TIGA BELAS 13

TRADITIONAL MALAY CULTURE

CULTURAL EXPERIENCE CENTER ARCHITECTURE DESIGN PROJECT
TAN YIN YEE
0329499
MR LIU
BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE
1.0 PROJECT BACKGROUND
PROJECT BRIEF CONCEPT

The project that were assigned to us was to build a Cultural Malaysia is a multicultural country. KL, as the capital of Malaysia,
Experience Centre. The main emphasis of the project is about gathers a huge diversity of culture in one place. In the midst of
creativity and place making: designing inspiring city centre of immersing ourselves in this big variety of cultures, the traditional
culture. The proposed site for the mentioned project is at Heritage culture are slowly being forgotten. Therefore, my cultural experience
Trail and River of Life of Kuala Lumpur. centre will be focusing in gathering and promoting traditional malay
culture of Malaysia.
OBJECTIVE
There are 13 states in our country and each one of them has their own
The main objective of this project is to build a cultural center unique traditional malay culture. I have classified them into4 main
that:- categories which consist of:-
- Allow users to enjoy, evaluate, remix, participate and
experience 1. Traditional Performing Art
- Emphasis on “experience” 2. Traditional Arts and Craft
- Promote local culture 3. Traditional Dance
- Boost human interaction 4. Traditional Game

GOALS The targeted beneficiaries of this cultural center will be thelocal

artisans and foreigners. The local artisan will have a platform to
- Introducing a more interactive public realm for the area portray their art, at the same time foreigners can get the knowledge
- Contribute to the existing heritage trail of traditional malay culture of our country.
- Respond to the “River of Life” project on site
- Become a significant landmark to the site The whole thing works out like human body mechanism.
- Portray the essence of Malaysian culture to the world
Cultural center - system
Local artisan - organ
Traditional malay culture - nutrient
Foreigner - blood

System -> organ --nutrient--> blood

Cultural center houses local artisan, local artisan introduce

traditional malay culture to the foreigners. Foreigner bring the
knowledge to the world.
2.0 SITE / URBAN ANALYSIS
MORPHOLOGY

1 8 9 5 1 9 6 2 2 0 1 6
- SETTLEMENT STARTS TO FORM ALONG THE - MORE SETTLEMENT, FOLLOW GRID URBAN - CONCENTRATED URBAN GRAINS
RIVER FORM ON THE EAST SIDE OF KLANG RIVER - LRT LINKAGE ALONG THE RIVER
- IRREGULAR FORM - RAILWAY BUILT FOR EASIER - RIVER BANK WAS CONCRETED TO PREVENT
TRANSPORTATION OF TIN FLOODING
PATHS & EDGES

ANALYSIS

- East side of the river is

more accessible than west
site as it has more
vehicular path.
- Users can only access the
site by pedestrian path
or use the primary
vehicular path.
- The whole site was
separated into pieces as
in all the states in
Malaysia.

SUGGESTION

- As the site is separated

by Klang river, more
pedestrianise path can be
introduced to overcome
the traffic congestion in
the primary path (Jalan EDGES
Sultan Hishamuddin)
- Introduce cycling path to PEDESTRIAN PATH
increase the connectivity
of the site, reduce usage PRIMARY VEHICULAR PATH
of car and at the same
time reduce carbon SECONDARY VEHICULAR PATH
footprint.
TERTIARY VEHICULAR PATH
DISTRICTS

ANALYSIS

- Most of the building

around the site are
commercial building /
offices.
- All the districts tend to
be disconnected from one
another

SUGGESTION

- Merging of different uses

in one building.
- Find one trait that can
connects them all

OPEN / GREEN SPACES

COMMERCIAL / OFFICES

RELIGIOUS

INSTITUTIONAL
NODES

ANALYSIS

- Most common nodes around

the site does not really
have any connectivity to
each other

SUGGESTION

- Introduce more nodes to

makes them connect

1. DATARAN MERDEKA
2. OPEN AREA BEHIND SULTAN ABDUL
SAMAD BUILDING
3. VIEWING POINT OF MASJID JAMEK
4. OPEN AREA BESIDE UOB
5. MEDAN PASAR
6. CENTRAL MARKET
7. PETALING STREET
LANDMARKS

ANALYSIS

- Three kind of landmarks

at the site which show
big contrast among
themselves
- Klang river significantly
separated all the
landmarks into three
sections

SUGGESTION

- Introduce one most

significant landmarks and
find a way to link them
back to the landmark
itself.

