 7.24: Mortise locks at the exterior of the timber door

105

Fig 7.25: Barrel bolt and door closers at the interior of the timber door

105

Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase

106

Fig 7.27: Connection of different parts of staircase

106

Fig 7.28: Sectional drawing of reinforced concrete staircase

106

Fig 7.29: Handrails and iron balusters of staircase

107

Fig 7.30: First floor plan showing the location of interior open stringer timber steps

108

Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge

108

Fig 7.32: Axonometric drawings of exterior ornamentations

109 xiv

Fig 7.33: Inverted ‘S’ shape ornamentation

109

Fig 7.34: Close up of the architrave

110

Fig 7.35: Bronze metal artwork in the first floor

110

CHAPTER 8 Figures

Page

Fig 8.01: Dignitaries visiting the old museum

113

Fig 8.02: Condition of the first floor today

113

Fig8.03: Original colour of the old museum

114

Fig 8.04: Colour of the old museum today

114

Fig 8.05: Changes of the roof colour over time

115

Fig 8.06: Deterioration of column base

116

Fig 8.07: Ageing of timber column

116

Fig 8.08: Changes in the windows

117

Fig 8.09: Addition of tinted glass sliding door to the main entrance

117

Fig 8.10: Degradation of wood panelling for the exterior shading device

118

Fig 8.11: Some parts of the exterior ornamentation have fallen off from the wall

119

Fig 8.12: Minor oxidation of the metal ornamentation

119

Fig 8.13: The first floor is now completely covered by carpet

120

xv

Chapter 1

Introduction

Chapter 1: Introduction

1.1 THE OLD STATE MUSEUM OF KEDAH The old State Museum building, located in Bakar Bata, Alor Setar was Kedah’s first ever state museum, set up by the newly formed Kedah Historical Society in 1961. The building took over the role of exhibiting and safekeeping the state’s most highly prized historical treasures from Balai Besar, which was a temporary museum to house pre-historic artifacts found in Bujang Valley. The old museum was originally set up to be a shared building between the state museum and the city library. However, as the number of collections and exhibitions grew, the museum space was expanded to occupy the entire building.

The design of the building was heavily inspired by the design of the Balai Besar in central Alor Setar, albeit with simplified ornamentations and the incorporation of modernist elements. The idea for the design was proposed by the late Mubin Sheppard, a well known historian at the time who was actively involved with the setting up of the Kedah State Museum. Its design was finalised and approved by Jabatan Kerja Raya (JKR) Kedah and constructed with financing from the federal government. The design Fig 1.01: Photo of the building as a museum incorporates mainly traditional Malay motifs commonly found in the design With the completion of a new museum building adjacent to the original, the of vernacular Malay house, more specifically of the ‘Gajah Menyusu’ type old building has been transformed to become the administration office for commonly found in Northern states.

the state museum and the headquarters for the Kedah Historical Society.

2

Chapter 1: Introduction

1.2 OBJECTIVES AND AIM 1.2.1 AIM The aim of this project is to produce a set of measured drawings and historical documentation for the old State Museum of Kedah in Alor Setar, as a means to develop an understanding on the principles of heritage preservation.

The process involves a number of components, beginning with the study of the site, which includes surrounding buildings, geography, culture and demographics. This was then followed by the detailed measurement of the structure concurrent to conducting research via interview and literature reviews. The outcome of these components are then to be documented and presented via the production of full architectural drawings as well as a complete publication comprising of both visual and literary components.

3

Chapter 1: Introduction

1.2.2 OBJECTIVES The main objective of this exercise is to develop an understanding and appreciation of the architectural typology in Kedah, more specifically pertaining to the historical evolution of the structure for the Old State Museum of Kedah, within the context of the era it was built, as well as its location and the original purpose of the structure. These understanding, coupled with an in depth study of the technical and architectural details are expected to aid in the preservation effort of heritage buildings in Malaysia, which includes the Old State Museum structure. On the flipside, the process of measuring and documenting is expected to assist in the development of students’ skills in producing high quality measured drawings and research publications. These activities provide first-hand experience for students in terms of working on a large scale project in a team, an experience which can be useful in professional practice in the future.

4

Chapter 1: Introduction

1.3 GROUP STRUCTURE AND ORGANISATION The group is structured dynamically to be able to adapt to the changing demands of

Tutor: Mr. Adib

different project requirements. The group structure evolves accordingly, before the site visit, during the site visit and post-site visit in terms of allocation of personnels in sub-teams that focus on a specific task. The benefit of this dynamic structure is the ability for the sub-teams to specialise on a single component of the project at a time, which would benefit the larger group in managing deadlines efficiently.

Another advantage of the shuffling of sub-teams is the opportunity for members to experience different aspects of the project, thus maximising the experience gained from the group work.

Pre-Site Visit Before the site visit in Alor Setar, the group focused on compiling as much information about the building and context as part of the two-week preliminary research period.

All team members participated in this stage. The building studied during this period was the original building assigned to the group, the Balai Besar. Due to unforeseen circumstances, the group had to be re-assigned to study and measure the Old State Museum of Kedah instead. The preliminary research however did not go to waste, as the Old State Museum was designed based on the Balai Besar. Hence, a significant amount of data collected from the preliminary research is still relevant in the study of the Old State Museum.

Group Leader: Nik Ahmad Munawwar

Sub-Leader: Teo Kuo Chien

Sub-Leader: Loo Yee Pei

Modeling Team

CAD Drawings

Reporting Team

Fig 1.02: Group structure NAME TEO KUO CHIEN CHONG JIA YI NIK AHMAD MUNAWWAR BIN NIK DIN CHANG MAY CHEN CHIA KEH CHIAN CHLOE TEH SHU-ERN SHUM LI SZE BENJAMIN TAN ZI HERN CHONG WEN BIN LOONG BO LIN MUHAMMAD ZAIM BIN AZMI TG NABILAH DIYANA BINTI TG MOHD AMRAN LOO YEE PEI LOW CHI YIN VINCENTIA MUTIARA KARTIKA WEE SUE WEN

Fig 1.03: Group members

5

Chapter 1: Introduction

Site Visit During the site visit in Alor Setar, Kedah, the group was divided into two main subgroups, the measuring team and the research team. The measuring team was further divided into groups in charge of interior and exterior measurements. The research team on the other hand was tasked with researching the historical and architectural information from various sources, photographing the structural details and process of measurement, as well as shooting the video in preparation for the production of the short documentary. Both teams would spend the day on site focused on their specific tasks and regroup in the evening to compile and compare notes to ensure the completeness of data. At this daily evening meeting,

Fig 1.04: Group members on site Group

Team

the measuring team would CAD their measurements of the day, while the Interior

research team would collate information, filter through and edit the photos and video clips taken to determine the sufficiency of the footage collected. If any insufficiencies are determined during the evening, the teams would then

Measurement

itemise the required measurements, photo or video footage to be obtained

Exterior

the next day.

Photos & Video Research

Interview & Observation

Name Wee Sue Wen Chong Jia Yi Charleene Low (Leader) Chia Keh Chian Chang May Chen Chong Wen Bin Loong Bo Lin Muhammad Zaim Benjamin Tan Loo Yee Pei (Leader) Shum Li Sze Vincentia Mutiara Nik Ahmad Munawwar Nik Din (Leader) Chloe Teh Shu-Ern Teo Kuo Chien Tengku Nabilah

Fig 1.05: List of subgroups and job distibution

6

Chapter 1: Introduction

Post-Site Visit After returning to Taylor’s University, the group started to compile each component of the drawings to produce the final drawings for submission, which include the floor plans, sections and elevations for the building, to name a few. This process ran hand in hand with the research team’s effort to produce the documentary video, photobook and report. To ensure an equal learning experience for every person in the group, the members of the research team were also required to produce CAD drawings for the detailed ornamentation in the interior. With the drawings compiled, there was less demand for individual CAD personnels in the measurement/drawing team.

Hence, some of the personnels were transferred to the research and documentation team to assist with the production of the final report. On top of that, a new team was also created to spearhead the model making process, working closely with the measurement/drawing team. The model making process began with the production of a digital model so to simplify the process of deciding how the final physical model should be cut and assembled.

Fig 1.06: Working in the laser cutting workshop

7

Chapter 1: Introduction

Teams and Personnel Measurement - Exterior & Interior Measurements and CAD Drawings During the site visit, the exterior and interior teams were in charge of detailed measurements, which include the floor plan, elevation, roof structure, doors and windows, as well as exterior ornamentations. These measurements, under the guidance of Loo Yee Pei were then used to produce the main grid of the building which aids in the production of floor plans, building sections, elevations and window schedules.

Fig 1.07: Measurement instruments on site

As part of the preparation to record the measurements, a rough sketch of each component of the building were drawn out on butter paper as template.

The various measurements were then collated and compared to ensure that they match, so that the floor plans, sections and elevations produced are free of measurement discrepancies.

Fig 1.08: Measuring and recording data on site

8

Chapter 1: Introduction

Research - Report, Interview, Video and Photobook The research team’s main focus throughout the site visit and post-site visit was the production of documentation, in either written or visual form to document the building and the group’s progress. In preparing for the research, various books relating to the architectural study were borrowed from the library, in addition to the digital resources readily available online. Headed by the group leader, Nik Ahmad Munawwar, the team was responsible in making appointment for interviews with individuals knowledgeable about the history and architectural details of the building, preparing the interview questionnaire as well as conducting and recording the interview for research purposes.

The team was also tasked with recording footage and photos of the building’s exterior and interior, coming up with a storyboard and script for the production of the documentary and photobook.

The effort poured in by the team members culminated in the compilation of a formal report which contains literary and photographic evidence of the entire measurement and documentation process throughout the project timeline.

Fig 1.09: Conducting an interview with Chairman of Kedah Historical Society, Dato’ Wan Shamsuddin

9

Chapter 1: Introduction

Modeling The modeling team was formed after the interim review of drawings and draft report. The team consists mainly of members previously working on the report as well as members of the measurement team after submission of their drawings for compilation. The research and measurement teams were then downsized to allow the transfer of personnels into the modelmaking team, spearheaded by Teo Kuo Chien.

The model-making process began with the production of a full 3D model of the old museum in SketchUp, complete with construction details such as the roof trusses and floor joists. The purpose of the 3D model was to ease the process of deciding how the model should be built and sectioned to maximise the visibility of architectural details. In the case of the old museum model, the team decided to section out the East Elevation of the building which holds the grand double-staircase and the entrance to the first floor.

The North Elevation will also be exploded, separated from the building to expose interior spaces of the ground and first floor. Upon completion of the design for the model, the measurement team then assisted in the production of laser cutting templates to cut balsa wood and acrylic into building pieces for the actual model. This was then followed with the assembly of the pieces into a complete architectural model.

Fig 1.10: Model making in progress

10

Chapter 1: Introduction

1.4 TIMELINE

Fig 1.11: Gantt Chart

11

Chapter 1: Introduction

Fig 1.12: Sketching a template to record measurements

Fig 1.13: Using measuring tape to determine the run of a staircase

1.5 METHODS OF MEASUREMENT One of the key objectives of this project is to record measurements of the Various techniques of measurement were employed, including when Old State Museum down to the smallest detail. The biggest challenge in necessary, taking a picture of a structure with a ruler placed next to it for recording the measurements is accuracy of the data recorded. Hence, a scale so that the measurements can be recalibrated later in AutoCAD. general understanding was needed amongst team members on a standard This method is particularly useful in measuring portions that are not easily method of recording the readings, in order to avoid discrepancies in accessible with the equipments, commonly due to the lack of space. measurement values when drafting in CAD later. Aside from a good set Upon obtaining the measurements, the values were then recorded onto a of rules to adhere to during the measuring process, the accuracy of the butter paper with a rough sketch of the portion of the building measured. readings also rely on the instruments used. Precision equipments which Each part takes up its own page as it contains detailed information specific only allow a very small margin of error were used to get the best possible to the part, to avoid the measurements being mixed up with a different part measurement in the shortest period of time.

of the building.

12

Chapter 1: Introduction

1.6 EQUIPMENTS USED

Fig 1.14: 30m measuring tape for medium length measurements

Fig 1.16: Tripod stand for DSLR camera

Fig 1.15: Laser measurement tool for inaccessible locations or distance

Fig 1.17: Level ruler used with laser measurement tool to determine angle

13

Chapter 1: Introduction

Fig 1.18: 8m Aluminium CAT Ladder to climb up inaccessible heights

Fig 1.20: DSLR camera to capturing video footage and photos

Fig 1.19: Ruler for measurement of small details

Fig 1.21: Powerful laptop with AutoCAD for instant CADding on site

14

Chapter 1: Introduction

1.7 METHODS OF RESEARCH The research for the project began two weeks prior to the site visit, with preliminary research undertaken by all members of the group. The research included mainly analysis done via online material and publications obtained from the university library. Research findings were compiled in a shared document in the cloud, accessible by all group members for editing or referencing. Photos were compiled and sorted accordingly in a specific folder online for ease of access.

Print and Publications Reference books and journals obtained from the University library as well as the Museum’s library served as the primary source of information pertaining to the history and architectural details of the building. One such instance is the extraction of floor plans and elevations of the Old State Museum building from an archived publication commemorating the museum’s anniversary in 2001. References obtained from the University library contributed in the general study of buildings in the Northern states as well as an in depth look into Alor Setar’s Balai Besar, which coincidentally provided the design inspiration for the Old State Museum.

