Page 1

Muzium Sultan Abu Bakar, Pekan, Pahang

7 Years Selected Works Report 2011–2018

02 Foreword

03 Experiences

07 Selected Works

Visual Communications Portfolio of Martin Koch – koma, 1

Application


7 Years – Selected Works Report 2011–2018

Martin Koch

2


7 Years Selected Works Report 2011–2018

Visual Communications Portfolio of Martin Koch – koma,


7 Years – Selected Works Report 2011–2018

Martin Koch

Foreword

Martin was raised in Kuala Lumpur City Centre in Malaysia and graduated from the Malaysian Insitute of Art. From there he went on begin his career at strategy design consultancy in WHW and Reed, both leading studios producing a wide range of work that includes identity, signage & wayfinding and content generation. He has gain insights with top clients, locally and internationally. His design work is driven by understanding of client and user needs and goals. Over six years of dedication, this has provided him with a platform that enables to execute every project whether it’s small or an entire campaign, creating strategically visually interesting solutions to communication. This portfolio chronicles his journey as a designer. It records his exploration of the various design fields, that has driven him to shape his ideas in the industry.

2


Experiences

Experiences INTELLECTUAL & IDEATION

EXPERIENCE

DESIGN QUALITIES

Wireframing Prototype User Research Storyboarding User Flows User Experience Journey Mapping Interface Design User-Centered Design Aesthetics Analytical thinking Information Architecture Usability Testing Photography Brainstorming Insights Hunting Composition Critical Thinking Forecast / Predicts Managment / Cordinate Multi-Discipline Negotiates / Resolves Problem Solving Representation Speaks Effectively Systemization Visualization

Werbeagentur-Erfurt www.werbeagentur-erfurt.net

» Thorough and meticulous.

WAGEr is an Advertising Agency, specialising in online marketing, SEO, Webdesign and Web Development.

» Understanding the User Experience.

LANGUAGES*

SOFTWARE SKILLS*

Deutsch: Conversational Level English & Malay: Fluent Level * Spoken & Written

» Fast and able to work under pressure.

» Able to work across any design discipline. Samt & Seidel KG www.samt-seidel.net

» Intensive research on design strategy and qualities.

S&S is an Advertising Agency, specialising in visual design marketing communications content for online and printed matter.

» Excellent knowledge of design sense, colour theory and typography.

Reed (Previously know as ReedWorks) www.reedmy.com RW is a Network-based strategic brand, marketing, communications consultancy specialising in content generation, visual design and experience engineering.

William Harald – Wong & Associates www.whwdesign.org WHW is a strategic design consultancy in Brand and Corporate Identity based in Kuala Lumpur, Malaysia. A project-specific working process that has produced a wide body of work that includes identity, signage & wayfinding and printed matter.

» Particular and carefully in kerning, leading and alignment of a body copy.

PERSONAL QUALITIES » » » » » » » » » » »

Leading / Decision maker. Responsible. Ability to work in a group. Observation in every aspect. Particular in details. Following Instructions. Creative & Innovative. Able to accept criticism. Passionate / Positive. Eager / Inquisitive. Open to learning new skills.

DESIGN INTEREST

Adobe XD CC Sketch App / InVision Studio Adobe Photoshop CC Adobe Illustrator CC Adobe InDesign CC Adobe Lightroom CC Autodesk 3Ds Max Cinema 4D / Flinto / Principle Adobe After Effects CC

– Competent – Competent – Competent – Proficient – Proficient – Proficient – Competent – Beginner – Training

* All software is the latest version unless otherwise noted. Ability to work on both Mac & PC.

» UX / UI Responive Website Design. » UX / UI Mobile App Design. » Branding & Advertising. » Editorial Design. » Exhibition / Gallery Design. » Experimental Design. » Installation Design. » Contemporary Design. » Wayfinding & Signage.

EDUCATION

ADDITIONAL*

2019 – Present

UI Patterns & Elements / Reference Materials / More than 3000 Commercial Font Families / Mock-ups Images / 3D Models.

The Interaction Design Foundation www.interaction-design.org/martin-koch

* Collection of graphic resources.

2009 – 2011 Malaysian Institute of Art (MIA) Diploma in Graphic Design 1993 – 2002 Deutsche Schule, Petaling Jaya (DSKL) Primary – Secondary

Update: 1 March 2019

» Able to follow the creative brief and other guidelines.

For full detail, please view my Curriculum Vitae 2019

3


7 Years – Selected Works Report 2011–2018

Martin Koch

Survays and research for solution of a problem.

4


Experiences

5


7 Years – Selected Works Report 2011–2018

Martin Koch

Definitions of a Graphic Designer

One who has the artistic sensibility, skill and experience and /or training professionally to create designs or images for reproduction by any means of visual communication, and who may be concerned with illustration; typography; calligraphy; surface design for packaging; or the design of patterns, books, advertising and publicity material, or any form of visual communication. Articles of Association of the International Council of Graphic Design Associations, September 18, 1984

6


Selected Works Contents

Selected Works Muzium Sultan Abu Bakar, Pekan, Pahang

10

» Brand & Visual Identity Design » Environmental Graphics » Wayfinding & Signage Information Design

Kellies Castle Gallery, Ipoh, Perak

36

» Desk & Field Research » Information Panels » Wayfinding & Signage

KL East Township, Desa Melawati » » » »

48

Brand & Visual Identity Design Marketing Collaterals Gallery Exhibit & Signage KL East Coffee Table Book

The Mansions & Westside II, Desa Park City

72

» Wayfinding & Signage

British India, Malaysia

84

» Re-design Logo » Visual Identity Update » Label System Design

The Edge Award Submission 2015

90

» Design UEMS The Edge Award Submission Book 2015

Bayan Lepas Expressway

100

» Design UGB BLE Coffee Table Book » Photograph Directing on Site

Ahimsa – Exhibition of Paintings

112

» Enhance Logo » Marketing Collaterals

Publika Visual Identity Guidelines » Design Publika Visual Identity Guidelines

7

120


7 Years – Selected Works Report 2011–2018

Martin Koch

8


Muzium Sultan Abu Bakar, Pekan, Pahang

9

Application


7 Years – Selected Works Report 2011–2018

Projek Muzium Sultan Abu Bakar, Pekan, Pahang Task » Brand & Visual Identity Design » Environmental Graphics » Wayfinding & Signage Information Design Client Lembaga Muzium Negeri Pahang and East Coast Economic Region Development Council (ECERDC) Year 2014

Martin Koch

Awards & Recognition Muzium Sultan Abu Bakar won Gold and Grand Award Finalist in the prestigious Design for Asia Awards 2015 in Hong Kong. It was Malaysia’s first Gold in the Award’s 12-year history. The museum scores with an identity that imparts a strong sense of place and purpose, local history and community values.

Team Members Martin with WHW Team

The project objectives: » To establish a people-friendly educational and resource centre for Pekan, ensuring that the heritage and culture of Pahang (specifically) and Malaysia (generally) is preserved. » To engage the local community, providing enrichment through learning and understanding, as well as enjoyment for our visitors with beautiful gallery spaces, art, and lush gardens. » To uplift the local economy by creating a integrated cluster of quality museums to draw visitors and holiday-makers, especially those visiting or passing by Kuantan, the state capital, a half-hour’s drive away.

10


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

Muzium Sultan Abu Bakar is located in Pekan, the Royal Town of Pahang, on the East Coast of Malaysia. The museum is located along the banks of the Pahang river and there are many traditional Malay houses in the vicinity, giving the district an idyllic and semi-rural feel. Pekan’s main street alongside the river is lined with old Chinese shophouses that date back to the early 1900s. The town was formerly the British Colonial Government’s Administrative Centre. The Museum was built in the late 1920s by the British Colonial Government, it was the official residence of the British Resident, but later served as a base for Japanese military officers during the Japanese Occupation. After the war, it was handed back to the British; and in 1965, became the formal palace of the late DYMM Sultan Abu Bakar where important state ceremonies were performed. The building was then converted into a museum in 1976. However, in 1997, the museum’s artefacts were transferred to Kuantan, the state capital; and the building was no longer utilised and left to deteriorate.

The Museum was built in the late 1920s by the British Colonial Government.

11


7 Years – Selected Works Report 2011–2018

Martin Koch

A wood sculptures depicting local animals. Wood was used as the unifying medium of its importance to the Malay community. Woodcarving is one of the most important Malay arts of the East Coast.

12


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

13


7 Years – Selected Works Report 2011–2018

Martin Koch

The Museum Logo The logo draws inspiration from the location of the museum, the east coast of Malaysia, and incorporates three things that the East Coast is best associated with: the South China Sea, the perahu (traditional fishermen’s boat) and Malay woodcarving. The result is a logo that is strongly rooted in the East Coast and that reflects the customs and traditions of the local community.

The Museum logo was inspired by three elements

South China Sea The East Coast has miles of sandy beaches, resonant with the pounding waves of the South China Sea.

The perahu (traditional fishermen’s boat) The bangau is a decorative guard on a traditional fisherman’s boat that provides support for the mast when not in use. “It represents the finest example of Malay artistic form which serves as a visible symbol of the links between Malay culture and the sea.” —Syed Ahmad Jamal

Malay woodcarving The East Coast is popularly known as the ‘Cradle of Malay Culture’ where traditional arts, especially woodcarving, flourish and reach its highest aesthetic achievements.

14


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

15


7 Years – Selected Works Report 2011–2018

Martin Koch

The Museum Shop Logo

The Museum Café Logo

The elephant plays an important role in the history, mythology, and royal rituals of the State of Pahang. The state emblem incorporates a pair of elephant’s tusks to reflect this.

The burung belibis, also known as the lesser whistling duck (Dendrocygna Javanica), is a migratory bird that often makes its presence known in Pekan through its distinctive 2-note wheezy calls. The bird was chosen as the mascot of the museum café because local children are prone to mimicking its loud whistles, and a flock of the gregarious ducks is quite a sight for sightseers who visit. (The café does not serve duck meat, only in name).

The logo for the museum shop takes a cue from this and makes the elephant its main theme. It combines the rear of an elephant from an old etching, and a front that is done in playful shapes and colours. One of the original intentions for the museum shop was to introduce educational or sciencebased toys not previously available in this part of the country. Hence, the logo was designed to appeal to both parents and children.

The logo is sometimes set against a background of green patterns, which was inspired by the grid pattern of the rice fields and the Tenun Pahang Diraja (Royal Cloth of Pahang), the state’s most famous woven silk fabric.

16


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

17


7 Years – Selected Works Report 2011–2018

Martin Koch

Wayfinding and Signage The signage system that is both effective and reflective of the local Pekan culture, as well as of the aspirations of the museum. This was done through careful selection of typefaces and the incorporation of local traditions. The checkered pattern of the Tenun Pahang woven silk cloth appears as simplified grid lines, either engraved or silkscreened in gloss on the matte white surface of the sign panels. A museum is considered as an educational institution because it is unique in communicating information to society through its collections of historical antiquities, cultural artefacts, and information about phenomenon regarding the natural world. ITC Berkeley Oldstyle was selected as the primary typeface for the museum because of its legacy and its role as a knowledge centre. The classic elegance of Berkeley Oldstyle complements DIN, a contemporary typeface which is synonymous with German design and efficiency; and is well liked for its lean, geometric lines.

18


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

19


7 Years – Selected Works Report 2011–2018

Martin Koch

Building sign of Archaeology & Orang Asli Gallery

Museum directory stands in front of the new workshop building, Balai Tun Teja. The building opens fully on three sides.

20


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

21


7 Years – Selected Works Report 2011–2018

Martin Koch

ITC Berkeley Oldstyle & DIN was selected as the primary typeface for the museum because of its legacy and its role as a knowledge centre.

3000 mm (9.84')

10

ft

cm 300 290

9

280 270 260 250

8

240 230 220

7

210 200 190

6 1700 mm (5’57”)

180 170 160

5

150 140 130

4

120 110 100

3

90 80 70

2

60 50 40

1

30 20 10

22


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

Pictographs Pictographs (icons) were specially designed for the museum in order to better reflect its identity as an establishment that walks a fine line between modernity and tradition. Several pictographs carefully unify an element from the old and the new to create a unique fusion.

23


7 Years – Selected Works Report 2011–2018

Archaeology & Orang Asli Gallery (Inderapura) Entrance Poster

Martin Koch

Arts & Culture of the East Coast Gallery (Bunga Pekan) Entrance Poster

Locating Small Entrances As the building was originally designed to be a residence, some of the entrances to the galleries were small and obscure. Large posters were created to draw attention to these gallery entrances and to help visitors find them with ease. The posters also served to reinforce the museum’s identity.

24

Ceramics of the East Coast Gallery (Bunga Pekan) Entrance Poster


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

A Sense of Place Images from the photo archives were retrieved for use on banners hung along the corridors, giving the visitor a sense of time and place. It was also an opportunity to show the classic patterns and colours of the Tenun Pahang woven silk cloth.

