JOHOR FINE ART CENTRE : A PLATFORM FOR SOCIAL ARTISTIC ACTIVITY
AHMAD AZHAR BIN IBRAHIM
UNIVERSITI TEKNOLOGI MALAYSIA
UNIVERSITI TEKNOLOGI MALAYSIA
PSZ 19:16 (Pind. 1/07)
DECLARATION OF THESIS / UNDERGRADUATE PROJECT REPORT Author’s full name : AHMAD AZHAR BIN IBRAHIM Date of Birth
: 4-7-1996
Title
: JOHOR FINE ART CENTRE, A PLATFORM FOR SOCIAL ARTISTIC ACTIVITY
Academic Session : 2017/2018-2 I declare that this thesis is classified as:
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(Contains confidential information under the Official Secret Act 1972)*
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SIGNATURE
SIGNATURE OF SUPERVISOR
DR. HAZRINA BINTI HAJA BAVA MOHIDIN
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NAME OF SUPERVISOR
Date: 12 JUNE 2018
Date: 12 JUNE 2018
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JOHOR FINE ART CENTRE:
A PLATFORM FOR SOCIAL ARTISTIC ACTIVITY
AHMAD AZHAR BIN IBRAHIM
A thesis submitted in fulfilment of the Requirements for the award of the degree of Bachelor of Science of Architecture
Faculty of Built Environment Universiti Teknologi Malaysia
JUN 2018
DECLARATION
“I hereby declare that I have read this thesis and in my/our* opinion this thesis is sufficient in terms of scope and quality for the award of the degree of Bachelor of Science in Architecture”
Signature
:
Name
: Dr. Hazrina Binti Haja Bava Mohidin
Date
:
12 June 2018
“I declare that this thesis entitled ‘JOHOR FINE ART CENTRE, A PLATFORM FOR SOCIAL ARTISTIC ACTIVITY’ is the result of my own research except as cited in the references. The thesis has not been accepted for any degree and is not concurrently submitted in candidature of any other degree.”
Signature
:
Name
: Ahmad Azhar Bin Ibrahim
Date
:
12 June 2018
ACKNOWLEDGEMENT First and foremost, I would like to thank God Almighty for giving me the strength, knowledge, ability and opportunity to undertake this research study and to persevere and complete it satisfactorily. Without his blessings, this achievement would not have been possible.
I would like to express my deepest thank you and appreciation to all those who help me to complete this report. A special thank you goes to my father, who has supported me in so many ways including financially, moral support and many more. It is impossible for me to carry on this report without my parent. Also, thanks to my beloved mother who gave me a lot of support and had a high expectation for me by praying for the best for me. I would not have been where I am today and what I am today without my mother.
A special gratitude I give to my supervisor, Dr.Hazrina, whose contribution in stimulating suggestions and encouragement, helped me to coordinate my thesis especially in writing this report and also for sparing her valuable time whenever I approached her and showing me the way ahead.
Also, many thanks go to my friends who worked very hard to complete this project especially during site study. They are the best team because they can provide the best cooperation. Without all of them, I would not be where I am right now. Last but not least, I would like to thank you for those involved directly or indirectly in completing this report.
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ABSTRACT This thesis is about designing a Fine Art Centre at Johor Bahru that connects human, cultural organizations, education centre such as school and academic associations with the art as the medium and aims to be a space for creative and artistic social activities in Johor Bahru. The main objective of this design is to create successful platform for an Malaysian artist to be appreciated and give them opportunity to show their masterpiece to public. Also, this Fine Art Center will be a platform for a beginner to learn about fine art and test their talent from the expert artists. This Fine Art Centre will also increase awareness of importance to preserve our fine art among local community. Thus, this will fulfill this thesis aims which is to revive and preserve fine art in local community in Johor Bahru. The main programme in this facility is workshop or education, exhibition and lastly a retail as supporting programme. The methodology of this thesis is data collection through questionnaire and literature review. 28 respondents from local community in Johor Bahru is taken to answer the questionnaire. In conclusion, this thesis will give a benefit to local artist and local community.
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ABSTRAK
Tesis ini mengenai cadangan membina Pusat Seni Halus di Johor Bahru untuk menghubungkan ikatan antara orang tempatan, organisasi budaya, pusat pendidikan seperti sekolah atau kolej dengan menggunakan elemen seni sebagai medium. Juga, pusat seni ini adalah bertujuan untuk menjadi satu platform untuk menampilkan kreativiti anda dan tempat untuk melakukan aktiviti-aktiviti artistik. Objektif utama desain ini adalah untuk menjadikan bangunan ini satu platform yang berjaya untuk menghargai artis-artis tempatan dengan memberikan mereka peluang untuk menonjolkan hasil-hasil kerja mereka. Juga, Pusat Seni Johor ini juga diharap dapat menarik minat orang-orang muda untuk menceburi bidang seni. Pusat Seni ini juga dibina untuk memberi kesedaran betapa pentingnya untuk memelihara seni halus di kalangan masyarakat tempatan. Jadi, ia akan memenuhi objektif-objektif kajian ini untuk memelihara seni halus dalam masyarakat setempat di Johor Bahru. Program utama dalam Pusat Seni ini ialah kelas dan pusat pendidikan, pusat pameran dan kedaikedai sebagai program sokongan. Metodologi kajian ini adalah melalui pembacaan beberapa artikel dan daripada pengumpulan data dari soal selidik seramai 28 orang masyarakat setempat. Kesimpulannya, tesis ini dapat memberi kebaikan dan manfaat kepada artis tempatan dan masyarakat tempatan.
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TABLE OF CONTENTS
ACKNOWLEDGEMENT
i
ABSTRACT
ii
ABSTRAK
iii
TABLE OF CONTENTS
iv
LIST OF FIGURES
vi
APPENDICES
ix
CHAPTER 1 : INTRODUCTION
1
1.1.
Introduction
1
1.2
Background
1
1.3
Aim
2
1.4
Objective
2
1.5
Thesis Statement
2
1.6
Significance
2
1.7
Research Scope
3
1.8
Methodology
3
CHAPTER 2 : LITERATURE REVIEW
4
2.1
Introduction
4
2.2
Definition of Fine Art.
4
2.3
History of Fine Arts in Malaysia
4
2.4
Types of Fine Arts
5
2.5
Importance of Preserving Fine Arts
6
2.6
Issues
7
2.7
Creating an Inspiring Studio Spaces
9
2.8
Summary
10
CHAPTER 3 : EARLY STUDY
11
3.1
Introduction
11
3.2
Site Analysis
11
3.3
Site Inventory
20
3.4
Survey
23
3.5
Precedent Studies
28
3.6
Client
33
3.7
Target Users
34
iv
3.8
Building Programmes
35
3.9
Space Tabulation
38
3.10
Summary
40
CHAPTER 4 : DESIGN METHODOLOGY
41
4.1
Design Strategy
41
4.2
Site Planning
41
4.3
Space Planning
43
4.4
Form Making
45
4.5
Praxis Theory
45
4.6
Concept
46
CHAPTER 5 : DESIGN SOLUTION
48
5.1
Introduction
48
5.2
Spatial Planning
50
5.3
Building Interior
54
5.4
Elevation and Section Drawing
60
5.5
Technical Aspect
61
5.6
Rules and Regulations
72
CHAPTER 6 : CONCLUSION 6.1
Conclusion
75 75
REFERENCES
76
APPENDICES
78
v
LIST OF FIGURES
Figure 1 Colouring Workshop at UTM,SKudai
8
Figure 2 Colouring Workshop at Balai ARTGENG
8
Figure 3 Artist Workspace
9
Figure 4 Art Workshop
10
Figure 5 Key Plan 1
12
Figure 6 Key Plan 2
12
Figure 7 Location Plan
13
Figure 8 Site Plan
13
Figure 9 Section Site
14
Figure 10 Johor during 1800 - 1899
15
Figure 11 Johor during 1900 - 1959
16
Figure 12 Johor during 1960 - 1999
17
Figure 13 Johor during 2005 - Now
18
Figure 14 Site Surrounding, illegal parking
19
Figure 15 Site Surrounding, abandoned buildin
19
Figure 16 Shadow casting during 9 a.m
20
Figure 17 Shadow casting during 1 p.m
20
Figure 18 Shadow casting during 5 p.m
20
Figure 19 Wind direction at site
21
Figure 20 Vegetation in site
21
Figure 21 View from 'B'
21
Figure 22 Traffic density at site
22
Statistic 1 Respondent Age
24
Statistic 2 How frequent respodent go to any art event
25
Statistic 3 How well do the respondents know about our local artists.