Fig 1.22: Reference materials including books, pamphlets and special publications

Online Resources Published online journals as well as recorded studies of the site and the building were abundant. The research process also includes obtaining information about the site and history of Kedah via videos online.

15

Chapter 1: Introduction

1.8 LITERATURE REVIEW

A book borrowed from the University library,

Gifted by Dato’ Wan Samsudin, the chariman

A gem found in the University library, the book

describes in detail the typical characteristics

of Persatuan Sejarah Kedah, the book contains

contains an in depth study of the architectural

of traditional houses in Penang and Northern

information on the history of Kedah, and the

details and a complete set of measured drawings

states.

customs and traditions of the people.

for Balai Besar, which formed the inspiration for, and greatly influenced the design of the old museum.

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Chapter 1: Introduction

1.9 SIGNIFICANCE OF STUDY The objective of the module is to spark a sense of appreciation of the heritage and diversity present in Malaysian architecture, which often times is a direct reflection of the rich history and culture in Malaysia. Built on the foundation of a multicultural society, the architecture in Malaysia benefits from the blend of different styles, sometimes juxtaposing one another to produce a captivating fabric of built environment, which is uniquely Malaysian. The Old State Museum of Kedah is a prime example of this blend, blurring the line between traditional vernacular architecture and the modernist design language. This project is intended to scrutinise and dissect this fusion, in order to create awareness and invoke interest in the study of local historical buildings, with the intention to assist the preservation efforts of the Old State Museum structure, as well as other historical buildings in Kedah and Malaysia.

17

Chapter 1: Introduction

1.10 SCOPE The study focuses on the end-to-end measurement of the old building of the Kedah State Museum, situated within the Kedah Museum Complex along Lebuhraya Darul Aman in Alor Setar. Detailed measurement and documentation of the structure were taken within the geographic and historic context of Alor Setar, to ensure that the information collected are substantiated by a solid understanding of its physical and historical background. The Old State Museum building was the original home of the Kedah State Museum, completed in 1961, when artifact collection and preservation efforts began in Kedah in the mid-20th century. Prior to having a purpose-built structure, the artifacts were housed at the Balai Besar, near Dataran Alor Setar. The structure is today the administration office for the Kedah State Museum. Due to the importance of the role it served during its tenure as the home for the state museum, extreme care had to be taken during the study and measurement process, as to not detriment the physical aspects of the structure.

Fig 1.23: School boys and girls waiting in line to enter the old museum (c. 1971)

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Chapter 1: Introduction

1.11 LIMITATIONS Distance

Roof Access

Distance was a major issue both during the site visit and after the site visit. During our measurement process, we had trouble getting an accurate For example, out of 4 groups that were assigned to a location in Kedah, measurement of the roof as we were not allowed to access or walk on two groups, including ours were assigned a building that was far from our the tiles. The closest we were able to go was via a crane that limits our accommodation, requiring us to commute by bus every day. This was in movement to take accurate measurements. contrast to the other two groups who had the advantage of walking to their site. The disadvantage of having to commute instead of walking is the time limitation on site. We did not have the freedom to go early in the morning, or stay back late on site to finish our measurements for the day. Instead, our schedule was determined by the schedule of the bus.

Another way to define the issue with distance is the proximity of Alor Setar from Kuala Lumpur. As compared to other groups who were assigned to go

Lack of Literature Since the old museum building is currently not considered as a heritage building, there is very little quality literature for us to research upon. Most of the information compiled were either via word of mouth, or through old photos and account statements. There was of course the museum library which thankfully had very helpful staff. However, the reading material with regards to the original building of the Kedah State Museum is still lacking.

to Melaka and Kuala Lumpur, we did not have the luxury of going back to the site to take extra measurements or footages.

19

Chapter 2

Historical Background

Chapter 2: Historical Background

2.1 MALAYSIA, KEDAH AND ALOR SETAR Situated strategically in Southeast Asia, Malaysia benefits from its (Gunung Jerai), at 1217 metres, provided the navigational landmark for geographical location in mediating global trade and becoming the melting ships in the Strait of Malacca. Bujang Valley was a centre of trade for the pot of various cultures. It is a multi-racial country, comprising of diverse Malay Peninsular and a transit trading post for ships awaiting the change of ethnic groups that live together in peace and harmony despite having currents and monsoon winds in the Indian Ocean. Traders soon propagated different customs and religions. This multiculturalism has made Malaysia Hinduism and their culture, building shrines and temples along the coastal home to a colourful mix of art and architecture.

area, which is evident from artefacts found at the valley today.

The Kedah Annals tell an interesting tale of the first Kedah ruler, a Hindu

Kedah

known as Merong Mahawangsa. He was the first Maharaja of Kedah.

The early history of Kedah can be derived from various sources, including Eight Hindu Maharajas were believed to have ruled Kedah before the ninth the prehistoric period from the archaeological site of Bujang Valley, the maharaja, Phra Ong Mahawangsa, who converted to Islam in 1136. Upon early Maritime trade of India, Persia, Arabs from the written works of early conversion, he subsequently ruled as Sultan Mudzafar Shah (1136 - 1179).

Chinese traders, as well as the Hikayat Merong Mahawangsa (known The Kedah Sultanate, the oldest monarchy in Malaysia, began with this as Kedah Annals) from Al-Tarikh Salasilah Negeri Kedah. The recorded first sultan and has been hereditarily intact for more than eight centuries history of Kedah often begins with the Kingdom of Bujang Valley, located until today. The Kedah Sultan is the constitutional head of state and in central Kedah. This maritime Kingdom was frequently visited by Indian, carries out his duties under the advice of the state government. The Kedah Persian, Arabs and Chinese traders as far back as the 4th century CE / AD. government is headed by a Chief Minister (Menteri Besar), selected by the State Assembly (Dewan Undangan Negeri). The State Assembly is formed For many centuries, the Empires of Sri Vijaya, followed by the Cholas, from representatives elected by the people of the state in their respective exerted their influence and dominance over this Kingdom. Kedah Peak constituencies.

21

Chapter 2: Historical Background

Fig 2.01: Masjid Zahir at Dataran Alor Setar

22

Chapter 2: Historical Background

Today, Kedah is still an agricultural-based economy, with a growing number of small scale industries. The state is currently the largest rice producer in Malaysia. It also grows and manufactures other agricultural products and related industries. Non-agricultural industries, such as high tech manufacturing are mainly based in Kulim and Sungai Petani. The state enjoys a diverse economy comprising mainly of agricultural, manufacturing and tourism.

Alor Setar Alor Setar was founded in 1735 by the 19th Sultan of Kedah, Sultan Muhammad Jiwa Zainal Adilin Mu’azzam Shah, and has been the state’s eighth administrative centre since the establishment of the Kedah Sultanate in 1136. The earlier administrative centres were located in Kota Bukit Meriam, Kota Sungai Emas, Kota Siputeh, Kota Naga, Kota Sena, Kota Indera Kayangan and Kota Bukit Pinang.

“Alor” or more correctly, “alur” is Malay for a groove, furrow or main stream of a channel.

In Tamil “alur” means drain. “Setar” is a tree with small, sour fruit (Bouea macrophylla) also known as either “kundang” or “remia” in Malay. The city has been attacked twice, when Kedah was attacked by the Bugis in 1770 and the Siamese in 1821. Alor Setar was officially granted a city status – the ninth in Malaysia, on 21st December 2003, during which the

Fig 2.02: Menara Alor Setar in the city centre

spelling of its name was temporarily changed from Alor Setar to Alor Star. The proclamation ceremony to declare the Alor Setar a city was held at Dataran Tunku.

23

Chapter 2: Historical Background

2.2 LOCAL CULTURE AND HERITAGE Traditional Clothes The traditional garments of locals in Kedah have significant Thai influence because of its proximity to Thailand. A prime example would be the ‘Baju Kurung Kedah’ which resembles the simple short blouse often worn by women in Thailand. It is noted for being shorter than the common ‘Baju Kurung’ in other parts of Malaysia. It is normally worn with less accessories to achieve a simple look and is considered demure when matched with ‘kain sarong berlipat’. On the other hand, local Malay men would wear ‘Baju Melayu Cekak Musang’ or the ‘Baju Sikap’. The ‘Baju Sikap’ has been worn since 1786, with buttons running down the front up to the waistline. It is paired with pants containing patterns with Chinese-influence and a ‘samping’ - a piece of ornamented cloth tied around the waist.

Fig 2.03: Kedah traditional attires, the Baju Melayu Cekak Musang and Baju Kurung Kedah

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Chapter 2: Historical Background

Traditional Dance

Traditional Games

As one of the oldest civilisations in Malaysia, Kedah has over the years developed its own traditional dance. Dances are usually performed at festivals as entertainment.

Fig 2.05: Depiction of the game “Sepak Bulu Ayam” Fig 2.04: Performers performing the Cinta Sayang dance for an event

“Sepak Bulu Ayam” is a game consisting of a quill shuttlecock which at

The Cinta Sayang dance was derived from an original dance called a glance looks almost like a modern day shuttlecock. This game requires ‘Remembrance of Grace’. It is famous in the state of Kedah and is usually a great amount of dexterity and balance in keeping the quill shuttlecock danced historically by fishermen in the West Coast states of Malaysia. Cinta in the air for as long as possible, with the objective being scoring Sayang is a representation of families of fishermen who wish them good points. The player has to kick the quill using the inner edge of his heel fortune at sail and return with big rewards. The fishermen also prayed that or toe. In certain situations, players are allowed to receive the quill with their wives will be safe from harm during their absence. Now, the Cinta their head, chest or knee but not by hand. The player will be forfeited if Sayang dance is a tribute to a laid-back, fun lifestyle and is danced in pairs. the quill touches the hand. This game is usually played amongst men.

25

Chapter 2: Historical Background

2.3 KEDAH HISTORICAL SOCIETY The history of Kedah Historical Society began way back during the establishment of the Malaysian Historical Society in 30th April 1953, 4 years before Malaysia achieved its Independence from the British. The Kedah Historical Society was established as a branch of the Malaysia Historical Society to keep records of historical events in Kedah. The then Vice President of the society, Tunku Nong Tunku Mohd Jiwa suggested the establishment of a historical museum for the state. His suggestion was supported by Mubin Sheppard, the President of Malaysian Historical Society.

The Kedah Historical Museum was established on 3rd February 1957.

The museum, which was initially located at the ground floor open space of Balai Besar in Alor Setar, was launched by Tan Sri Tunku Ismail Bin Tunku Yahya, the Chief Minister of Kedah at that time.

Today, more than 50 years later, the museum has played a huge role in

Fig 2.06: Logo of the Malaysian Historical Society

maintaining the heritage and precious treasures of the history of Kedah.

26

Chapter 2: Historical Background

2.4 MUSEUM OF KEDAH DEVELOPMENT TIMELINE

27

Chapter 2: Historical Background

2.5 PURPOSE AND HISTORY OF THE OLD MUSEUM In the early stages of its establishment, a number of issues arose such as the lack of money and space. This hindered the development of museum activities. As the collection of artifacts grew over the years, there were issues with space limitations for large exhibitions, and a storage system that was not purpose-built for the safekeeping of artifacts.

This issue prompted the board of the Kedah Historical Museum to find ways to increase the exhibition space. In 1958, a draft for a new structure was submitted to the state government. The board proposed that a new building was necessary. The state government finally agreed to build a new museum on a piece of land owned by the government in Bakar Bata.

Fig 2.09: School excursion at the old museum (c. 1971)

The design for the new building, which took some cues from the Balai Besar, was put forward by Mr. Sheppard. He had a deep appreciation towards art and history and wanted to pay tribute to the grandeur of Balai Besar in the design of the new museum. Prof V. R. Galea, the architect at Jabatan Kerja Raya Negeri designed according to Mr. Sheppard’s proposal. The front elevation of the new building bears a great resemblance to Balai Besar, with the double-arched staircase converging from both sides, and a lounge Fig 2.07: Balai Besar in Alor Setar

Fig 2.08: The late Tan Sri Mubin Sheppard

verandah or ‘sesayap lelayang’ on both sides of the upper floor.

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Chapter 2: Historical Background

Kedah Historical Museum officially moved to the new building on December 30, 1961. His Majesty Tunku Sultan Haji Abdul Halim Mu’adzam Shah officiated the exhibition in the new building. In July 1964, the museum had its name changed to the Kedah State Museum. In 1983, under the institution of the State Museum, two new branches were opened; the Kedah Art Gallery and the Royal Museum, both located in the city. For over 50 years, the museum has possessed great heritage and a valuable treasure in the land of Kedah.

With overwhelming response from the public and the growing scale of exhibitions, the State Government agreed to build the present Kedah State Museum building in 1997. The building houses exhibition halls, workshops, a library and a mini theater. There are 10 permanent exhibition galleries in the new museum, including dedicated galleries for Culture, History, Nature, Figure, Transportation, Weapons, Manuscript, Textile, Crafts and Arts, as well as Language and Literature. There are also outdoor exhibitions within Fig 2.10: The new building for Kedah State Museum the museum compound such as the Traditional Houses and the Royal Ark.