HERITAGE / HISTORICAL LANDMARK

MODERN LANDMARK

CULTURAL LANDMARK
OPEN / GREEN SPACES

ANALYSIS

- Lacks of open / green

spaces around the site
- Concrete jungle

SUGGESTION

- Insert green element in

the cultural centre to
contributes to the
context

OPEN / GREEN SPACES

 3.0 DESIGN INTENTIONS + STRATEGIES
3.1 PRECEDENT STUDIES
3.2 ARCHITECTURAL POSITION AND DESIGN INTENTIONS
3.3 PROGRAMME / PROJECT BRIEF
3.4 SITE RESPONSE
3.5 SPATIAL PROGRAMMING
3.6 FORM STUDIES
3.1 PRECEDENT STUDIES

JUNSHAN CULTURAL CENTRE

NERI & HU DESIGN AND RESEARCH OFFICE
3.1 PRECEDENT STUDIES

MERGING OF LANDSCAPE SEPARATION OF PUBLIC & PRIVATE ROOF TERRACE

- Landscape being integrated into the SPACES - Part of roof level was
design which makes the building - Office area were placed turned into roof terrace
design merge naturally with the away from the main to allow better view of
landscape circulation of the the adjacent mountain
building terrain

COURTYARD & LIGHTWELL HIERARCHY AND VOLUME

- Both courtyard and lightwell can effectively allow natural lighting to penetrate into the - Alteration in height for different
interior spaces, therefore reduce the carbon footprint from using electrical lighting blocks show eye pleasing hierarchy
to the users
- Different volumes were used to
incorporate more interesting
spatial experience for the users
3.2 ARCHITECTURAL POSITION AND DESIGN INTENTIONS

FRAMING VIEWS SKYLIGHT

- Allow natural lighting to enter the building to lit up the interior spaces
- To frame various views from site, old + new
- Old: Klang river, Pasar Seni, National Textile Museum
- New: People interacting around the building

ACCESS GREEN SPACE

- Provide more green space by having green roof in the building
- Several accessway for users
- Make the building more porous
3.3 PROGRAMME

1. Traditional Performing Art PROGRAMME IN CULTURAL CENTER

- Kedah (Mek Mulung)
- Kelantan (Main Puteri) 1. FIRE CONTROL ROOM
- Terengganu (Wayang Kulit) 2. BASEMENT CAR PARK
3. LOBBY
2. Traditional Art and Crafts 4. ART GALLERY
- Pulau Pinang (Karya Manik Nyonya) 5. TRADITIONAL MALAY DANCE STUDIO
- Pahang(Terenang Pahang) 6. EXHIBITION SPACE
- Selangor (Anyaman Mengkuang) 7. RETAIL EXHIBIT SPACE
8. SOUVENIR SHOP
3. Traditional Dance 9. TRADITIONAL PERFORMING ART STUDIO
- Perlis (Terinai) 10. WATER FEATURE
- Negeri Sembilan (Tari Piriang) 11. TO ELECTRIC ROOM
- Johor (Kuda Kepang) 12. ARTISAN MARKET
- Sabah (Magunatip) 13. OUTDOOR CAFE
14. INDOOR CAFE
4. Traditional Game 15. LIBRARY
- Perak (Sepak Raga) 16. LOADING / UNLOADING BAY
- Melaka (Congkak) 17. REFUSE CHAMBER
- Sarawak (Sumpit) 18. PUBLIC PARK
19. TERENANG PAHANG WORKSHOP
20. KARYA MANIK NYONYA WORKSHOP
21.ANYAMAN MENGKUANG WORKSHOP
22. STORAGE
23. MENGKUANG PREPARATION AREA
24. ART GALLERY + EXHIBITION SPACE
25. ROOF TERRACE
26. AUDITORIUM
27. CONGKAK EXPERIENCE ROOM
28. SUMPIT MAKING WORKSHOP
29. COLLABORATION ROOM
30. VIEWING BRIDGE
31. OFFICE
3.4 SITE RESPONSE

CUBOID BLOCK FORM CARVED OUT BY AXIS

- The design was started with a cuboid, which follow the original - There are two axis found on site, one: connecting both mosques
shape of the site. Masjid Jamek and Masjid Negara (religion of Federation), two:
connecting Daya Bumi building with Sultan Abdul Samad Building
(significant landmarks)

RESPECTING NEIGHBOURING CONTEXT COURTYARD

- Both front and rear facades were arranged in the way that follows - Existing two blocks was cut out to form courtyard in order to
the angle of National Textile Museum facade (front facade) and make it a strong node that connects people
angle of Klang river (rear facade)
3.4 SITE RESPONSE

CONNECTING BRIDGES OPEN SPACE

- All blocks were connected by bridges above ground to allow human - The building is opened up at one side to allow smooth merging of
movement at ground floor landscape into the building as well as fit respecting the
neighbouring building form (Sultan Abdul Samad building)
3.5 SPATIAL PROGRAMMING