25
Statistic 4 Respondents opinion in art preservation and appreciation
26
Statistic 5 Respodents opinion about art field
26
Statistic 6 Which Painting Does the Respondent Has Seen or Know
27
Figure 23 Sorenson Art Centre (Source: Archdaily, 2015)
28
Figure 24 Sorenson Art Centre
28
Figure 25 Sorenson Art Centre, Left Elevation
29
Figure 26 Sorenson Art Centre site plan
29
Figure 27 Sorenson Art Centre, Diagram
30
Figure 28 Rimbun Dahan, Private Art Centre
31 vi
Figure 29 Rimbun Dahan, Studio
32
Figure 30 Sculpture from Rimbun Dahan
32
Figure 31 Artgeng Logo
33
Figure 32 Artgeng programme
33
Figure 33 Photoshop Class by ARTGENG
35
Figure 34 Art Talk by ARTGENG
35
Figure 35 Waqimetri Doodle Workshop by ARTGENG
36
Figure 36 Basic Colouring Class by Artgeng
36
Children are also invited to participate in this Artgeng program such as a basic colouring class. Classes like these can shape the interest of children in art since childhood.
36
Figure 37 Artgeng programme (Source: Facebook Balai Artgeng)
37
Table 1: Space Tabulatio
39
Figure 38 Site response, finding the best entrance
41
Figure 39 Site response, creating walkway
42
Figure 40 Site response 3, creating emphasize element
42
Figure 41 Bubble Diagram- Ground Floor Plan
43
Figure 42 Bubble Diagram - First Floor Plan
43
Figure 43 Bubble Diagram - Second Floor Plan and Above
44
Figure 44 Form making diagram
45
Figure 45 Andy Warhol reference
46
Figure 46 Mondrian reference
46
Figure 47 Geometric Pattern
47
Figure 48 Proposed Johor Fine Art Centre, Perspective from Jalan Abdullah Ibrahim
48
Figure 49 Proposed Johor Fine Art Centre, Perspective from Jalan Dato Dalam.
48
Figure 50 Proposed Johor Fine Art Centre, exterior geometric facade.
49
Figure 51 Proposed Johor Fine Art Centre, site plan
49
Figure 52 Proposed Johor Fine Art Centre, ground floor plan.
50
Figure 53 Proposed Johor Fine Art Centre, First Floor Plan
51
Figure 54 Proposed Johor Fine Art Centre, Second Floor Plan
52
Figure 55 Proposed Johor Fine Art Centre, Third Floor Plan
53
Figure 56 Proposed Johor Fine Art Centre, Forth Floor Plan.
53
Figure 57 Proposed Johor Fine Art Centre, Courtyard
54
Figure 58 Proposed Johor Fine Art Centre, Exhibition Space
54
Figure 59 Proposed Johor Fine Art Centre, Artist Studio
55
Figure 60 Proposed Johor Fine Art Centre, Kid's Studio
55
Figure 61 Proposed Johor Fine Art Centre, Artist Workshop.
56
Figure 62 Proposed Johor Fine Art Centre, Outdoor Lounge.
56 vii
Figure 63 Proposed Johor Fine Art Centre, Multi-Purpose Hall.
57
Figure 64 Proposed Johor Fine Art Centre, Public Workshop Area.
57
Figure 65 Proposed Johor Fine Art Centre, Public Lounge.
58
Figure 66 Proposed Johor Fine Art Centre, Artist Office.
58
Figure 67 Isometric Explode Diagram
59
Figure 68 Proposed Johor Fine Art Centre, North Elevation.
60
Figure 69 Proposed Johor Fine Art Centre, West Elevation.
60
Figure 70 Proposed Johor Fine Art Centre, front elevation
60
Figure 71 Proposed Johor FIne Art Centre, Section Y-Y
61
Figure 72 Isometric Structural Diagram
62
Figure 73 Mechanism of Low-E Glass
63
Figure 74 Special Detail
63
Figure 75 Full Detail Section
64
Figure 76 Air-conditioning System
65
Figure 77 Water Supply and Sewerage System
66
Figure 78 Schematic Sanitary Layout
67
Figure 79 Schematic Plumbing Layout
67
Figure 80 Fire Staircase and Hose Reel Diagram
68
Figure 81 Fire Staircase Radius
69
Figure 82 Electric System Layout Diagram
70
Figure 83 Circulation Diagram
71
Figure 84 Hose Reel Schematic Layout and calculation.
73
Table 2 Water supply in Water Storage Calculation
74
viii
APPENDICES
Appendice A Presentation Board 1
79
Appendice B Presentation Board 2
80
Appendice C Technical Board 3
81
Appendice D Berita Harian Article by Faizatul Farhana Farush Khan
82
Appendice E Metro Article by Nor Hamizah Kamaruzaman
83
ix
CHAPTER 1 INTRODUCTION
1.1.Introduction The main purpose of this Johor Fine Art Centre is to attract local community and local artist by bringing an art image into building. By bringing an art image into building, it will give identity as an art centre to attract more local artist and local community to visit. This chapter will explain in general of what this thesis is about such as background, objective, aims, thesis statement, methodology and more.
1.2 Background Nowadays in modern era, not many local community in Malaysia appreciate our local artists and think that fine art fields are not important compared to other fields such. Johan Ishak, Chairman of KL Biennale 2017 Festival stated that in Berita Harian, “The majority of the people at this time are still less aware of the value or meaning of 'beautiful' behind artworks, causing them to less appreciate the value for the product. Johan Ishak also stated that, “Efforts to foster awareness of importance to preserve our fine art should be intensified by related parties such as government agencies and educational institutions� (Farhana Khan,2017). The lack of awareness and interest are one of the reason. The next issues is to provide a better facilities for Artgeng to held and event and to provide an exhibition hall for an artists to display their work.This thesis is about promoting and increase awareness the importance to preserve our fine art among local community through a Johor Fine Art Centre .Also, this building will provide a workshop for local community as well as foreigner that have interest to learn about our fine art. ARTGENG is currently active in Johor Bahru area and many events are held in this area. Although this association has been established since 2014, only few local people have known them. So, the site located in central Johor will be a strategic place for them to introduce themselves more to the public. Also, It will be much easier for them to attract local and foreign people as the area is densely populated with tourist and local community. Through this building, it will be a great platform for an artist to gather and share their idea as well as to teach their skills to the others. The 1
proposed site is located at centre of Johor Bahru between Jalan Abdullah Ibrahim and Jalan Dato Dalam besides KWSP building and near PERSADA building.
1.3 Aim To revive and preserve fine art in local community in Johor Bahru by increasing their interest and awareness in fine art through art programmes such as workshop, seminar, exhibition and more.
1.4 Objective Objectives of this thesis are: • To design a Johor Fine Art Center in Johor Bahru for a local artist and community that act as a platform for the arts to exhibit and develop new skills & interest in fine arts. • To bridge the generation gap among local artists and local community in Johor Bahru and increase awareness of the importance of fine arts among local community in Malaysia.