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Chapter 3

Architectural Development

Chapter 3: Architectural Development

3.1 SITE CONTEXT Located in Bakar Bata, the Kedah State Museum Complex is approximately 2km away from the town centre. The museum is easily accessible as it sits along Lebuhraya Darul Aman, a major street in Alor Setar. Its location in Bakar Bata grants it a unique setting, whereby it is convenient for the locals to visit, without the hustle and bustle of city traffic. This setting is also symbolic of how the museum functions as the guardian of culture and history, keeping it away from the pressures of modernisation.

The complex includes the new museum building, as well as its original two-storey building which now functions as the museum’s administration office and the headquarters for the Kedah Historical Society.

Fig 3.01: Location plan of Kedah State Museum Complex

31

Chapter 3: Architectural Development

3.1.1 SURROUNDING BUILDINGS

Fig 3.02: Site plan with landmarks

32

Chapter 3: Architectural Development

Wat Siam Bakar Bata Due to its proximity to Thailand, there are many Thai Buddhist temples in Kedah. However, Wat Siam Bakar Bata is the only temple in Alor Setar. It is located by the Sungai Kedah riverbank, behind the Kedah State Museum. It is also sometimes known as Wat Samosorn Rajanukpradit.

Fig 3.03: Entrance to Wat Siam Bakar Bata

Bangunan Persatuan Leong Say Tong Kedah/Perlis Located behind the Malay houses, this building is owned by the Kedah/ Perlis Branch Persatuan Leong Say Tong. It is a function and event space catered to the public. It most commonly hosts Chinese wedding events.

Fig 3.04: Facade of Bangunan Persatuan Leong Say Tong Kedah/Perlis

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Chapter 3: Architectural Development

Stadium Darul Alam Located along Lebuhraya Darul Aman, Stadium Darul Aman is the state stadium of Kedah and was officially opened by the Sultan of Kedah in 1962 during Malaya’s 1-0 win against South Korea. The multi-purpose, all-seater stadium is currently used mostly for football matches. It can accommodate up to 40,000 spectators at one time after the expansion in 1997, and was chosen as one of the venues for the 1997 FIFA World Youth Championship. It is the official stadium for the Kedah FA.

Fig 3.05: Stadium Darul Aman

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Chapter 3: Architectural Development

3.1.2 EXISTING BUILDINGS IN THE SITE COMPOUND All the buildings in the site boundary (Kedah State Museum complex) have strong connections to each other. They all serve the single purpose of preserving and showcasing the cultural heritage of the state to the public.

Fig 3.06: Buildings within the museum complex

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Chapter 3: Architectural Development

Kedah State Museum (New State Museum Building) The new building of the Kedah State Museum is located next to the original building. It houses a library, a mini theatre and a series of exhibition halls.

Similar to the old building, floor-to-roof high columns, ornamentations and light pink paint are the definitive elements of the building.

Fig 3.07: Entrance to the new museum

Administrative Office (Old State Museum Building) The building was built on December 30, 1961 at Lebuhraya Darul Aman, Bakar Bata due to the increase in the number of artifact collections and lack of exhibition and storage space at Balai Besar, where the Kedah Historical Museum was previously located. In 1964, its name was changed to the Kedah State Museum. It now functions as an administration office after the museum moved to its present day location in the new building.

Fig 3.08: Old museum building, now museum’s administrative office

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Chapter 3: Architectural Development

Pejabat Persatuan Sejarah Malaysia Cawangan Kedah Located right next to the old museum, this building is the administrative office of the Kedah Branch of Persatuan Sejarah Malaysia (also known as the Kedah Historical Society). It is connected to the old museum by a Fig 3.09: Headquarters for the Kedah Historical Society

covered pedestrian walkway.

Boat Structure Part of the museum exhibition is an outdoor structure which houses a boat that was once used by a Sultan of Kedah.

Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the museum

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Chapter 3: Architectural Development

Rumah Tradisional Kampung Sungai Ular, Kulim This traditional Malay kampung house was owned by Encik Saman bin Saad before it was gifted to the authority of the State Museum. It was preserved and used as an exhibition space to display a collection of Kedah cultural artifacts. The artifacts have now been moved into the new museum building, and the house is no longer open for public visits, except for purpose of research.

Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim`

Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah The construction of the house started in 1939 and was completed in 1941.

Initially, the house was owned by Haji Abdul Rahman Merbok. He was given the title Dato Mursyid Diraja by KDYMM, Sultan Kedah for his expertise in Islamic Affairs. He used the house as a venue to teach Al-Quran and Islamic studies. The house was gifted to the authority of the Kedah State Museum after the death of the owner. It now functions as a surau which is open for public usage.

Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah

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Chapter 3: Architectural Development

3.2 LANDSCAPE

The landscaping within the Kedah State Museum is well designed and maintained. The hardscape elements provide a foundation for the vegetation whilst reducing hazards on site. The softscape elements provide shade and aid in directing breeze to the site, yielding a pleasant and natural experience. Landscaping unites both man-made structures and plants, to create a comfortable and visually-appealing space not just for the visitors, but also for the museum staff and students measuring the Kedah State Museum.

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Chapter 3: Architectural Development

3.2.1 HARDSCAPE Drainage Drainage systems hold an important role in flood control as Malaysia has tropical rainforest climate with high humidity, especially for the Kedah Museum complex which is located next to a river. Different types of drainage can be found within the site boundary, varying from open drain to partially covered drain. The covers are removable for easier maintenance and cleaning.

Fig 3.13: Drainage system around the complex

Concrete Pavers Concrete pavers are used in certain parts of the compound to highlight an area that contains a significant structure, and provide an overall pleasing aesthetic to the area. Concrete pavers can be seen applied at the elevated platform facing the old museum’s North elevation which holds a historical war tank.

Fig 3.14: Concrete pavers used on site

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Chapter 3: Architectural Development

Planter box/retaining walls Planter boxes and retaining walls can be seen widely employed within the site compound to house and sculpt vegetation, providing a pleasant atmosphere for workers and visitors alike. The common material used for the planters is concrete as it is durable and resistant to weathering. Plus, it is impermeable and requires minimum maintenance.

Fig 3.15: Planter boxes as part of landscaping

Paved walkway The walkway at the corridor of the old museum is covered with textured glazed mosaic tiles arranged in a homogenous pattern. The paved walkway prevents possible hazards such as slipping that might occur due to mud and dust, apart from providing a smooth surface for users to walk on. The colour of the tiles blend in with the aesthetics of the building.

Fig 3.16: Blue and pink mosaic tiles at the corridor

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Chapter 3: Architectural Development

3.2.2 SOFTSCAPE Wodyetia Bifurcata The most common plant on the site compound. Commonly known as foxtail palm, the wodyetia bifurcata plant has one of the most spectacular foliage displays of all palms. The pale green arching fronds have leaflets that radiate out at all angles from the leaf stem, thus appearing like a bottlebrush or the tail of a fox. The plant is extremely easy to grow, even small plants and seedlings can tolerate hot, full sun from an early age. It grows rapidly in sunny condition, when water and fertilizer is supplied regularly.

Fig 3.17: Wodyetia Bifurcata

Ficus Benjamina This broadleaf evergreen plant is commonly known as the weeping fig. It is native to regions between India and northern Australia, usually seen in round, droopy form with shiny leaves. Weeping fig is a popular plant used for landscaping because of its attractive shape and tolerance to a variety of conditions, from very bright to considerably shady conditions. This plant can be seen everywhere within the site boundary as it is easily grown in Malaysia’s tropical climate and requires very low maintenance.

Fig 3.18: Ficus Benjamina

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Chapter 3: Architectural Development

Hibiscus The hibiscus is widely grown around the perimeter of the new building of Kedah State Museum as it is the national flower of Malaysia. It is commonly known as the “celebratory flower� in Malay. Also known as Chinese hibiscus or shoe plant, the flowers are large, firm and generally red in its original variant. The color red symbolizes the courage, life, and rapid growth of the nation, and the five petals represent the five Rukun Negara of Malaysia.

Fig 3.19: Hibiscus

Ravenala Madagascariensi Commonly planted in an urban setting. Its long stem and deep green leaves resemble banana leaves and extend out from the trunk like the slat pieces of a giant hand fan. Small plants need to be grown in partly shady areas before it can tolerate full sun condition. A mature plant blooms all year round and produces brown fruits that contain light blue seeds.

Fig 3.20: Ravanela Madagascariensi

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Chapter 3: Architectural Development

Ixora Ixora is a popular flowering shrub widely used in landscaping due to its attractive rounded shape and glossy foliage. It is native to Southern India and Sri Lanka. The plant can be seen everywhere within the site boundary because of its striking appearance of green leaves and scattered red flowers.

Fig 3.21: Ixora

Fruit Trees Banana and mango trees can be seen around the two Malay traditional houses, as it was planted to accurately recreate the “kampung� setting in which the two houses were originally from.

Fig 3.22: Fruit trees on site

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Chapter 3: Architectural Development

3.3 ARCHITECTURAL INFLUENCES 3.3.1 MALAY VERNACULAR DESIGN Drawing inspiration from Malay traditional houses, the old museum is similar in terms of the building materials, roof style, ornamentations, openings and layout.

Fig 3.23: Comparison of the old museum with the design of a malay traditional house

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Chapter 3: Architectural Development

Roof Style As a tropical country, Malaysia receives a generous amount of sunlight and rain all year round. The type of roof adapted by the administration office is limas styled roofing, a common roofing structure used in malay vernacular design. Ventilated roof space at the top cools the interior of the house while the large overhangs provide efficient sun shading and reduce traces of rainwater, allowing the windows to be opened for better air flow.

Fig 3.24: Large roof overhangs define the vernacular Malay house

Fig 3.25: The grand entrance to the old museum

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Chapter 3: Architectural Development

Building Material Typically, Malay traditional houses are built with local natural resources such as timber and rattan. The old museum is mainly made of chengal wood which has low heat absorption capacity to create a cooler interior environment. Chengal wood is also environmentally friendly, durable and can be easily sourced in Malaysia.

Construction Parts

Types of Wood

Structural

Cengal, Merbau Damar Laut, Petaling

Non-Structural

Meranti, Bamboo

Roof

Nipah, Rumbia, Bertam, Kabong

Fig 3.27: List of timber according to construction parts

Ornamentations Ornaments along the extended frame below the roof eaves are distinct in the old museum building. Similar to vernacular Malay houses, ornamentations feature floral patterns, geometric shapes and exaggerated curvatures. The butterfly and inverted ‘S’ motifs can be seen in the form of filigree from the front and back view of the building, underneath the roof. The decorations are made of steel instead of wood, modified and simplified from the typical vernacular design.

Additionally, the facade features wooden panels carved with the inverted letter ‘S’ and painted in light yellow. The letter ‘S’ is used for both wooden and steel ornamentations as is a simple alphabet which offers the most Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom)

curvature.

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Chapter 3: Architectural Development

Decorative Openings Besides allowing ventilation into the interior spaces of the house, windows also serve another purpose in Malay vernacular architecture. Some windows in Malay houses have intricate wood ornamentations carved open at all times for ventilation and decorative purposes. On the first floor of the office, a series of metal artworks are displayed, showing the cultural activities of the locals. Initially, they serve as natural ventilation openings but they have since been sealed after the installation of air conditioning inside the building.

Building Layout

Fig 3.28: Comparison of decorative openings between traditional Malay house and the old museum

The open plan layout is common in Malay vernacular houses. Similar to the dwellings, the open plan of the administration office promotes air movement whilst creating an impression of spaciousness in the interior. The elongated layout also eases the circulation within the building, as it was once used as an exhibition space, which receives large numbers of visitors daily. Today, the absence of walls or fixed partitions allow better communication between office workers, creating a friendly workspace that could lead to an improved working environment.

Fig 3.29: Comparison of building layout between traditional Malay house and the old museum 48

Chapter 3: Architectural Development

3.3.2 COLONIAL ARCHITECTURE The old museum building was designed as an homage to Balai Besar, which exhibits a fusion of colonial and traditional architecture. The colonial influences in Balai Besar, in particular the ground floor level, was carried over into the design of the old museum building, albeit with significant simplication.

The most obvious reference to colonial architecture is the arched wooden panels which act as a shading device for the building. These panels are installed along the collonade-corridor on the ground floor of the building, which in itself is another influence from colonial-styled architecture.

Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia

Another notable element derived from colonialist architecture would be the wooden louvered windows, which were the common window design in colonial buildings in pre-Independent Malaya and Singapore.

Fig 3.31: Influence of colonial styled architecture on the arched shading devices

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Chapter 3: Architectural Development

3.3.3 MODERNIST INFLUENCES The old museum is a fusion of the Malay vernacular style with modernist principles of architecture. On top of having design similarities with Malay traditional houses, the design follows the 5 Principles of Architecture as set out by Modernism pioneer Le Corbusier.

For example, the building has an open floor plan where interior spaces are divided by movable partitions instead of structural walls. Although this design choice relates more on the function of the interior space, it also validates Corbusier’s first principle, the free plan, which is the absence of supporting walls to allow the flexible usage of interior spaces. The principle liberates

Fig 3.32: Open floor plan for the interior space, segmented by movable partitions

the plan from construction restrictions.