Fashion & Textile of the East Coast Gallery (Balairung Seri) Entrance Poster

25


7 Years – Selected Works Report 2011–2018

Martin Koch

Fashion & Textile of the East Coast Gallery (Balairung Seri)

26


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

27


7 Years – Selected Works Report 2011–2018

Martin Koch

The Pahang Sultanate Gallery (Istana Kota Beram)

WANITA-WANITA ISTANA

MATAWANG

Dalam Institusi Beraja, wanita-wanita istana mempunyai tanggungjawab yang besar sama seperti seorang raja pemerintah. Mereka bukan sahaja melahirkan zuriat bagi kesinambungan sesebuah kerajaan, tetapi juga bertanggungjawab di dalam mengekalkan adat-istiadat, mengukuhkan hubungan antara kerajaan dengan kerajaan dan istana dengan rakyat jelata. Antara wanita-wanita yang mewarnai istana Pahang ialah Tun Teja puteri kepada Bendahara Pahang, Puteri Ungu yang telah berkahwin dengan Sultan Abdul Ghafar Mohaiyiddin Shah, Tengku Ampuan Meriam yang telah berkahwin dengan Sultan Mahmud, Tengku Ampuan Fatimah yang telah berkahwin dengan Sultan Abu Bakar Ri’ayatuddin Al-Mu’adzam Shah, Tengku Ampuan Afzan yang telah berkahwin dengan Sultan Haji Ahmad Shah Al-Musta’in Billah, begitu juga dengan Sultanah Hajjah Kalsom yang turut berkahwin dengan Sultan Haji Ahmad Shah Al-Musta’in Billah setelah kemangkatan Tengku Ampuan Pahang, Tengku Ampuan Afzan. Seterusnya ialah Tengku Puan Pahang, Tunku Azizah yang telah berkahwin dengan Tengku Mahkota Pahang, Tengku Abdullah Al-Haj. Melalui semua perkahwinan ini, ia bukan sahaja mengukuhkan hubungan kekeluargaan dan kerajaan dengan kerajaan tetapi turut mengembangkan beberapa kesenian dan kebudayaan seperti gamelan, kain tenunan dan makanan. Selain daripada itu, ada di kalangan puteri Pahang yang berkahwin dengan sultan-sultan dan pemerintah daripada negeri lain seperti Tengku Meriam yang berkahwin dengan Sultan Terengganu, Sultan Badrul Alam Syah dan baginda telah mengembangkan gamelan Pahang di istana Terengganu. Begitu juga Puteri Kamaliah yang berkahwin dengan pemerintah Aceh, Sultan Iskandar Muda. Baginda dikatakan banyak mempengaruhi pemerintahan dan undang-undang adat di sana. Kedua-dua perkahwinan ini telah memasyhurkan nama Pahang di mata rakyat negara luar.

Menurut catatan walaupun Pahang adalah sebuah negeri pengeluar emas, namun tiada sebarang wang syiling emas yang dikeluarkan oleh negeri ini ditemui. Terdapat beberapa keping wang emas yang tidak diketahui ditemui di negeri-negeri Melayu yang lain yang berkemungkinan dilombong dan digunakan di Pahang. Duit emas berbentuk oktogan ini dijumpai oleh mendiang C.H Dakers dalam tahun 1935 (hilang dari Muzium Taiping semasa pendudukan Jepun 1942-1945) yang mempunyai inkripsi ‘Al-Sultan Al-Adil’ dan ‘Sultan Abu Jamal’. Duit syiling emas tersebut mungkin dikeluarkan pada masa pemerintahan Sultan Abdul Jamal yang memerintah negeri Pahang pada tahun 1560an. Wang paling lama yang dijumpai pernah digunakan di negeri Pahang ialah duit Topi/Tampang yang diperbuat daripada timah padu berbentuk piramid berpuncak datar yang mempunyai dasar atau ‘plinth’. Tampang yang paling awal pernah dikeluarkan di negeri Pahang ialah bertarikh 1819. Selepas penjajahan British pada tahun 1888, tampang tidak lagi dikeluarkan berdasarkan kepada pengisytiharan yang dibuat pada 26 Jun 1889. Tampang kemudiannya digantikan dengan matawang keluaran Negeri-negeri Selat dan seterusnya dimansuhkan sama sekali dalam tahun 1893. Semasa pemerintahan Bendahara Wan Ahmad tauke-tauke kedai dibenarkan untuk mengeluarkan Jokoh matawang persendirian yang digunakan dalam urusniaga perniagaan mereka. Kebanyakkan Jokoh Pahang mempunyai inskripsi tulisan cina di kedua-dua belah permukaannya cuma terdapat beberapa keping yang mempunyai inskripsi tulisan jawi. Tulisan Cina tersebut biasanya menunjukkan nama kedai atau syarikat yang mengeluarkannya. Lewat tahun 1880an semasa penjajahan British di negeri Pahang matawang Kerajaan Negeri-negeri Selat telah digunakan bagi menggantikan duit Tampang dan Jokoh. Matawang keluaran Lembaga Suruhanjaya Kewangan Malaya (Board of Commissioners of Currency Malaya) pula diperkenalkan dalam tahun 1939 dan pada tahun 1953 matawang keluaran Lembaga Suruhanjaya Matawang, Tanah Melayu dan Borneo (The Board of Commissioners of Currency, Malaya and British Borneo) pula digunakan. Sejak tahun 1967 matawang Malaysia telah dikeluarkan oleh Bank Negara Malaysia dan digunakan oleh semua negeri termasuklah di Pahang.

CURRENCY Pahang exported gold but no gold coins as reminisces were ever found. There were several gold pieces from other Malay States discovered, with a high probability that they

ROYAL LADIES OF THE ISTANA

In a royal institution, the ladies of the istana perform very important roles and have great responsibilities, just like the Ruler. They are responsible for the progeny and the continuity of the royal lineage, to perpetuate the ceremonial customs and reinforce the relationships between kingdoms and the royalty with the people. In this chronology of the royal womenfolk of Pahang, were Tun Teja, a princess of the Bendahara Pahang; Puteri Ungu who married Sultan Abdul Ghafar Mohaiyiddin Shah; Tengku Ampuan Meriam who married Sultan Mahmud; Tengku Ampuan Fatimah who married Sultan Abu Bakar Ri’ayatuddin Al-Mu’adzam Shah; the late Tengku Ampuan Afzan who was married to Sultan Haji Ahmad Shah Al-Musta’in Billah, and Sultanah Hajjah Kalsom who took her place. The other notable in line is Tengku Puan Pahang, Tunku Azizah who is married to Tengku Mahkota Pahang, Tengku Abdullah Al-Haj. All these marriages not only fortified closer ties between kingdoms but also expanded the intermingling of the arts and culture like the gamelan, silk weaving and cuisine. Pahang royal-born women who married outside were Tengku Meriam who married the Sultan Terengganu, Sultan Badrul Alam Syah, and promoted the Pahang Gamelan at the istana; Puteri Kamaliah who married Sultan Iskandar Muda of Aceh, and wisely administered the kingdom. Both these marriages have magnified the name of Pahang.

were mined and used in Pahang. The octagonal-shaped gold coins were discovered by the late C.H. Dakers in 1935 and then disappeared from the Taiping Museum during the Japanese occupation from 1942-1945. The coins had ‘Al-Sultan Al-Adil’ and ‘Sultan Abu Jamal’ inscribed on them, so they could have been in use during the reign of Sultan Abu Jamal, who ruled Pahang in the 1560’s. The oldest discovery of money forms used in Pahang was the Topi/Tampang, which were made from tin ore, shaped like a pyramid, with a peak top and a flat base. The earliest evidence of the tampang being taken out of Pahang was in 1819. After British colonial rule in 1888, the tampang were discontinued by 26th. June 1889. The tampang was replaced by currency from the Straits Settlements, but the decision was repealed in 1893. During Bendahara Wan Ahmad’s reign, businessmen asked permission from the sultan to use Jokoh currency because those coins possessed certain identifications embossed on them. The Chinese characters inscribed onto the coins displayed the names of the companies and they were easily identifiable although there were some with Jawi inscriptions. By the late 1880’s, with the advent of the British colonial rule, the main form of currency used was the currency from the Straits settlement. The currency of Board of Commissioners of Currency Malaya was introduced in 1939; and in 1953 the currency of The Board of Commissioners of Currency, Malaya and British Borneo was used. The year 1967 witnessed a full recoup from all other currencies and our currency is now usable to one and all.

28


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

29


7 Years – Selected Works Report 2011–2018

Martin Koch

Archaeology & Orang Asli Gallery (Inderapura)

30


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

31


7 Years – Selected Works Report 2011–2018

Martin Koch

Arts & Culture of the East Coast Gallery (Bunga Pekan)

useum_Exhibits_Pantai Timur

ANELS SIZE BELOW ARE 30”x90” seum_Exhibits_Pantai PHMuseum_Exhibits_Pantai Timur Timur

ERKAKASAN

MAKYONG

PER. TRADITIONAL

UKIRAN KAYU

WAYANG KULIT

BATIK

SENI PANEL SIZE 48”X130.8”

PANTAI TIMUR PANEL SIZE 48”x130.8”

NELS SIZE BELOW ALL PANELS ARE 30”x90” SIZE BELOW ARE 30”x90”

RKAKASAN

KRAF/PERKAKASAN MAKYONG

AF/PERKAKASAN

MAKYONG, MAIN PETRI DAN MENORA

Timur Semenanjung Malaysia terkenal dengan kesenian dan ngan tradisionalnya. Pada kebiasaanya, setiap kampung mempunyai g yang mahir dalam penghasilan kraf sama ada daripada tekstil, tembikar mahupun logam. Proses penghasilan kraf memerlukan iran dan kecekapan dalam penggunaan bahan-bahan asas dari mula siap. Hasil kraf ini bukan sahaja digunakan dalam kehidupan an tetapi juga semasa upacara dan perayaan tertentu. Dengan hirkan jiwa seninya, pengkarya bukan sahaja menambah elemen ikan dan bentuk yang menarik kepada bahan semulajadi melalui ekacorak tersendiri ke atas tekstil, ukiran kayu, senjata dan kasan tetapi turut menjadi refleksi kepada amalan, disiplin, an etika serta kepercayaan mereka.

Main petri dan makyong adalah dua adik-beradik seni persembahan Melayu yang berasal dari rantau Patani dan Kelantan, termasuklah beberapa perkampungan desa terpencil di Terengganu dan juga Pahang. Pameran main petri dan makyong yang dipaparkan turut mengkaji manifestasi pemulihan semangat dengan ‘angin Dewa Muda’ sebagai contoh. Dewa Muda and Dewa Pecil adalah dua kisah cerita terpenting di dalam repertoir makyong, digabung dalam main putri bagi menyembuhkan penyakit berkaitan psikologi. Angin Dewa Muda merupakan contoh jiwa Melayu ekstrovert di mana Angin Dewa Pecil merupakan contoh jiwa Melayu introvert.

san dan keindahan kraf, sebagai contoh, sama ada daripada logam tembaga dan perak serta bahan-bahan semulajadi lain seperti tanah n kayu akan dihias indah dengan motif-motif semulajadi hasil matan terhadap akar pepohon, dedaun, bungaan sehinggalah kepada . Koleksi yang dipamerkan ini terdiri daripada pelbagai hasil kraf u tradisional, seperti tembikar, perkakasan dapur dari tembaga dan sehingga ke peralatan nelayan seperti cepu dan bangau serta hiasan g yang kompleks di mana ia menjadi bukti kepada kemahiran rakat Melayu dalam penghasilan kraf.

FTS/UTENSILS

st Coast of Peninsular Malaysia is famous for its wealth of traditional d crafts. Usually, each village has its own skilled artisans who specialise ng a particular traditional handicraft, be it working with textile, wood, clay l. Creating a craft requires knowledge and skill in working with the raw ls from the beginning till finish. These exquisitely created objects are seen ed not only in the Malay’s everyday activities but also during special rites ebrations. Executed with artistic flair and love, the artisans give beautiful resting forms to natural materials producing distinctive designs in textiles, rving, weaponry, and utensils. The objects made of clay, timber, and metal stically decorated with natural motifs translated from the observation of which resonates with the Malay’s cultural ethos and beliefs.

ms and designs can be inspired from tree roots, leaves, flowers, fruits,  oots all the way to abstractions of mythic subject matters. The present on, exemplifying a substantial overview of traditional crafts from earthen ntainers, kitchen utensils made of copper and silver, to wooden rice boxes f fishermen as well as traditional boat decoration (bangau) and intricate wall panels, speak volumes of the finesse and artistry of the Malay genius Semenanjung Malaysia terkenal dengan kesenian dan -making.

PERKAKASAN

Seseorang yang angin Dewa Mudanya terhalang adalah disebabkan oleh keadaan, tidak mampu memenuhi kecenderungan ekstrovertnya (seperti contoh, keinginan mendapat perhatian, pakaian cantik, keinginan untuk disanjung, suka berkawan dan sebagainya). Oleh yang demikian, drama riwayat hidup Dewa Muda digunakan bagi menyembuhkan pesakit yang jikalau tidak akan mengalami kemurungan dan tidak gembira akibat keinginan terhalang atau tidak tercapai. Menora yang dipaparkan dalam pameran ini adalah suatu bentuk gabungan menarik menora-makyong, yang ditemui di rantau Kelantan dan Patani. Bentuk ini menggabungkan kedua-dua menora pengaruh Siam dan makyong Melayu.

