M.Arch Design Thesis: Nusantara Creative Music Hub

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D E S I G N

T H E S I S

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NUSANTARA C R E A T I V E

M U S I C

Farid Rahman Hadi | G1817971

H U B

Copyright Š 2020 Department of Architecture Kulliyyah of Architecture and Environmental Design International Islamic University Malaysia Published By Kulliyyah of Architecture and Environmental Design (KAED) International Islamic University Malaysia Jalan Gombak, 51300 Kuala Lumpur, Malaysia All rights reserved. No part of this book may be reproduced in any form without written permission of the publisher, except by a reviewer who wishes to quote brief passages in a review written for inclusion in magazines, newspaper or journals.

AKNOWLED GEMENT

M

y deepest gratitude goes to my supervisor, Assoc. Prof. Dr. Noor Hanita for her patience, guidance, support and encouragement in the journey of completing this research. She has allowed me to explore and develop ideas and inspired me to achieve better and be more sensitive to my surroundings. I have been fortunate, and without her, this research would have never come to this point. I would also like to extend my sincere thanks to Asst. Prof. Dr. Zuraini Denan and Ar. Datin Norwina Binti Mohd Nawawi as our course coordinator for Design Thesis, who had made it possible for me to study the subject that I believe and am passionate about.

Lastly, I would like to thank my family members and friends for their endless support.

Table of Contents Abstract

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1 INTRODUCTION

3

Research Background Issues Summary

4 4 7

2 LITERATURE REVIEW

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Nusantara Definition Nusantara Music Music Trend Theoretical Framework

10 11 19 23

3 SITE SELECTION

25

Site Justification Site Inventory General Site Synthesis Site Synthesis

26 26 29 30

4 DESIGN BRIEF

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Design Brief Case Study 1: PJ Trade Center Case Study 2: Bell Studio, Canada Case Study 3: The Hive, Singapore Potential Client Potential Users Regulation Building Programs Schedule of Accommodation

32 33 34 35 36 37 37 37 38

CON-

5 DEVELOPMENT

40

Design Concept Design Strategies

41 42

6 PRESENTATION

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Floor plans 48 Elevation and section 53 Perspective View 55 Structure 59 Construction Detail 60 Services 61

48 53 55 59 60 61

7 SPECIAL STUDIES

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8 CONCLUSION

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9 REFERENCES

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ABSTRACT

E

ven though Malaysia is rich with tradition and diversity of its culture, its diversity is not well celebrated as much compared to the international music scene. Musical culture in Malaysia should be preserved and celebrated as it is a crucial element to our cultural identity and lifestyle. It also brings benefits to the socio-economy and brings people together to strengthen the nation as a whole. It is essential to rejuvenate Nusantara's music culture to preserve and further its progress before the culture perishes in the fast-paced and modern lifestyle in a city. Thus, this thesis's objective is to provide a music center for musicians and the public to discover Nusantara traditional music and contemporary music using flexible spaces to accommodate multiple functions during different events and the integration of open space and green space in urban settings. The research method is based on a literature review and case study. The selected case study investigates a suitable architecture to cater to the design.

Farid Rahman Hadi

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CHAAPTER ONE

INTRODUCTION Chapter one will discuss the relevance of selecting this topic as an area of study. This chapter starts with introducing the research intention by first understanding the subject chosen through background study and how it leads to the issue related. Based on the issue identified, desired outcomes of the research are formed through the research aim. The aim would be the general intention of the research and will be accomplished by research objectives and questions.

Research questions will be answered at the end of the research; therefore, the chapter will also propose a few methodologies that can be conducted as part of data collection. The scope and limitation will determine the focus area and direction of the subject matter.

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RESEARCH BACKROUND In the past 20 years, the cultural and creative economy is one of the booming success in the world economy. United States of America, South Korea, and the United Kingdom are among the successful country that exports their music globally and at the same time, become a destination for artist and tourist alike for their well-managed infrastructure for culture and musical event. The progress of the music industry is also acting as a prove for a civilized and cultured country.

In the midst of various musical influence and globalization, Nusantara music is in the shadow are not being well recognized even by the local. As a diverse, multicultural country in the rich Southeast Asian region, we tend to have similar music influences, and this fact should be celebrated by improving and promoting the industry. Traditional music is hardly accessible and might as well dying expenditure. If the musical heritage is not being preserved, the country and people will surely lose its own rich and diverse cultural identity.

ISSUES The issues are studied and classified under a certain problem. Figure 1.1 illustrates the issues that need to be solved:

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-CULTURALEducation

In term of education, there are difficult to study and access the traditional music education.

Traditional music education is limited and usually small in scale. The advanced study of gamelan is usually provided at the tertiary level; thus, education is limited to a certain age of the group.

Another issue regarding traditional music is the lack of interest of the public to learn and appreciate traditional music.

(Source: https://www.walmused.co.uk/whats-on/music/world-music-day/)

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Accessibility to music education.

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Lack of interest to study.

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Lack of progress and improvement on Nusantara Music

Tourism

Besides, even though traditional music in Malaysia is being preserved in certain places, specifically, the overall collective preservation and promotion of the subject are lacking. The insufficient representation of the identity of Nusantara music, causing the public to not well recognized the art even though it is originated from the country. Tourism lacks the cultural identity of Nusantara Music.

(Source: https://www.worldatlas.com/articles/the-culture-of-malaysia.html)

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Lack of preservation and representation and identity of Nusantara music

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Lack of promotion of Nusantara music

Economy In terms of economy, some music graduates from various faculty of music do not have a stable job and income as the current market for the musician is not varied and sustainable. Based on an interview with Khairul Syafiq (2019), who is a guitarist, he told me that he needs to at least 15 performance per month to get a minimum income of RM2000, which if the client does not request for a discount.