Fig 3.33: Example of an open floor plan, Villa Savoye by Le Corbusier

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Chapter 3: Architectural Development

The design of the building also adheres to the other 3 points: 1. The use of pilotis to replace load-bearing walls via a grid of reinforced columns that bear the structural load. According to Le Corbusier via his prototype the Dom-Ino House, this is the basis of the new aesthetic.

2. The free facade. Walls are relieved off of their structural role, allowing freedom in the design of spaces and a fluid transition between interior and exterior spaces.

Fig 3.34: Pilotis at the corridor

Fig 3.35: The free facade

3. The horizontal “ribbon” window that runs the length of the facade, which takes advantage of the second point mentioned above. This design approach once again blurs the boundaries between interior and exterior, apart from allowing better fenestration into the interior spaces.

Aside from than butterfly and the inverted ‘S’ patterns, simple geometrical motifs are applied to the window and door grills, which is influenced by the cleanliness and efficiency of Modernism.

Fig 3.36: Modernist motifs at the windows and entrance of the old museum

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Chapter 3: Architectural Development

3.3.4 SIAMESE INFLUENCES As the design of the Balai Besar was influenced, to a certain degree, by Siamese architecture, these subtle influences were naturally passed down to the design of the old museum building.

According to historical records, Sultan Muhammad Jiwa often took inspiration from the building designs in Thailand (formerly the Kingdom of Siam) whilst roaming the Malay Archipelago. These design ideas were translated, with local flavour, into the designs of royal buildings such as the Balai Besar and Balai Nobat. They were then carried on to newer buildings, and are today widely regarded by locals as being part of the identity of Kedah.

Fig 3.37: Roof overhang ornamentations in Thai architecture

Fig 3.38: Wooden overhang ornamentation on the roof of the old museum

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Chapter 3: Architectural Development

3.4 REFURBISHMENT INTO ADMINISTRATION OFFICE The new museum building, situated next to the original, was completed in 2001 to house the growing number of museum exhibits. The original building was then transformed into the administration office for the museum, necessitating minor refurbishment of the interior spaces.

A notable addition to the interior is the use of partitions to define working spaces for officers. Two cubicles were built on the ground floor and one on the first floor to accommodate the working spaces for higher-ranking officers. The wooden exhibition panels which were installed originally to display museum exhibits on the first floor were preserved and now act as a

Fig 3.39: The old museum in its heyday

divider between working spaces and the pantry. The windows on the ground floor were sealed with plywood following the installation of air-conditioning units.

Fig 3.40: The old museum today

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Chapter 4

Design Concept

Chapter 4: Design Concept

4.1 FORM The Old State Museum of Kedah is a double-storey museum with a simple rectangular form constructed of mainly timber with a concrete base. The design of the building projects an overall traditional feel, which jives well with its function as a place for the safekeeping of the culture and history of Kedah.

Linearity The old museum’s open, rectangular form is a direct response to the economics and practicality of fulfilling its original function as a museum.

A museum typically requires large open spaces for exhibition of artifacts and a linear circulation for visual clarity. This is aside from the fact that the rectangular form was the most economical, as it conserves space whilst

Fig 4.01: The team arriving at the measurement site

still providing a large floor area. The practical and economic approach of dictating the form has a lot to do with the influence of modernist architecture back in 1960s Malaya, a nation still in search of its true identity, free from the influence of its colonial past.

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Chapter 4: Design Concept

Vernacular Malay Architecture The rectangular form was then developed further with the influence of vernacular Malay architecture. The upper floor verandahs on both sides of the building and the gabled roof “bumbung limas” design was a direct infusion of the Malay traditional architecture, inspired by the roof of the ‘Gajah Menyusu’ house commonly found in the northern states of Malaysia.

These elements all adhere to three main design approaches, which are symmetry, repetition and juxtaposition.

Fig 4.02: Example of the ‘Gajah Menyusu’ house

Fig 4.03: Adaptation of the Malay vernacular roof by the old museum building

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Chapter 4: Design Concept

4.1.1 SYMMETRY The building’s facade and plan is symmetrical, which yields a sense of balance that creates harmony and order in an aesthetically pleasing design. The old museum was built via symmetrical halves and is the most noticeable characteristic of the building.

By having a symmetrical form, the museum benefits from the predictability in terms of spatial order and circulation, which is crucial in a building designed for the public.

Philosophically, the symmetrical design demonstrates dependability. This interpretation relates to the function and responsibility of the museum, as a balanced and dependable source of historical records and the guardian of the local culture and heritage.

Fig 4.04: Front portico of the old museum

Physically, the implementation of this characteristic can be seen in both wings, facade, the number of columns on both sides, as well as the grand staircase, which is a double staircase that converges at the landing in the middle. The corridor and the verandah above, flanking the main rectangular space, exaggerates the symmetry to highlight the idea of balance even more.

The only asymmetrical aspect of the building can be observed in the placement of the ground floor entrance on the North elevation instead of at the centre of the front portico.

Fig 4.05: East elevation showing evidence of symmetry

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Chapter 4: Design Concept

4.1.2 REPETITION Another obvious design technique implemented in the design development of the old museum is repetition. Apart from having a symmetrical form, repetitive elements in the building provide a harmonious rhythm that communicates the idea of movement. This can be seen in the repetition of columns along the corridor to promote exterior circulation around the building.

Aside from the columns, other examples of repetitive elements include the windows that run along both the North and South facade, the exterior wall ornaments, and the floor tiles.

Fig 4.06: Building columns being repeated along the corridor

Repeated use of shape, colour and other artistic elements in the design of a building can also help in unifying different parts of the building to form a robust design. Minimal repetition is sufficient to create a visual echo to highlight certain aspects the building.

Fig 4.07: North elevation showing repetition of elements in the building

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Chapter 4: Design Concept

4.1.3 JUXTAPOSITION The juxtaposition of opposing design elements can produce a striking visual impact. Formally, juxtaposition describes the placing of two elements that may or may not occur naturally together in close proximity. Juxtaposition can be applied in terms of material, colour, shape or even spaces.

In the case of the old museum building, it can be observed that juxtaposition occurs in the following: 1. Material change from concrete walls on the ground floor to timber walls on the first floor.

2. A vernacular exterior with ornamentations on the walls, the roof overhang and portico frieze contrasted by a bare and simple interior space, especially the ground floor level, which is devoid of any ornamentations.

The above applications of juxtaposition help in defining different spaces in the building, between interior and exterior as well as between the ground floor and upper floor via the sudden change in materiality and the level of ornateness of the spaces.

Fig 4.08: Contrast in materiality between the ground floor and the first floor

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Chapter 4: Design Concept

4.1.4 SCALE The old museum welcomes visitors with a grand portico with a double volume height that spans two floors. The ceiling is supported by 8 columns and is a direct mimicry of Balai Besar’s main entrance.

The high ceiling tweaks the architectural scale of the building, by giving the main entrance an impression of grandiosity. This implementation of scale can be traced back to Greek and Roman architecture, which makes use of solid columns to support a double volume grand portico.

It is widely acknowledged that the use of colonnades and grand porticos of immense scale could represent trust and stability, which explains the adaptation of columns and pediments in the design decision for government buildings around the world. In the case of the old museum building, the adaptation of scale sends the message of trust, as the museum is responsible for the safekeeping of Kedah’s historical treasures.

Fig 4.09: The scale of the front portico evokes a sense of grandeur

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Chapter 4: Design Concept

4.2 SPATIAL PLANNING

As with most public buildings built in the 60s, the old museum was built with an open, fluid floor plan to give it flexibility in terms of functionality. Similar types of floor plan can be seen in government offices as they attempt to apply one of the tenets of modernism, which is the free designing of the floor plan, unencumbered by the restrictions of load bearing walls. This elegant approach to designing spaces is both economical and practical, which is crucial for a young nation like Malaya following its independence.

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4.2.1 ENTRANCE AND APPROACH The old museum replicates the grand double-staircase of Balai Besar. The grand staircase, coupled with the double volume portico emanate a warm welcoming feeling to visitors as they approach the building. The landing area that connects the double staircase adds a node in the movement of visitors into the upper floor. This node allows visitors to pause and appreciate the surrounding context prior to entering into an enclosed space inside the museum.

In terms of entry and exit, the circulation of the building is unique whereby the two floors are only connected via the grand staircase externally. Fig 4.10: The double staircase at the entrance of Balai Besar This internal disconnect between the two floors is most likely due to the separation of functions originally, when the bottom floor functioned as an exhibition space and the top floor functioned as a library when the building was first opened.

Fig 4.11: The double staircase at the entrance of the old museum

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4.2.2 SPATIAL ORGANISATION Extra focus was given to the spatial planning of the old museum building for practical reasons. Built mainly as an exhibition space, the building must be able to accommodate large number of exhibits that vary in their sizes, whilst still allowing comfortable roaming and standing areas for museum visitors. Its open rectangular form grants the ability to have a linear open floor plan. An open plan allows the freedom to manouver the movement of visitors to suit a specific type of exhibition that is being hosted, whilst a linear circulation simplifies the organisation of exhibition space.

A linear organization consists essentially of a series of spaces or objects.

These spaces can be directly related to one another or linked through a separate and distinct space. Spaces that are functionally or symbolically important to the organization can occur anywhere along the linear sequence and their importance articulated by size and form.

In the case of the old museum building, it’s spatial planning also benefited its new tenants when it was converted into an office space, as setting up working areas are as simple as installing partitions, permanent or temporary, to define new boundaries within the large open floor plan.

Fig 4.12: The linear open plan of both ground floor (top) and first floor (bottom) of the museum

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4.2.3 RESPONSE TO CONTEXT Given Malaysia’s hot and humid climate, certain aspects of the design had to respond directly to the demands of the climatic characteristics of a tropical country. The original design makes use of natural ventilation techniques such as having huge window openings and the implementation of a pitched roof. A pitched roof, specifically the “Bumbung Limas” type for the old museum helps in allowing stack ventilation inside the building.

Stack ventilation begins with the creation of a buffer space in the roof for hot air to rise up. The upward movement of hot air into the roof leaves a void below it, which naturally pulls in cooler air and wind from the outside through the huge window openings. This creates a passively ventilated interior that requires very little need for active ventilation.

Fig 4.13: The museum’s application of a pitched roof to combat local weather

In order to take advantage of passive ventilation, the roof was designed based on the study of temperature, humidity, atmospheric pressure, wind rose, rainfall and other elements that relate to the weather in Malaysia. The “Bumbung Limas”, by design, already takes into account all aspects of Malaysian climate.

However, passive ventilation had been abandoned by the building, in favour of air conditioning, when it was refurbished to become an office in 2001.

Fig 4.14: Diagram demonstrating stack ventilation inside the building

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4.3 SYMBOLISM The Old State Museum of Kedah was designed with influences of Malay vernacular architecture. Naturally, it contains various symbolisms scattered around the exterior and to a smaller degree, the interior. Symbolism is embedded deep into the art and architecture of the locals, as evidenced by the intricate wooden carvings in traditional Malay houses. The ornamental carvings in traditional Malay houses commonly represent floral motifs and geometrical shapes.

In the case of the old museum, symbolism is present in the metal friezes of the portico, the walls of the verandah, as well as the ventilation openings inside the building. Some of the symbols used include the wings of a butterly, as well as the inverted S-shaped carving, which runs alongside both elevations.

Fig 4.15: Ornamentation at the front portico

The inverted ‘S’ motifs are made of steel are modified and simplified from the typical vernacular design.

Similar ‘S’ motifs are used for both the wooden and steel ornamentation at the building as it is simple and answers to both traditional and modern architecture styles.

Fig 4.16: Inverted ‘S’ motifs around the building

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Details and Ornamentations

Chapter 5: Details and Ornamentations

5.1 COLUMNS A total of 24 columns surround the exterior of the building. There are 8 columns on each side of the building holding up the verandahs, while 8 taller columns are situated at the grand entrance of the building, supporting the portico.

The columns, being simple and bare in design, portray the modernist influence as mentioned. The shaft and base are cylindrical, with the base being slightly larger in diameter as it forms a solid foundation to support the columns that span two storeys. They sit firmly on a rectangular pedestal.

The columns are identical and repeat throughout the building, varying only in height between the portico and the corridor.

Fig 5.01: Condition of columns around the old museum building

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5.2 DOORS The building is accessible through three entrances - one on the first floor and two on the ground floor.

The main entrance is located on the first floor at the front of the building.

It is protected by a glass sliding door and a sliding metal grille in front of it.

The metal grille consists of simple repetitive patterns, a significant modernist phiolosophy. Similar subtle modernist characteristics can be seen at different parts of the building such as the metal ornamentation on the edge of the roof, signalling the infusion of modern and vernacular architecture.

Fig 5.02: Entrance to the first floor, accessible via the grand double staircase

The entrance to the office on the ground floor is located at the north elevation of the building. It is less noticeable and less inviting compared to the main entrance. The entrance consists of a double leaf wooden panel door with 8 panels on one side and four on the other. The top half of the panels are replaced with tinted windows allowing users to look in, however still creating a sense of privacy for the workers in the office.

The door is sealed with a two piece handle and an extra lock underneath it.

Fig 5.03: Entrance to the office on the ground floor

Fig 5.04: Close up of door handle

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5.3 WINDOWS Rows of windows are decked along each elevation of the building. As the usage of electricity was not common in the past, windows were used abundantly to provide ample sunlight and ventilation.