MAKYONG, MAIN PETRI, AND MENORA Main petri and makyong are two sister Malay performing arts, originally found in the Patani and Kelantan regions, which have filtered into certain areas of rural Terengganu and even Pahang. The photographs and paintings of main petri and makyong featured in this exhibition depict the manifestations of semangat restoration with regard to ‘Angin Dewa Muda’. Dewa Muda and Dewa Pecil are two of the most important stories in the makyong repertoire, enacted for the healing of psychologically related illness. Angin Dewa Muda resonates with the extroverted Malay psyche, whereas Angin Dewi Pecil is with the introverted Malay psyche. A person with a thwarted Angin Dewa Muda is one who, due to circumstances, is not able to fulfill his more extroverted predilections (say, the desire for attention, beautiful clothes, the wish to be admired, gregariousness etc). Thus, the drama of the lifecycle of Dewa Muda is used to cure a patient who otherwise would be depressed, losing his joie de vivre due to thwarted or unfulfilled desires. The menora also featured in this exhibition is an intriguing acculturated form of menora-makyong, found in the Kelantan and Patani regions. This form combines both the Thai-influenced menora and the Malay makyong genres.

KRAF/PERKAKASAN MAKYONG, MAIN PETRI DAN MENORA

adisionalnya. Pada kebiasaanya, setiap kampung mempunyai mahir dalam penghasilan kraf sama ada daripada tekstil, ar mahupun logam. Proses penghasilan kraf memerlukan n kecekapan dalam penggunaan bahan-bahan asas dari mula Hasil kraf ini bukan sahaja digunakan dalam kehidupan pi juga semasa upacara dan perayaan tertentu. Dengan jiwa seninya, pengkarya bukan sahaja menambah elemen an bentuk yang menarik kepada bahan semulajadi melalui ak tersendiri ke atas tekstil, ukiran kayu, senjata dan etapi turut menjadi refleksi kepada amalan, disiplin, a serta kepercayaan mereka.

Pantai Main petri Timur dan Semenanjung makyong adalah Malaysia dua adik-beradik terkenal dengan senikesenian persembahan dan kraftangan Melayu yang tradisionalnya. berasal dariPada rantau kebiasaanya, Patani dan setiap Kelantan, kampung termasuklah mempunyai tukang beberapa yang perkampungan mahir dalamdesa penghasilan terpencilkraf di Terengganu sama ada daripada dan juga tekstil, Pahang. kayu, Pameran tembikar main mahupun petri dan makyong logam. Proses yangpenghasilan dipaparkankraf turut memerlukan mengkaji kemahiran manifestasidan pemulihan kecekapansemangat dalam penggunaan dengan ‘angin bahan-bahan Dewa Muda’ asas dari sebagai mula hingga contoh.siap. Dewa Hasil Muda kraf and iniDewa bukanPecil sahaja adalah digunakan dua kisah dalam cerita kehidupan terpenting seharian di dalamtetapi repertoir juga semasa makyong, upacara digabung dan perayaan dalam main tertentu. putri Dengan bagi menzahirkan menyembuhkan jiwa penyakit seninya, pengkarya berkaitan psikologi. bukan sahaja Angin menambah Dewa Muda elemen kecantikan merupakan dan contoh bentuk jiwa yang Melayu menarik ekstrovert kepada di mana bahanAngin semulajadi Dewamelalui Pecil hasil merupakan rekacorak contoh tersendiri jiwa Melayu ke atasintrovert. tekstil, ukiran kayu, senjata dan perkakasan tetapi turutDewa menjadi refleksi kepadaadalah amalan, disiplin, oleh Seseorang yang angin Mudanya terhalang disebabkan nilai dan etika kepercayaan keadaan, tidak serta mampu memenuhimereka. kecenderungan ekstrovertnya (seperti

n keindahan kraf, sebagai contoh, sama ada daripada logam ga dan perak serta bahan-bahan semulajadi lain seperti tanah akan dihias indah dengan motif-motif semulajadi hasil erhadap akar pepohon, dedaun, bungaan sehinggalah kepada si yang dipamerkan ini terdiri daripada pelbagai hasil kraf ional, seperti tembikar, perkakasan dapur dari tembaga dan ga ke peralatan nelayan seperti cepu dan bangau serta hiasan kompleks di mana ia menjadi bukti kepada kemahiran Melayu dalam penghasilan kraf.

Kehalusan contoh, keinginan dan keindahan mendapat kraf, sebagai perhatian, contoh, pakaian sama ada cantik, daripada keinginan logam seperti untuk tembaga disanjung, dan suka perak berkawan serta bahan-bahan dan sebagainya). semulajadi Olehlain yang seperti demikian, tanah liat drama dan riwayat kayu akan hidup dihias Dewa indah Muda dengan digunakan motif-motif bagi semulajadi menyembuhkan hasil pengamatan pesakit yang terhadap jikalauakar tidak pepohon, akan mengalami dedaun, bungaan kemurungan sehinggalah dan kepada tidak pucuk. gembiraKoleksi akibat yang keinginan dipamerkan terhalang ini terdiri atau tidak daripada tercapai. pelbagai Menora hasilyang kraf Melayu dipaparkan tradisional, dalam pameran seperti tembikar, ini adalah perkakasan suatu bentuk dapurgabungan dari tembaga menarik dan perak menora-makyong, sehingga ke peralatan yang ditemui nelayan di rantau seperti Kelantan cepu dan dan bangau Patani. sertaBentuk hiasan dinding ini menggabungkan yang kompleks kedua-dua di manamenora ia menjadi pengaruh bukti kepada Siam dan kemahiran masyarakat makyong Melayu. Melayu dalam penghasilan kraf.

/UTENSILS

CRAFTS/UTENSILS MAKYONG, MAIN PETRI, AND MENORA

of Peninsular Malaysia is famous for its wealth of traditional . Usually, each village has its own skilled artisans who specialise rticular traditional handicraft, be it working with textile, wood, clay ing a craft requires knowledge and skill in working with the raw  the beginning till finish. These exquisitely created objects are seen nly in the Malay’s everyday activities but also during special rites ns. Executed with artistic flair and love, the artisans give beautiful forms to natural materials producing distinctive designs in textiles, weaponry, and utensils. The objects made of clay, timber, and metal decorated with natural motifs translated from the observation of esonates with the Malay’s cultural ethos and beliefs.

The MainEast petriCoast and makyong of Peninsular are two Malaysia sister is Malay famous performing for its wealth arts, of originally traditional found arts in the and Patani crafts. andUsually, Kelantan each regions, villagewhich has its have own filtered skilledinto artisans certainwho areas specialise of rural in Terengganu making a particular and even Pahang. traditional Thehandicraft, photographs be it and working paintings withoftextile, main petri wood, and clay or makyong metal. featured Creatingina this craft exhibition requires knowledge depict the manifestations and skill in working of semangat withrestoration the raw materials from the with regard to ‘Angin beginning Dewa Muda’. till finish. Dewa These Muda and exquisitely Dewa Pecil created are two objects of the are most seen and important used not stories onlyininthe themakyong Malay’srepertoire, everyday activities enacted for but thealso healing during of psychologically special rites and related celebrations. illness. Angin Executed Dewa Muda with artistic resonates flairwith and the love, extroverted the artisans Malay give psyche, beautiful and whereas interesting Angin forms Dewi Pecil to natural is withmaterials the introverted producing Malay distinctive psyche.designs in textiles, woodcarving, and utensils. objects made clay, and metal A person withweaponry, a thwarted Angin DewaThe Muda is one who,ofdue totimber, circumstances, are artistically decorated with natural motifs translated from the observation of is not able to fulfill his more extroverted predilections (say, the desire for attention, nature which resonates with theadmired, Malay’sgregariousness cultural ethos and beautiful clothes, the wish to be etc). beliefs. Thus, the drama of the

designs can be inspired from tree roots, leaves, flowers, fruits,  the way to abstractions of mythic subject matters. The present mplifying a substantial overview of traditional crafts from earthen s, kitchen utensils made of copper and silver, to wooden rice boxes men as well as traditional boat decoration (bangau) and intricate nels, speak volumes of the finesse and artistry of the Malay genius g.

The lifecycle forms of and Dewadesigns Muda iscan used betoinspired cure a patient from tree whoroots, leaves, otherwise would flowers, be depressed, fruits,  and losing shoots his joie all de thevivre way due to abstractions to thwarted of ormythic unfulfilled subject desires. matters. The The menora present also collection, featured inexemplifying this exhibition a substantial is an intriguing overview acculturated of traditional form crafts of menora-makyong, from earthen ware foundcontainers, in the Kelantan kitchen and utensils Patani made regions. of copper and This form combines silver, to wooden both therice boxes (cepu) Thai-influenced of fishermen menora as well andasthe traditional Malay makyong boat decoration genres. (bangau) and intricate timber wall panels, speak volumes of the finesse and artistry of the Malay genius in craft-making.

MAKYONG PER. TRADITIONAL

PERMAINAN TRADITIONAL – CONGKAK, HENCANG BUAH KERAS DAN GASING PANGKAH PAHANG Dalam budaya masyarakat Melayu, kegembiraan dan keseronokan dalam kehidupan seharian mereka boleh dilihat berdasarkan bagaimana mereka mengisi masa lapang terutamanya melalui pelbagai bentuk permainan tradisi yang boleh ditemui di Pantai Timur Semenanjung Malaysia. Permainan tradisional bukan sahaja merupakan aktiviti sosial malah ia menjadi alat penghubung di kalangan anggota masyarakat di samping memberikan keseronokan dalam majlis-majlis perhimpunan, perkahwinan dan sebagainya. Ia juga mencerminkan jiwa masyarakat Melayu, bukan sekadar hiburan semata-mata. Permainan tradisional dibahagikan kepada golongan dewasa dan kanak-kanak. Permainan wau, sepak raga, gasing, laga ayam, hencang buah keras, congkak dan laga lembu, telah mencapai tahap yang tertinggi dan sempurna apabila dikaitkan dengan masyarakat Melayu Pantai Timur Semenanjung Malaysia. Permainan-permainan tradisional ini juga menjadi satu platform bagi masyarakat Melayu untuk meluahkan jiwa artistik dan kemahiran mereka terutamanya dalam penghasilkan kraf-kraf seperti ukiran kayu dan logam serta tenunan. Permainan congkak telah wujud sejak zaman Kesultanan Melayu Melaka (awal abad ke – 15) dan namanya berasal dari perkataan Melayu ‘congak’ yang bermaksud kira-kira menggunakan minda. Permainan ini terkenal di kalangan penghuni istana dengan menggunakan kayu yang berukir indah, sementara di kalangan kanak-kanak ia dimainkan secara mudah dengan mengorek lubang-lubang pada permukaan tanah. Hencang Buah Keras telah menjadi permainan Melayu Pahang sejak beratus tahun yang lalu. Ia terkenal semasa pemerintahan Sultan Ahmad Al-Mu’adzam Shah (1882-1914), Sultan Mahmud (1914-1917) sehinggalah zaman pemerintahan Sultan Abdullah Al-Mu’tassim Billah (1917-1932). Permainan gasing sememangnya terkenal sejak dahulu hingga kini dan sering dikaitkan dengan permainan tradisional masa lapang bagi masyarakat Melayu Pantai Timur Semenanjung Malaysia. Kepandaian dalam membuat gasing yang seimbang dan kemahiran bermain gasing adalah bakat yang dihargai dalam masyarakat Melayu.