1.5 Thesis Statement To Design a Fine Art Centre that connects human, cultural organizations, education centre such as school and academic associations with the art as the medium and aims to be a space for creative and artistic social activities in Johor Bahru.
1.6 Significance This thesis is significance to local artist and local community in different aspect such as: 1. It is a guide to understand the definition and purpose of this Johor Fine Art Centre.
2
2. To integrated art into architecture such as façade, building form or spaces to bring art identity into building. 3. To understand the building purposes and programme thru praxis social context. 1.7 Research Scope This thesis is a study of praxis theory, with more to social community context on how the facility give benefit for them. The number of users is around 200-250 person and maximum 5 to 6 stories building. The location of proposed site is at corner lot at the junction of Jalan Abdullah Ibrahim and Jalan Dato Dalam. The total proposed land area is 5835 m² (1.44 acre). The net land area after setback is calculated is 4330 m². Based on the masterplan that is given by Majlis Bandaraya Johor Bahru, ( Rancangan Tempatan Daerah Johor Bahru 2020, n.d), this land will be use as a commercial area.
1.8 Methodology
Find an Issues
Data Collection
Data Analysis and Synthesis
Hyphothesis
Problem solving through design
The issues is find by reading an articles from newspaper and journal. Then several data collection using questionnaire is taken to justify whether the articles are right or wrong. The data collection is collect by using questionnaire that made using Google Form and distributed to public. 28 respondents are taken among local community in Johor Bahru. Furthermore, the data will be analyses and synthesis and the problem will be resolve through this thesis design.
3
CHAPTER 2 LIERATURE REVIEW
2.1 Introduction In this section, it will explain in more detail about the current issues of importance to preserve our fine arts, precedence studies, problem statement and some article that related to this thesis.
2.2 Definition of Fine Art. Based on the article that written by Damien Hirst on ARTPROF is a whose products are to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content (Hirst.D,2015). Originally, there are several different types of fine arts such as music, poetry, visual arts, sculpture and many more. Fine art considered to have been created primarily for aesthetic and intellectual purposes and judged for its beauty and meaningfulness Fine arts are usually known for painting or sculpture and it is often created for communication and aesthetic expression (Art-in-tropical Australia, 2015). Fine arts can be created by different types of mediums, such as oil, acrylic, watercolour, charcoal and more. Fine art is not just created for decorative and utilitarian purposes, but also created for aesthetic. It is created so that it can be understood, studied and interacted with or without explanation or interpretation. Fine arts might also convey an idea or an emotion or explore social commentary (Przybylek.S, n.d).
2.3 History of Fine Arts in Malaysia Fine art in Malaysia began around the 1930s with the creation of early art masterpieces by Yong Mun Sen, Abdullah Ariff, and other figures. At that time, Malaysian Artist are free from any restrictions because they are not exposed yet to any tradition from western countries. Exposure tradition from western countries only focuses on the artist around them. Because of that, our local artists at that time does 4
not get any guidance from them. Thus, most of their art masterpieces are not really have aesthetic value. During 1950s, Malaysia started to had a dedicated artist such as Yong Mun Sen, Abdullah Ariff, Cheong Soo Pieng and more. Then, foreign artist are began settling in Malaysia such as Chuah Thean Teng from China and Mohd. Hoessein Enas from Indonesia. However, fine arts in Malaysia at that time are still less attractive to the public. The artworks in the exhibition are rarely bought and occasional exhibits are also easily forgotten due to lack of publicity and commentary through mass media (Piong S.S, 2012). In 1952, Tay Hooi Keat who returned to Penang from the UK after being exposed abroad has introduced a new concept that struck the local fine arts community, The Penang Art Teacher’s Council is established by him. During 1950s, there are many art organizations had been established such as Wednesday Art Group, Selangor Art Society, Angkatan Pelukis Semenanjung, Thursday Art Group and more. Towards independence, art has become a symbol of uniting all Malaysians. Malaysian art has begun to change from small to world class. In 1958, Balai Seni Lukis Negara had been established. The establishment of the National Art Gallery in 1958 was very meaningful for the homeland painters. Local painters began to gain positive support and recognition from surrounding communities (Piong S.S, 2012).
In conclusion, fine art has been in Malaysia since 1930. Many artists from our homeland are struggling to uphold the art of fine art to gain support from the surrounding community. Until 1958, Balai Seni Lukis Negara had been build and it was very meaningful for the homeland painters. So based on this history, we should appreciate our local artists and give support for them.
2.4 Types of Fine Arts There are many types of Fine Arts according to Visual-Arts-Cork.com . But in this thesis, it will only cover several types of Fine Arts based on main building programme. a) Graphic Art A visual expression that defined by tone and line, rather that colour. It can includes comic strips, doodle, cartoons drawing, illustration and more. Nowadays, graphic
5
art can also be created using software such as Adobe Photoshop, CorelDraw, Adobe Illustrator and more (Visual-Arts-Cork,2014).
b) Painting Painting is created to express one's ideas and emotions as well as to have aesthetic qualities in 2-dimensional visuals. There are several elements in a painting such as lines, colours, textures and more are used in many ways to produce sensations of volume, space or movement on a surface. All of the elements will combine to form expressive patterns to represent real or supernatural phenomena, to interpret a narrative theme and to create wholly abstract visual relationships. Painting can be created using different types of mediums such as oil, acrylic, pastel, watercolours and more. Easel will be used by artist for holding an artist’s work while it is being painted (Owen P.D , n.d).
2.5 Importance of Preserving Fine Arts a) Artist are important to society. Without us being aware, art is around us. Imagine a world without art. They will be no music, movies, paintings, designs, drawings and more. This world will look boring to live in. Art is not just a painting. Advertising in television are created by an artist, the appliances tools that we used are created by a designer, the car that we drive are design by a designers, some people used art to decorate their garden. Art is important in our daily life to give something that we create look more appealing and eye-catching. A visual art can be a bridge that connect between a man and a nature, between countries and continents. Art is actually live with us everyday. Art is an outlet of our inner self (Rothsociety, n.d). b) Art is important to our children Art can increase our children creativity and thus make they learn how to act as an artist, makers and designers to work creatively and intelligently. Even at a young age, the artistic personality side of a children can be seen. Thus, as an
6
adult, our role is to guide them to express their creativity and their artistic ability in many ways (Rothsociety, n.d). c) Open job opportunities Art provides a potential careers such as designer, painter, architect, web designer, graphic designer and more. This careers will help contributing significantly to the Malaysia economy and reputation on a competitive international world-class platform. Some tourists come to the Malaysia to study about our art craft and design especially our traditional handcraft (Education Business, n.d) d) For Future Generation Our handicraft art has become increasingly inadequate, especially from teens and children. Our handicraft art is important to be protected as it is part of our national identity. Therefore, this fine arts center is able to uplift the local artists and their work to be preserved so that the future generation will not forget the treasures of our country's art.
2.6 Issues a) Lack of awareness the importance to preserve our fine arts. Based on the article written by Fauzatul Farhana Farush Khan on Berita Harian 22 December 2017, it is stated that “Appreciation of art should be nurtured amongst the people of this country to uphold and highlight high value local works”. Johan Ishak, Chairman of KL Biennale 2017 Festival stated that “The majority of the people at this time are still less aware of the value or meaning of 'beautiful' behind artworks, causing them to less appreciate the value for the product. Johan Ishak also stated that, “Efforts to foster awareness of importance to preserve our fine art should be intensified by related parties such as government agencies and educational institutions” (Farhana Khan, 2017)
In another article written by Nor Hamizah Kamaruzaman on Harian Metro,14 December 2016, this article is about an art event that called New Comers which participated by university students. One of the participants, Ory 7
Jamsay stated that “This event is important for young artists to highlight their talents and let them create their own masterpiece according to their respective identities” (Hamizah Kamazruzaman, 2016) Based on these two articles, there is still less awareness from the local community to preserve the fine art and appreciate our local artists as they for fine arts are not as important as other fields of engineering, medicine and others. So with this newly created art centre, it can achieve this thesis ultimate goal of giving awareness to the local community about Malaysia fine arts.
b) No specific platform for a local artist in Johor Bahru, especially to Artgeng to express their artwork, creativity and to attract youngster into art field.
