INSTALLING FREEDOM Architecturalizing a Struggle of the Malaysian People by Roy Wee Chin Giap
INSTALLING FREEDOM Architecturalizing a Struggle of the Malaysian People
Copyright © 2022 Roy Wee Chin Giap Printed in 2022 by Roy Wee Chin Giap No.1 Jalan Universiti, 96000 Sibu, Sarawak, Malaysia. Email: wcg_roy@hotmail.com Website: www.behance.net/CrwcG All rights reserved. Layout design by Roy Wee Cover design by Roy Wee Printed by QQ Enterprise Sdn Bhd. UniAvenue, Jln Setia, 96000 Sibu, Sarawak.
INSTALLING FREEDOM Architecturalizing a Struggle of the Malaysian People A Design Thesis Submitted by
Roy Wee Chin Giap
In partially fulfilment of the requirements for the degree of MASTER OF ARCHITECTURE
JUNE 2022 SCHOOL OF BUILT ENVIRONMENT
UNIVERSITY OF TECHNOLOGY SARAWAK
Figure 1
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Collage of Installing Freedom
ABSTRACT
How do we present a narrative through architecture in a way that demonstrates its distinguishable plot-acts without losing the cohesive wholeness of the story’s main theme? This design thesis extracted six chapters from the historical experience of the people of/ in Malay(si)a—from the onslaught of colonialism that began with the Portuguese invaders and which was followed back to back by the Dutch and the British, making the first chapter in an account of the common man’s fight against subjection. The Japanese Occupation, Communist Insurgency, the Independent Nation, Bersih Phenomenon, and the Sheraton Move, form the remaining chapters in this subjectively interpreted history of a people’s struggle for freedom that stretches from subjection to subjugation. The narrative is architecturalized as a cross between a museum of
phenomenological spaces and a semiotic landmark. Following Libeskind’s (Jewish Museum) symbolic consciousness, Orwell’s totalitarian dread of “the Big”, and Ito’s (Taichung Opera House) architectonic language—among other literature and precedents—this thesis building is located in an urban heritage site to intentionally provoke conversation by being juxtaposed against a colonial prison, the humble man’s shophouses, a modern mosque and an engineering feat of a bridge that leads people to the stately Assembly Hall of Sarawak. The design thesis suggests that folding architecture can convey the soft and emotive aspects of a people’s experience over time as much as it can be an imposing installation in the city landscape of the present to constantly remind us of the ongoing dynamics of a society in formation. 7
Figure 2 8
Street View 1
ACKNOWLEDGEMENT
Foremost, I would like to say a big Thank You to my supervisor, Assoc. Prof. Ar. Dr. Ian Aik-Soon Ng, for your patient understanding of my working style and for constantly encouraging me to excel myself. Our regular conversations over coffee as we jointly explored new ideas helped me the most! I also thank my M. Arch. Studio lecturers—Assoc. Prof. Ar. Haris Fadzilah Abdul Rahman, Ar. Samuel Lee Chee Zin, Mr. Muhammad Oliver Ensor Silini, and Mr. Rahmat Bin Moriat—for your helpful comments at interim reviews. Special thanks go to my three classmates—Wong Lin Sze, Thomas Tiong, and Kong Zhe Ming— for co-journeying with me and helping with the at-times overwhelming tasks of final submission.
providing such an inspiring learning environment to pursue a postgraduate degree. The memories I take away will be incalculably rich. Most importantly, I thank my parents and my fiancée, Michelle Chong, for their unconditional love and caring—shown particularly whenever I confronted difficult challenges. And, certainly not least, I thank my GOD Jesus Christ who gives my life meaning, and turns my toil into creative endeavour.