– CONGKAK, TRADITIONAL GAMES HENCANG BUAH PERMAINAN TRADITIONAL – CONGKAK, MAKYONG, MAIN PETRI DAN MENORA

KERAS AND GASING PANGKAH PAHANG Main petri dan makyong adalah dua adik-beradik seni persembahan HENCANG BUAH KERAS DAN GASING The Malay’s culture’s joie de vivre can be seen in how they indulge their pastimes, Melayu yang berasal dari rantau Patani dan Kelantan, termasuklah PANGKAH PAHANG especially in the many of traditional games found in the East Coast of beberapa perkampungan desaforms terpencil di Terengganu dan juga Pahang. Malaysia. The games provide the stimulus for mengkaji meaningful interactive Dalam Peninsular budaya masyarakat Melayu, kegembiraan dan turut keseronokan dalam Pameran main petri dan makyong yang dipaparkan activities between familyboleh and community, and usually all celebrations kehidupan seharian mereka dilihat berdasarkan bagaimana mereka manifestasi pemulihan semangat dengan ‘angin Dewaaccompanies Muda’ sebagai and festivities. The games,Pecil to a certain define the Malay’s temperamental mengisi masa lapang terutamanya melalui pelbagai bentuk permainan contoh. Dewa Muda and Dewa adalahextent, dua kisah cerita terpenting and are not indulged to provide mere excitement yang boleh makyong, ditemui dijust Pantai Timur Semenanjung Malaysia. di tradisi dalampredilections, repertoir digabung dalam main putri bagiat gatherings, but are ultimately a reflection and reaffirmation of their artistic nature and Permainan tradisional bukan sahaja psikologi. merupakanAngin aktiviti sosial malah ia menyembuhkan penyakit berkaitan Dewa Muda social ethos. menjadi alat penghubung di kalangan di samping merupakan contoh jiwa Melayu ekstrovertanggota di manamasyarakat Angin Dewa Pecil The contoh numerous traditional games take in both adults and children activities. memberikan keseronokan dalamintrovert. majlis-majlis perhimpunan, perkahwinan merupakan jiwa Melayu Some suchIa asjuga kite flying (wau), sepakjiwa raga,masyarakat gasing (top spinning), cock fights,  dan sebagainya. mencerminkan Melayu,oleh bukan Seseorang yang angin Dewa Mudanya terhalang adalah disebabkan buah keras, congkak, and bull fights, have reached a high level of mastery sekadarhencang hiburan semata-mata. keadaan, tidak mampu memenuhi kecenderungan ekstrovertnya (seperti and perfection associated with the East Coast of Peninsular Malaysia. The games also provide the raison d’etre for the Malays to express their artistic flair in

Permainan tradisional dibahagikan kepada golongan dewasa dan contoh, keinginan mendapat perhatian, pakaian cantik, keinginan kanak-kanak. Permainan wau, dan sepak raga, gasing, laga ayam, untuk disanjung, suka berkawan sebagainya). Oleh yang demikian, craft-making skills especially woodcarving, metal smithing, andhencang textile weaving. buah riwayat keras, congkak dan laga lembu, telah mencapai tahap yang tertinggi drama hidup Dewa Muda digunakan bagi menyembuhkan The congkak game has existed since the Melaka Sultanate (early 15th century),  dan sempurna apabila dikaitkan dengan masyarakat Melayudan Pantai Timur pesakit yang jikalau tidak akan mengalami kemurungan tidak and the name comes from the Malay word 'congkak’, meaning mental calculation.  Semenanjung ini juga menjadi gembira akibat Malaysia. keinginanPermainan-permainan terhalang atau tidaktradisional tercapai. Menora yang The game was popular in the palace, so lavishly carved boards were made — satu platform bagi masyarakat Melayu untuk meluahkan jiwabyartistik dipaparkan dalam pameran adalah suatu bentuk gabungan whilst village childrenini simply played those day simply playedmenarik digging holes dan kemahiran mereka terutamanya dalam penghasilkan kraf-kraf menora-makyong, yang ditemui di rantau Kelantan dan Patani. Bentuk in the ground. ukiran kayu dan logammenora serta tenunan. iniseperti menggabungkan kedua-dua pengaruh Siam dan Hencang buah keras was popular in Pahang since ancient time up to the reign makyong Melayu. Permainan congkak telah wujud sejak zaman Kesultanan Melayu Sultan Mahmud  (1914-1917) and of Sultan Ahmad Al-Mu’adzam Shah (1882-1914), Melakaeven (awal abad keof Sultan – 15) dan namanya berasal dari perkataan Melayu (1917-1932).  to the era Abdullah Al-Mu’tassim Billah  ‘congak’ yang bermaksud kira-kira AND menggunakan minda. Permainan MAKYONG, MAIN PETRI, MENORA Top spinning especially the gasing pangkah has been popular till now and is ini terkenal di kalangan penghuni istana denganarts, menggunakan kayu Main petriassociated and makyong sister of Malay performing found withare thetwo pastime traditional East Coastoriginally Malays. The dexterity in yang berukir indah, sementara di kalangan kanak-kanak ia dimainkan in the Patani and Kelantan which filtered certain of rural are highly making perfectlyregions, balanced tops have and the skill into in the art ofareas top spinning secara prized mudah dengan mengorek lubang-lubang pada ofpermukaan tanah. Terengganu and even Pahang. photographs and paintings main petri and talents in the The Malay community. makyong featured in this exhibition the manifestations of semangat restoration Hencang Buah Keras telah depict menjadi permainan Melayu Pahang sejak with regard tahun to ‘Angin Dewalalu. Muda’. Muda and Dewa Pecil are two of the most beratus yang Ia Dewa terkenal semasa pemerintahan Sultan Ahmad important stories inShah the makyong repertoire, enacted for the healing of psychologically (1882-1914), Sultan Mahmud (1914-1917) sehinggalah Al-Mu’adzam related illness. Angin Dewa Muda resonates with the extroverted Malay psyche, zaman pemerintahan Sultan Abdullah Al-Mu’tassim Billah (1917-1932). whereas Angin Dewi Pecil is with the introverted Malay psyche.

Permainan gasing sememangnya terkenal sejak dahulu hingga kini

A person with a thwarted Angin Dewa Muda is one who, due to circumstances, danable sering dikaitkan permainan tradisional masa for lapang bagi is not to fulfill his moredengan extroverted predilections (say, the desire attention, masyarakat Pantai Timurgregariousness Semenanjung Malaysia. beautiful clothes,Melayu the wish to be admired, etc). Thus, the Kepandaian drama of the dalamof membuat yang danotherwise kemahiran gasing lifecycle Dewa Muda gasing is used to cureseimbang a patient who wouldbermain be depressed, adalah bakat yangdue dihargai dalam masyarakat Melayu. losing his joie de vivre to thwarted or unfulfilled desires. The menora also featured in this exhibition is an intriguing acculturated form of menora-makyong,

TRADITIONAL GAMES – CONGKAK, HENCANG BUAH KERAS AND GASING PANGKAH PAHANG The Malay’s culture’s joie de vivre can be seen in how they indulge their pastimes, especially in the many forms of traditional games found in the East Coast of Peninsular Malaysia. The games provide the stimulus for meaningful interactive activities between family and community, and usually accompanies all celebrations and festivities. The games, to a certain extent, define the Malay’s temperamental predilections, and are not just indulged to provide mere excitement at gatherings, but are ultimately a reflection and reaffirmation of their artistic nature and social ethos. The numerous traditional games take in both adults and children activities. Some such as kite flying (wau), sepak raga, gasing (top spinning), cock fights,  hencang buah keras, congkak, and bull fights, have reached a high level of mastery and perfection associated with the East Coast of Peninsular Malaysia. The games also provide the raison d’etre for the Malays to express their artistic flair in craft-making skills especially woodcarving, metal smithing, and textile weaving. The congkak game has existed since the Melaka Sultanate (early 15th century),  and the name comes from the Malay word 'congkak’, meaning mental calculation.  The game was popular in the palace, so lavishly carved boards were made — whilst village children simply played those day simply played by digging holes in the ground. Hencang buah keras was popular in Pahang since ancient time up to the reign of Sultan Ahmad Al-Mu’adzam Shah (1882-1914), Sultan Mahmud (1914-1917) and even to the era of Sultan Abdullah Al-Mu’tassim Billah  (1917-1932).  Top spinning especially the gasing pangkah has been popular till now and is associated with the pastime of traditional East Coast Malays. The dexterity in making perfectly balanced tops and the skill in the art of top spinning are highly prized talents in the Malay community.

PER. UKIRAN TRADITIONAL KAYU

UKIRAN WAYANGKAYU KULIT

WAYANG BATIK KULIT

UKIRAN KAYU

WAYANG KULIT

BATIK

Secara semulajadinya, Malaysia yang kaya dengan 3,000 jenis kayu-kayan memiliki tradisi ukiran kayu sejak berabad dahulu yang kini telah berkembang menjadi salah satu bentuk kesenian yang sofistikated. Kayu digunakan secara meluas oleh masyarakat Melayu tradisional dalam kehidupan seharian mereka; dalam rumah, bangunan, dalam pembuatan alat pertanian mahupun dalam pembuatan perahu nelayan. Institusi beraja di masa lampau merupakan penaung kepada kegiatan kesenian yang mana hasil ukiran kayu terbaik diukir khusus untuk istana. Seni bina istana tradisional selalunya dilengkapi dengan komponen kayu berukir termasuklah pada tiang, dinding, bumbung, perabot serta bot diraja yang dijaga dengan baik dan rapi sehingga kini. Sebahagian daripada ukiran kayu yang unik dalam koleksi ini memaparkan peralatan perahu nelayan seperti bangau perahu, okok, caping perahu, pendayung serta perkakasan keperluan nelayan yang lain seperti cepu dan kotak ke laut.

Wayang kulit merupakan teater tradisional yang menggunakan lampu dan kesan bayang-bayang boneka yang diperbuat daripada belulang yang merangkumi pelbagai watak mitos dan khayalan. Wayang kulit kelantan yang juga dikenali sebagai wayang kulit siam oleh penduduk tempatan merupakan wayang kulit paling meluas yang dipersembahkan dan juga paling unik di antara empat jenis wayang kulit (wayang kulit siam, wayang kulit gedek, wayang kulit melayu dan wayang kulit purwa) yang terdapat di Malaysia. Persembahan wayang kulit diketuai oleh Tok Dalang dan diiringi oleh sekumpulan pemain muzik tradisional yang bermain alat muzik gendang (gendang ibu dan anak, gedombak dan geduk), gong (canang dan tetawak), kesi dan juga serunai.

Batik merupakan kraftangan utama Malaysia dan Pantai Timur Semenanjung Malaysia sememangnya terkenal dengan kecantikkan kain batiknya. Walaupun batik berasal dari Indonesia, lama-kelamaan, batik Malaysia terutamanya dari Pantai Timur Semenanjung telah mempunyai identiti dan gaya yang tersendiri. Batik dihasilkan dengan menggunakan lilin dan pewarna di atas kain. Perkataan ‘batik’ diambil daripada perkataan Jawa, ‘tik’ yang bermaksud menitik atau melakar menggunakan penitis. Masyarakat Melayu terdahulu menggunakan ubi kentang, di antaranya, sebagai alat seni cetak tetapi kini peralatan yang digunakan bagi penghasilan batik adalah blok pencetak, campuran lilin dan pewarna kain.

Wayang kulit siam ditemui di Kelantan, Terengganu, Pahang dan juga di daerah Patani. Ia dipersembahkan dengan menggunakan dialek Melayu Kelantan dan penceritaannya mengandungi cerita ranting iaitu cerita yang diintepertasi dari cerita pokok ‘epik Ramayana’. Antara watak penting dalam wayang kulit kelantan ialah Seri Rama, Sita Dewi, Maharaja Wana, Hanuman dan Pak Dogol. Watak pembantu (Pak Dogol/Hanuman) kepada watak utama seringkali memberi bantuan dalam keadaan yang kritikal agar ‘hero’ terselamat.

Kain yang paling sesuai digunakan bagi penghasilan batik adalah dari jenis kain kapas putih. Terdapat dua bentuk utama bagi motif batik iaitu organik dan geometri. Proses pembuatan batik diselang-selikan dengan penerapan lilin dan pewarna, dari warna terang ke warna gelap ke atas kain dan akan berterusan sehingga siap. Kain kemudiannya akan direbus dalam air soda bagi menimbulkan kepelbagaian warna-warna berlainan dan dibentangkan bagi proses pengeringan.

Peralatan pertanian seperti pembajak dan igu juga diperbuat daripada kayu berukir selain kertuk lembu, penunggul, ketam dan kuku kambing. Ukiran pada artifak ini dihasilkan daripada hubungan rapat di antara masyarakat Melayu dengan persekitaranya, di samping turut mencerminkan nilai-nilai bersama dalam satu masyarakat yang harmoni.

WOOD CARVING Naturally, Malaysia, with its 3,000 different species of timber possesses a wood carving tradition which, over the centuries, has developed into a sophisticated art form. Wood is implicitly used by traditional Malays in everyday life: in house-building; in fashioning tools as agriculturalists; or making boats as fishermen. Past Malay rulers were also patrons of art; many of the exquisite woodcarvings were created for their royal palaces. Traditional palace architecture is usually replete with beautiful carvings of wooden panels, columns, walls, roofs, and furniture, as well as the royal boat — which can still be seen till today. Some of the most unique carvings in this collection feature components of the fishermen’s boats such as the bangau perahu, okok, caping perahu, pendayung and everyday fishermen’s utensils such as rice-boxes (cepu) and fishermen’s boxes (kotak ke laut). Agricultural tools such as plows and igu made from carved wood, cattle kertuk,  penunggul, ketam and kuku kambing are also products of the Malay carver. These everday artifacts and their nature-inspired designs reflect an intimate relationship of the Malays with the environment, as well as reflecting their shared values within a close knit and harmonious community.

WAYANG KULIT The wayang kulit, or shadow play, is the traditional theatre which uses light and shadow effects cast on a screen (kelir) by puppets fashioned from hides. The puppets embody a variety of mythical and imaginary characters. The Kelantan wayang kulit, known locally as wayang kulit siam, is the most widely distributed style and is aesthetically unique of the four wayang kulit genres (wayang kulit siam, wayang kulit gedek, wayang kulit melayu, and wayang kulit purwa) found in Malaysia. It is conducted by a Tok Dalang (master puppeteer/storyteller) and accompanied by a group of traditional musicians playing drums (gendang, gedombak and geduk), gongs (canang and tetawak), cymbals (kesi) and traditional oboe (serunai). The wayang kulit siam is found in Kelantan, Terengganu, Pahang, and also is in the Patani region. The performance is conducted in Kelantan Malay dialect, and the repertoire comprises of indigenous interpretations or branch stories (cerita ranting) of the main Ramayana epic (cerita pokok). Among the important characters  in the Kelantan shadow play are Seri Rama, Sita Dewi, Maharaja Wana, Hanuman, and Pak Dogol. The attendants (Pak Dogol/Hanuman) to the main character often provide timely advice at the critical moments which saves the hero from disaster.

