Molding The Culture (1910546)

JUNE

2021

PROJECT 3 FINAL E-BOOK MAGAZINE

MOLDING THE CULTURE

TUAN NURASHIKIN BT TUAN KAMAL 1910546

AAR 2244 CULTURE & HUMAN BEHAVIOUR IN BUILT ENVIRONMENT

MOLDING THE CULTURE TABLE OF CONTENTS

INTRODUCTION Editor's Note

01

Project Brief

03

CASE STUDIES Kuala Lumpur Craft Complex

05

Brambuk Cultural Centre, Australia

07

Tjibao Cultural Centre, New Caledonia

09

Conclusion Culture Related Elenents

12

What's Next?

THE USER

DESIGN STRATEGIES Design Strategies Conclusion by editor

18 20

Targeted User

14

How to tackle?

16

01

Editors note

02

EDITOR'S

NOTE

an overall point of view from me about this assignment

On this assignment, all students were given a task to view and study about the culture of our surrounding site for our final project. The task given require us to explore the molding culture that exists around the people that lived or selected user that will came to our project. The culture plays an important role as our project is to create an art and craft center that relates with the Malaysian tradition culture. As for me, to design a Batik Center was though task as I have to blend the culture and the tradition itself .I really hope that with this overview and my exploration towards this task can contribute to many people especially the readers of this e-magazine.

shikin | June 13

03

Farah Mohan (Novak Batik)

Project Brief Our project this semester is to design a Art and Craft Center located at Kampung Sungai Pusu, Gombak, Selangor. The student assigned to design a specific art and craft center and my job is to design a Batik Art & Craft center. My client is a freelance batik art maker and the owner of Novak Batik, an batik art making freelance company.

Her specialties is in the batik art, compared to other artist she choose to more emphasis on batik art rather than producing batik cloth. Most of her product were contemporary in concept cause she choose to tell her story through making the batik art rather than stick to traditional batik concept. For Batik center, there are a few requirements of space that needed installed inside the building such as Batik Workshop, Exhibition and Seminar Hall.

04

Case stuides

This phase will let the readers to explore more on the editor's intention in designing the art & craft center by showing some pleasing examples from different countries.

05

KUALA LUMPUR

CRAFT COMPLEX Kuala Lumpur, Malaysia The Hidden Gem of Kuala Lumpur Locate at the center of heart Malaysia, The complex itself was build with the main concept of art iconic.

It sells and display tourism based product that consists of many art & craft things.

Stand with the traditional Terengganu Malay Traditional elements shows many variety art and crafts from traditional based to contemporary designs.

The Center also highlight the panorama view of trees and nature context on the surrounding area to enhance their traditional concept. Not just that, it is to differentiate their complex with other tall skyscrapers and shopping malls in Kuala Lumpur.

This complex introduce the user with the four elements that can be explore which us the education, the culture marketing and also accommodation.

"The complex is a landmark and tourist attraction local and outside of the country" -BH Online

06

KUALA LUMPUR CRAFT COMPLEX MALAYSIAN AUTHENTIC CRAFT The Craft Center offers variety authentic products to be display as souvenirs, interior decoration, costume, fashion trends and textile, home and garden decoration ass well as for daily use.

MUSEUM Through exhibitions of ancient artefacts, the Craft Museum disseminates information on the civilization of arts and crafts. Besides that, it also shows the evolution of technology in the production of craft products and the manufacturing process.

EDUCATION CENTRE The complex also let the user to experienced hands on doing art and craft on specific area.

Visitors are able to see for themselves how the artists produce Malaysian-made artwork in a variety of mediums, styles and shapes. It is then translated onto canvas, painting techniques, or portraiture, with each piece of art touching the soul.

CAFE There is also a cafe near the complex too!

Where all the interiors were designed along with the complex's concept which is the traditional Terengganu.

07

BRAMBUK CULTURAL CENTRE

Halls Gap, Australia

A window into Australia's past Brambuk: The National Park and Cultural Centre in Halls Gap began in 1989 with the construction of the Brambuk Cultural Centre to acknowledge, protect, and share the Jadawadjali and Djab Wurrung Peoples' cultures.