Roy Wee Chin Giap 17 June 2022
I thank University of Technology Sarawak for 9
Figure 3 10
Street View 2
CONTENT
Abstract 6-7 Acknowledgement 8-9 Content 10-11 List of Figures 12-13 1
Introduction 14-17
2
Extant Knowledge 18-35
3
Problematization 36-43
4
Exploration 44-55
5
Discussion 56-75
6
Conclusion 76-81
References & Bibliography 82-83 Appendix 84-117
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Figure 0
Figure 4 12
Main Entrance View
LIST OF FIGURES
1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12) 13) 14) 15) 15a) 15b) 16) 17) 18) 19) 20) 21) 22) 23) 24) 25) 26) 27) 28) 29)
Collage of Installing Freedom Street View 1 Street View 2 Main Entrance View Sectional Model 1 Square Tower View Sectional Model 2 Casa Mila (La Pedrera), Barcelona, Antoni Gaudí, 1912 Jewish Museum Concept Diagram Jewish Museum Aerial View Jewish Museum Ineterior 1 Jewish Museum Facade Parc de La Villette Concept Diagram Manhathan Transcript Diagram Mixtacity Installation Taichung Metropolitan Opera House Landscape park view. Taichung Metropolitan Opera House section hand sketch by Toyo Ito. Brave New World, Aldous Huxley, 1932. Animal Farm, George Orwell,1945 1984, George Orwell,1949 Diagram of problematization Inhabitable Infrastructures Narrative Architecture: A Designer’s Story Narrative Architecture Sectional Model 3 Context Analysis Site Plan Sectional Model 4 Typical Linear Museum Journey (Koay, 2019) Phenomenal Museum Journey (Koay, 2019) Activities of Phenomenal Museum (Koay, 2019)
30) 31) 32) 33) 33a) 33b) 33c) 34) 35) 36) 37) 38) 39) 40) 41) 42) 43) 44) 45) 46) 47) 48) 48a) 48b) 49) 50) 51) 52) 53)
Exploration of visceral model 1 Visceral Models 2 Story of Fighting for Freedom Independence Declaration and Celebration Moment Taichung Metropolitan Opera House during construction 1 Taichung Metropolitan Opera House during construction 2 Taichung Metropolitan Opera House Sectional Perspective Dwg Sectional Model 5 3D Model Diagram Section Y Sixth Floor Plan First Floor Plan Chapter 1: Colonialism Chapter 2:Japanese Occupation Chapter 3: Communism Chapter 4:Neo-Colonialism (Independence to UMNO) Chapter 5: Bersih Cleanning Chapter 6: Sheraton Move (Frog) South Elevation North Elevation The Kuching Culture Museum East Elevation Cutout Construction (Joints Connection) Details Bay Section Sectional Model 6 North-East Isometric View Sectional Perspective Rooftop Installation Space East Elevation
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I ntroduction
“You may write me down in history With your bitter, twisted lies, You may trod me in the very dirt But still, like dust, I’ll rise.” - Maya Angelou Figure 5 14
Sectional Model 1
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Figure 6 16
Square Tower View
Introduction Buildings have served society since time immemorial. The basic focus of buildings have always been to shelter against the elements and to accommodate all the processes of living. It is what we sometimes term as “functional”. However, when built with some thought, something called “architecture” is derived. Architecture can send messages, buildings can say something about the culture that made them. They can carry narratives. The architect, educator and writer, Nigel Coates, in 2012, said: “Narrative in architecture promotes human experiences and … emphasizes the meaning of the architecture rather than its functionality” (Coates, 2012). More importantly, he says that there is a need to sculpt human experiences into stories through architecture. And further, he suggests that the challenge to architects is to highlight how buildings are experienced rather than to be too concerned with aesthetics or “overt technology”. 17
E xtant Knowledge
Figure 7 18
Sectional Model 2
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Figure 8
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Casa Mila (La Pedrera), Barcelona, Antoni Gaudí, 1912
Extant Knowledge Many architects have discovered buildings can transmit meaning to evoke emotion in building users. For instance, in designing the Jewish Museum in Berlin, Germany, Daniel Libeskind used a zigzag form, diagonally and dynamically inserted openings to stir up users’ emotions for persecuted Jews in the second world war in Germany as well as Frank Gehry’s Dancing House in Prague, Czech Republic, which resembles a pair of dancers. Besides that, the building comes with another symbolic meaning of the transition of Czechoslovakia from a communist regime to parliamentary democracy. Since the second half of the past century, the phenomenological relationship has been the essence
of a designer’s narrative, illustrating how the designer emancipated themselves from restrained imagination (De Bleeckere & Gerards, 2017). They used the term ‘Narrative’ to describe their work. Narrative as an approach is ideally suited to design in our present age of communication (Coates, 2012). This methodology often bucks the previous trend in designing memorial architecture which was based on the building as a container of memorabilia. This is well known in the design of museums and galleries. While Malaysia has many history museums, there is yet non that explores exhibition architecture through the theory of narratives. I was therefore interested in attempting this design methodology for an, as yet, untold story. 21
Figure 10 Jewish Museum Aerial View
Figure 11 Jewish Museum Ineterior 1
Figure 9 22
Jewish Museum Concept Diagram
Figure 12 Jewish Museum Facade
“The Jewish Museum is conceived as an emblem in which the Invisible and the Visible are the structural features which have been gathered in this space of Berlin and laid bare in an architecture where the unnamed remains the name which keeps still.” - Daniel Libeskind
Jewish Museum - Daniel Libeskind, Berlin, 1999.