Figure 1 Colouring Workshop at UTM,SKudai (Source:https://www.facebook.com/BalaiPendidikanSeniVisualArtgeng)
Figure 2 Colouring Workshop at Balai ARTGENG (Source:https://www.facebook.com/BalaiPendidikanSeniVisualArtgeng)
Based on the observation on photos taken from official ARTGENG website, they don’t have specific places to held an event. They usually will held an event at open hall. With this new Johor Fine Art Centre, they will have interesting 8
and more attractive spaces to attract young people to come for their event and they can held an event anytime they want in their own facilities. Also, this building will give an oppurtunity for this new artist to show their work to public through exhibiton or gallery spaces. This thesis site is located in the heart of Johor Bahru. So it has a high opportunity to highlight who is this ARTGENG and at the same time to attract more visitors who are around Johor.
2.7 Creating an Inspiring Studio Spaces An article that write by Diana Mahoney in ArtBistro stated that, there are things that needs to be considered to creates an inspiring studio or workshop. It is important to create a comfortable studio and also practical for the users and staff or artists so that they can work in more comfortable. Working in a space that is a comfortable as say your living room makes working less like “work� (Mahoney D. 2015).
Figure 3 Artist Workspace (Source: Homedit.com)
a) Creativity Colour is important to stimulate an artists artistic nature. According to the experiment by University of British Columbia, blue colour is ideal for the work environments of creative, as the colour promotes communication, trust and efficiency. It also great for the workspace as it opens our mind to new ideas (Mahoney D. 20150
b) Organization Organization is important to creative expression in an office. Firstly, we need to know how an artist work? What equipment that they use? Do they need 9
computer desk space? What type of art medium that they use? and more. Furniture layout such as desk, chair, cabinets need to be at proper places so that the artist can work in comfort. (Mahoney.D, 2012).
c) Efficiency Planning out technological need is obvious. Devices such as laptop, phones, or scanner are important for some artists to communicate and create. The devices need to be places in proper way according to how the artist work. Firstly, we need to determine how the artists work so that we can find a best way to set up all this component in the workspaces. Go for wireless devices because It allow flexibility. (Mahoney D. 2015).
Figure 4 Art Workshop (Source:http://www.creativenectarstudio.com/)
2.8 Summary In conclusion, this chapter already explain why art is important to preserve because art is really important to society, children and also for future generation. The arts field can also open up job opportunities and generate the country's economy. For example build an art center to attract tourists. Thus, this art center can be one of the tourist attractions. Art is also important to preserve because it is part of our national identity. Many of the early artists have struggled to uphold the art of Malaysian art. Therefore, we must appreciate their services
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CHAPTER 3 EARLY STUDY
3.1 Introduction This chapter will explain in more detail about this thesis case studies, precedent studies, site, client and building programme in order to develop the schematic design. This case studies is being used as a reference to develop the building programme or activities and concept to build a good Johor Fine Art Centre. Also, some spaces and facilities in this precedent studies were taken as guidelines in this thesis. This chapter also will include the data collection from past survey. 28 respondents are taken to answer this survey. Most of the respondents are from Johor itself. In this chapter also, it will explain more about this thesis site such as analysis, SWOT analysis and observation material. Lastly this chapter also explain about this client which is Artgeng and this thesis building programme and target users.
3.2 Site Analysis In this design project, site chosen is located between Jalan Abdullah Ibrahim and Jalan Dato Dalam, Johor. There will be introduction to the site and surrounding. This section will cover different aspect such as morphology, site background, site inventory, history, circulation, utilities, vegetation and others.
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3.2.1 Key Plan
Figure 5 Key Plan 1 (Source: Google Earth)
Figure 6 Key Plan 2 (Source: Google Earth)
Johor located on south of Peninsular Malaysia. Johor is surrounded by Pahang to the north, Melaka and Negeri Sembilan in the northwest. Johor is also located opposite Singapore.
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3.2.2 Location Plan
Figure 7 Location Plan (Source: Majlis Bandaraya Johor Bahru)
This site is surrounded by several buildings and abandoned buildings such as KWSP Building, Hotel Rasa Sayang, Puteri Pacific Hotel, PERSADA and Galleria. 3.2.3 Site Plan
Figure 8 Site Plan
13
Figure 9 Section Site
3.2.4 Site Information Location: Corner lot at the junction of Jalan Abdullah Ibrahim and Jalan Dato Dalam Site Area : 5835 m² (1.44 acre) Object on site : Bushes and abandoned building. Land use zoning : Commercial Proposed building height : 5 – 6 storey Land Area after setback : 4330 m
14
3.2.5 Site Morphology
Figure 10 Johor during 1800 - 1899
In 1855, the Tebrau Strait was inhabited and developed gradually by Malay People and ‘Orang Laut’. After 1866, the royal family of johor, Sultan Abu Bakar, the first ruler
of
Johor
state,
declared
Johor
Bahru
as
the
capital
of
Johor.
In 1879, the Segget Market was opened around the Segget River. This market is the first
market
in
Johor
and
It
was
built
on
a
small
island.
Around the year 1880, the economy began to grow as foreign traders, especially from Arabs, began trading in Johor. After 1894, Johor began to expand and its people began to build new buildings .
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Figure 11 Johor during 1900 - 1959
In the 90's around 1921, the people of the Johor began exploring and expanding their land and major roads began to be made. The number of Chinese populations increased around 1930. Also, the number of Chinese population is almost as large as the number of Malays. After nearly 10 years, Indians and Sikhs settled in Johor and there were several Indian and Sikh temples built in residential areas around Jalan Trus. In this era also, the Sultan Ibrahim Building began to be built
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Figure 12 Johor during 1960 - 1999
After 1960, the city of Johor began to grow rapidly. In 1962, the Segget Market was moved to Jalan Wong Ah Fook. In this era also, government buildings such as the Johor Bahru City Council, post offices and others began to be built. Large-scale buildings were built to form a new city. This year, Segget River began to be closed due to the construction of buildings and roads.
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Figure 13 Johor during 2005 - Now
Starting in 2005 until now, Johor began to grow into a tourist center for foreigners and locals. Bangunan Persada, the convention center, was opened in 2006. Also, Segarang Legget has been opened. In 2008, Johor Bahru was declared as 'Bandaraya' due to the rapid development of new parks, new and modern buildings and facilities as well as many business centers
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3.2.6 Site Background This site is located between Jalan Abdullah Ibrahim and Jalan Dato Dalam. Jalan Abdullah Ibrahim is the most road used in this area since it is directly connects to many commercial and public places such as Persada, Galleria, and JBCC. Government and office buildings in Jalan Syed Mohamed Mufti are connected to Jalan Dato Dalam via pedestrian stairs. The traffic density is quiet low at Jalan Dato Dalam and medium at Jalan Abdullah Ibrahim. Also, there are some government building and facilities such as KWSP Building and UTC. Since this area is a commercial area and has some government building, most of the people in this area is a local people that works in this area. This site is quite abandoned, but it has so much potential to be develop since it is located in high ground and near to Jalan Abdullah Ibrahim, it can create a new focal point to this site. There are many existing parking lot around our site, public and private parking, but it is often full and the private parking can only be used for the people that has monthly pass ticket. Due to that, there are many illegal parking at Jalan Dato Dalam. There are also some abandoned building around this site such as Hotel Rasa Sayang. Now, it is used as public parking area. In origin, this site is a police barrack and old bus station.