BASEMENT PLAN FIRST FLOOR PLAN

PUBLIC LEGEND
SEMI PUBLIC
1. FIRE CONTROL ROOM
PRIVATE
2. BASEMENT CAR PARK
WATER FEATURE 3. LOBBY
4. ART GALLERY
5. TRADITIONAL MALAY DANCE STUDIO
6. EXHIBITION SPACE
7. RETAIL EXHIBIT SPACE
8. SOUVENIR SHOP
9. TRADITIONAL PERFORMING ART STUDIO
10. WATER FEATURE
11. TO ELECTRIC ROOM
12. ARTISAN MARKET
13. OUTDOOR CAFE
14. INDOOR CAFE
15. LIBRARY
16. LOADING / UNLOADING BAY
17. REFUSE CHAMBER
18. PUBLIC PARK
19. TERENANG PAHANG WORKSHOP
20. KARYA MANIK NYONYA WORKSHOP
21.ANYAMAN MENGKUANG WORKSHOP
22. STORAGE
23. MENGKUANG PREPARATION AREA
24. ART GALLERY + EXHIBITION SPACE
25. ROOF TERRACE
26. AUDITORIUM
27. CONGKAK EXPERIENCE ROOM
28. SUMPIT MAKING WORKSHOP
29. COLLABORATION ROOM
30. VIEWING BRIDGE
31. OFFICE

GROUND FLOOR PLAN

3.6 FORM STUDIES

The design was started off with a rectangular block, responding to the The rectangular block was carved out by the axis connecting both masjid
shape of existing site. jamek and masjid negara.

Two blocks were then cut again to four blocks representing the four Four blocks are connected by bridges to allow human activity on ground
categories. floor at the same time having a focal point at first floor.
4.0 ENVIRONMENTAL AND TECHNOLOGICAL STRATEGIES
4.1 SITE PLANNING STRATEGIES
4.2 ORIENTATION: WIND AND SOLAR ANALYSIS
4.3 ENVIRONMENTAL STRATEGIES
4.4 SUSTAINABILITY CONCEPTS
4.5 STRUCTURAL CONCEPT
4.1 SITE PLANNING STRATEGIES

Loading / unloading bay and refuse chamber are placed at the corner of
the site so that the loading / unloading activities will not interrupt
the main activities happening on site.

Water
features are
placed on
site to
control the
movement of
users in the
cultural
center

Riverfront were turned into a park to make it more inviting and prolong
the duration of people staying and interacts with each others.
4.2 ORIENTATION: WIND AND SOLAR ANALYSIS

Wind

The wind travels from south west to north east. Openings created at south west side
of the building can allow the wind from flowing into the building and decrease the
temperature of the spaces.

Sun

The sun travels from east to west. Therefore, the east and west facade of the
building will gain more heat and sunlight compared to the other two sides of the
building.
4.3 ENVIRONMENTAL STRATEGIES

ROOFTOP TERRACE BEING INTEGRATED INTO DESIGN TO ENHANCE HUMAN EAST AND WEST FACADE ARE CLADDED WITH HORIZONTAL LOUVER FACADE TO BLOCK
INTERACTION ON SITE AT THE SAME TIME DECREASE CARBON FOOTPRINT OF THE DIRECT SUNLIGHT.
BUILDING.

THE VOLUME IS CARVED INWARDS ON THE STREET LEVEL TO FORM ENTRANCE TO SKYLIGHT IS USED TO ALLOW NATURAL LIGHTING TO ILLUMINATE THE INTERNAL
THE CULTURAL EXPERIENCE CENTER. AUDITORIUM
4.3 ENVIRONMENTAL STRATEGIES

GLASS WALL IS USED TO ALLOW MORE LIGHT FROM PENETRATING IN AND ALLOW
VIEW FRAMING.
4.4 SUSTAINABILITY CONCEPT

Roof terrace increase green space on site at the same time decrease
carbon footprint of building. Rainwater are also collected through
rainwater harvesting system.

Perforated brick walls are used to

allow natural ventilation inside the
building at the same time provide
more green to the site

Water feature on site act as passive

cooling system and lower down the
Skylight is used to illuminate space
temperature of spaces
to reduce the usage of electrical
lighting.