The majority of windows used are louvered windows, with the windows on the upper floor made of glass sheets and the windows on the ground floor made of timber. However, the ground floor windows are now completely sealed due to the installation of air-conditioning in the building, which has also affected the amount of fenestration. Therefore the interiors are now lit Fig 5.05: Louvered ‘Jalousie’ windows along the facade with artificial lighting.

Fig 5.06: Wooden louvered windows on the ground floor contrasts the glass louvered windows on the first floor

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The interior on the first floor is lit by glass louvered windows, also known as “Jalousie Windows� on the upper half of the wall, though minimum. It is generally dark with slight fenestration, hence artificial lighting is needed.

Some windows are merely an opening with steel ornamentation, but are also now covered and sealed from the inside.

The windows of the area connecting the main building to the toilet building are Casement Windows with Fixed Clerestory above it, a sudden change from the other traditionally designed windows in the building.

Fig 5.07: First floor fenestration via the glass louvered windows

Fig 5.08: Ground floor windows are now sealed from inside

Fig 5.09: Tinted casement windows replacing the original louvered windows

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5.4 CEILING

Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building.

5.5 LIGHTING Fluorescent lights are used in the interiors of the building. There are more lights used in the ground floor than the first floor because windows are not present on the ground floor. Rectangular two-pieced lights are used on the ground floor while tube lights are used on the first floor.

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5.6 WOODEN CARVINGS

Fig 5.11: As wood carvings are common in traditional Malay architecture, they are used abundantly in the design of this building. They can be found below windows and roofs.

Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outward from the middle to create a star-like shape

Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar “inverted-S� patterns as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the eye.

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5.7 BRONZE METALWORK Rows of ventilation openings are decked as clerestory below the roof on the North and South elevations of the building. As usage of electricity was not as common in the past, these open clerestories of bronze metalwork were used abundantly to bring in cool air from the outside.

Fig 5.14: Bronze metal art work on the first floor

Fig 5.15: Close up of bronze metal art work

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Chapter 5: Details and Ornamentations

Rubber tapping and agricultural activities are common ways the locals make a living in the past. These activities are represented in the bronze metalwork ornamentations:

Fig 5.16: Rubber tappers collecting latex

Fig 5.17: Farmers harvesting on paddy field

Fig 5.18: Farmers ploughing the land with a bull

Fig 5.19: Locals pounding rice the traditional way

Fig 5.20: Multiculturalism in Malaysia

Fig 5.21: Traditional activities of the locals

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Chapter 5: Details and Ornamentations

5.8 PORTICO ORNAMENTATION These ornamentations can be seen below the roof of the portico. They are intricate in design and are made of iron. These patterns, again, invokes a modernist feel in terms of its abstraction.

The ornaments are portrayals of flora and fauna. The top and bottom rows are made up of representations of a butterfly, whereas the middle row represents a series of floral patterns.

These ornaments are painted to avoid corrosion to the iron as they are placed outside the building, exposed to rain and moisture in the air.

Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico

Fig 5.23: Application of the ornamentation on a triangular window

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Chapter 6: Materials

6.1 STRUCTURAL MATERIALS 6.1.1 CHENGAL TIMBER The main structure of the building is constructed of chengal hardwood timber. This species of timber was used in the construction of the old museum due to its strength and resistance against termites. Native to the region, this heavy duty tropical hardwood can withstand the local climate and temperature, typically unaffected by the volatile changes between wet and dry seasons in the country.

This highly durable wood is painted for both longevity and aesthetic purposes. The coat of paint gives the building a traditional yet welcoming look, embracing the essence of the Malay traditional house. Other than that,

Fig 6.01: Building elements made out of Chengal at the front portico

the gap between the timber joist floor on the second floor and timber structure rafter acts as a channel for natural air ventilation.

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6.1.2 REINFORCED CONCRETE The 460mm x 460mm reinforced concrete footing is made up of concrete with steel mesh. Other than acting as a support for the columns and holding up the foundation from any kinds of settlement, its main function is to stabilise the whole structure as it is able to withstand the compressive load from the verandah above.

The embedded columns for the ground floor are also made of reinforced concrete. Its compressive strength allows it to hold up the floor above it, as the vertical load is transferred from the upper floor beams to the columns and down into the foundation of the building.

Fig 6.02: Reinforced concrete column and footing

Reinforced concrete is also fire resistant and durable, resistant against the changes in weather, which is suitable for use in a tropical climate. The decision to use reinforced concrete for the construction of the ground floor was possibly due to the design decision of emulating Balai Besar’s loadbearing masonry base. However, it has served the construction well for decades as it increases the load capacity of the upper floor, which now houses dozens of heavy filing cabinets ever since the building was turned into an office.

Fig 6.03: View of reinforced concrete columns from the corridor

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6.2 NON-STRUCTURAL MATERIALS 6.2.1 BRICK WALL Due to the skeletal construction of the building, the exterior wall of the ground floor merely acts as a skin to separate interior and exterior spaces.

It does not bear any load, and is constructed of bricks that complement the timber collonade and the reinforced concrete structural frame.

Bricks are fire resistant and does not rot. Therefore, maintenance costs has been relatively low.

Another benefit of using bricks is its acoustic insulation quality, creating a more quiet and comfortable space for the users inside the building.

Fig 6.04: Brick walls on the ground floor

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6.2.2 GLASS Clear Glass Clear glass is utilised as the material for interior partition windows and display cases in the upper floor of the old museum due to its high transparency and clarity.

The display wall with the clear glass encasement was previously used as a wall exhibition space to allow visitors to have a more intimate visual interaction with the exhibits. These exhibition panels are still preserved today even after the space has been transformed into an office.

Fig 6.05: Museum display cases made of clear glass

Clear glass is now used as as an element of the newly erected office partition walls, placed approximately 1 metre above floor level to allow unobstructed views inside the enclosed office cubicles.

Fig 6.06: Office partition walls made of clear glass

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Tinted Glass Tinted glass is mostly used together with new replacement windows or doors in the building, including the casement windows on the bridge connecting the main building to the bathroom at the back of the old museum, and the entrance to the offices.

A thin film lines the interior glass surface to partially restrict the penetration of light. It blocks the blazing sun rays to regulate the temperature inside and provides a comfortable working environment.

Fig 6.07: East elevation tinted glass door

Fig 6.08: East elevation tinted glass casement windows

Fig 6.09: Tinted glass office partition wall

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Frosted Glass Frosted glass is produced by acid etching or sandblasting a clear sheet glass. It is widely used in the building to allow controlled fenestration to the interior spaces. The application of frosted glass in the building is to ensure visual privacy by blurring images with its textures while still allowing a limited amount of light.

Fig 6.10: Texture of frosted glass

Fig 6.11: Application of frosted glass

Fig 6.12: First floor louvered windows made of frosted glass

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6.2.3 WOOD Nyatoh and Meranti These variants are used in the partition walls, wooden doors and the ground floor louvered windows of the building.

Nyatoh and Meranti are hardwood that are high in workability and are able to withstand staining. Their reddish brown color and straight, shallowly interlocking fine grain provide a pleasing aesthetic for the interior. Due to their low resistance towards termite attack, they are to be periodically polished to improve its durability and quality.

Fig 6.13: Timber door and timber partition wall at the interior

Fig 6.14: Nyatoh and meranti building elements at the front portico 83

Chapter 6: Materials

6.2.4 METAL Iron Iron is used for the ornamentations at the exterior of the building and the handrail ornamentations on the grand staircase.

It is composed of iron, silicon and a bit of carbon, a corrosion prone element. Therefore, they are painted to increase resistance towards corrosion and improve the aesthetic quality.

Fig 6.15: Iron work ornamentation Fig 6.16: Close up of iron work at the portico ornamentation

Fig 6.17: Application on the window grille

The advantage of iron is significant in this building as its high flexibility allows it to be bent for ornamentations, creating smooth curves and organic shapes for the iron work.

Fig 6.18: Staircase balusters made out of iron

Fig 6.19: Barrell lock made out of iron

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Aluminium Aluminium is used as window frames and mullions in the interior and the exterior of the building. It is composed of copper, manganese, magnesium, silicon, tin and zinc, which gives it its unique quality of being lightweight and extremely durable at the same time.

Fig 6.20: Tinted window with aluminium frame

It is waterproof and corrosion resistant. Hence, it is able to withstand heavy rainfall and humidity.

Aluminium is also known for its quality of partially reflecting heat and light, which complements the application of tinted glass to block the penetration of the blazing afternoon heat and sun.

Fig 6.21: Close up of frosted glass windows with aluminium mullion

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Bronze Bronze is used for the metal artwork ornamentation for the interior of the building. Bronze is composed mainly of copper, aluminium, nickel, zinc and manganese. The composition makes it a strong metal with high durability and ductility properties, allowing it to be welded for the production of the bronze artwork on the interior ventilation openings.

It is resistant to corrosion, thereby ensuring the longevity of the bronze artwork in the building.

Fig 6.22: A row of bronze artworks in the first floor as part of interior decoration

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6.2.5 CONCRETE Concrete The exterior flooring is made out of concrete. It has high compressive strength and is durable against weathering. Instead of being furnished with mosaic tiles, it is left bare to provide a natural, slightly brutalist look for the exterior of the building, exposing the concrete which juxtaposes the colored mosaic tiles. The drainage of the building is also constructed of concrete, mainly due to its high tolerance to dirt and durability.

Fig 6.23: Reinforced concrete double

The grand staircase is constructed of reinforced concrete to staircase withstand the weight of the users, especially when receiving large

Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer

number of visitors in its heyday as a museum. Its durability allows the concrete staircase, which is placed outside the building, to withstand extreme weather conditions.

Another advantage of reinforced concrete is its ability to be poured and molded into virtually any form, allowing the construction of the arched double-staircase.

Fig 6.25: Concrete flooring with mosaic tiles Fig 6.26: Concrete drainage

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6.2.6 PLASTER Plaster is used as a protective and sometimes decorative layer on walls. It is used exclusively in the interior of the building as it is highly sensitive to moisture, and can easily warp should it not be properly protected.

Its unique quality includes the ability to insulate sound. This makes it an ideal material for use in the partition walls of the office to keep noise levels at a minimum. It is also fire resistant, which indirectly increases the fire safety in the interior spaces.

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6.3 FLOOR COVERING & FINISHING 6.3.1 EXTERIOR FINISHES Unglazed Ceramic Mosaic Tiles ‘Pebble Washed’ Blue and pink mosaic tiles are used as the exterior floor finish around the perimeter of the building. This type of mosaic tiling is suitable for outdoor use as it is durable and could withstand exposure to intense sunlight and the acidity in rain water. It provides texture and friction to the concrete floor to prevent slips.

Mosaic tiles are easy to maintain, which makes it an economical material in the long run.

Fig 6.28: Ground floor plan showing the usage of unglazed ceramic mosaic tiles

Fig 6.27: Unglazed ceramic mosaic tiles

Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridor

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Paint Paint is applied to act as a protective and decorative layer on the building to protect the wall and other building components against harsh environmental conditions. It prolongs the longevity of the construction materials that are prone to deterioration via rotting or oxidisation such as timber and mild steel in the building.

Mild steel is susceptible to oxidisation, whereas timber should be protected from moisture and are vulnerable to termite attack. The application of paint coating on these materials are therefore necessary.

Fig 6.30: Layers of paint coating accumulated over the years

Paint coating will gradually peel over the years and would require periodic reapplication. The building has been repainted a number of times over the years, and have received different colour treatments with each reapplication.

The present-day colour of the coating is cream as the base colour, with light pink applied to certain parts of the building that need accentuation.

Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions

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Clay Roof Tiles Clay roof tiles are used as the roofing material, well-known for its durability and aesthetic value. Its high thermal capacity and reflective properties complement the pitched roof structure to create an effective cooling system via passive stack ventilation.

Clay roof tiles are strong enough to withstand extreme weather conditions, protecting the internal timber rafters from exposure to the sun and rain. Clay tiles are not susceptible to corrosion and does not expand or shrink under extreme temperatures. Therefore, it is a long lasting material, suitable for

Fig 6.32: Roof coverings made of clay roof tiles

the humid Malaysian weather.

The vintage Hacienda clay tiles create a mix of rough and delicate textures, emulating the roof style of vernacular Malay architecture.

Fig 6.33: Texture of clay roof tiles

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6.3.2 INTERIOR FINISHES Unglazed Ceramic Mosaic Tiles Similar to the exterior floor finish, the interior floor is also finished with unglazed ceramic mosaic tiles. However, certain parts of the interior floor is finished with a darker tone of blue that highlights the structural points of the building.

The colour variation in the tiling separates the interior space into distinct areas, helping with circulation and spatial organization.

Fig 6.34: Ground floor plan showing the usage of unglazed ceramic mosaic tiles

Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles

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Carpet The upper floor is completely carpeted, covering the original timber flooring.

Carpets are effective in acoustic insulation and can be easily replaced should the need arise. The carpet also hides the gaps in the timber flooring planks, giving the floor a seamless appearance.

The timber flooring of the first floor was first covered with carpet to prevent the leakage of cool air when the building was first installed with air-conditioning.