In 1988, Daniel Libeskind was chosen as the winner among several other internationally renowned architects; his design was the only project that implemented a radical, formal design as a conceptually expressive tool to represent the Jewish lifestyle before, during, and after the Holocaust. For Libeskind, the extension to the Jewish Museum was much more than a competition/commission; it was about establishing and securing an identity within Berlin, which was lost during WWII. Conceptually, Libeskind wanted to express feelings of absence, emptiness, and invisibility – expressions of disappearance of the Jewish Culture. It was the act of using architecture as a means of narrative and emotion providing visitors with an experience of the effects of the Holocaust on both the Jewish culture and the city of Berlin. 23
Figure 13 Parc de La Villette Concept Diagram 24
“Architecture is not simply about space and form, but also about event, action, and what happens in space.” - Bernard Tschumi
Figure 14 Manhathan Transcript Diagram
Parc de La Villette - Bernard Tschumi, Paris, 1982. Tschumi’s now well-known scheme for the park involved a grid upon which sat points, lines, and surfaces; these theoretical concepts translated respectively into red structures (points), nonsensically curving paths (lines), and landscaped green-space (surfaces). See Figure13.
ing the notion that meaning comes from other more associative possibilities arising from the gap between the actual use of the park (strolling, football) and its symbolic use (film, architectural heritage, society).See Figure14.
Most famous are the structures, which Tschumi referred to as “follies” in a nod to the non-functional but whimsical structures of the English garden tradition. Built as forms without clear functions, the all-red structures are evenly spaced through the park, becoming an orienting intervention in the large city park. A grid of red follies suggests the fragile order in society, while arabesque marks and meandering paths hint at the need for eccentricity. La Villette enabled Tschumi to explore the detachment of architecture from its function, while introduc25
Figure 15 Mixtacity Installation
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“Like all visions of a future architecture, Mixtacity uses the illusionist power of the model, a giant L that occupies a corner of Global Cities. Unlike most planning models which have a political and economic determinism, this one is driven by an artistic spirit.” - Nigel Coates
Mixtacity - Nigel Coates, London, 2007. In the 2007 Tate Modern Exhibition, Mixtacity emphasised identity, difference and place (See Figure15). The aim was to make a city full of the unknown and the unexpected,such as the buildings made from scaledup body parts. In this imaginary world, Central Londoners would certainly have heard of Smoking Gun Heights or Barking Towngate, and the massive finger towers at the centre of Dagenhamburg, the new symbol of the Gateway. These hybrids and crossovers may not be a replacement for the historic depth of most cities across Britain, yet they are capable of expressing the kind of complexity so often omitted from most new development. Without ever claiming this work to be art, it certainly was a critical work with a high component of imagination. It built on people’s familiarity with architecture, if not with designing it, and harnessed the public’s playful fascination with miniatures – the sense that artistry could, and should, have a role in architecture. 27
Figure 15a Taichung Metropolitan Opera House Landscape park view.
28
Figure 15b Taichung Metropolitan Opera House section sketch hand-drawing.
Taichung Metropolitan Opera House - Toyo Ito, TaiChung, 2009.
The design is notable for its spacious, curving, and folding inner shapes create a stunning and complicated section that is elegantly, based on a few straightforward geometric principles integrated into a simple rectangular external form (see figures 15a and 15b). This building’s fluid and continuous shape represents the concept that the theatre arts are holistic phenomena that integrate the body, art, music, and performance. This Ito’s built project shown the possiblity of a simple construction method that creates a dynamic architecture to represent a unique story. 29
Figure 16 Brave New World, Aldous Huxley, 1932.