Figure 14 Site Surrounding, illegal parking
Figure 15 Site Surrounding, abandoned buildin
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3.3 Site Inventory a) Sun Orientation
Figure 16 Shadow casting during 9 a.m
Figure 17 Shadow casting during 1 p.m
Figure 18 Shadow casting during 5 p.m
This site is exposed to direct sunlight and the heat temperature is quiet high especially in the afternoon. There are no big tree and building that enable to shade the site from direct sunlight
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b) Wind
Figure 19 Wind direction at site
The air comes with varies direction results of the building context creates the passages of the air. However, The strongest wind flows from B and A direction which is at the main road, Jalan Abdullah Ibrahim. c) View
Figure 20 Vegetation in site
The most positive view that this site can get is from view B which is facing towards Persada and Johor Bahru’s skyscraper. It will gives the users a view to beautiful architecure of Johor Bahru.
Figure 21 View from 'B'
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d) Traffic Density
Figure 22 Traffic density at site
The red colour shows a road that has high density traffic, the yellow colour indicates a medium density and pink colour indicate low density. Based on the image, the road near to our site which is Jalan Abdullah Ibrahim and Jalan Dato Dalam is medium and low density respectively.
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3.4 Survey Sample of Questionnaire
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Statistic 1 Respondent Age
The pie chart above shows that most of the respondent are youth from 18 to 25 years old.
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Statistic 2 How frequent respodent go to any art event
The pie chart above shows that how frequent the respondent came to any art exhibition or event. We can conclude that most of the respondent never came or only once to any art exhibition or event.
Statistic 3 How well do the respondents know about our local artists.
The statistics above shows a result on how many respondent knows a famous Malaysian artist such as Ibrahim Hussein, Redza Piyadasa, Yusof Gajah and lastly Syed Ahmad Syed Jamal. From the statistics we can conclude that half of the respondent didn’t know any of them. 25
Statistic 4 Respondents opinion in art preservation and appreciation
The pie chart above shows that if it is important for us as a Malaysian to preserve our artists and their masterpieces. It seems that all of them are agree that it is important to preserve it.
Statistic 5 Respodents opinion about art field
The statistic above illustrate that if Malaysians underestimate the art of fine arts compared to other fields such as engineering, medicine and others. It seems that most of the respondent disagree that fine art is less important than other fields. 26
Statistic 6 Which Painting Does the Respondent Has Seen or Know
Based on the statistics 6, most of the respondents at least has seen Mondrian Art before. Some of the also never see any of those. This statistic shows that most of the respondents knows about western artist than our local artist.
3.4.1 Summary Based on all the statistics shows by the respondent, we can related that to previous issues that it is true that most of the Malaysian are lack of awareness the importance to preserved our fine art identity.
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3.5 Precedent Studies a) Sorenson Centre For The Arts
Figure 23 Sorenson Art Centre (Source: Archdaily, 2015)
a) Introduction This art centre is linked with the university and became an education as well as exhibition spaces for the students to exhibit their work. This building stands out against other buildings because the color use is different from others building and the architect try to create a simple shape building yet elegant and has some modernized looks.
Figure 24 Sorenson Art Centre (Source: Archdaily.2015)
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b) Building Programme This building offer variety of programme focusing on art activity such as art performance, live theatre and workshops. The building programme is not only focused on indoor, but outdoor as well. The open public lobby is exposed to the road, create a sense of welcoming. Thus it will attract a lot of local community in that area to come and visit that place.
Figure 25 Sorenson Art Centre, Left Elevation (Source: Archidaily, 2015)
Figure 26 Sorenson Art Centre site plan (Source: Archdaily,2015 )
The garden became an intermediated spaces to link the art centre to another building. The garden also became an exhibition spaces for students to exhibit their sculpture artwork or held an event in open area. The garden will become an attraction places in this university when there are any event held in this area (Sorenson Centre For The Arts, n.d ). 29
Figure 27 Sorenson Art Centre, Diagram (Source: Archdaily, 2015)
The left diagram shows the density of the students when the programme are held such as art show, dinner and lecture. The diagram on right side is illustrate how the building respond to the site climate and environment. Rainwater is collected and store in rainwater tank for landscape irrigation. Prevailing summer breezes are harvested through open porch. The porch provides social “handshake� to community. The daylight factor is emphasized because this building is crowded with many people, and they don’t want the users will feel uncomfortable hot. Furthermore, most of the painting are sensitive to heat, daylight and humidity.
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b) Rimbun Dahan : A private art centre in Malaysia
Figure 28 Rimbun Dahan, Private Art Centre (Source: http://rimbundahan.org)
a) Introduction They offer residencies for visual artists, dancers, choreographers, writers, arts managers, curators and researchers as well as educational opportunities for students of architecture, ecology and botany. It provides workspace and accommodation in this serene garden setting, far away from the bustle of the city for artists seeking solitude, silence and/or space to focus on their work as well as the opportunity to meet and network with other artists from around the world. It focus is on supporting artists from within the Southeast Asian region, especially local Malaysian artists, while still providing space for international artists who are interested in engaging with Southeast Asian and Malaysian culture and art (Rimbun Dahan, n.d) b) Artist Studios Rimbun Dahan has six artist studios (best suited for visual art but can be used as workspaces for writers and researchers), one dance studio, and five empty desks in the office and artist lounge where our Arts Manager works. All of our studios, much like nearly all of our buildings and rooms, are at least partially open air, and some (like the Guest House studios) do not have the capacity to be fully enclosed (Rimbun Dahan, n.d)
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Figure 29 Rimbun Dahan, Studio (Source: http://rimbundahan.org)
c) Sculpture Garden
Figure 30 Sculpture from Rimbun Dahan (Source: http://rimbundahan.org)
Various open spaces have been designated in the garden which will be surrounded by walls of dense planting, either to display sculptures or to allow a better view of the trees (Rimbun Dahan, n.d). The most developed of these spaces is behind the The sloping lawn is used occasionally for evening performances of wayang kulit, and the tall ‘plong’ trees are planted in honour of the kampung in which Rimbun Dahan is located. Based on this precedent study, this building is used landscape and garden as part of their building to give a connected the building with sense of nature itself. The sculpture that created by local artists are displayed in this area. This allows the visitors to freely move in the open area.
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3.6 Client
Figure 31 Artgeng Logo
The Art Community (Artgeng) is a group of people who share the various art-related aspects such as passion, passion, skill, knowledge, lifestyle, experience, work, activity, and so on.. Inside this community there are fans, students, artists, part-time artists, experts who share the same interests. All have the same rights to showcase their work and give a view of art without any limiting it (Artgeng, n.d)
Figure 32 Artgeng programme (Source : Facebook Balai Artgeng)
3.6.1 Client Objective 1) Share knowledge, ideas, and art-related experiences. Artgeng organised a lot of art event such as doodle workshop, art talk, community service such as public mural, painting workshop and many more to attract people into art. 2) To create a community of artists. Artgeng opens memberships for primary school students, high school students, university students, visual arts academics, university lecturers, artists and to anyone who is interested to learn.
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3.6.2 Client Philosophy In this Artgeng Community all have the same rights to showcase their works, expressing opinions and views related to fine art without limiting them by placing certain standards that would cause the culture of the partnership to stunt. Individuals who are interested in new learning need not be shy to showcase their work and ask for a view while a great individual is willing to give a constructive view and share knowledge and experience (Artgeng, n.d)
3.7 Target Users Four types of users are expected in this facility: artists, tourist, local community.An artists are mostly from Artgeng itself. An Artists from the Artgeng community holds lots of events to help students who are keen to learn about fine art such as seminar, visual arts workshop, photoshop workshop and more. This community also open their membership to anyone who is interested such as primary school students, high school students, university students, visual arts academics, university lecturers and artists. This community does not set an age limit and is open to anyone interested in joining this community. Artgeng will always be open to sharing knowledge, art-related experiences to the public.