BATIK Batik is a prime handicraft of Malaysia, and the East Coast is famous for its beautiful batik textiles. Though batik may have originated in Indonesia, over the years, Malaysian batik especially those from the East Coast, has developed its own distinctive look and style. Batik is produced by applying wax and dye on cloth. The word batik  may be derived from the Javanese word "tik", which means drip or writing using drips while drawing or painting. Earlier Malay communities used potatoes, amongst others, to print on cloths, but nowadays, the equipment used for batik production is the printmaking block, wax mixture and fabric dye. The most suitable fabric for making batik is white cotton. There are two major forms of batik motifs: organic and geometric. The process of making batik alternates the application of wax and dye, from bright to dark colours on the fabric in progression until the desired effects are achieved. Subsequently, the cloth is boiled in soda water — to bring forth the different colours — and then laid out to dry. 

UKIRAN KAYU

WAYANG KULIT

BATIK

Secara semulajadinya, Malaysia yang kaya dengan 3,000 jenis kayu-kayan memiliki tradisi ukiran kayu sejak berabad dahulu yang kini telah berkembang menjadi salah satu bentuk kesenian yang sofistikated. Kayu digunakan secara meluas oleh masyarakat Melayu tradisional dalam kehidupan seharian mereka; dalam rumah, bangunan, dalam pembuatan alat pertanian mahupun dalam pembuatan perahu nelayan. Institusi beraja di masa lampau merupakan penaung kepada kegiatan kesenian yang mana hasil ukiran kayu terbaik diukir khusus untuk istana. Seni bina istana tradisional selalunya dilengkapi dengan komponen kayu berukir termasuklah pada tiang, dinding, bumbung, perabot serta bot diraja yang dijaga dengan baik dan rapi sehingga kini. Sebahagian daripada ukiran kayu yang unik dalam koleksi ini memaparkan peralatan perahu nelayan seperti bangau perahu, okok, caping perahu, pendayung serta perkakasan keperluan nelayan yang lain seperti cepu dan kotak ke laut.

Wayang kulit merupakan teater tradisional yang menggunakan lampu dan kesan bayang-bayang boneka yang diperbuat daripada belulang yang merangkumi pelbagai watak mitos dan khayalan. Wayang kulit kelantan yang juga dikenali sebagai wayang kulit siam oleh penduduk tempatan merupakan wayang kulit paling meluas yang dipersembahkan dan juga paling unik di antara empat jenis wayang kulit (wayang kulit siam, wayang kulit gedek, wayang kulit melayu dan wayang kulit purwa) yang terdapat di Malaysia. Persembahan wayang kulit diketuai oleh Tok Dalang dan diiringi oleh sekumpulan pemain muzik tradisional yang bermain alat muzik gendang (gendang ibu dan anak, gedombak dan geduk), gong (canang dan tetawak), kesi dan juga serunai.

Batik merupakan kraftangan utama Malaysia dan Pantai Timur Semenanjung Malaysia sememangnya terkenal dengan kecantikkan kain batiknya. Walaupun batik berasal dari Indonesia, lama-kelamaan, batik Malaysia terutamanya dari Pantai Timur Semenanjung telah mempunyai identiti dan gaya yang tersendiri. Batik dihasilkan dengan menggunakan lilin dan pewarna di atas kain. Perkataan ‘batik’ diambil daripada perkataan Jawa, ‘tik’ yang bermaksud menitik atau melakar menggunakan penitis. Masyarakat Melayu terdahulu menggunakan ubi kentang, di antaranya, sebagai alat seni cetak tetapi kini peralatan yang digunakan bagi penghasilan batik adalah blok pencetak, campuran lilin dan pewarna kain.

Wayang kulit siam ditemui di Kelantan, Terengganu, Pahang dan juga di daerah Patani. Ia dipersembahkan dengan menggunakan dialek Melayu Kelantan dan penceritaannya mengandungi cerita ranting iaitu cerita yang diintepertasi dari cerita pokok ‘epik Ramayana’. Antara watak penting dalam wayang kulit kelantan ialah Seri Rama, Sita Dewi, Maharaja Wana, Hanuman dan Pak Dogol. Watak pembantu (Pak Dogol/Hanuman) kepada watak utama seringkali memberi bantuan dalam keadaan yang kritikal agar ‘hero’ terselamat.

Kain yang paling sesuai digunakan bagi penghasilan batik adalah dari jenis kain kapas putih. Terdapat dua bentuk utama bagi motif batik iaitu organik dan geometri. Proses pembuatan batik diselang-selikan dengan penerapan lilin dan pewarna, dari warna terang ke warna gelap ke atas kain dan akan berterusan sehingga siap. Kain kemudiannya akan direbus dalam air soda bagi menimbulkan kepelbagaian warna-warna berlainan dan dibentangkan bagi proses pengeringan.

Peralatan pertanian seperti pembajak dan igu juga diperbuat daripada kayu berukir selain kertuk lembu, penunggul, ketam dan kuku kambing. Ukiran pada artifak ini dihasilkan daripada hubungan rapat di antara masyarakat Melayu dengan persekitaranya, di samping turut mencerminkan nilai-nilai bersama dalam satu masyarakat yang harmoni.

WOOD CARVING Naturally, Malaysia, with its 3,000 different species of timber possesses a wood carving tradition which, over the centuries, has developed into a sophisticated art form. Wood is implicitly used by traditional Malays in everyday life: in house-building; in fashioning tools as agriculturalists; or making boats as fishermen. Past Malay rulers were also patrons of art; many of the exquisite woodcarvings were created for their royal palaces. Traditional palace architecture is usually replete with beautiful carvings of wooden panels, columns, walls, roofs, and furniture, as well as the royal boat — which can still be seen till today. Some of the most unique carvings in this collection feature components of the fishermen’s boats such as the bangau perahu, okok, caping perahu, pendayung and everyday fishermen’s utensils such as rice-boxes (cepu) and fishermen’s boxes (kotak ke laut). Agricultural tools such as plows and igu made from carved wood, cattle kertuk,  penunggul, ketam and kuku kambing are also products of the Malay carver. These everday artifacts and their nature-inspired designs reflect an intimate relationship of the Malays with the environment, as well as reflecting their shared values within a close knit and harmonious community.

WAYANG KULIT The wayang kulit, or shadow play, is the traditional theatre which uses light and shadow effects cast on a screen (kelir) by puppets fashioned from hides. The puppets embody a variety of mythical and imaginary characters. The Kelantan wayang kulit, known locally as wayang kulit siam, is the most widely distributed style and is aesthetically unique of the four wayang kulit genres (wayang kulit siam, wayang kulit gedek, wayang kulit melayu, and wayang kulit purwa) found in Malaysia. It is conducted by a Tok Dalang (master puppeteer/storyteller) and accompanied by a group of traditional musicians playing drums (gendang, gedombak and geduk), gongs (canang and tetawak), cymbals (kesi) and traditional oboe (serunai). The wayang kulit siam is found in Kelantan, Terengganu, Pahang, and also is in the Patani region. The performance is conducted in Kelantan Malay dialect, and the repertoire comprises of indigenous interpretations or branch stories (cerita ranting) of the main Ramayana epic (cerita pokok). Among the important characters  in the Kelantan shadow play are Seri Rama, Sita Dewi, Maharaja Wana, Hanuman, and Pak Dogol. The attendants (Pak Dogol/Hanuman) to the main character often provide timely advice at the critical moments which saves the hero from disaster.

BATIK SENI PANEL SIZE 48”X130.8” SENI PANEL SIZEPANTAI 48”X130.8” TIMUR PANEL SIZE PANTAI 48”x130.8” TIMUR PANEL SIZE 48”x130.8”

BATIK Batik is a prime handicraft of Malaysia, and the East Coast is famous for its beautiful batik textiles. Though batik may have originated in Indonesia, over the years, Malaysian batik especially those from the East Coast, has developed its own distinctive look and style. Batik is produced by applying wax and dye on cloth. The word batik  may be derived from the Javanese word "tik", which means drip or writing using drips while drawing or painting. Earlier Malay communities used potatoes, amongst others, to print on cloths, but nowadays, the equipment used for batik production is the printmaking block, wax mixture and fabric dye. The most suitable fabric for making batik is white cotton. There are two major forms of batik motifs: organic and geometric. The process of making batik alternates the application of wax and dye, from bright to dark colours on the fabric in progression until the desired effects are achieved. Subsequently, the cloth is boiled in soda water — to bring forth the different colours — and then laid out to dry. 

SENI PERSEMBAHAN MELAYU

MALAY PERFORMING ARTS

PANTAI TIMUR

EAST COAST

Seni Persembahan Melayu rantau ini wujud bukan sekadar bertujuan untuk hiburan semata-mata tetapi juga bersifat ritual bagi tujuan mententeramkan semangat roh dan makhluk ghaib. Dari semasa ke semasa, ia berkembang di dalam bidang psiko-terapi bagi perubatan tradisional Melayu. Seni persembahan Melayu mendapat inspirasi dari kepercayaan pribumi dan sumber-sumber mistik di samping pengaruh budaya lain dan agama dari rantau sekitarnya. Dalam budaya kesenian persembahan Melayu terangkum juga repositori Melayu bagi kesusasteraan, mitos, ilmu pengetahuan dalam muzik tradisional dan dramaturgi selain juga kraftangan tradisional. Teras seni persembahan Melayu adalah kepercayaan konsep animisme Semangat dan Angin.

Malay Performing Arts of this region exist not only for entertainment but also as a ritualised appeasement of spirits and invisible beings. Simultaneously, they evolve within the realm of traditional psycho-therapy of Malay traditional healing. Malay performing arts draw inspiration from indigenous beliefs and mystic sources as well as from influences of other cultures and religions from surrounding regions. Within the art of Malay performance culture contains the repository of Malay literature, myth, knowledge of traditional music and dramaturgy, and also of traditional handicrafts. Within the core of Malay performing arts is the belief in the animistic concept of Semangat and Angin.

Kawasan Pantai Timur Semenanjung Malaysia, menjejaki pesisiran Kelantan, Terengganu, Pahang dan Johor (Mersing), membangkitkan suatu perasaan mistik dan romantika di dalam minda rakyat Malaysia. Sebagai masyarakat yang kaya dengan tradisi, dan menjalani kehidupan dengan rentak tersendiri sejak berdekad lamanya, maka tidak hairanlah Pantai Timur menjadi gedung seni kepada bentuk-bentuk kesenian seperti makyong, main petri, joget gamelan, zapin, ukiran kayu, gasing pangkah Pahang, batik, songket dan pelbagai lagi kekayaan kebudayaan yang lain. Setiap daripada kesenian ini amat berkait rapat dengan kehidupan masyarakat Melayu yang bergantung kepada laut dan alam semulajadi sebagai sumber rezeki mereka. Mereka membuat wau dan gasing sementara menunggu tiba musim menuai.

The East Coast of Peninsular Malaysia, tracing the shorelines of Kelantan, Terengganu, Pahang and Johor (Mersing), evokes a certain mystique and romance in the minds of Malaysians. With a culture steeped in tradition, and a pace of life barely quickened through the decades, here is the heartland (gedung seni) of artforms such as makyong, main petri, joget gamelan, zapin, wood carving, gasing pangkah Pahang, batik, songket and many more cultural riches. These are unique traditional arts inherently connected to the lifestyle of the Malay people, who depend on land and sea for their livelihoods. They entertain themselves with performances, play games, and they make kites and tops while waiting for the harvest season.

Konsep semangat berkait dengan ‘kuasa penting yang tersembunyi’ yang wujud dalam alam selain berada dalam semua entiti bernyawa dan juga tidak bernyawa. Perkataan ‘semangat’ itu sendiri wujud secara jelas dalam perbendaharaan kata harian Melayu. Semangat adalah penting dalam sistem kepercayaan yang berkait dengan seni persembahan tradisional Pantai Timur, seperti makyong, main petri, menora dan wayang kulit. Semangat selalu dilambangkan sebagai ‘raja’ yang mesti ‘berkuasa untuk mentadbir istana’ – ’istana’ sebagai metafora untuk tubuh fizikal. Angin boleh dikaitkan dengan bakat seni yang diwarisi atau perwatakan sedia ada seseorang. Semangat menjadi lemah apabila angin pesakit tidak terbebas sepenuhnya. ‘Bakat’ yang tidak dilaksana/dibebaskan akan mengakibatkan penyakit minda.