It is therefore not a permanent fixture to the flooring, making it easy to be Fig 6.36: First floor plan showing areas covered by carpet removed and cleaned.

Presently, the upper floor has a blue-coloured carpeting that spans the entire floor, including within the office cubicles.

Fig 6.37: First floor interior caarpet flooring

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Construction Details

Chapter 7: Construction Details

7.1 TIMBER COLONNADE The timber colonnade acts as the main supporting structure for the whole building, distributing lateral and vertical loads from the timber roof rafters, as well as live and dead loads from upper floor downwards into the foundation.

The construction of the collonades’ reinforced base and footing begins with the creation of the formwork. Concrete mixture is then poured into the formwork and vibrated to ensure the release of any air bubbles which may Fig 7.01: Ground floor plan showing the location of timber colonnades cause defects to the concrete. This is then followed by the placement of the 230mm diameter timber column which caps the base of the colonnade and spans its length up across two floors. The base and footing act as a supportive and protective layer to increase stability by anchoring the columns to the ground. It also prevents the timber column from being placed directly inside the ground which contains moisture and may affect the integrity of the column.

Once construction is complete, plaster and paint is then applied to the timber colonnade to create a sturdy look and improve its resistance against termites and humidity.

Fig 7.02: Timber colonnades at the corridor

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7.2 ROOF TIMBER SKELETON The gajah menyusu roof design

Detail B

incorporates receding degrees of

Detail A

slanted roof, going from a steep pitch in the middle, to a flatter

E 04

Roof Exploded Isometric View B SCALE:

1:50

decline on the sides all the way to the overhang. The dual degree slant E 04

design of the roof helps to regulate

Roof Exploded Isometric View C SCALE:

1:25

rainwater runoff. The degree of the slant varies accordingly in different

ridge tiles ridge board collar tie

states in Malaysia. As for the old

rafter clay roof tiles to manus'f detail

100mm thick post

50mm x 50mm thick batten

70mm thick rafter

metal connector 50mm x 50mm thick batten

museum building, the slant is

rafter tie clay roof tiles to manuf's detail

ceiling joist

approximately 52 to 57 degrees.

beam fascia board

E 04

50mm x 45mm sized batons with a distance of 160mm in between each are used in the construction.

E 04

DETAIL A SCALE:

E 04

1:10

DETAIL B SCALE:

1:10

Roof Exploded Isometric View A SCALE:

1:75

Fig 7.03: Axonometric details of the roof construction PROJECT TITLE :

REMARK:

DRAWING TITLE :

ARC 1215 / METHODS OF DOCUMENTATION AND MEASURED DRAWING

-

MUZIUM NEGERI KEDAH, LEBUHRAYA DARUL AMAN, KAMPUNG LUBOK PERINGGI, 05150 ALOR SETAR, KEDAH, MALAYSIA.

ROOF DETAILS

STARTING DATE COMPLETED DATE SCALE DRAWN BY CHECKED BY MEASURED BY RECORDED BY FACILITATOR

21.01.2017 04.03.2017 AS SHOWN LOO YEE PEI (0329 148) , CHONG JIA YI (0320 869) , WEE SUE WEN (0322 633) , TEO KUO CHIEN (0320 195) LOO YEE PEI (0329 148) -

DRAWING NO.:

2017 / ARC1215 / MLNKEDAH SHEET NO.: E / 04

MR. MOHD ADIB

The axonometric drawings show that the roof is constructed of multiple layers that form a sturdy, rigid roof skeleton that is able to effectively transfer load down to the foundation.

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Fig 7.04: East elevation

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Chapter 7: Construction Details

Fig 7.05: Section showing construction details

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Chapter 7: Construction Details

Construction of Timber Trusses The construction of the roof begins with the installation of the timber trusses, which are the fundemental structural component of the roof skeleton. The roof trusses of the old museum is a variation of the Polynesian truss design.

The upper part of the skeleton is supported by a King post and truss webs which are connected to a collar tie. The supporting structures are then joined to the rafters, distributing the weight equally to the the chords, and then to the roof joist. Metal plates and straps are used to strengthen the joints and connection between components as to minimise the use of nails in the construction.

Fig 7.06: Tenon and mortise joint

Fig 7.07: Bird’s mouth joint

Types of Joints 1. Tenon and mortise joint (king post to chords & king post with webs) 2. Bird’s mouth joint (rafter to eaves overhang) 3. Traditional heel joints (rafter to chords) Types of Connectors 1. Steel straps connectors 2. Dowels / Bolt

Fig 7.09: Image shows the steel straps connectors

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Chapter 7: Construction Details

Roof Coverings Clay tiles are used as roof coverings and capped with clay ridges at the hips of the roof.

Roof ornamentation Timber decorative fascia board is installed as a finishing touch to conceal the overhung rafters.

Fig 7.10: Connection of clay roof tiles

Fig 7.11: Sketch of clay roof tiles

Fig 7.12: Timber fascia board at the edge of the roof

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7.3 TIMBER POST BEAM & FLOOR JOISTS The building applies a mix of varying methods for joints, including the traditional mortise and tenon method. Steel connectors are used to strengthen the bond of the joints to improve stability of the post beam and floor joists.

Joinery and connections 1) Post and Beam Joint Connection 2) Post to Floor Joist Connection

Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection

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7.4 WINDOWS & DOORS 7.4.1 WINDOWS Louvered “Jalousie Windows� with Aluminium Frames There are 4 locations where louvered windows with aluminium frames are used in the building: 1. Ground floor 2. First Floor 3. Clerestory 4. First Floor Bathroom

Fig 7.14: South elevation showing the location of aluminium-framed louvered windows

The main component of the jalousie window is the aluminium frame which houses the mechanism for the opening and shutting of the glass louvers.

The window is placed at an opening in the wall, sitting on the window sill.

The window sill on the ground floor is made out of concrete as part of the exterior wall, while the window sill on the first floor is made out of timber.

Aluminium mullions are then fixed to the window frames before attaching the window jambs and handles. The handle can be used to adjust the opening

ELEVATION

of the glass louvers to allow for the adjustment of interior fenestration. The glass blades that form the louvers are arranged horizontally, with varying numbers and width depending on the size of the window frame.

Fig 7.15: Details of louvered windows with aluminium frame

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Chapter 7: Construction Details

Aluminium Casement Windows Casement windows are one of the later additions to the design of the old museum to either replace broken windows or as a means to insulate the building for air-conditioning. An example of this window can be seen installed at the bridge of connecting the main building with the bathroom and utility block at the back of the old museum.

Fig 7.16: South elevation showing the location of casement windows with aluminium frame

The size of the window opening must be decided before attaching the aluminium window frame. This is then followed by the fixing of window mullions and sills to the window frames. Casement windows with tinted glasses are then attached to the structure, held by the hinges of the window.

Fig 7.17: Details of casement windows with aluminium frame

Fig 7.18: Casement windows with aluminium frame

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Traditional Wooden Louvered Shutters The construction of the traditional wooden louvered shutters begins with the installation of a timber window frame. The window sash is then constructed with four individual timber pieces that are joined together. This is followed by the connection of 23mm individual timber panels to the window sash via the mortise and tenon wood joint technique at an angle.

Fig 7.20: Perspective view of the windows

Fig 7.19: South elevation showing the location of traditional timber louvered windows

Fig 7.21: Details of traditional timber louvered windows

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7.4.2 DOORS After deciding on the size of the door opening, the timber door frame is set in place. The timber door with glass panels is then constructed off-site and brought over for installation onto the timber frame via three hinges on both sides.

Finally, door accessories such as the barrel bolt, door closers and mortise

Fig 7.22: North elevation showing the location of timber door with glass panels

lock are fixed to the door with screws.

Fig 7.23: Details of timber door with glass panels

Fig 7.24: Mortise locks at the exterior of the timber door

Fig 7.25: Barrel bolt and door closers at the interior of the timber door

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7.5 STAIRCASE Exterior Reinforced Concrete Staircase The grand double-staircase housed at the entrance portico consists of 40 risers (150mm high each), 37 treads (260mm width each) and a landing in the middle. It sits on an arched stringer that is supported by 2 square columns.

The staircase is made out of reinforced concrete finished with mosaic tiles. The landing creates a lookout point and connects Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase the arched staircase to a series of steps that leads to the upper floor.

The construction of the staircase begins with the creation of a timber formwork in which reinforcement steel is laid into.

Concrete is then poured into the mould and vibrated to allow the release of air bubbles, and is left for a few days to cure.

Fig 7.27: Connection of different parts of staircase

Fig 7.28: Sectional drawing of reinforced concrete staircase

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Once the concrete is completely cured, blue and pink coloured mosaic tiles are laid on top, secured by a layer of mortar. White mosaic tiles are used to line the edge of the staircase nosing to improve the visibility of the edge of the steps for safety.

Iron balusters are then attached onto the concrete stringer capped with a painted wooden handrail.

Fig 7.29: Handrail and iron balusters of the staircase

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Chapter 7: Construction Details

Interior Open Stringer Timber Steps The main office space in the upper floor is connected to the rear bridge via timber steps that consist of 3 risers and 2 treads.

After deciding the number of treads and risers based on the floor height, the framing for the steps is constructed. Glue blocks and wedges are used to hold the treads and risers together. Extended nosings are added to ensure safety.

Fig 7.30: First floor plan showing the location of interior open stringer timber steps

Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge

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7.6 OTHERS 7.6.1 EXTERIOR ORNAMENTATION Exterior ornamentations are constructed over multiple layers to add depth to the design of the decorative element.

Inverted ‘S’ Ornamentation For the construction of inverted ‘S’ ornamentation: 1. 3 timber planks are joined together to form a wooden board.

2. The carved ornamentations and frames are then nailed to the timber board and painted accordingly.

Corridor Shading Devices

Fig 7.32: Axonometric drawings of exterior ornamentations

There are 18 sets of shading devices installed along the corridors and portico of the building, constructed in the following method: 1. Three wooden strips, forming a frame, are connected to the timber column via the tenon and mortise joint technique.

2. Wooden planks of varying lengths are then nailed to the wooden strips.

3. The number of nails used depends on the length of the wooden planks.

4. The different lengths form an arch-shaped shading device for the corridor.

5. White paint is then applied to the structure.

Fig 7.33: Inverted ‘S’ shape ornamentation

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Chapter 7: Construction Details

Architrave The architrave, which sits below the inverted ‘S’ ornament is made up of two separate horizontal pieces: 1. The top piece was cut to make up the top half of the diamond shape.

2. The bottom piece makes up the bottom half of the diamond, and was cut into a board with a series of triangular-shaped fringe.

Fig 7.34: Close-up of the architrave

7.6.2 INTERIOR ORNAMENTATION Bronze Metal Artwork The bronze metal artwork, which originally acted as ventilation openings for the upper floor consists of separate bronze rods that are bent and welded to form intricate shapes.

The rods, with thickness of approximately 10mm are bent to desired shapes and welded to form compositions of abstract art. The compositions are then left to solidify before they are cleaned, painted and installed onto the ventilation openings on the wall.

Fig 7.35: Bronze metal artwork in the first floor

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Chapter 8

Recent Condition

Chapter 8: Recent Condition

8.1 OPERATION AND FUNCTIONALITY OF THE BUILDING

Throughout most of its existance, the original building of the Kedah State Museum has served the community well. It began its life as Kedah’s first purpose-built museum and was built at a time when Malaya was a new nation with a fledgeling economy. Therefore, the design of the building was kept as simple as possible, whilst still incorporating elements that reflect the tradition and history of the locals. Similarly, the scale and floor space was kept at a bare minimum as the country and the state were both very careful of their finances. The building was originally shared between the state museum and the city library. It was not long before the museum exhibition space was expanded to take up all the spaces inside the building.

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Chapter 8: Recent Condition

However, as the years passed, and the country witnessed significant growth, a new building was constructed adjacent to the original, to house the ever growing number of museum exhibits. The old museum was then repurposed as the administration office of the state museum and the headquarters for the Kedah Historical Society.

Fig 8.01: Dignitaries visiting the museum (c. 1975)

8.1.1 SPACES With the conversion of the old museum into an office, the spaces inside the museum received minor refurbishment. A notable change would be the addition of partition walls to define working areas. The partitioning is either partial or full, depending on the level of privacy needed by a specific department. The refurbishment benefited greatly from the open floor plan of the museum, which was originally designed to maximise exhibition space. With the open floor plan, tables, working areas and partitions can be arranged freely without the constraints that come with having fixed interior walls.

Fig 8.02: Condition of the first floor today

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Chapter 8: Recent Condition

8.1.2 APPEARANCE As the building is primarily built out of timber, paint is applied as a protective layer to shield the wood from weathering as it is constantly exposed to extreme heat and humidity. The building is repainted every few years as the coating would begin to peel after a significant period of time. With regular reapplication of paint, it is inevitable that the colour of the building changes with every new coat of paint applied.

The original colour of the building, as a museum, was cream with deep yellow highlights on the columns, ornamentations and fascia board as it was mirroring the colour of Balai Besar. Today the building still retains the cream

Fig 8.03: Original colour of the old museum

base, but repainted the deep yellow with light pink to match the colour of the new museum building.