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3.8 Building Programmes This thesis building programme is based on the client past programme. There are many different types of programme for variety of ages and skill level such as doodle workshop, oil pastel workshop, colouring workshop and photoshop workshop for graphic design. They also had a talk from senior artist that gives inspiration to young artist into art (Artgeng, n.d).
Figure 33 Photoshop Class by ARTGENG (Source:https://www.facebook.com/BalaiPendidikanSeniVisualArtgeng/)
Artgeng not only focuses on traditional fine art, but they also organised digital art classes such as photoshop classes to attract young people who are increasingly keen to venture into this digital art.
Figure 34 Art Talk by ARTGENG (Source: https://www.facebook.com/BalaiPendidikanSeniVisualArtgeng/)
Artgeng also invites veteran artists to share knowledge and life experiences with new people. Like the example above, Artgeng invites Ismail Lembong to share his knowledge and experience.One of the contributing artists is Ismail Embong, who is renowned for drawing Malaysian historical and cultural scenes. 35
Figure 35 Waqimetri Doodle Workshop by ARTGENG (Source:https://www.facebook.com/BalaiPendidikanSeniVisualArtgeng/)
Artgeng also organizes easy and fun classes such as Waqimetri workshops. Waqimetri is a combination of doodles and geometry. Simple and fun classes can appeal to the public to join this class (Artgeng, n.d).
Figure 36 Basic Colouring Class by ARTGENG (Source:https://www.facebook.com/BalaiPendidikanSeniVisualArtgeng/)
Children are also invited to participate in this Artgeng program such as a basic colouring class. Classes like these can shape the interest of children in art since childhood.
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Figure 37 Artgeng programme (Source: Facebook Balai Artgeng)
For those who are skilled. Artgeng provides more challenging classes and requires high skill such as oil and pastel classes.
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3.9 Space Tabulation The space tabulation is created by using building programme as a reference. This table include max user capacity, total area, activities in spaces and design considerations. Space
Lobby and Reception
Unit
Max
Total
Special
(s)
User
Area
Equipment
Capacity
(m²)
20
7
100
350
1
Atrium and Gallery Souviner Shop Painting Shop
1
10
20
1
10
20
Sculpture Garden Studio
1 2
15
150
Kids Studio
1
15
50
Handcraft Workshop
1
15
50
Mini Cafe
1
10
70
Computer Lab
1
15
36
Seminar Room
1
30
55
Activities
Design Considerations.
Reception Counter, chair and filing shelves Partition and artificial lighting
Receiving and registering the visitors
Easy to identify and notice from the entrance
Art or sculpture exhibition
Proper natural daylighting or artificial lighting. And open area
Shelves, counter Counter, shelves, partition
Sell souviner item To sell the artisan’s artworks or handcraft To exhibit a sculpture Education purposes
50 Table and chair, Easel, shelves, sink Table and chair, Easel, shelves, sink Table and chair, whiteboard, shelves Dining table, counter, sink, kitchen Table and chair, computer, projector and screen Table and chair, projector and screen, whiteboard.
Education purposes
Visitor are not allowable to touch it.
A open area that allowed parent to see their children
Education purposes
Simple meals
Typically can include entry, waiting and seating.
Education purposes
Education purposes
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Private Spaces Office
1
Canvas Store
1
8
50
Small individual offices with office furniture
5
Monitoring the art and building activities To store the canvas or painting frame
Open plan
Services TnB Substation Surau M F
1 1 1
Wash Room
10 10 3 3 1
50 15 15
Maintenance Room
1
60 60 5 9
Genset Room Switch Room Store
1 1 3
9 9 30
Janitor Room
1
5
Fire Tank Room Water Tank Room Cooling Tower
1
12
1
12
1
12
Abulation area Abulation area
Prayer Prayer
3 WC cubicle 3 WC cubicle
Comfortable and facing qiblah 1 unit per floor
To store the technical equipment
A place to store anything To store the cleaning equipment To place the fire tank To place the water tank Airconditioner compressor
Table 1: Space Tabulatio
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3.10 Summary In conclusion, the proposed site for this thesis has high potential to build an art center because it has a strategic location. It is because the proposed site is located in the heart of Johor Bahru. So, it can draw attention to the visitors who come to Johor Bahru Next, the position of the proposed site is located at a fairly high level and is next to the main road. So this strategic position can make it easier for visitors to access into the building. Sorenson Art Centre and Rimbun Dahan is became this thesis precedent studies. Both of them are building that related to art programme. Both of them has a programme that related to art. The Sorenson Art Centre has a good spatial planning because it is not only focused on the indoor, but outdoor as well so that it can attract a pedestrian. This art centre also has an elegant and contra shape from the surrounding to create an emphasize to the site. While Rimbun Dahan is a private art centre that is design by Hijjas Kasturi. What is so good in this art centre is that is combined nature into building so that the artist will feel more comfort and relax while they doing their work. Based on this thesis survey, most respondents are keen to venture into art but many do not know the basic techniques of art. Therefore, this art center can help them to engage them in artistic field. In this survey, we can see a lot of locals do not who is Malaysian local artists. Therefore, this art center is built to uphold and appreciate Malaysian local artists.
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CHAPTER 4 DESIGN METHODOLOGY 4.1 Design Strategy This chapter will explain in more detail about design strategy such as site planning, space planning, concept, form making and how this thesis apply praxis into the building. Design strategy is important because it is a part of design process before making it into 3D 4.2 Site Planning
Figure 38 Site response, finding the best entrance
Since Jalan Abdullah Ibrahim is the main road on this site, it will be a good oppurtunity to create an entrance from here. Also, Jalan Dato Dalam is quiet narrow since it has many improper parking. This site is easily seen and detected from Jalan Abdullah Ibrahim
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Figure 39 Site response, creating walkway
This site also have a good opportunity to design a pathway from Jalan Abdullah Ibrahim to Jalan Dato Dalam for pedestrian users. Users will likely to choose to walk through the walkway inside the building rather than take a long way and dangerous at the the corner. Also, the existing bus stop is connected with the courtyard through walkway.
Figure 40 Site response 3, creating emphasize element
This project site is located a little bit on high ground. Create something unique and interesting faรงade will create more emphasis and give contra element from the surrounding and thus create a new focal point that can attract more visitors into the building.
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4.3 Space Planning
Figure 41 Bubble Diagram- Ground Floor Plan
Figure 42 Bubble Diagram - First Floor Plan
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Figure 43 Bubble Diagram - Second Floor Plan and Above
The bubble diagram above shows initial space planning. The space is divided into 3, yellow for public, orang for private, and purple for semi-public. Services area is located near the loading bay so that it will be easy for them to transfer goods to store. Mostly the public area will be located in the ground floor and in the middle such as public workshop, exhibition area, multi-purpose hall, sculpture garden and cafĂŠ. The semi-public area is located in one place which is at purple zone at first and second floor. The semi-public area is consist of workshop and studios. The spaces are only for a register users and staff. The private area is only consist of management office and it is located at second floor. The office is only for a staff and artists from Artgeng. Other facilities such as surau and toilets is located near the services area besides lift lobby.
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4.4 Form Making
Figure 44 Form making diagram
Firstly, the building design divided into 3 parts, which is purple for services area, turquoise for exhibition and activity area and orange for retail. The retail area act as a welcoming sense. The cafĂŠ and open workshop in orange area will attract users from pedestrian walkway in Jalan Abdullah Ibrahim. The turquoise area will be elevated from and it will be covered by geometric repetitive pattern to create an emphasize and contra from surrounding thus it will create a new focal point into the site. Also, the wind can cross ventilate in the ground floor. This is the common concept of Rumah Melayu where the house is elevated from the ground to catch the wind.