The concept of Semangat relates to the ‘vital force’ which exists in nature as well as is found within all animate and even inanimate entities. The word ‘semangat’ exists prominently even in Malay everyday vocabulary. Semangat is vital in the belief system related to the traditional performing arts of East Coast — such as makyong, main petri, menora and wayang kulit. The Semangat is always personified as the ‘raja’ (king) who has to be ‘in state’ to govern the ‘palace’ — the ‘palace’ being the metaphor for the physical body. Angin can be referred to as the inherited artistic talent or inherent temperament of a person. A weakening of the semangat occurs when an ill person’s angin is not fully given its full release. It is also believed that an unfulfilled ‘talent’ will result in psychological complexes or sickness of the mind.

Apabila musim tengkujuh tiba, para nelayan tidak dapat turun ke laut untuk menangkap ikan, maka, mereka menjalankan aktiviti menjebak puyuh, menganyam dan menghasilkan kraf. Masyarakat Melayu Pantai Timur di Kelantan, Terengganu, Pahang dan Johor (Mersing) mengamalkan kehidupan yang kaya dengan budi bahasa, sopan, berjiwa seni dan masih berpegang teguh kepada warisan adat dan tradisi. Sifat kesenian mereka dipengaruhi oleh hubungan yang erat antara mereka dan alam di mana seni itu dizahirkan melalui aktiviti harian mereka yang berpandukan peredaran musim. Mereka berbangga dengan warisan dan upacara-upacara di mana penyertaan mereka penuh dengan tradisi yang kaya.

When the rainy season arrives and as they are unable to go out to sea, they set quail traps, weave, and produce crafts. The East Coast Malay communities of Kelantan, Terengganu,  Pahang, and Johor (Mersing) live a meaningful life rich in character, manners, and artistic flair. The nature of their art is influenced by the strong relationship between the community and nature which is reflected in their daily activities according to the turn of the seasons. The community takes pride in its heritage and rituals — in which they participate in a rich  traditional lifestyle.

SENI PERSEMBAHAN MELAYU

MALAY PERFORMING ARTS

PANTAI TIMUR

EAST COAST

Seni Persembahan Melayu rantau ini wujud bukan sekadar bertujuan untuk hiburan semata-mata tetapi juga bersifat ritual bagi tujuan mententeramkan semangat roh dan makhluk ghaib. Dari semasa ke semasa, ia berkembang di dalam bidang psiko-terapi bagi perubatan tradisional Melayu. Seni persembahan Melayu mendapat inspirasi dari kepercayaan pribumi dan sumber-sumber mistik di samping pengaruh budaya lain dan agama dari rantau sekitarnya. Dalam budaya kesenian persembahan Melayu terangkum juga repositori Melayu bagi kesusasteraan, mitos, ilmu pengetahuan dalam muzik tradisional dan dramaturgi selain juga kraftangan tradisional. Teras seni persembahan Melayu adalah kepercayaan konsep animisme Semangat dan Angin.

Malay Performing Arts of this region exist not only for entertainment but also as a ritualised appeasement of spirits and invisible beings. Simultaneously, they evolve within the realm of traditional psycho-therapy of Malay traditional healing. Malay performing arts draw inspiration from indigenous beliefs and mystic sources as well as from influences of other cultures and religions from surrounding regions. Within the art of Malay performance culture contains the repository of Malay literature, myth, knowledge of traditional music and dramaturgy, and also of traditional handicrafts. Within the core of Malay performing arts is the belief in the animistic concept of Semangat and Angin.

Kawasan Pantai Timur Semenanjung Malaysia, menjejaki pesisiran Kelantan, Terengganu, Pahang dan Johor (Mersing), membangkitkan suatu perasaan mistik dan romantika di dalam minda rakyat Malaysia. Sebagai masyarakat yang kaya dengan tradisi, dan menjalani kehidupan dengan rentak tersendiri sejak berdekad lamanya, maka tidak hairanlah Pantai Timur menjadi gedung seni kepada bentuk-bentuk kesenian seperti makyong, main petri, joget gamelan, zapin, ukiran kayu, gasing pangkah Pahang, batik, songket dan pelbagai lagi kekayaan kebudayaan yang lain. Setiap daripada kesenian ini amat berkait rapat dengan kehidupan masyarakat Melayu yang bergantung kepada laut dan alam semulajadi sebagai sumber rezeki mereka. Mereka membuat wau dan gasing sementara menunggu tiba musim menuai.

The East Coast of Peninsular Malaysia, tracing the shorelines of Kelantan, Terengganu, Pahang and Johor (Mersing), evokes a certain mystique and romance in the minds of Malaysians. With a culture steeped in tradition, and a pace of life barely quickened through the decades, here is the heartland (gedung seni) of artforms such as makyong, main petri, joget gamelan, zapin, wood carving, gasing pangkah Pahang, batik, songket and many more cultural riches. These are unique traditional arts inherently connected to the lifestyle of the Malay people, who depend on land and sea for their livelihoods. They entertain themselves with performances, play games, and they make kites and tops while waiting for the harvest season.

Konsep semangat berkait dengan ‘kuasa penting yang tersembunyi’ yang wujud dalam alam selain berada dalam semua entiti bernyawa dan juga tidak bernyawa. Perkataan ‘semangat’ itu sendiri wujud secara jelas dalam perbendaharaan kata harian Melayu. Semangat adalah penting dalam sistem kepercayaan yang berkait dengan seni persembahan tradisional Pantai Timur, seperti makyong, main petri, menora dan wayang kulit. Semangat selalu dilambangkan sebagai ‘raja’ yang mesti ‘berkuasa untuk mentadbir istana’ – ’istana’ sebagai metafora untuk tubuh fizikal. Angin boleh dikaitkan dengan bakat seni yang diwarisi atau perwatakan sedia ada seseorang. Semangat menjadi lemah apabila angin pesakit tidak terbebas sepenuhnya. ‘Bakat’ yang tidak dilaksana/dibebaskan akan mengakibatkan penyakit minda.

32

The concept of Semangat relates to the ‘vital force’ which exists in nature as well as is found within all animate and even inanimate entities. The word ‘semangat’ exists prominently even in Malay everyday vocabulary. Semangat is vital in the belief system related to the traditional performing arts of East Coast — such as makyong, main petri, menora and wayang kulit. The Semangat is always personified as the ‘raja’ (king) who has to be ‘in state’ to govern the ‘palace’ — the ‘palace’ being the metaphor for the physical body. Angin can be referred to as the inherited artistic talent or inherent temperament of a person. A weakening of the semangat occurs when an ill person’s angin is not fully given its full release. It is also believed that an unfulfilled ‘talent’ will result in psychological complexes or sickness of the mind.

Apabila musim tengkujuh tiba, para nelayan tidak dapat turun ke laut untuk menangkap ikan, maka, mereka menjalankan aktiviti menjebak puyuh, menganyam dan menghasilkan kraf. Masyarakat Melayu Pantai Timur di Kelantan, Terengganu, Pahang dan Johor (Mersing) mengamalkan kehidupan yang kaya dengan budi bahasa, sopan, berjiwa seni dan masih berpegang teguh kepada warisan adat dan tradisi. Sifat kesenian mereka dipengaruhi oleh hubungan yang erat antara mereka dan alam di mana seni itu dizahirkan melalui aktiviti harian mereka yang berpandukan peredaran musim. Mereka berbangga dengan warisan dan upacara-upacara di mana penyertaan mereka penuh dengan tradisi yang kaya.

When the rainy season arrives and as they are unable to go out to sea, they set quail traps, weave, and produce crafts. The East Coast Malay communities of Kelantan, Terengganu,  Pahang, and Johor (Mersing) live a meaningful life rich in character, manners, and artistic flair. The nature of their art is influenced by the strong relationship between the community and nature which is reflected in their daily activities according to the turn of the seasons. The community takes pride in its heritage and rituals — in which they participate in a rich  traditional lifestyle.


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

33


7 Years – Selected Works Report 2011–2018

Martin Koch

34


Brand & Visual Identity Design, Environmental Graphics, Wayfinding & Signage Information Design

Muzium Sultan Abu Bakar, Pekan, Pahang

The museum’s sculpture garden, the lawn with a cluster of old banyan trees, the shallow infinity pool and water fountain for children, the riverfront, and lush green surroundings provide Pekan’s residents with a restful environment for relaxation and an opportunity for them to engage with a museum. This is perhaps one of the most successful aspects of the museum’s overall endeavour.

35


7 Years – Selected Works Report 2011–2018

Projek Kellie’s Castle Gallery, Ipoh, Perak Task » Desk & Field Research » Information Panels » Wayfinding & Signage Client Batu Gajah District Office & JKR Kinta Year 2013 Team Members Martin with WHW and in collaboration with FSquared Interior Architecture

Martin Koch

The project objectives: » To establish a people-friendly gallery for Pekan, ensuring that the heritage Kellie’s is preserved. » To conducted desk and field research into the history of the family and the abandoned mansion as well as for our visitors to remember the history of Kellie’s Smith time. » Collecting Drawing from a variety of sources —from the National Archives to the late architect Chen Voon Fee’s speculation on the architectural intent of the mansion, as well as interviews with experts and local residents in Batu Gajah and Ipoh to reconstruct of Kellie Smith’s life and aspirations during his time in Malaya.

36


Desk & Field Research, Information Panels, Wayfinding & Signage

Kellie’s Castle Gallery, Ipoh, Perak

Kellie’s Castle—or ‘Agnes’ Palace’, as it was scathingly labelled by one of William Kellie-Smith’s contemptuous colonial peers to highlight the fact it was financed by Kellie-Smith’s wife, Agnes—is one of Malaysia’s most intriguing architectural vestiges from the early 20th century. Unfortunately, construction of the mansion was halted upon Kellie-Smith’s sudden death in Lisbon in 1926, and was left unfinished since then. By chance, one of Kellie-Smith’s granddaughters, Frances Boston-Smith, visited the mansion a few years before and donated photographs of his first mansion, The Kellas House (originally situated beside Kellie’s Castle, but was bombed during the Japanese Occupation), to the Batu Gajah District Office. As fate would have it, Kellie’s Castle later came to be known as Kellie’s Folly. Kellie’s Castle was restored by the museum conservation department around 2012. There has been some public criticism of the odd stretch of white paint that colours the upper level of the façade—which many believe to be part of the conservation effort—while the rest of the building is left in its ‘natural’ state. However, one elderly man who shared that he distinctly remembers seeing the upper floors being white even from his time as an adventurous child, venturing into the thick, jungle-like undergrowths to explore the castle. The most likely explanation was that Kellie-Smith had done a test of the lime-wash white paint on the building himself.

37


7 Years – Selected Works Report 2011–2018

Martin Koch

38


Desk & Field Research, Information Panels, Wayfinding & Signage

Kellie’s Castle Gallery, Ipoh, Perak

39


7 Years – Selected Works Report 2011–2018

Martin Koch

Information vs Hearsay

Typography

The legend of Kellie’s Castle is filled with tales of romance, mysterious ghost stories, and other intrigues by the local community and tourism bodies. The write-ups approached for the information panels from a factual perspective.

A study of typographic expression during Colonial Malaya revealed an astonishing variety of typefaces in use, literally ‘An Eclectic Mix of Styles’. Many of these typefaces are not available today in digital format, or as hot-metal type (at least in Malaysia). Have taken some liberties and tried to emulate the period’s look in our information panels with the resources that were available.

The information panels contain carefully researched information about William Kellie-Smith and his family—their hopes and aspirations in coming to Colonial Malaya, their life among the local community, and subsequent departure—as well as Kellie’s Castle itself, such as the architecture and conservation efforts.

There was also the challenge of working with two languages in the headings, as sentences in Bahasa Malaysia (Malay) tended to be much longer than the English equivalent.

40


Desk & Field Research, Information Panels, Wayfinding & Signage

Kellie’s Castle Gallery, Ipoh, Perak

41


7 Years – Selected Works Report 2011–2018

Martin Koch

42


Desk & Field Research, Information Panels, Wayfinding & Signage

Kellie’s Castle Gallery, Ipoh, Perak

43


7 Years – Selected Works Report 2011–2018

Martin Koch

Signage System In line with the principles of building conservation, mounted the information panels using a cable-rod system so that it minimises impact to the building original material and structure. A simple design of signage system for visitors: directional and information signs which blend well with the ambiance of the building (etched lettering on bronze plates as the material will age beauti-

fully); and caution signs which stand out prominently. Prominent cautionary signs were especially important to help ensure public safety as the building was preserved in its original state: with uneven and jagged corners, as well as stairways and voids without safety railings.

SPIRAL STAIRCASE

THE BAR (LOUNGE)

IS9

IS7

WINE CELLAR

FAMILY ALTAR IS4

ELEVATOR

ROOF TOP UP

IS5

IS10 DINING HALL

READING ROOM IS8

LIVING ROOM

IS6

RS1 IS2

MAIN HALL (GALLERY SPACE)

IS1 CS1

IS3a

LEVEL G

LEVEL 3

CS2

RS1

IS3a

CS5

IS12c GUEST ROOM #3

ELEVATOR

ESCAPE ROUTE

ESCA

SPIRAL STAIRCASE

DOWN - LEVEL 2

LINEN ROOM

IS9

UP - ROOF TOP

PE

RO

UT

DAUGHTER’S BATHROOM

E

IS15

LEVEL 1

IS16 IS17

MASTER BEDROOM

DAUGHTER’S ROOMS

SON’S BATHROOM

IS11

IS14

IS13

IS12a ON’S ROOM

CS3

ELEVATOR

UP - LEVEL 2

LEVEL 2 IS12b GUEST ROOM #2

GUEST ROOM #1 CS4 ELEVATOR CS5

IS3b

IS18 DOWN - LEVEL 1 UP - LEVEL 3

44


Desk & Field Research, Information Panels, Wayfinding & Signage

Kellie’s Castle Gallery, Ipoh, Perak

Old sign of public safety.