Horizontal louvers are installed at

the west and east facade to prevent
direct sunlight.
4.5 STRUCTURAL CONCEPT
4.5 STRUCTURAL CONCEPT
4.5 STRUCTURAL CONCEPT
4.5 STRUCTURAL CONCEPT
4.5 STRUCTURAL CONCEPT
5.0 COMPILATION OF FINAL PRESENTATION BOARDS
FINAL PRESENTATION BOARD
6.0 REFLECTION JOURNAL
6.1 SUMMARY OF WEEKLY DEVELOPMENT

WEEK 1 WEEK 2

- Answered the 3 questions listed in project brief 1A - Categorise Malay culture of 13 states into 4 categories
- Listed down beneficiaries 1. Traditional Performing Art
1. Local Artisan (teach) 2. Traditional Arts and Craft
2. Homeless people (learn) 3. Traditional Dance
3. Tourist (appreciate) 4. Traditional Game
- Preliminary studies - initial design intent and response - Diagram of morphology, local nodes, cultural nodes, landmark
1. Passive sun shading device and edges
2. Robustness - Updated elements extracted out from precedent studies
3. Natural lighting and ventilation - Precedent model
4. Public realm link to river side - Develop a simple form from analysis
- Programme Proposal
1. Studio
2. Exhibition Hall
3. Gallery
4. Storage
5. Workshop
6. Artisan Market
7. Public Space
- Precedent Studies
1. ContemporarY Art Museum by Neri & Hu Design and Research
Office
2. Yunyang Sifangjing Service Building by Tanghua Architect
& Associates
3. Shou County Culture and Art Centre by Studio Zhu-Pei
4. Canal Art Museum by officePROJECT
5. Junshan Cultural Center by Neri & Hu Design and Research
Office
6. Jingfeng Academy by Tumushi Architects
- Proposed the idea of 13 states, one state one traditional malay
culture.
6.1 SUMMARY OF WEEKLY DEVELOPMENT

WEEK 3 WEEK 5

- Updated explanation for analysis diagram - Develop form from the previous model
- Bubble diagram for spaces in cultural centre - Decide the primary entrance and secondary entrance
- Precedent Studies - Precedent Study
1. Bi-exist tri-yard by TAOA 1. Aranya Art Centre by Neri & Hu Design and Research Office
2. Cultural and Artistic Center in Benxi by TAOA - Form
3. Floating Courtyard by TAOA
- Precedent Model
- Project 1A submission

WEEK 4

- Precedent Studies
1. Yue Art Gallery by Tao Lei Architect Studio
2. Scentana Art Museum by zhang pengju
- Physical Model

WEEK 6

- Develop form from the previous model

- Determine public, private and semi public spaces
6.1 SUMMARY OF WEEKLY DEVELOPMENT

WEEK 7 WEEK 9 - WEEK 15

- Develop form from previous physical model - Update digital model

- Update spatial arrangement in the cultural center - Project 1c submission
- Final Submission
- Final Presentation

WEEK 8

- Decide on a form to be further developed

- Project 1b submission
6.1 SUMMARY OF WEEKLY DEVELOPMENT

WEEK 9 - WEEK 15

- Update digital model

- Project 1c submission
- Final Submission
- Final Presentation
7.0 REFERENCE
REFERENCE

1. Neriandhu.com. 2020. Neri&Hu – Aranya Art Center. [online] Available at: <http://www.neriandhu.com/en/works/aranya-art-center> [Accessed 27 July 2020].
2. Neriandhu.com. 2020. Neri&Hu – Junshan Cultural Center. [online] Available at: <http://www.neriandhu.com/en/works/junshan-cultural-center> [Accessed 27 July 2020].
3. I-taoa.com. 2020. 悦.美术馆 - PROJECTS 作品 - TAOA丨陶磊建筑事务所. [online] Available at: <http://www.i-taoa.com/projectinfo/61> [Accessed 28 July 2020].
4. I-taoa.com. 2020. 互生三院 - PROJECTS 作品 - TAOA丨陶磊建筑事务所. [online] Available at: <http://www.i-taoa.com/projectinfo/3> [Accessed 28 July 2020].
5. ArchDaily. 2020. Floationg Courtyard / TAOA. [online] Available at: <https://www.archdaily.com/935554/floationg-courtyard-taoa?ad_source=search&ad_medium=search_result_all> [Accessed 28
July 2020].
6. ArchDaily. 2020. Cultural And Artistic Center In Benxi / TAOA. [online] Available at:
<https://www.archdaily.com/881919/cultural-and-artistic-center-benxi-taolei-architectural-design?ad_source=search&ad_medium=search_result_all> [Accessed 28 July 2020].
7. ArchDaily. 2020. Shou County Culture And Art Center / Studio Zhu-Pei. [online] Available at:
<https://www.archdaily.com/934401/shou-county-culture-and-art-center-studio-zhu-pei?ad_source=search&ad_medium=search_result_all> [Accessed 28 July 2020].