4.5 Praxis Theory Praxis could summarise as a ‘informed action’. Praxis is the process or theory of taking action in practice whilst acting within theoretical framework of thought (Quinlan.O, 2012). Praxis is also a combination between theory and practice. This building is combine theory and image of art such as De Stijl into a practice which is the building itself to give the building a image of art centre. Praxis is also related to social theory where the building should gives some benefit to the community. This building gives a lot of benefit especially to the local artists and local community to solve the issues which is to increase the awareness the importance to preserve fine arts and to provide a better facilities for Artgeng to display their work and held an event.
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4.6 Concept This design concept is Archist. It is a combination between architecture and artist where I bring an art to represent and give identity and image to the building itself. Based on the survey on 28 respondents, most of the respondents knows or at least has seen Mondrian art and Andy Warhol art before. Thus, Mondrian Art and Andy Warhol Art is used as a reference to create an exterior faรงade.
Figure 45 Andy Warhol reference
Figure 46 Mondrian reference
The crown of Johor is one most iconic and symbolic of Johor. Thus, the crown of Johor is taken as subject to convert it into art. Then, blue and red colour are used to represent Johor identity. The two strong colour will create emphasize to Jalan Abdullah Ibrahim and thus will attract people from that road.
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Figure 47 Geometric Pattern
The faรงade will be cover by geometric pattern based on a square cuboid which in turn will produces a very particular play of shadows and light inside the exhibition spaces. This pattern is to act as a catalyst not only to stimulate its inactive neighbour in this site, but also to provide intimacy with manipulation of the natural environment. Thus, the pattern will be outstanding and contra from surrounding, thus will welcome people and tourists.
4.7 Summary In conclusion, this chapter had already about the design methodology of this building such as design strategy, concept and how praxis is related to this building design. Concept and design strategy are important in initial planning before making it into 3D. The purposes of design strategy are to give rough ideas of circulation in the building design and relationship between spaces and other spaces in the building design.
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CHAPTER 5 DESIGN SOLUTION 5.1 Introduction This chapter will explain in detail on the final design solution. This chapter will show all the spaces, plan and elevation with an explanation. In last section there will be an explanation about the technical aspect on this building such as rules and regulations, fire and regulations, water supply, electric supply, sewerage system, special detail, construction and more.
Figure 48 Proposed Johor Fine Art Centre, Perspective from Jalan Abdullah Ibrahim
Figure 49 Proposed Johor Fine Art Centre, Perspective from Jalan Dato Dalam.
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Figure 50 Proposed Johor Fine Art Centre, exterior geometric facade.
The exhibition area at the middle will be elevated from and it will be covered by geometric repetitive pattern to create an emphasize and contra from surrounding thus it will create a new focal point into the site.
Figure 51 Proposed Johor Fine Art Centre, site plan
This site has a huge potential because it is easily see from Jalan Abdullah Ibrahim due to its location at the junction. Thus, it will have a good opportunity to attract a lot of people. 49
5.2 Spatial Planning 5.2.1 Ground Floor Plan
Figure 52 Proposed Johor Fine Art Centre, ground floor plan.
The main entrance is from Jalan Abdullah Ibrahim for visitors. For services vehicle, the entrance is from Jalan Dato Dalam. They are also entrance for pedestrian at Jalan Dato Dalam and also Jalan Abdullah Ibrahim. Most of the spaces in the ground floor is a public area such as hall, handcraft workshop and mini cafe. This floor also had several services spaces such as TnB substation, fire tank room, switch room and janitor room.
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5.2.2 First Floor Plan
Figure 53 Proposed Johor Fine Art Centre, First Floor Plan
The first floor consist of retail such as painting shop and souvenir shop. The retail area is an open area. Thus, the corridor used natural ventilation. Also, in the first floor, it had several workshops such as doodle workshop, computer room for photoshop workshop and also kid’s studio. This workshop area is a semi-public zone. Thus, it can only be access by a paid users. This floor is also had a prayer room, maintenance room and general store. In the middle, this floor had open lounge and several kiosk that sell small handcraft items. This places is also for the users that want to take a rest for a while.
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5.2.3 Second Floor Plan
Figure 54 Proposed Johor Fine Art Centre, Second Floor Plan
The second floor also had several workshops such as seminar room for 28 people, studio 1 for a beginner artist for 24 people and lastly studio 2 for an expert artist for 78 people. In the middle, this floor also had public workshop. It is a free workshop for a visitor. The difference between paid workshop and free workshop is that the free workshop is only teach the users to create a simple handcraft that everyone can made. The public workshop is only for 20 people. Furthermore, is a gallery at the middle, this gallery also had a stair that can connect to upper floor. This floor also had a management office for 15 staff. The staff is also an artist. The office is only for a staff to store their items and take a rest or break for a while. Most of the time, they will spend more time at studio to teach. 52
5.2.4 Third Floor Plan
Figure 55 Proposed Johor Fine Art Centre, Third Floor Plan
5.2.5 Forth Floor Plan
Figure 56 Proposed Johor Fine Art Centre, Forth Floor Plan.
In the third floor and forth floor, this floor had only exhibition area. At the forth floor, this floor also act as an observation tower for the users to take a view around Johor Bahru.
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5.3 Building Interior
Figure 57 Proposed Johor Fine Art Centre, Courtyard
The sculpture garden is located at the middle in ground floor plan. It is very open and consist of several bench and table and several kiosk that sell small handcraft. The open ground floor plan is to let visitor to explore more freely and also to create a pedestrian walkway from Jalan Abdullah Ibrahim to Jalan Dato Dalam. The sculpture and landscape are also act as a welcoming sense to attract people from Jalan Abdullah Ibrahim and Jalan Dato Dalam.
Figure 58 Proposed Johor Fine Art Centre, Exhibition Space
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The main exhibition or gallery is located at the middle of this building at third and forth floor. The exhibition spaces are covered by glass and shade by geometric sun shading pattern. The type of glass used for this spaces is low-e glass. The low-e glass has double layer of glass that reflect back the heat of sunlight and thus reduce the heat inside the exhibition area. The geometric sun shading pattern create a repetitive harmonise shadow pattern during morning and evening and thus increase the aesthetic value inside the space.
Figure 59 Proposed Johor Fine Art Centre, Artist Studio
Figure 60 Proposed Johor Fine Art Centre, Kid's Studio
\
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Figure 61 Proposed Johor Fine Art Centre, Artist Workshop.
There
are many types of studios for variety of ages and skills such as doodle
workshop, kid’s studio, computer room, studio 1 for beginner and studio 2 for expert artists. This spaces is semi-public which means only paid users can access to this area.
Figure 62 Proposed Johor Fine Art Centre, Outdoor Lounge.
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Figure 63 Proposed Johor Fine Art Centre, Multi-Purpose Hall.
The multi-purpose hall is located at the ground floor directly to the main entrance. The hall consist of open floor and stage. The purpose for this hall is for big programme event such as talk, opening ceremony, dinner event and more. The colourful daylight that penetrate thru the Mondrian glass create an welcoming sense for the visitors. It also makes the hall more enchanting and less boring.
Figure 64 Proposed Johor Fine Art Centre, Public Workshop Area.
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Figure 65 Proposed Johor Fine Art Centre, Public Lounge.
Figure 66 Proposed Johor Fine Art Centre, Artist Office.
The artist office is located on the second floor. The function of the offices is for artist to rest for a while. The concept layout for this office is open plan layout. Most of the time the artists will spent more time in the studios than the offices
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Figure 67 Isometric Explode Diagram
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5.4 Elevation and Section Drawing
Figure 68 Proposed Johor Fine Art Centre, North Elevation.