SThe Brambuk Cultural Centre is a significant and unique example of fluid organic architecture in the style of American architects Frank Lloyd Wright and Bruce Goff, but with a completely rustic aesthetic. It was awarded the RAIA National Award for Public Buildings in 1990 for its design excellence.

During your visit to the centre, you will learn about local Aboriginal people's stories, which are depicted in the many exhibits. Also, visit the various museums and galleries in Brambuk to see shows and see the artefacts and exhibits on display.

The Brambuk Cultural Centre has everything you need to have a memorable experience, whether you're interested in didgeridoo music, cultural programmes, or traditional Aboriginal dance.

"it's an opportune time to look at options to reinvigorate Brambuk and build new opportunities for the involvement of Traditional Owner corporations," -Parks Victoria Regional Director

08

Brambuk Cultural Centre

A gathering space/foyer area on the ground floor contains a display area, workshops for visitors and resident artists, a theatre with full projection facilities, a retail shop and managerial offices. On the first floor, a café overlooks the earth berms to the hills beyond. The foyer and café are linked by the spiralling ramp that winds around the shop, starting and finishing at the chimney.

The forms and elements of the building reflect many influences and can be interpreted in many ways. It's a hybrid of organic and holistic design. The undulating roof as the sweeping wings of the Cockatoo or the Emperor Moth, or as a harmonic of the surrounding hills; the curved ramp as the serpent; the massive stone fireplace as a cosmic axis or the traditional fireplace; and the circular forms as echoes of the region's 8,000-year-old Aboriginal stone buildings.

The central area's base walls and lower floors were built out of local sandstone. The display area floor and the main gathering space walls are made of consolidated earth. For cafe, the center provide area for the tourists to enjoy their traditional unique foods such as Kangaroo, Emu, Crocodile or a vegetarian dish. No worries, the menu also caters for the less adventurous as well, there is a meal to suit everyone. Enjoy a coffee and get in touch with someone at home with the broadband internet cafe. Aside from that, there are also a souvenir shop locate near the entrance of the complex to ease the circulation of the user.

This culture center truly brings the exploration journey of the tradition Australian past culture to the tourists. From the introduction of natural materials that been used in the building, they also introduce their culture through the landscaping surrounding the complex area. It is important as in the new era people start to search aesthethically pleasing area to share on their social medias. The user also will be given a chance to taste their tradition through their dishes locate at the cafe.

Bush Tucker Cafe

On-site Gift Shop

Cultural Experience

09

TJIBAO CULTURAL CENTRE Cultural center in Nouméa, New Caledonia This is Jean-Marie Tjibaou Cultural Center, designed by Renzo Piano and located near the city of Nouméa on the Grande Terre island, is a centre dedicated to New Caledonia's Kanak culture.

This 8,188-square-meter / 88,100-square-foot complex was built in the late 1990s as a symbol of pacification between the people of New Caledonia (a French Overseas Territory) and France. It is named after New Caledonian independence leader Jean-Marie Tjibaou, who was assassinated in 1989.

Symbolizing the Kanak civilization The Architect, Renzo Piano combined Kanak building traditions with resources from modern international architecture. The formal curved axial layout on the top of the ridge is 250 meters (820 feet) long and contains ten large conical cases or pavilions (all of varying sizes) modelled after the traditional Kanak Grand Hut design.

The cabins are situated within a nature reserve along the coast, surrounded by lakes and mangroves in a stunning location.

The Cultural Center Jean-Marie Tjibaou, located about 10 kilometres from downtown, was discovered to be the city's most innovative and exciting project.

"Live-by-Design" Wholeheartedly -HUFFPOST

10

TJIBAO CULTURAL CENRE

ARCHITECTURE aspects The center is aimed to present and promote the indigenous Kanak culture, its traditions, languages, craftsmanship, and arts.

As a result, Piano incorporated many references to Kanak's traditional architecture into the complex's design. The centre, for example, is comprised of ten circular pavilions of varying sizes, each inspired by the traditional cone-shaped wooden hut known as Grand Case, which serves as the main venue for village activities as well as the residence of New Caledonia's chiefs.