Figure 17 Animal Farm, George Orwell,1945
Figure 18 1984, George Orwell,1949
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Literature: Brave New World(Huxley, 1932), Animal Farm (Orwell,1945), 1984 (Orwell, 1949).
As Orwell reflected in both of his book, talking about how people in power have corrupted the political system to gain even more power and benefits for themselves. Animal farm is based on a political story, Russian Revolution and betrayal of Joseph Stalin which Orwell referred to a group of barnyard animals. Which the setting is with this group of animal rebellion and chase off their manipulative human owners and established their own democratic society. However, at the end they failed due to the intelligent and power-loving leaders form a totalitarianism whose worse than their former owners. “All animals are equal, but some snimals are more equal than others.” After Animal Farm Orwell wrote 1984 to warn the world against the totalitarianism by those who has the most powerful weapon or in this discussion intelligence.
This sci-fi novel is about the story of rebellion of a citizen to the totalitarian government that rules by distorting the truth to benefit themselves. Eventually, this man was captured and reeducated(brainwashed) in prison until he submitted to the government. The love of power and domination over others has developed into the perpetual surveillance and pervasive corruption that overtook the human integrity. In addition, Huxley (1932) portrayed a futuristic society with a group of people in absolute power in charge of everyone life from born to death. From these literature lead me to the issue of our political status. Which (see figure19 overflip) i started researching and comparing the political systems in a diagram.
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Figure 19 Diagram of problematization 32
Literature: Totalitarianism (Holmes, 2015), 2084 (Catemario di Quadri, 2014), Novacene: The Coming Age of Hyperintelligence (Lovelock, 2019), Industry 5.0 and Human-Robot Co-working (Demir et al, 2019)
All these articles are investigating the concept of totalitarianism through its definitions, features, history and future. ). In Holmes study (2015), he doubted while it was truly the case that globalisation and the world wide web make it incredibly hard for governments to restrict their citizens in the ways that they did in the twentieth century, and he believed highly possible that governments will catch up with technology revolution and exploit it to new totalitarian objectives and styles. Hence all these suspicions either from Holmes (2015) and Demir et al (2019) lead to my hypothetical skepticism that what if the governments and the elites manipulate the power of AI to a new world order. There are actually some countries have been manipulating the big data and all-time surveillance through AI plat-
forms, such as China. Catemario di Quadri (2014) continued his speculation from Orwell’s 1984 warning, that AI will be the force/ catalyst of coorupted people to gain thier power to control a state. Beside those concerns, Lovelock (2019) wrote the AI will overtakes human power as the dictator to reign the future world, either it will get rid of us or helps us with the apocalypses so we can live on longer on earth. Let’s not focus too far away, the recent pandemic is the proof of how those elites manipulated the freedom of the people. Therefore, from all the research modern democracy is equally soft totalitarianism. 33
Figure 20 Inhabitable Infrastructures
Figure 21 Narrative Architecture: A Designer’s Story
Figure 22 Narrative Architecture
34
Literature: Narrative Architecture (Coates, 2012), Narrative Architecture: A Designer’s Stoty (De Bleeckere & Gerards, 2017), Inhabitable Infrastructures: Science fiction or urban future? (Lim, 2017). Architecture is the mother of all arts, and human express their emotion through art. Government or politician used propoganda to communicate to the public, which it is also considered an art piece. Coates(2012), De Bleeckere and Gerards (2017) claimed that architecture could be used to narrate the story of the city or place. Therefore, my thesis is telling the untold story of fighting for freedom of the Malaysian people. Although these 3 books are exploring about different topic as the research background, however it has illustrated the speculative visions of future built environment which they can be an instrument to narrate the topic. 35
P roblematization
Figure 23 Sectional Model 3 36
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“... [totalitarianism] is not a government in any traditional sense but a movement...” - Hannah Arendth
Problematization The experience of freedom from domination that our country has experienced has come with various challenges. The whole process of getting progressively more and more freedom for the ordinary man in the street may be thematically called “the fight for freedom”. From the angle of what the ordinary person experiences, the thematic chapters of this fight has taken them through, (1) Colonialism, (2)Japanese Occupation, (3) Communism, (4) Neo-colonialism (Independepence to UMNO), (5) Bersih Cleaning, and (6) The Sheraton Move. While the various chapters of this struggle for freedom of the people is well researched and reported, the entire narrative as ONE STORY with a theme has not been expressed as ONE PIECE of architecture. I have therefore contextualized this opportunity in my design thesis by exploring this architectural methodology with mnemonic devices for a commemorative building sited in Kuching, Sarawak. 39