Figure 69 Proposed Johor Fine Art Centre, West Elevation.
Figure 70 Proposed Johor Fine Art Centre, front elevation
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5.5 Technical Aspect In this chapter, there will be an explanation in more detail on the building services and technical aspect such as fire and regulations, water supply, electric, circulation and lastly a ventilation. It will be explain using a several diagrams. This chapter also had the full detail section and several special details.
Figure 71 Proposed Johor FIne Art Centre, Section Y-Y
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Figure 72 Isometric Structural Diagram
5.6 Type of Construction This building is construct using concrete post and beam. Most of the material used in this building is concrete except in the middle part where it used steel beam and timber floor. For roof, this building used steel trusses system with 2m span. The longest span is 11m and the shortest span is 5m. For the exhibition area, the curtain wall is using low-e glass. The purpose of using low- e glass is to avoid high heat inside the building to protect the painting quality.
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Figure 73 Mechanism of Low-E Glass (Source:https://sciencestruck.com/low-e-glass-working-principleproperties-advantages)
Low-e glass is a type of modern glass developed to control heat flow across it, which is an issue with ordinary glass. Ordinary glass also poses the problem of allowing a lot of heat inside during the daytime, causing overheating (ScienceStruck, n.d) 5.7 Special Detail
Figure 74 Special Detail
The diagram above is a geometric sun shading device for exhibition area. It is made of metal steel panel and supported by steel. The purpose of this shading device is to avoid direct sunlight from penetrate into building and thus reduce the heat inside the building.
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5.8 Full Detail Section
Figure 75 Full Detail Section
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5.9 Air- Conditioning System
Figure 76 Air-conditioning System
The type air-conditioning system used in this building is variable refrigerant volume (VRV) system type. The cooling tower is located at the forth floor and the control panel is located at the switch room in ground floor. This type of system need an Air Handling Unit (AHU) riser and the cool air will be transfer using duct system.
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5.10 Water Supply And Sewerage
Figure 77 Water Supply and Sewerage System
First, the water will be supply through Syarikat Air Johor (SAJ) main pipe to water tank. The water tank is located at the forth floor. Then the water will be distributed using UPVC distributing pipe through wet riser. The sanitary system used in this building is ‘Two Pipe System’. There will be 2 pipe, soil stack and waste stack. The waste stack received the discharge ablutionary fitments and coveyed this to the ground level where it was delivered above the water seal in a trapped gully connected to the drainage system. While soil stack receives the discharge from soil appliances such as 66
wash closet or urinal and delivered it direct to the underground drainage system. The waste and soil water did not combine until they reached the below ground drainage system. For more information refer the schematic sanitary and plumbing layout below.
Figure 78 Schematic Sanitary Layout
Figure 79 Schematic Plumbing Layout
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5.11 Fire And Regulations
Figure 80 Fire Staircase and Hose Reel Diagram
The maximum travel distance for this type of building is 30m without sprinkler system. The travel distance in this building is successful and had enough staircases to cover every spaces in this building. There are 3 fire staircases located at every wings and each staircases has his own hose reel.
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Figure 81 Fire Staircase Radius
The diagram above shows a safe distance of 30 meters from the fire staircase. This law is based on By-law 165(4), 166(2), 167(1), 170(b) on Seventh Schedule. This building purpose group is institutional.
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5.12 Electric System
Figure 82 Electric System Layout Diagram
The TnB substation is located at the ground floor. The electric is then distributed to other floors using electrical risers. The main switch is located at the switch room at the ground floor.
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5.13 Circulation
Figure 83 Circulation Diagram
This diagram indicates the position of lift, stairs and shows the circulation for this building. The service is located on the service area and main lift is located opposite of the multi-purpose hall area.
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5.6 Rules and Regulations c) Parking Calculation
This calculation show the total numbers of parking needed for this building. ‘Garis dan Piawaian Perancang Tempat Letak Kereta’ from Jabatan Perancangan Bandar dan Desa Johor Bahru is used as a guide to calculate. 72
d) Hose Reel Minimum Quality of Water Calculation
Figure 84 Hose Reel Schematic Layout and calculation.
This is a diagram of calculations minimum quantity of water storage for hose reel systems only based on UBBL 247 (1). The diagram below the calculations is a schematic layout for hose reel systems.
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e) Water Storage for Building Calculations
Table 2 Water supply in Water Storage Calculation
The calculations shows minimum litres of water needed for water tank. Based on the calculations, 10350 litres in the minimum amount of water for this building.
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CHAPTER 6 CONCLUSION 6.1 Conclusion In conclusion, from the studies that I had done for this pre-thesis, I can summarise that the objective can truly be achieve in connecting local community with local artists by providing them a platform to express their creativity This thesis objectives are finally answered. At the same time, this building is successful to be a platform for artistic social activity such as exhibition art centre, art workshop, art talk and many more. There are variety types of workshop to attract different types of users such as teenagers, tourist and more. The buildings will finally get to increase awareness among local community to preserve our fine art little by little by exposing to them what is the truly meaning of fine arts. However, there are still weaknesses in the design process. But it could be improved with extra time. For now, the shape and form of this building may look simple, but It workable and all the objective in this thesis are answered. This thesis building is also successful to be a art centre that used a famous art such as De Stijl to represent and give identity and image to the building itself. The purposes are that to attract a local artists to and at the same time to attract local community around Johor Bahru. This thesis is significance to local artists and local community in different aspect. This thesis is a guide to understand the definition and purpose of Johor Fine Art Centre. Also, to explain how the building integrated art into architecture such as faรงade, building form and spaces to bring art image and identity into building. Finally, to give understanding the building purposes and building programme thru praxis theory and social context.
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REFERENCES 1. Rancangan Tempatan Daerah Johor Bahru,2020 (Pengubahan), n.d. Retrieved from http://www.mbjb.gov.my 2. Faizatul Farhan Farush Khan (2017, 22 Disember). Masyarakat Harus Hargai Karya Seni. .Retrived from https://www.bharian.com.my/berita/nasional/2017/12/366568/masyarakatharus-hargai-karya-seni 3. Mahoney.D (2015) 4 Steps to Creating an Inspiring Studios. Retrieved 2015 from http://artbistro.monster.com/benefits/articles/11813-4-steps-to-creatingan-inspiring-studio-space 4. Sorenson Centre For The Arts, United States, n.d. Retrieved from https://www.archdaily.com/884336/sorenson-center-for-the-arts-brooks-plusscarpa-architects 5. Rimbun Dahan : A private art centre in Malaysia. Retrieved from rimbundahan.org/ 6. Hirst.D (2015).Ask the Art Prof: What’s the Difference between Fine Arts and Visual Arts?. Retrieved from https://claralieu.wordpress.com/2013/04/06/askthe-art-professor-whats-the-difference-between-fine-arts-and-visual-arts/ 7. Hamizah Kamazruzaman (2016, 14 Disember). Bakat Besar Artis Muda. Retrieved from https://www.hmetro.com.my/node/189009 8. Roth Society, n.d. The Importance of Visual Art. Retrieved from http://rothsociety.org/the-importance-of-visual-art.htm 9. Science Struck, n.d. The Working Principle, Properties and Advantages of Low-E Glass. Retrieved from https://sciencestruck.com/low-e-glass-workingprinciple-properties-advantages 10. Owen, P.D, n.d. Encyclopedia Britannica: Painting. Retrieved from https://www.britannica.com/art/painting 11. Quinlan.O (2012, 23 October). Praxis : Bringing Theory and Practice to Learning.
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APPENDICES
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Appendice A Presentation Board 1
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Appendice B Presentation Board 2
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Appendice C Technical Board 3
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Appendice D Berita Harian Article by Faizatul Farhana Farush Khan
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Appendice E Metro Article by Nor Hamizah Kamaruzaman
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