Unlike traditional huts, which are semipermanent structures made of locally harvested vegetable fibres, the pavilions at the centre are made of long-lasting materials like iroko wood, laminated timber, aluminium, steel, and glass.

01 1 3

The pavilions are divided into three groups based on their functions. The first pavilion houses Kanak culture exhibition spaces; the second pavilion houses a conference room, a library, and a media library; the third pavilion houses music, dance, painting, sculpture, and applied arts studios; and the tenth pavilion houses a cafe.

A 400-seat auditorium, a 4500-seat open-air theatre, a pavilion for temporary exhibitions, artist workshops, storage areas, administration offices, a shop, and various visitor facilities round out the centre.

The ten structures that make up The Center were inspired by the shape of traditional Kanak ceremonial "Great" houses. They are connected by a long, gently curving enclosed walkway, reminiscent of the ceremonial alley of the traditional Kanak village, which has been opened up and left as if unfinished. The "mythological" gardens line this winding path. The gardens confirm Kanak culture's ubiquity, as the Tjibaou Cultural Center, brings 3,000year-old history and mythology into the modern era.

Its outer cladding is made up of horizontal iroko wood slats that are used to filter the ocean breeze (a type of wood that is impervious to rot and can withstand cyclone-force winds). It also has a second layer of skin, an inner façade of glass louvres that open and close in response to wind speed, allowing wind to flow through the structure for passive ventilation.

"...buildings that breathe with, work with, and make use of nature so that it's not just architecture-asusual plus a bit of green on top."

Tijibao Cultural Centre Concert Hall Section

CULTURE RELATED elements

02 1 3

Each of the case study plays an important part in revealing their own culture elements on their own respective building designs.

Whether it is from the user view perspectives or by the material used in the building construction. Here some of the elaboration of each elements that represent the culture elements.

Integrate well with nature surrounding context All three places show their own unique features of the surrounding context and integrate it with the building design by enhancing the landscapes area and make use the surrounding context as part of the tourists attraction.

Symbolizing the culture of the place The Brambuk Cultural Centre and Tjibao Cultural Centre had show a very good example in symbolizing their own culture. The Brambuk Centre let the visitor feel the desert-like feeling by implementing some feautures of share the Jadawadjali and Djab Wurrung Peoples' cultures into the planning space as well as the choosen material of the building.

Unique facade represent the building typology The Architect, Renzo Piano combined Kanak building traditions with resources from modern international architecture. The formal curved axial layout on the top of the ridge is 250 meters (820 feet) long and contains ten large conical cases or pavilions (all of varying sizes) modelled after the traditional Kanak Grand Hut design.

Pleasing sculpture and attraction A unique monument or a great eye catching sculpture may give a huge impact on a centre. From the size to the pleasing design it can be one of the ways to tell a story about certain culture to the audience. Like the Brambuk Cultural Centre, the architect design a huge sculpture locate on the centre with sand elements on it as a teaser to the visitor on what's inside the building. Not just that, sculpture also actually help in attracting user from a further distance to tell them what is actually your building typology is.

13

THE USER

This area will be more emphasis on the targetted user of the The Art and Craft Centre with the explanation and more details about the user.

14

It is important for the designer to know the targeted user of the building that they are designing for. For instance, if you are designing for elderly people, there are such things that need to be tackled and aware of such as universal design and more towards elderly user friendly. The full understanding of this topic is to ensure the comfortability of users in future when they are using the facilities located inside our building. With this, it can ensure a better experience by following a proper design cycle in which users are considered, investigated, and understood, and concepts and prototypes are created based on this understanding. Not just that, by fully serving the user needs, we can attract more people to visit the complex too.

TARGETED USER Kuala Lumpur & Selangor citizens Believed to be the nearest group of people to the location of the proposed site to build the centre, this targeted group mostly lived in an advanced development area and near the main city center of Kuala Lumpur and that makes them more likely to visit many places. Not just that, being able to live in a city with so many facilities and many more transportation channels actually gives more chances to travel more compared to others.

Sociology & Culture Behaviour

Often free on weekends to find place to eat, place to visit and hang out with friends.