Figure 24 Context Analysis 40
Kuching, Sarawak, Malaysia
Kuching, the capital state of Sarawak has Proposed site is on the Sarawak river inbethe most significant political historical back- tween the new India Mosque and the Darul ground in Sarawak. The thesis site is pro- Hana Bridge. It is full of local culture place. posed at the waterfront of the kuching city, Every city has its own story to be told. Therewhich there are several heritage buildings fore with my research of Malaysia political hisleftover since the Brooke era (British Colo- tory from the early era until the present time, nial Era). These buildings included, Square it would be a great site for investigate my deTower, Old Court House, Sarawak Steamship sign thesis. Building, and Brooke Dockyard. 41
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Figure 25 Site Plan
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E x ploration
Figure 26 Sectional Model 4 44
45
Figure 27 Typical Linear Museum Journey (Koay, 2019).
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Figure 28 Phenomenal Museum Journey (Koay, 2019).
Exploration In architecture, movement is a type of freedom that control how the user uses the building. According to Jewish Museum and the research of Tiek (2019) to design a more interesting museum or gallery, it is all about the phenomenalogy journey a designer provided. Figure 27 Teik (2019) illustrated a typical linear journey of a visitor can go through, where as compared to figure 28 Teik named it as a Phenomanology Museum Journey which it let visitor explores through the facility at different levels and also with different activities provided (see figure 29 overpage). Hence this concept has been utilised in my design thesis as a main component. 47
Figure 29 Activities of Phenomenal Museum (Koay, 2019)
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Figure 30 Exploration of visceral model 1 50
Figure 31 Visceral Models 2
Visceral Model Exploration My design started with exploring the different shapes in 3 dimensional way. My aim is to create an provokative and unquie architecture to simulate people’s thinkings and feelings which architectualizing how Malaysian people struggle from fighting for freedom. The radical shapes at figure 31 are illustrating how advanced construction technique could aid in exploring and creating a fluid shape which it can be floor slab, wall and ceiling/roof without the typical support framing as a restriction. This is also a kind of freedom in the construction context.
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Figure 32 Story of Fighting for Freedom 52
Figure 33 Independence Declaration and Celebration Moment
“We are on the road to dictatorship. I cannot see any other way... This is no democracy...” —Tunku Abdul Rahman, former Prime Minister of Malaysia, October 1987
Analysis of Fighting for Freedom Referring to the history timeline, i selected 6 chapters of the emancipation moment of Malaysia to be the narrative of my design thesis. They are named as, Chapter 1: Colonialism, Chapter 2: Japanese Occupation, Chapter 3: Communism, Chapter 4: Neo-Colonialisim(Independence to UMNO), Chapter 5: Bersih Cleaning, and Chapter 6: Sheraton Move (Frog). These 6 chapters are the highlight (the main exhibition spaces) in my design thesis. 53
Figure 33a Taichung Metropolitan Opera House during construction 1.
Figure 33b Taichung Metropolitan Opera House during construction 2.
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Figure 33c Taichung Metropolitan Opera House Sectional Perspective Dwg.
Sprayed Concrete ConstructionMethod
A steel beam mesh serves as the base for the three-dimensional curved walls, which are sculpted by a smaller metal mesh and then cemented in’shotcrete,’ a spray-able concrete used in tunnel construction. It is applied in two layers, with the majority of the structure sprayed with a pre-mixed batch to ensure the most exact massing feasible. Following that, workers plaster over with a slightly different concrete mix by hand to get the required size and texturing. My design thesis adpoted the same construction technique that Ito’s Taichung Metropolitan Opera House applied- ‘Cast Insitu-Concrete’-. A simple construction method that creat an unique architecture. An extended metal mesh is often used as a permanent back shutter to which the reinforcing mesh is attached. The reinforcement is completely enveloped once the concrete is sprayed over the expanding metal. One of
two ways is often used to spray concrete. The dry procedure involves mixing the dry ingredients of the concrete in a portable batching machine and adding water to the mix at the nozzle. The wet process involves adding water to the batching plant, mixing it with the dry ingredients, and spraying wet concrete through the nozzle. The advantages of the wet technique include more control over the concrete mix since the concrete is frequently prepared off-site by ready-mix companies and transported in lorries. It is customary to apply the concrete in two layers. The wet method is often used to apply the initial thick coat. When the first layer has adequately dried, a second, thin finishing coat is placed using the dry technique.