New sign for public safety.

45


7 Years – Selected Works Report 2011–2018

Martin Koch

Right image: William Kellie Smith died of pneumonia in Lisbon, Portugal and was buried in the British Cemetery. NeTvertheless, it is said that his spirit roams at night, especially along the corridors, guarding his great mansion.

Font type use: 1. Clarendon LT Std

2. Twentytwelve Slab Regular

Sign located in “The Reading Room”.

46


Muzium Sultan Abu Bakar, Pekan, Pahang

47

Application


7 Years – Selected Works Report 2011–2018

Projek KL East Township, Desa Melawati Task » » » »

Brand & Visual Identity Design Marketing Collaterals Gallery Exhibit & Signage KL East Coffee Table Book

Client

Martin Koch

KL East’s positioning is based on its proximity to Kuala Lumpur’s iconic Petronas Twin Towers (15-min drive) and the Klang Gates Quartz Ridge. It is the only development in the city with a rainforest park dedicated to promoting sustainable living through rainforest appreciation.

Sime Darby Property Year

Brand & Visual Identity Design: Martin with WHW Team (2013-2014) Gallery Exhibit, Gallery Signage & KL East Coffee Table Book Design: Martin with RW Team (2015)

The project objectives: » Define, Position & Brand KL East as a unique sought after lifestyle address with a focus on ‘place making’, elevating it’s desirability and sale ability.

quartz

Gombak Intergrated Transport Terminal —GITT (upcoming)

m

id

dl

er

ing

Taman Melati

ro

ad

2 (m rr

2

)

in

Team Members

g

ke

n la

g

nt

2013-2015

ja

la

n

ge

Wangsa Maju

Sri Rampai

Setiawangsa

Jelatek Ampang Park

48

rid g e


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

KL East is a 153-acre integrated township development within the Kuala Lumpur city limits, complemented by the world’s longest quartz ridge as its natural backdrop. The development stands as a one-of-its-kind venture that includes a facility dedicated to rainforest regeneration, with more than 50% of green open spaces. The quartz ridge spans 14 km long and 200m wide, and soars to 380m, making it the largest natural quartz in the world. It is estimated to be 170 million years old. It is also unique by virtue that it displays four types of quartz formations. The ridge is home to 265 plant species, five of them endemic to the Klang Gates Quartz Ridge. This means that they cannot be found anywhere else in the world. Aleisanthia rupestris (a member of the Rubiaceae family) is one of the five endemic plants. The quartz ridge is also home to a rare animal – the Serow. The Serow is a wild mountain goat known as ‘kambing gurun’. Its scientific name is Serow Capricornis sumatraensis.

49


7 Years – Selected Works Report 2011–2018

Martin Koch

50


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

51


7 Years – Selected Works Report 2011–2018

Martin Koch

Stylish. Sophisticated. Vivacious KL East is the playground for the stylishly affluent, the over achievers and the game changers. An extraordinary place for extraordinary people. Here, stylish high-rise living is elevated to an art. It expresses our individuality and personality. Unashamedly stylish and decidedly urban, KL East has many facets that make up the whole. It has found the elusive balance between vivacity and maturity. Full of character, it is where trends are set, ideas are formed and life is appreciated and lived to the fullest.

52


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

53


7 Years – Selected Works Report 2011–2018

Martin Koch

N

W

1

E

4

2

S

3

Inspired by the KL East logo design which has these four extensions akin to the points on a compass i.e. North, South, East & West, the story of KL East is told from true north around in a clockwise direction and back to true north (1200 hours).

From a story telling point of view, these four points represent the four key points of the KL East story. They are: 1. Concept 2. City Or Urbanscape 3. Nature 4. Connectivity

Just like a compass, these points are then further divided into key elements of the story within the context of the key pints.

Right image: These additional points represent the components within the sections and the story flow. The idea is that it starts with the Quartz Ridge and ends with the Quartz Ridge – making KL East synonymous with the Quartz Ridge.

54


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

Concept Road

Location emphasizing the Ridge

Rail

Backdrop - Ridge

Commuting lifestyle

Urban Lifestyle District

City or Urbanscape

Connectivity

Activities

Residences

East Ridge Park – Rainforest Appreciation

Commercial

Urban Parks & Green open spaces

Leisure Nature

55


7 Years – Selected Works Report 2011–2018

Martin Koch

KL East internal hoardings and light boxes along the underground walkway from KLCC (Petronas Twin Towers) to the Kuala Lumpur Convention Centre.

56


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

Folded leaflet for launch.

Logo Applications (With Extension)

Set against the world’s longest quartz ridge, KL East’s residential and commercial towers designed by award winning and renowned architects, offer the latest in luxury high rise living and commercial office and retail space. Quartza Lifestyle, a boutique lifestyle mall, offers the latest fashions and international brands and themed F&B outlets while stylish and vibrant places to unwind, lounge and chill extend into green open spaces Placing equal emphasis on enhanced living, modern and city lifestyle, commuting convenience as well as a connectedness with nature, the new and swanky KL East is redefining city living in the capital city.

Stylish

Contemporary. Unique.

The swanky new address in the capital. KL East, the new address for the stylishly affluent, over achievers and game changers. An extraordinary place for extraordinary people. Here, stylish highrise living expresses individuality on the backdrop of unique and celebrated nature. Unashamedly stylish and decidedly urban and full of character, it is where trends are set, ideas are formed and life is appreciated and lived to the fullest.

Introducing KL EAST

The swanky new address in Kuala Lumpur

Get the latest on this exclusively unique living destination in Kuala Lumpur. Register at www.simedarbyproperty.com

Get the latest on this exclusively unique living destination in Kuala Lumpur. Register at www.simedarbyproperty.com

EDMs for launch.

57


7 Years – Selected Works Report 2011–2018

Martin Koch

KL East Park Natural Heritage The coffee table of an extraordinary place brings together specific accounts and excerpts of the rich plant and animal diversity found in this protected urban forest, some of its physical features and unique geological aspects. A six-month-long study of the KL East Park was conducted by the academic experts of Universiti Kebangsaan Malaysia (UKM) under the patronage of the Sime Darby Melawati Development Sdn. Bhd, to assess the unique geological features and rich tropical flora and fauna. The assessment also includes its potential for invaluable ecosystem services specifically for research, educational and public amenity purposes.

58


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

59


7 Years – Selected Works Report 2011–2018

Martin Koch

60


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

61


7 Years – Selected Works Report 2011–2018

Martin Koch

62


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

63


7 Years – Selected Works Report 2011–2018

Martin Koch

64


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

65


7 Years – Selected Works Report 2011–2018

Martin Koch

KL East Signage System To provide directional information in a clear and easily understood manner for people to follow allowing them to find their way around easily. The design approach is to ensure there is a distinction between development & product information and gallery directional information.

66


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

67


7 Years – Selected Works Report 2011–2018

Martin Koch

KL East Gallery & Signage Propose Design Idea The design idea was propose in align with Quartz Crystal exist in the Quartz Ridge for thousands of years.

KL East Signage Propose Design Idea 1 2 3

1.

2.

3.

Example of Quartz Crystal

Microscopic view example of Quartz

Example of Quartz Crystal

Extracted pattern from Quartz (Simplified)

Extracted pattern from Quartz

68


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

10

ft

KL East Township, Desa Melawati

cm

300

9 250

8 7

200

KL EAST GALLERY

6 5

150

4 3 2

100

Show Unit Lorem ipsum dolor sit amet, consecte tuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem.

50

1

10

ft

cm

300

9 8 7

250

200

6 5

150

4 3 2

KL EAST GALLERY

KL EAST Show Unit Lorem ipsum dolor sit amet, consecte tuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem.

Show Unit Product Hall

100

50

1

69


7 Years – Selected Works Report 2011–2018

Martin Koch

70


Brand & Visual Identity, Marketing Collaterals, Gallery Exhibit & Signage and KL East Coffee Table Book

KL East Township, Desa Melawati

71


7 Years – Selected Works Report 2011–2018

Projek The Mansions & Westside II, Desa ParkCity Task » Wayfinding & Signage

Martin Koch

The project objectives: » To create a safe environment and directional for The Mansions and Westside II.

Client Perdana ParkCity Year 2014 Team Members Martin with WHW Team

72


Wayfinding & Signage

The Mansions & The Westside II, Desa Park City

The Mansions, and Westside II are three distinctive developments in Desa ParkCity, one of Kuala Lumpur’s most sought-after residential addresses. Each property has its own unique architectural features and a logo designed by an advertising agency. The existing signage proposal prepared for The Mansions was rejected by the client, and were requested to take over the signage programme for the residence. Also concurrently designed new sign systems for Westside II. To address some crucial safety issues as well as reflect the unique character of each development in sign design.

73


7 Years – Selected Works Report 2011–2018

Martin Koch

The Mansions is the most premium property in Desa Park City. Internal road signs were specially designed to add to the exclusivity of the place. The simple design and typography provided navigational clarity for users.

1

Architects, and the people in planning and engineering, are primarily responsible for creating a safe environment but there are instances where the sign designer has to come in.

2

3

10

11

One safety concern was the confusing turn towards the Guard House, which has three lanes: the Exit lane (nearest), Resident’s entrance lane, and Visitor’s entrance lane (furthest). However, both Resident’s and Visitor’s entrance lanes are obstructed from view by a vertical wall of creepers (indicated in the diagram in green). First-time visitors are likely to turn into the Exit lane instead and face on-coming traffic (marked ’X’ in red).

5

6

4

Well-designed signs placed at the right spots can help a driver make the right split-second decision.

7

Locating Small Entrances 1. Road Panel 2. Stop Pole 3. Hump Pole

102 103 103a

40 38 39

33a

35

36

4. Directional

101 100 98

45 47

57

60

55

62

27

92

52

73a 68

72

85

80

18 17

81

16

121

86

79

19

119 120

87

78

20

15

122

83a

123

83

123a 125

82 13a

7. Hanging Sign & Arm Gate Sign

13

115 116

118

88

77

71

21

89

76

70

22

117

90

75 69

23

113a

91

73 67

25 23a

113 112 111

93

51

53

66 26

108 109 110

95 93a

50

53a

63 63a 65

28

96 48 49

56

61

29

97

46

58

30

107 106 105

99 44a 59

31

5 & 6. In & No Entry

43

42

41

37

33 32

126 12

11

10

127 9

8 7

6

5

4

3

2

1

YOU ARE CURRENTLY HERE

8. Large map mounted at the guardhouse helps guards give clear and accurate directions to visitors.

9 8

9. Arm Gate Sign & No Entry 10. Out/Dead Slow 11. Keep Left Pole

74


Wayfinding & Signage

The Mansions, Desa Park City

4

RESIDENT VISITORS

7

8

5

6 9

10 3

HUMP

Up Hill 3 3

Existing Rock

HUMP 1

11

2

75


7 Years – Selected Works Report 2011–2018

Martin Koch

Typography Good typography is essential to ensure clarity and readability, as well as to enhance the character of the development.

ft 2100 mm (6.88')

7

Typeface 1

Typeface 2

Whitman is an award-winning* typeface that is robust and stately–perfect for signage in terms of its strengh and high legibility. It is refreshing in its simplicity, at once classical and spartan, reflecting the structural forms at The Mansions.

DIN, a contemporary German typeface is used for The Mansion’s pictographs (icons).

*Honours, Type Directors Club 2002

Despite its technical look and clear reference to German highway signs (‘ultimate legibility’), DIN has pervaded book and magazine design and fund its place in the posters of cultural institutions.

Whitman Roman 1234567890 Whitman Roman 1234567890

DIN 1234567890 NO Litter ing

cm 210 200 190

6 1700 mm (5’57”)

180 170 160

5

150 140 130

4

120 110 100

3

90 80 70

2

60 50 40

1

30 20 10

76


Wayfinding & Signage

The Mansions, Desa Park City

Pictographs This development features a modern industrialist vibe that is both smart and edgy. It is distinguished by the liberal use of T-beams and exposed cross beams in its architecture, and this became the basis of the pictographs for this property. The icons have been specially designed to integrate with one of the most visible architecture features of the Mansions.