Usually find an aesthethic places to visit with some activities to do. The activities normally don't required too much energy and too much time consume.

Some people spend time to connect with nature after busy working in work days.

To simplify, city folks often find restaurants and places that is near to them which is within their city.

15

TARGETED USER

Art based people

Artist / Art students / Teachers

The contemporary art batik is not widely known and it takes professionals to fully understand it, normally these kind of people more genuinely in appreciating these kind of art than others.

They might buy these batik arts to study more and also will visit the center to learn more about the contemporary batik art as the center provide gallery and workshop for educational purposes.

Sociology & Culture Behaviour They usually work freely and not bound by the working hours.

Often visit art places or gallery to get inspiration and to learn more. So they want a place that is accessible and aesthethical pleasing to them because they have high sense of taste.

They want something that they can interact with or do some activity.

Compared to other people, they often spend more time in the gallery so the placed must convenient.

16

tackle the user's need 1

Know who are they

3

'The Concept'

This is where we look into the client's goals and vision in order to better understand you as a customer and how you envision your design to be. The target group, their needs, requirements, and behaviour are all investigated.

Begin to look into the various options for creating a new service with all of the information. Begin by sketching ideas and validating them with the collected data, users, and the vision and opinions. This process continues by refining new ideas and concepts until it can group all of the ideas into a few low fidelity (not very detailed) prototypes to show the exact various alternatives and options.

2

Know what they need

4

Design Phase

We delve deeper into the target group in order to gain a better understanding of them. Data can be gathered through previous studies, questionnaires, interviews, observation, personal experience, or other methods to learn more about the group.

Once the prototyping is complete, begin creating high fidelity (detailed) design sketches of the new service. This is the point at which the designer will blend in all of the information with the finished product, including colour, scheme, and facade that complements the building's original typology and the client's preferences.

17

DESIGN STRATEGIES

Last phase of the design will blend together all the information from the case studies and the user information. This one will bring the readers to the point of view of designer's idea in integrating the culture elements inside the building's design.

18

Unique facade & iconic sculpture represent the building typology From the combination of case studies and the study of the user preference, the facade and the shape of the building plays an important part in attracting the visitor. A unique shape building that may follow the surrounding nature context is some of the points that will be added in this project to compliment with the client and the user taste.

slope area

Plan view of the building shows the building shape following the shape of site boundary

Building shape following the shape of slope

Facade of the building fill with the stained glass to attract tourist

DESIGN STRATEGIES Integrate with nature elements & Instagrammable area As they love more integrating space with the surrounding nature context, they also love places that is worth to take pictures with their colleague too.

Nature elements Open space more access for public user

Idea sketch of exhibition of Batik Art & Craft Centre Plants installed at the centre of the centre

seating area to ease the user who want to spend ore time

19

Convenient Design / Universal Design As a user, they want something that is convenient to them, so the proposed design will surely serve the user need by enlarging some public spaces and design some area for them to rest and recharge their energy such like cafe's and more seating area specially for old folks.

Big space to ease the circulation

seating area for user Idea sketch of exhibition of Batik Art & Craft Centre

DESIGN STRATEGIES DESIGN STRATEGIES Activities in the complex In this Batik Art & Craft Centre, there will be more activities that engaging with the visitors to let them feel as they were the owner of the batik or as a batik maker.

grand seating area with the nature elements

Idea Sketch of seating plan on public walk-in batik workshop

20

CONCLUSION

BY EDITOR

Now, I believe that all of us are aware of our

As an architecture student, I observe that

situation facing this pandemic right now, as

the building's design are actually changing

this crisis came to our world, we actually can

and adapting in the new era, the newest

see our culture are changing in responding

design are most likely have bigger space and

to the pandemic. We can see the tradition of

there are certain requirements number of

Malay culture such as shaking hands and

occupants inside any public building also

visiting family and friends are no longer

change. In shortly, all I can conclude is that,

being practice right now this year.

our culture and the architecture will keep on changing to serve the people and the situation in any era, and we as a designer we need to always be aware of our surrounding and the sociology of people around us.

T H A N K

Y O U