Fig 8.04: Colour of the old museum today

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Chapter 8: Recent Condition

8.2 EXTERIOR The main components of the museum’s exterior are the roof, colonnade, exterior doors, windows, and the exterior walls. Additionally, the exterior also houses ornamentations and the shading device. These elements act as the first line of defence against Malaysia’s hot and humid climate. They have therefore over the years experienced a certain level of ageing and weathering.

8.2.1 ROOF The roof is still intact and functions perfectly to protect the interior spaces of the museum.

However, the exposure to direct UV rays have affected its colour, changing it from its original bright red to the present day dark, brownish hue.

The change in colour is due to photodegradation, whereby chemical bonds in the composition of the clay roof gets broken down by UV rays, causing the change in material colour. This phenomenon does not only occur to the clay tiles on the roof, but also affects the exterior paint of the museum, causing them to fade over time.

Fig 8.05: Changes in roof colour over time

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Chapter 8: Recent Condition

8.2.2 COLUMNS The timber columns were constructed on a concrete base and are covered in plaster and paint to reduce its exposure to moisture, both in the ground and in the air. However, the coat of paint has started to deteriorate and peel due to the volatile weather changes in Malaysia, which alternates between wet and sunny conditions regularly. The deterioration begins with the formation of a blister in the coating, which allows moisture and air to enter and form bubbles or air pockets. The bubbles would continue to expand under high temperatures, eventually causing the peeling of the coating. The exposed area of the timber column would then be exposed to moisture which will affect the structural integrity of the building.

Fig 8.06: Deterioration of column base

Fig 8.07: Ageing of timber columns

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Chapter 8: Recent Condition

8.2.3 WINDOWS AND DOORS Windows Not much has changed to the design of the windows, aside from the replacement of some jalousie windows with new tinted aluminium casement windows on the bridge connecting the main building to the bathroom and services block at the rear end of the building. The same treatment can be seen applied to the wooden louvered windows on the left side of the ground floor under the entrance portico. The most notable change however, is the boarding up of all ground floor windows due to the installation of air conditioning after the building was converted into an office.

Fig 8.08: Changes in the windows

Doors The main entrance, located on the first floor was originally a simple opening with metal grilles. A tinted glass sliding door was later installed in addition to the grilles, again, due to the installation of air conditioning inside.

These changes, especially concerning the addition of tinted glass windows and doors, as well as the shutting of all ground floor windows have greatly reduced the level of fenestration inside the building. Hence, artificial lighting is now necessary to light up interior spaces regardless of the time of the day.

Fig 8.09: Addition of tinted glass sliding door to the main entrance

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Chapter 8: Recent Condition

8.2.4 SHADING DEVICE The shading devices along the exterior corridor on both sides of the building is made up of separate timber boards that are joined together into a solid piece. This construction may have been ideal at the time the building was constructed. Over the years however, with constant exposure to changes in weather, these individual pieces began to degrade at varying rates. This has left some shading devices with either broken, or incomplete number of boards, which can be an eyesore to visitors.

Fig 8.10: Degradation of wood paneling for the exterior shading device

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Chapter 8: Recent Condition

8.2.5 ORNAMENTATION The ornamentations were inspired by vernacular Malay architecture, which incorporates wooden carvings on the frieze and clerestory of the house.

The traditional carvings are incorporated into the design of the old museum building, with a slight twist; as they are made of metal rather than wood.

Other ornamentations such as the inverted ‘S’ pattern on the building still retain the spirit of traditional local architecture, being made out of wood.

Timber Ornamentations Wooden ornamentations are more susceptible to decay in the country’s humid weather as it causes rapid expansion and contraction of the wooden

Fig 8.11: Some parts of the exterior ornamentations have fallen off from the wall

ornamentations. It can be observed that most wooden ornaments have either fallen off the wall, or are slowly deteriorating as they have not been properly maintained.

Metal Ornamentation Iron ornaments, such as the one on the frieze of the portico are susceptible to oxidisation. However, they have been well maintained, with the periodic reapplication of paint. The interior metal carving is easy to maintain as bronze does not corrode. However, they are still painted for aesthetic purposes.

Fig 8.12: Minor oxidation on metal ornamentations

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Chapter 8: Recent Condition

8.2.6 FINISHING A notable change in the finishing is the installation of carpets in the interior spaces on the upper floor. The floor was previously left exposed showing the bare timber flooring. The carpets, although relatively new, seem to be poorly maintained.

The tiles in the rear bathroom and utilities block have been changed as the structure did not originally house toilets. When the building was redesignated as an office, there was a need for the building to have its own toilet. Bathroom tiles were added to the newly built toilets during the refurbishment to turn the building into an office.

Fig 8.13: The first floor is now completely covered with carpet

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8.3 IMPROVEMENT SUGGESTIONS ON DESIGN Although it now functions as an office building, the old building of the state museum has, throughout its existence, contributed immensely to the development and preservation of the culture and history of Kedah. Therefore, the structure deserves to be properly maintained and preserved for the benefit of future generations.

To revive the spirit it once held, the building can be treated with a fresh coat of paint, which would not only improve its aesthetics, but also protect the metal and timber elements from further deterioration. The building can be repainted with its original dark yellow colour, as it deserves the right to be true to its history, especially in conjunction with Alor Setar’s 250th anniversary.

Another aspect that can be improved is the fenestration in the interior spaces of the building, especially pertaining to the ground floor. As mentioned earlier, the ground floor now depends solely on artificial lighting after the side windows were sealed shut when it was repurposed as an office. Natural lighting could improve the overall quality of the space and provide an improved working environment for the officers. This can be achieved with the replacement of the plywood panels blocking the louvered windows with a glass panel that allows natural light in.

Finally, the wooden shading devices along the corridor can be replaced with new ones that look exactly as the original, as the wooden panels has over the years been poorly maintained.

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Conclusion

Conclusion

The Old Museum Building Even though the museum has been moved to its present home in the new building, the old museum structure should be preserved as a testament to the passion locals have in preserving the rich history and culture of Kedah.

The building also presents a prime example of a blend between vernacular and modern architecture, a characteristic unique to the young and fledgeling Malaya in the early years after Merdeka.

The old museum structure will for generations to come, be a stark reminder on the importance of preserving the local culture and history in the pursuit of nation building. Its architectural elements should be studied and documented, as it represents the ingenuity of the builders of the past in incorporating traditional elements to help with the creation of an efficient and functional public space.

In fact, the old museum would for a very long time stand as a physical representation of the culture and lifestyle of the locals in Kedah.

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Conclusion

The Team As for the team of researchers, each member has had their own unique perspective on the experience of completing the project. The learning curve was steep at the beginning, with some just beginning to acquire the knowledge to transfer collected data into proper architectural drawings. However, the team has grown throughout the duration of the project, acquiring new skills with each new task, which will greatly benefit the members in the upcoming semesters particularly in the fields of producing quality CAD drawings as well as architectural concept development and abstraction.

The experience of working in a team of dedicated students will be beneficial in the future as the students move a step closer into entering the real world in the labor market, where the environment is competetive and challenging.

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Glossary

GLOSSARY A Artifact An object made by a human being, typically an item of cultural or historical interest Asbestos A heat-resistant fibrous silicate mineral that can be woven into fabrics, and is used in fire-resistant and insulating materials such as brake linings Accentuation the action of emphasizing something.

crudity, or violence of imagery. The term was first applied to functionalist buildings of the 1950s and 1960s that made much use of steel and concrete in starkly massive blocks

C Casement A window or part of a window set on a hinge so that it opens like a door.

Ceramic Made of clay and hardened by heat Circulation Movement to and fro or around something, especially that of fluid in a

B

closed system

Baluster

Column

A short pillar or column, typically decorative in design, in a series

An upright pillar, typically cylindrical and made of stone or concrete,

supporting a rail or coping

supporting an entablature, arch, or other structure or standing alone as a

Brutalist

monument

A style of architecture or art characterized by a deliberate plainness,

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Glossary

Colonnade A row of columns supporting a roof, an entablature, or arcade

D Dowel

Clerestory

A peg of wood, metal, or plastic without a distinct head, used for holding

The upper part of the nave, choir, and transepts of a large church,

together components of a structure.

containing a series of windows. It is clear of the roofs of the aisles and admits light to the central parts of the building.

E Eaves

Concrete A heavy, rough building material made from a mixture of broken stone or gravel, sand, cement, and water, that can be spread or poured into molds and that forms a stonelike mass on hardening.

Corridor A long passage in a building from which doors lead into rooms Curvature The fact of being curved or the degree to which something is curved

The part of a roof that meets or overhangs the walls of a building Etching The act of process of making designs or pictures on a metal plate, glass, etc. by the corrosive action of an acid instead of by a burn Elevation A particular side of a building.

Exterior Forming, situated on, or relating to the outside of something.

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Glossary

F Facade The face of a building, especially the principal front that looks onto a street

Frieze A broad horizontal band of sculpted or painted decoration, especially on a wall near the ceiling

or open space.

G

Fascia

Geometrical

A wooden board or other flat piece of material such as that covering the

The branch of mathematics concerned with the properties and relations of

ends of rafters

points, lines, surfaces, solids, and higher dimensional analogs.

Fenestration

Grille

The arrangement of windows and doors on the elevations of a building.

A grating or screen of metal bars or wires, placed in front of something as

Flank

protection or to allow ventilation or discreet observation.

Be situated on each side of or on one side of

H

Filigree

Hardwood

Ornamental work of fine (typically gold or silver) wire formed into delicate

The wood from a broadleaved tree (such as oak, ash, or beech) as

tracery.

distinguished from that of conifers.

Foundation

Hinges

The lowest load-bearing part of a building, typically below ground level

A movable joint or mechanism on which a door, gate, or lid swings as it opens and closes, or that connects linked objects.

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Glossary

Homogeneous Of the same kind, alike

L Lateral

I

Of, at, toward, or from the side or sides.

Interior

Louvers

Situated within or inside; relating to the inside; inner.

Each of a set of angled slats or flat strips fixed or hung at regular intervals

J Joist

in a door, shutter, or screen to allow air or light to pass through.

M

A length of timber or steel supporting part of the structure of a building,

Mullion

typically arranged in parallel series to support a floor or ceiling.

A vertical bar between the panes of glass in a window.

Juxtaposition

Modernism

The fact of two things being seen or placed close together with contrasting

A style or movement in the arts that aims to break with classical and

effect

traditional forms.

Jalousie

Mortar

A blind or shutter made of a row of angled slats

A mixture of lime with cement, sand, and water, used in building to bond bricks or stones

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Glossary

Mortise

Oxidize

A hole or recess cut into a part, designed to receive a corresponding

A picture or pattern produced by arranging together small colored pieces

projection (a tenon) on another part so as to join or lock the parts together.

of hard material, such as stone, tile, or glass.

Mosaic

P

A picture or pattern produced by arranging together small colored pieces of hard material, such as stone, tile, or glass.

Motif A distinctive feature or dominant idea in an artistic or literary composition

N

Partition A structure dividing a space into two parts, especially a light interior wall Photodegradation Decomposed by the action of light, especially sunlight Pediment

Nosing

the triangular upper part of the front of a building in classical style, typically

A rounded edge of a step or molding

surmounting a portico of columns.

O

Pedestal

Ornamentation

The base or support on which a statue, obelisk, or column is mounted

The branch of mathematics concerned with the properties and relations of

Plaster

points, lines, surfaces, solids, and higher dimensional analogs.

A soft mixture of lime with sand or cement and water for spreading on walls, ceilings, or other structures to form a smooth hard surface when dried.

129

Glossary

Portico

Symmetry

A structure consisting of a roof supported by columns at regular intervals,

The quality of being made up of exactly similar parts facing each other or

typically attached as a porch to a building.

around an axis.

R

T

Rafter

Tenon

One of several internal beams extending from the eaves to the peak of a

A projecting piece of wood made for insertion into a mortise in another

roof and constituting its framework.

piece

Rattan

Timber

The thin pliable stems of a palm, used to make furniture.

Wood prepared for use in building and carpentry

Riser

Tread

A vertical section between the treads of a staircase

The top surface of a step or stair

S

Truss

Stringer A side of a staircase, which supports the treads and risers

A framework, typically consisting of rafters, posts, and struts, supporting a roof, bridge, or other structure.

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Glossary

V Ventilation The provision of fresh air to a room, building, etc Verandah A roofed platform along the outside of a house, level with the ground floor Vernacular Architecture concerned with domestic and functional rather than monumental buildings Vertical At right angles to a horizontal plane; in a direction, or having an alignment, such that the top is directly above the bottom

W Wedge A piece of wood, metal, or some other material having one thick end and tapering to a thin edge, that is driven between two objects or parts of an object to secure or separate them.

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APPENDIX

Appendix

INTERVIEW WITH DATO WAN SHAMSUDDIN, CHAIRMAN OF KEDAH HISTORICAL SOCIETY (Interview was conducted in Malay) Q:

Terangkan sedikit sejarah ringkas mengenai Muzium Negeri Kedah dan bangunan lama muzium.