T-Beam at Guardhouse

Pictographs of children for Swimming Pool disclaimer

77


7 Years – Selected Works Report 2011–2018

Martin Koch

20 mm (return)

1600 mm

PRIVATE ROAD 4mm (thk) aluminium cut out lettering spray-painted in white

3000 mm (9.84')

10

ft

400 mm

2mm (thk) stainless steel hairline finish for frame

White 3M engineering grade

Black 3M engineering grade

reflective vinyl sticker

reflective vinyl sticker

Dead slow caution sign.

cm 300 290

9

280 270 260 250

8

240 230 220

7

210

102 103 103a

200

40 38 39

190 6 1700 mm (5’57”)

33a

35

36

44a

29 27

53

67

73a 68

75 69

76

70

22

77

71

21

72

17

4

81

16 15 13a

120

13

88

119 120 121

85

80

18

117 118

86

79

19

122

83a

123

83

123a

82

125 126

12

110

11

10

127 9

8 7

6

5

100 3

YOU ARE HERE

90 80 70

2

60 50 40

1

115 116

90 89 87

78

20

130

113a

91

73

23

140

92

52

25 23a

113 112 111

93

51

66 26

150

95 93a

50

53a

63 63a 65

28

5

55

62

96 48 49

56

61

170

47

57

108 109 110

97

46

58 60

30

107 106 105

98

45

59

33 31

160

101 100 99

32

180

43

42

41

37

30 20 10

Lowerst Car Driving Eye Level 108 cm ( 3 '5")

78

4

3

2

1

Map is silkscreened and mounted on 4mm thk aluminium panel. UV protective coating is required. The aluminium panel with backing frame is mounted to existing beams with cross beams for stability.


Wayfinding & Signage

The Mansions, Desa Park City

Directional sign to specific road.

3D process design for freestanding sign park names.

The Meadow park freestanding sign design.

Disclaimer sign by the park.

79


7 Years – Selected Works Report 2011–2018

Martin Koch

Westside II carries the most vibrant personality of the three properties–dynamic, energetic, and spirited–which is reflected in the pictographs and the bright and vivid colours used for its visual identity. Our sign design for Westside II hinges considerably on its colour play: the two logo colours, turquoise and fuchsia, and a deep rich purple (derived from a mix of the two colours). The exterior signs make a bold statement and is especially beautiful when lit up at night. For the interior signs, letters are cut out on the outer layer of these signs to display the accent colours on the inside layer. The Westside II colour palette was expanded as more hues were needed to colour-code the car park levels.

3D process design for The Westside II Entrance statement during day and night time.

80


Wayfinding & Signage

Westside II, Desa Park City

81


7 Years – Selected Works Report 2011–2018

Landing floor sign.

Martin Koch

Home unit number sign.

Female, Male & Disable toilet sign.

82


Wayfinding & Signage

Westside II, Desa Park City

Freestanding directional sign.

Disclaimer park sign.

Car park basement Wall paint directional sign.

83


7 Years – Selected Works Report 2011–2018

Projek British India, Malaysia Task » Re-design Logo » Visual Identity Update » Label System Design Client British India Year 2014

Martin Koch

BritishIndia, established in 1994, is one of Malaysia’s most recognised home-grown luxury fashion brands, inspired by the grand romance of the Colonial era. With seven collections to meet the various lifestyle needs of people who care about quality, BritishIndia has more than 40 outlets across Malaysia, Singapore, Thailand and the Philippines.

Team Members Martin with WHW Team

The project objectives: » Strengthen BritishIndia master brand Undertake visual audit and brand alignment. » Develop distinctive sub-brands (current and new) and to update the brand architecture. » Develop visual and colour systems across brands. » Develop the visual identity guidelines.

84


Re-design Logo, Visual Identity Update & Label System Design

British India, Malaysia

BritishIndia’s first symbol-mark (refer to the advertisements below) was a rather complex illustration of the intrepid explorer, Ms Isabella Bird, riding an elephant. Overcoming poor health, as well as the limitations of living in a man’s world, Isabella Bird (1831–1904) was a writer, photographer and naturalist. She wrote a book about her travels in the Malay Peninsula titled The Golden Chersonese. The symbol-mark will continue to undergo a number of refinements over the next few years. BritishIndia first symbol-mark.

BritishIndia took off quickly as a fashion label, with four outlets in Malaysia within months, and another four in Singapore in the mid–late 1990s. This rapid exposure can largely be attributed to the late Yasmin Ahmad, who launched the brand with a controversial but tongue-incheek headline: Presenting BritishIndia, an era of racism, oppression, injustice and nice outfits.

85


7 Years – Selected Works Report 2011–2018

Martin Koch

A Simplified Symbol-Mark From the beginning, Asian elephant had settled as the brand’s icon because of its importance to India and other Asian countries. By now, the BritishIndia elephant has come onto its own and projects a playful persona and adventurous spirit of Isabella Bird.

BritishIndia second symbol-mark re-designed from the first.

BritishIndia current symbol-mark re-design from the second, enhancement of the type logo and the elephant symbol.

86


Re-design Logo, Visual Identity Update & Label System Design

British India, Malaysia

87


7 Years – Selected Works Report 2011–2018

Martin Koch

Brand Architecture & Label System The entire label system was reworked with current and new sub-brands to promote a clearer and more unified visual identity. For instance, a silhouetted elephant was introduced to simplify production.

BritishIndia cloths tags.

20 years on, the concept of the original advertisement was revived for an announcement card to signal the next phase of BritishIndia’s enduring brand.

88


Re-design Logo, Visual Identity Update & Label System Design

British India, Malaysia

89


7 Years – Selected Works Report 2011–2018

Projek UEMS The Edge Award Submission 2015 Task » Design UEMS The Edge Award Submission Book 2015 Client UEM Sunrise (UEMS) Year 2015 Team Members Martin with RW Team

Additional Project Propose Design Idea for UEMS The Edge Award Book 2016

Martin Koch

UEMS specializes in real estate investment and property development businesses for UEM Group Berhad and Khazanah Nasional. It has core competencies in macro township development, high-rise residential, commercial, retail and integrated developments, as well as property management and project & construction services. It is the master developers of Nusajaya and is renowned for its award-winning, up-market high rise residential projects as well as commercial developments largely in the Mont’Kiara enclave. Its presence extends internationally into Canada, Australia, Singapore and South Africa. They are currently the Top 4 property developer in Malaysia.

The project objectives: » To create a high perception of UEMS as one of the Top 3 property developers in the country. » UEMS is conscious to plan, design and develop property products that are sustainable to the people, the planet and the company, ensuring that the value created is extended to its customers, its partners and its stakeholders.

90


Design UEMS The Edge Award Submission Book 2015

UEM Sunrise (UEMS)

91


7 Years – Selected Works Report 2011–2018

Martin Koch

92


Design UEMS The Edge Award Submission Book 2015

UEM Sunrise (UEMS)

93


7 Years – Selected Works Report 2011–2018

Martin Koch

94


Design UEMS The Edge Award Submission Book 2015

UEM Sunrise (UEMS)

95


7 Years – Selected Works Report 2011–2018

Martin Koch

UEMS The Edge Award Book 2016 Propose Design Idea

96


Propose Design Idea for UEMS The Edge Award Book 2016

UEM Sunrise (UEMS)

97


7 Years – Selected Works Report 2011–2018

Martin Koch

98


Propose Design Idea for UEMS The Edge Award Book 2016

UEM Sunrise (UEMS)

99


6 Years – Selected Works Report 2011–2018 7 2011–2017

Projek UGB BLE Coffee Table Book Task » Design UGB BLE Coffee Table Book » Photograph Directing on Site Client UEM Builder (UEMB) Year 2016 Team Members Martin with RW Team

Martin Koch

As this is a JKR project and initiative, the theme needs to be aligned to a deliverable of the current government. The ‘People first; Performance Now’ promise talks about “doing things for the people in a performance driven environment.” We believe that the BLE project fits this category perfectly and are proposing the theme: ‘A people-centric project’

The project objectives: » Design a Coffee Table Book on the Bayan Lepas Expressway Project as part of an award submission for JKR.

100


Design UGB BLE Coffee Table Book & Photograph Directing on Site

UEM Builder (UEMB)

1 01


7 Years – Selected Works Report 2011–2018

Martin Koch

1 02


Design UGB BLE Coffee Table Book & Photograph Directing on Site

UEM Builder (UEMB)

103


7 Years – Selected Works Report 2011–2018

Martin Koch

The special span traversing Sungai Kluang accompanied by the bicycle lane bridge.

104


Design UGB BLE Coffee Table Book & Photograph Directing on Site

UEM Builder (UEMB)

105


7 Years – Selected Works Report 2011–2018

Martin Koch

106


Design UGB BLE Coffee Table Book & Photograph Directing on Site

UEM Builder (UEMB)

1 07


7 Years – Selected Works Report 2011–2018

Martin Koch

108


Design UGB BLE Coffee Table Book & Photograph Directing on Site

UEM Builder (UEMB)

109


7 Years – Selected Works Report 2011–2018

Martin Koch

The view of Sungai Kluang from the elevated section of BLE.

110


Design UGB BLE Coffee Table Book & Photograph Directing on Site

UEM Builder (UEMB)

111


7 Years – Selected Works Report 2011–2018

Projek Ahimsah – Exhibition of Paintings Task » Enhance Logo » Marketing Collaterals Client Sponsored by BAC (Brickfields Asia College) Year 2013 Team Members Martin with RW Team

Martin Koch

The Crowning Glory by Sivarajah Natarajan, stage designer of Sutra Dance Theatre, brings together drawings, paintings and sculptures of the region’s enigmatic folk art. Sivarajah has been exploring all genre of dance since his days studying Fine Arts at Malaysian Institute of Arts. In the last 24 years, while working with eminent dancer Datuk Ramli Ibrahim, he soaked in all the beauty and magnetism of bharatnatyam, odissi, makyong, main petri, menora, chhau and gotipua as well as the Balinese and Javanese genres of the performing arts. “My paintings are not just brush strokes, they each have a story, mythology and a tale of thousands of years. Bhisma, Karuna, Yudhistira and the others from Mahabaratha are all characters we encounter in our daily lives. It has nothing to do with religion, it’s an in-depth study of characters, a way of life and a guide. These tatler-tatler stories feed my soul,” said Sivarajah, who in his last exhibition (Ahimsa) explored the topic of non-violence and compassion to living beings.

The project objectives: » Enhance Ahimsa logotype master brand. » Develop marketing visual collaterals.

112


Re-design Logo & Marketing Collaterals

Sponsored by BAC (Brickfields Asia College)

A Simplified Logotype From the first, I was given to explore and enhance the first logotype of the brand and its importants to Bhisma, Karuna, Yudhistira and Mahabaratha, to bring out the character.

Ahimsa first logotype.

Ahimsa logotype enhancement.

113


7 Years – Selected Works Report 2011–2018

Martin Koch

From top left: Media release page 1 to 3, Poster & Postcard.

114


Re-design Logo & Marketing Collaterals

Sponsored by BAC (Brickfields Asia College)

115


7 Years – Selected Works Report 2011–2018

Martin Koch

1 16


Re-design Logo & Marketing Collaterals

Sponsored by BAC (Brickfields Asia College)

1 17


7 Years – Selected Works Report 2011–2018

Martin Koch

118


Re-design Logo & Marketing Collaterals

Sponsored by BAC (Brickfields Asia College)

119


7 Years – Selected Works Report 2011–2018

Projek Publika, Kuala Lumpur Task » Design Publika Visual Identity Guidelines Client Sunrise Berhad

Martin Koch

The project objectives: » To position Publika as a creative retail devoted to arts and culture. » To produce brand guidelines for the creative retail.

Year 2011 Team Members Martin with WHW Team

1 20


Design Publika Visual Identity Guidelines

Publika, Kuala Lumpur

Publika Shopping Gallery is a retail mall-cum-creative hub, anchored by a unique concept called MAP (Making Art Public), an activity generator with two key spaces, the White Box (for exhibitions) and the Black Box (for theatre performances). Originally built to house corporate offices and retail, labDNA was engaged to position Publika as a creative retail hub instead, which called for some major retrofitting. Our design team developed the logo and visual strategy for both Publika and MAP to reflect the intent and spirit of the new concept. The decision to position Publika as a creative retail devoted to arts and culture was a risky one at that time as there were no clear successful precursors. However, it was made as a logical response to current conditions: the lack of a vibrant creative hub in Kuala Lumpur and the affluent neighbourhood communities nearby that may potentially be attracted to such a concept.

1 21


7 Years – Selected Works Report 2011–2018

Martin Koch

1 22


Design Publika Visual Identity Guidelines

Publika, Kuala Lumpur

1 23


7 Years – Selected Works Report 2011–2018

Martin Koch

1 24


Design Publika Visual Identity Guidelines

Publika, Kuala Lumpur

1 25


7 Years – Selected Works Report 2011–2018

Martin Koch

1 26


Design Publika Visual Identity Guidelines

Publika, Kuala Lumpur

1 27


7 Years – Selected Works Report 2011–2018

Martin Koch

I would like to extend my appreciation and thank you for your time to view my past works and experiences.

Foreword

1 28


Muzium Sultan Abu Bakar, Pekan, Pahang

129

Application


7 Years – Selected Works Report 2011–2018

Martin Koch

Visual Communications Portfolio of Martin Koch – koma,

130

Profile for Martin Koch

Martin Koch Portfolio 2011–2018  

Martin Koch Portfolio 2011–2018  

Advertisement