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D iscussion
Figure 34 Sectional Model 5 56
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Figure 35 3D Model Diagram 58
Discussion The architectural findings of my thesis are: 1. The fight for freedom is a messy affair which can be reflected in an architectural geometry that diverts from the order and stability of the x, y, and z framework. 59
Figure 36 Section Y
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Scale 1:150@A0
Figure 37 Sixth Floor Plan
Scale 1:150@A0
Figure 38 Frist Floor Plan
Scale 1:150@A0
2. Although there is a historic sequence in our fight for freedom, the thematic unity can be represented by the fluidity between floors. 61
Figure 39 Chapter 1: Colonialism
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Figure 40 Chapter 2: Japanese Occupation
3. The differentiation between periods in our historical experience can be illustrated by a combination of symbolic artefacts arranged in architectural spaces that are modulated by variations in phenomenology. 63
Figure 41 Chapter 3: Communism
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Figure 42 Chapter 4: Neo-Colonialism (Independence to UMNO)
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Figure 43 Chapter 5: Bersih Cleaning
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Figure 44 Chapeter 6: Sheraton Move (Frog)
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Figure 45 South Elevation
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4. Giving the separation of historical chapters a structural expression of one language can both accentuate the difference as well as emphasize the thematic unity of the building. 69
Figure 46 North Elevation
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5. Antonio Sant’Elia once said ‘Every generation must design your own architecture.’ It is significantly shown in this context, which there is all types of building that representing thier own era. And my proposal is in between the India mosque and the colonial buildings near by. As result this creates a great tension in a tight urban setting, thus it is an ideal choice to provoke the user’s perception and emotion. 71
Figure 47 The Kuching Culture Museum
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Figure 48 East Elevation
6. Only folding/parametric architecture can facilitate the artistic narration of emotional intensity variation. 73
Figure 48a Construction (Joints Connection) Details 74
Figure 48b Bay Section
7. To realize the folding/parametric architecture, a unique construction technique ‘Sprayed Concrete construction method’ is apdoted.(See previous figure 33a-c). As for the floor slab it is using the standard composite floor construction method, the details of connection is shown at figure 48a & 48b. 75
Figure 49 Sectional Model 6 76
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Figure 50 Isometric North-East Aeriel View
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Conclusion My design thesis is not a political manifesto. Rather it is an exploration into architectural design possibilities. It is meant to be provocative and to encourage the public to consider that history is continually made and remade—narrated and reimagined. People have to make up their own minds. And the pallet has to be there for them to reflect upon.