A:

Persatuan sejarah Malaysia cawangan Kedah ditubuhkan pada tahun 28 julai 1956. Mula sekali di Balai besar yang terletak menghadap masjid negeri di dataran budaya. Pejabat kami pada asalnya diatas sana. Masa itu belum merdeka lagi. Kalau di Kuala Lumpur persatuan Sejarah Malaysia. Orang yang bagi semangat kepada kami untuk menubuhkan persatuan sejarah ini ialah Sir Gerald Templer masa darurat. Daripada situ, kita menubuhkan cawangan untuk setiap negeri dan cawangan Kedah antara yang terawal ditubuhkan iaitu pada 28 Julai 1956. Pada masa itu juga, pengerusi pertama cawangan Kedah dilantik iaitu Tunku Nong Jiwa. Kalau diikutkan, sejarah daripada Lembah Bujang (Bujang Valley) sebelum dan selepas perang memang sangat banyak artifak-artifak dan peninggalan sejarah di Lembah Bujang itu. Jadi kerajaan Kedah yang telah menjumpai kesemua artifak-artifak itu meminta kami (persatuan sejarah Kedah) untuk memelihara tinggalan sejarah itu dan kami kumpulkan semuanya di Balai Besar pada masa itu. Oleh itu, presiden kami menubuhkan sebuah galeri di bahagian bawah Balai Besar untuk mempamerkan arca-arca seni, patung-patung Buddha dan patung-patung Hindu memang banyaklah. Selepas itu, pengerusi kami juga dilantik sebagai pengerusi pertama bagi muzium pertama di negeri Kedah tapi beliau tetap dipanggil sebagai Pengerusi Sejarah. Ahli-ahli persatuan sejarah termasuklah saya juga antara orang yang terawal pada masa itu bersama pengerusi kami meminta kepada kerajaan negeri Kedah untuk membina bangunan sebagai muzium negeri yang pertama.

Q:

Apakah perubahan-perubahan ketara yang pernah berlaku kepada rekabentuk atau binaan bangunan lama muzium?

A:

Tak banyak perubahan. Semuanya dalah struktur yang asal yang mana kita boleh lihat bahagian kiri dan kanannya dalah sama (iaitu symmetrical).

Bilik di bahagian belakang juga masih dikekaklkan walaupun berubah fungsi. Sebelum itu, dahulunya bahagian bawah ini dijadikan Perpustakaan Negeri sebelum diwujudkan satu bangunan sendiri yang dikenali Perbadanan Perpustakaan Awam Negeri Kedah.

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Appendix

Q:

Bilakah kali terakhir lawatan/majlis bersejarah berlangsung di bangunan ini?

A:

Kebiasaannya duta-duta Negara yang datang melawat kerana mereka juga hendak tengok tentang sejarah kita, dan bagaimana kita peliharanya.

Semuanya duta Negara luar biasanya.

Q:

Mengapakah fungsi bangunan ini dipindahkan kepada bangunan baru yang terletak bersebelahan, dan tidak hanya dibesarkan muzium lama?

A:

Jadi saya kira kerana tanah sekitar kawasan muzium ini memang luas dn lapang sebab itulah mereka nak buat bangunan baru, bukan sekadar menambah ruang bagi bangunan sedia ada (extension). Kalau tanah yang sebelah kanan muzium ini, yang ini memang tanah yang baru kita beli, tetapi tapak bangunan baru itu memang tanah yang sedia ada. Kerana yang pertama jika kita buat penambahan pada bangunan lama, ia juga menambah kos kerana perlu banyak penambaikkan kerana ia adalah bangunan lama danyang keduanya adalah kerana kita memang mempunyai tanah lapang.

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Appendix

INTERVIEW WITH EN FAUZI, MANAGER OF KEDAH STATE MUSEUM (Interview was conducted in Malay) Q:

Terangkan sedikit sejarah ringkas mengenai Muzium Negeri Kedah dan bangunan lama muzium.

A:

Asalnya terletak di balai besar di Dataran Budaya. Balai besar mempunyai dua tingkat yang mana ditingkat bawah dijadikan muzium pertama negeri kedah yang asal dikenali sebagai Muzium Sejarah Negeri Kedah. Peningkatan pengumpulan artifak dan bahan pameran, menyebabkan muzium itu dipindahkan ke bangunan sendiri iaitu bangunan lama Muzium Negeri Kedah pada tahun 1980-an. Bangunan ini mempunyai ruang yang luas yang membolehkan lebih banyak artifak-artifak dikumpul dan dipamerkan. Itulah serba sedikit sejarah asal bagaimana kewujudan bangunan lama Muzium Negeri Kedah ini.

Q:

Apakah yang membezakan Muzium lama negeri berbanding bangunan-bangunan lain yang dibangunkan pada era yang sama?

A:

Pada masa itu, tidak banyak lagi bangunan yang berkonsepkan begini yang mana bangunan ini mempunyai konsep yang sama dengan Balai Besar. Arkitek yang membina bangunan ini sememangnya mengambil pengaruh daripada Balai Besar. Kalau ditengokkan, rumah-rumah kedai yang dibina pada masa itu juga tidak ada yang mempunyai konsep seperti ini yang mengambil ciri traditional daripada Balai Besar. Manakala, bumbung ini mengambil ciri bumbung traditional Kedah iaitu bumbung lima. Jadi, pengaruh luar masib belum lagi kelihatan dalam reka bentuk bangunan-bangunan yang ada di Kedah ketika itu.

Q:

Apakah perubahan-perubahan ketara yang pernah berlaku kepada rekabentuk atau binaan bangunan lama muzium?

A:

Beranda, yang mana asalnya adalah ruang terbuka. Namun apabila terlalu banyak barang-barang artifak yang kita simpan, jadi untuk keselamatan barang-barang tersebut, kita menambah tingkap nako di ruang tersebut. Kecuali di ruang belakang yang mana pada asalnya juga merupakan tingkap nako dan digantikan dengan tingkap kerana terdapat penggunaan aircond yang mana fungsinya adalah untuk keselesaan bilik pejabat.

Dari segi struktur memang tiada perubahan, ia adalah struktur yang asal.

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Q:

Apakah fungsi utama bangunan ini sekarang?

A:

Fungsi asal bangunan ini adalah sebagai muzium dan library(perpustakaan) sebelum dijadikan pejabat. Ditingkat bawah adalah muzium dan tingkat atas dijadikann library. Namun apabila koleksi semakin bertambah, tingkat atas juga dijadikan muzium dan sebahagian lagi ruang dijadikan library. Apabila koleksi semakin bertambah dan ruang library juga semakin kecil maka sebuah lagi bangunan baru khas dibina untuk menempatkan kesemua koleksi barangan bersejarah untuk simpanan Muzium Negeri Kedah. Manakala bangunan asal ini pula dijadikan pejabat pentadbiran dimana ditingkat bawah terdapat unit pentadbiran dan ditingkat atas terdapat unit fotografi dan unit teknikal. Pejabat ini juga dijadikan headquarters untuk pentadbiran Muzium Negeri Kedah dimana kita ada 5 cawangan lagi keseluruhannya. Antaranya Muzium Diraja, Balai Seni, Muzium Padi, Memorial Tunku Abdul Rahman dan juga dua buah tradisional iaitu Rumah Toksu dan Rumah Seri Banai.

Q:

Bilakah kali terakhir lawatan/majlis bersejarah berlangsung di bangunan ini?

A:

Apabila dijadikan pejabat, kita sentiasa dilawati oleh orang ramai. Apabila bangunan baru telah dibina, masih ada lagi orang-orang lama yang datang ke bangunan lama untuk melihat pameran kerana menyangka muzium masih lagi ditempatkan di bangunan ini. Mereka tidak tahu bahawa sudah ada bangunan baru untuk muzium. Jadi untuk bangunan ini, kita tidak buka untuk lawatan kerana fungsinya lebih kepada pejabat kecuali ianya untuk urusan yang melibatkan hal ehwal pentadbiran seperti mesyuarat dan sebagainya.

Q:

Bagaimanakah bangunan ini berfungsi sebagai lambang kebudayaan dan nilai-nilai masyarakat tempatan.

A:

Orang muda tidak tahu sejarahnya tetapi orang lama mungkin tahu tetapi pada masa itu tidak banyak bangunan-bangunan yang dibina berasaskan konsep tradisional kecuali rumah traditional mungkin banyak tetapi tidak untuk bangunan-bangunan besar seperti ini. Bangunan ini pun dibina untuk menyimpan kebudayaan dan kesenian jadi ianya sesuai dengan konsep bangunan dan juga muzium kerana muzium yang dibina adalah sebagai organisasi yang ditubuhkan untuk memelihara, membaikpulih konservasi khazanah-khazanah yang ada di Kedah.

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Q:

Apakah peristiwa-peristiwa menarik yang pernah terjadi yang melibatkan bangunan muzium lama ini (cth: mitos, dongeng, tragedi dsb.)

A:

Orang ramai biasanya akan kaitkan muzium dengan peristiwa paranormal atau mistik. Cerita dongeng atau mitos biasanya tiada. Kalau tragedi, kita pernah dilanda banjir pada tahu 2010 yang mana bahagian bawah memang dimasuki air sedalam 2 kaki. Kalau peristiwa mistik itu, tidak semua dapat merasainya, mungkin hanya sesetengah orang itu rezeki dia.

Q:

Apakah konsep rekabentuk bangunan ini, dan siapakah jurubinanya?

A:

Staff daripada JKR. Soal nama tu, daripada layout plan yang kami terima tidak tercatat nama arkiteknya dan apabila kami tanya kepada pihak JKR sendiri tidak pasti siapa yang melukis layout plan itu. Jadi kami sudah banyak kali ditanya, dan kami pun tiada maklumat dan info daripada JKR jadi kami pun tak tahu siapa jurulukis asalnya.

Q:

Apakah elemen-elemen yang menarik yang terdapat pada struktur bangunan ini?

A:

Elemen menarik pada saya, satu konsepnya seperti balai besar. Kemudian bumbungnya juga bercirikan rumah tradisional Kedah atau bumbung lima dan juga ukiran-ukiran yang terdapat di bumbung juga apa namanya orang panggil? Yang lain adalah biasa cuma didalam memang tidak ada yang special cuma yang diluar itulah ukiran S.

Q:

Mengapakah lukisan di bahagian atas menggunakan besi sebagai medium seni dan bukannya kanvas?

A:

Saya rasalah sebab saya pun tidak pernah study lagi pasal ini. Mungkinlah pada saya,mungkin pada tahun lukisan itu dibuat kanvas atau material lain masih lagi belum popular, lukisan kanvas mungkin tidak sepopular sekarang jika dibandingkan pada masa itu. Seingat saya lukisan itu adalah salah satu daripada lukisan arkiteknya sendiri atau penambahan selepas selesai muzium dibina yang memang dibuat daripada material ini sendiri bukan material lain. Yang itu pun saya tidak berapa pasti.

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Q:

Apakah jenis bahan yang digunakan dalam pembinaan struktur bangunan ini termasuklah bumbung dan struktur asasnya?

A:

Binaannya lebih kurang sama dengan balai besar. Bawahnya adalah batu dan atasnya adalah kayu. Tiang juga bahagian bawahnya 3 atau 4 kaki adalah menggunakan simen/batu dan selebihnya kayu. Mungkin konsep pada zaman itu memang mengambil ilham asal daripada Balai Besar.

Jadi cara pembinaan dan material sama. Office yang diatas juga semua menggunakan kayu dan yang dibawah adalah terdiri daripada simen atau bata. Selebihnya yang diatas adalah kayu sehinggalah ke bumbung di mana atas bumbung adalah mengguna roof tile. Kebanyakkannya adalah campuran daripada dua material inilah iaitu 80 percent kayu dan 20 percent adalah batu bata/simen.

Q:

Kenapa binaan tiang yang terdapat pada bangunan ini menggunakan dua bahan yang berbeza iaitu simen bagi tapak asasnya dan kayu sebagai tiangnya?

A:

Mungkin secara logiknya kita fikir, bangunan ini dibina untuk kegunaan muzium dan library dan diatas adalah tempat untuk library jadi mungkinlah ialah untuk menampung bebanan yang berat. Tetapi secara dasarnya memang kita tidak tahu kenapa tiangnya dibina sedemikan tetapi itulah secara logiknya adalah untuk menampung berat buku dan almari yang digunakan di library.

Q:

Adakah ruangan tandas yang terletak di bahagian belakang bangunan merupakan struktur tambahan atau ia adalah struktur asli?

A:

Bilik kecil dibelakang adalah part of bangunan asal yang mana ianya dijadikan stor dengan dua pintu. Apabila bangunan ini confirm menjadi office dan tandas tiada jadi disebabkan itulah bilik belakang ditingkat bawah dijadikan tandas. Pada asalnya itu adalah memang bilik stor. Disebakan tandas jauh, jadi bilik itu dijadikan tandas.

Q:

Bagaimanakah sambutan penduduk tempatan terhadap penubuhan bangunan lama muzium ini sewaktu ianya dibuka?

A:

Macam saya ialah orang baru di muzium ini, jadi saya pun tak pasti macam mana sambutan itu. Kalau difikirkan pada asalnya muzium itu kecil sahaja, daripada asal yang dikenali sebagai Muzium Sejarah Kedah dan kini dikenali sebagai Muzium Negeri Kedah. Jadi sambutannya saya pasti agak baik dan menggalakkan disebabkan kalau dilihat sumbangan orang ramai yang mendermakan barang-barang lama mereka yang bernilai dan peningkatan artifak yang dikumpul juga menyebabkan bangunan baru muzium dibina.

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