cant and excellent instrument for storytelling, particularly of historical narrative. “Within the setting of spatial geometrics, narrative can connect with the medium of space, and form the core on which architecture can be given meaning” - Nigel Coates
This thesis finds that narrative architecture is a signifi79
Figure 51 Sectional Perspective
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Figure 52 Rooftop Installation Space 82
REFERENCES & BIBLIOGRAPHY Bleeckere, D. S., & Gerards, S. (2017). Narrative Architecture (1st ed.). Routledge. Coates, N. (2013). Narrative Architecture. Wiley. Demir, K. A., Döven, G., & Sezen, B. (2019). Industry 5.0 and Human-Robot Co-working. Procedia Computer Science, 158, 688–695. https://doi.org/10.1016/j.procs.2019.09.104 Holmes, L. (2015). Totalitarianism. International Encyclopedia of the Social & Behavioral Sciences: Second Edition, 24, 448–452. https://doi.org/10.1016/B978-0-08-097086-8.93135-0 Huxley, A. (1932). Brave New World. Chatto & Windus. Koay, T. (2017). Teik’s Architecture Portfolio 2019. Issuu. https://issuu.com/mbhkoay/docs/ teik_portfolio_2019_a4) Lim, C. (2017). INHABITABLE INFRASTRUCTURES: Science fiction or urban future? Routledge. Lovelock, J. (2019). Novacene: The Coming Age of Hyperintelligence. Penguin Books Limited. Orwell, G. (1945). Animal farm: A Fairy Story. Secker and Warburg. Orwell, G. (1949). Nineteen eighty-four. Secker and Warburg. Tegmark, M. (2017). Being Human in the Age of Artificial Intelligence. https://s3.amazonaws. com/arena-attachments/1446178/cffa5ebc74cee2b1edf58fa9a5bbcb1c.pdf?1511265314
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Figure 53 East Elevation
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APPENDICES Appendix A
Cost Estimate
Appendix B Final Review Drawings 1) Design Statement 2) Research Background + Problematization 3) Case Studies 4) Site + Location Plan 5) Ground Floor Plan + North Elevation 6) Fourth Floor Plan + Sectional Perspective 7) First Floor Plan + West Elevation 8) Fifth Floor Plan + Section Z 9) Second Floor Plan + East Elevation 10) Sixth Floor Plan + Section Y 11) Third Floor Plan + South Elevation 12) Rooftop Plan + Section X 13) Interior (Chapters) Perspectives 14) Exterior Perspectives 15) Bay Section + Details
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Land Site Area
sq.m 5190. 00
Building Plot Ratio
acres 1. 28
hectare 0. 52
RM
3. 71
P r e l i mi nar y Co st E sti mate fo r 9 sto r e y s o f Muse um with car p ar k to we r 1. 0 P il ing Wo r k s 1.1 Piling (Circular pile- 40ft)
Piling spot 74
pile per point 5
pc of piling per spot 4
2. 0 Bui l ding Co st Level First Floor to Rooftop
Total 9 Level
Functio n S p ace Car Park
Ar e a p e r unit sq. m.
Motor Park Ground Floor
Services
2542.00
Ground Floor to Rooftop
Main Exhibition Spaces
7979.00
Total 3. 0 Me chanical & El e tr ical (M& E) Wo r k s 3.1 HT/LT & ELV System 3.2 Plumbing 3.3 Lift & Escalator 3.4 Airconditioning 3.5 Hose Reel & Sprinkle 3.6 Soil & Sewerage System
50. 0% 20.0% 10.0% 2.5% 5.0% 10.0% 2.5% Total
4. 0 Exte r nal Wo r k s 8% 4.1 Soft Landscapes 2% 4.2 Hard Landscapes 0.50% 4.3 Road & Clearing 4% 4.4 Drainage 1.50% **includees clearing Total 5. 0 Al l o wance s fo r p r e de v e l o p me nt Co st 10% 6. 0 Al l o wance s fo r Co nti ge nci e s 5% Gr and T o tal E sti mati o n P r e l i mi nar y De v e l o p me nt Co st (GDC) (Land Cost + Piling Cost + Building Cost + M&E Cost + External Works Cost + Predevelopment Cost + Contigencies)
116
R M45, 057, 800. 00 RM18,023,120.00 RM9,011,560.00 RM2,252,890.00 RM4,505,780.00 RM9,011,560.00 RM2,252,890.00 R M45, 057, 800. 00 R M7, 209, 248. 00 RM1,802,312.00 RM450,578.00 RM3,604,624.00 RM1,351,734.00 R M7, 209, 248. 00 R M9, 011, 560. 00 R M4, 505, 780. 00 R M163, 954, 905. 29
per acre M5,000,000
total 1480.00
Est Land Cost R M6, 412, 379
Cost per pile RM1,109.82
U nit 169
Total GIFA sq. m. 8759.00
Est Cost (RM) R M1, 642, 538. 31
Fl o o r H e i ght (m) 3000
Cost/sq. m (R M)
Est Cost (R M)
RM700.00
RM6,131,300.00
3000
RM1,650.00
RM4,194,300.00
3000
RM10,000.00
RM79,790,000.00
T o tal Bui l di ng Co st
R M90, 115, 600. 00
20 Total 1 Total 1
Total l Gr oss Bil d up
8759. 00 2542.00 2542. 00 7979.00 7979. 00 19280. 00
117