Besides, the current music performance center is lacking visitors. The music performance center is lacking the fund to operate their facilities, not to mention renovating and improving the facilities.

According to News Strait Times (2018), sponsorship towards art based organizational is getting lesser and lesser each year, which are supposed to be part of Corporate Social Responsibility (CSR) program in every large organization or institute. The music industry and Malaysia's cultural potential aren't fully utilized as the appreciation toward art is not instill in public.

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Current music graduate from faculty music are not having a stable job

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Current music performance center are lacking visitors.

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Lack of job opportunity for music graduate

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-URBANRegarding the urban issue, Kuala Lumpur lacks open and green spaces for the community to have leisure activities. It is getting much worse as every built-up area is not considering a green design approach. Besides, the accessibility to current music performance spaces is rather difficult. For example, the difficulty traversing using public transportation and lack of integration with the surrounding context is making the location hard to be accessed by public transport. Moreover, the ticket price for the performance is rather high for all to experience, limiting the income group that can appreciate the art.

(Source: https://themalaysianreserve.com/2017/11/06/ klpacs-income-struggling-keep-upkeep-costs/)

Open and Green Spaces •

Lack of open spaces and green spaces in Kuala Lumpur

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for the community to have leisure activities.

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Lack of green building in Kuala Lumpur.

Accessability •

Accessibility to current music performance spaces is rather difficult or expensive.

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Current music performance spaces are hard to reach using public transportation and lack of public exposure.

-ARCHITECTURALIntegration of Music and Architecture •

(Source: http://www.istanabudaya.gov.my/)

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Musical performance are usually held in closed and private indoor space. Acoustic structure are usually created as an afterthought and additional aelements of the building.

SUMMARY -CULTURALEDUCATION 1. Accessibility to music education 2. Lack of interest to study 3. Lack of progress and improvement on Nusantara Music TOURISM 1. Lack of preservation and representation ECONOMY 1. Lack of job opportunity and livelihood as musician

-URBANOPEN SPACES Lack of open and green spaces and that promotes the social engagement for musician and public alikes.

ACCESSIBILITY Music performance spaces for traditional music are hardly accesable for everyone.

-ARCHITECTURALINTEGRATION OF MUSIC AND ARCHITECTURE Musical performance are usually held in closed and private indoor space. Acoustic structure are usually created as an afterthought and additional elements of the building.

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Research Aim This project aims to provide a music center for musician and public to discover Nusantara traditional music and contemporary music in urban setting.

Research Objective 1. To create learning space for Nusantara music more engaging and interesting 2. To create open spaces that promote engagements between musician and public 3. To create architecture that propagate the acoustic quality of the spaces

Thesis Statement An urban multifunction music centre with integrated green and open spaces that propagates the discovery and appreciation of Nusantara traditional and contemporary music in line with the lifestyle of the future urbanites and tourists.

Significance of Research The nusantara music centre with enable music is being performed, teach and learn then to produce spaces that are caters for such activities in an urban setting for future generations.

Scope of Research 1. Identify suitable building programs based on the aim of the research.

2. Identify suitable acoustic treatment of performing and practice space.

3. Solve the issues of dying Nusantara music culture in Malaysia

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CHAPTER TWO

LITERATURE REVIEW This chapter explained detailed information that is going to be used throughout the research processes. The information includes background studies about Nusantara Music, urban footprint and music industry and architecture in general.

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NUSANTARA DEFINITION

Figure 1.1 : Map of Nusantara (Source: http://ksatria-nusantara.blogspot.com/2012/05/peringatan-untuk-manusia.html)

The dictionary meaning of ‘Nusantara’ is ‘Indonesia’ (in Indonesia) and ‘Malay World’ (in Malaysia), but different meanings have been attached to the concept throughout Southeast Asian history. It appears in fourteenth-century Javanese texts but largely disappeared from written materials for a time, and surfaced again when it’s almost magical qualities was (re)discovered in the late twentieth century. .In Indonesia, it is generally taken to mean the Indonesian archipelago, while in Malaysia, the term has been adopted to mean the Malay archipelago. Thus, the term within these two contexts are taken into consideration:

Indonesia

Malaysia

Today in Indonesian, Nusantara is synonymous with the Indonesian archipelago or the national territory of Indonesia. In this sense, the term Nusantara excludes Malaysia, Singapore, Brunei, East Timor, and the Philippines. In 1967, it transformed into the concept of Wawasan Nusantara or "archipelagic outlook," which regards the archipelagic realm of Indonesia, the islands and seas surrounding them, as a single unity of several aspects, including political, sociocultural, economic, security and defensive unity.

In Malaysia, the term is generally used to refer to the Malay archipelago or the Malay realm (Malay: Alam Melayu), which includes those countries. Alternatively, modern scholars correct these extended notions of the Malay world, defining it as a political and cultural area instead.

In this context, the Malay world is reduced to a region that is homeland to the Malay people, historically ruled by different Malay sultanates, where various Malay dialects and cultural values are predominant. This area includes the Malay Peninsula, the coastal areas of Sumatra and Borneo and the smaller islands in between.

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NUSANTARA MUSIC Nusantara Music has varieties of instruments, and each part of Nusantara has slight differences in terms of their instruments, sound, music structure and playing. The music usually is played within an ensemble to accompany other activities such as theatre and dance and once become a part of rituals before Islam came.

Characteristics of Nusantara Music

Membranophones A membranophone is any musical instrument which produces sound primarily by way of a vibrating stretched membrane.

Instruments: Kompang, Gendang, Rebana, Kertuk, Kompang, Gendang, Rebana, Kertuk

(Source: https://kahwin.sg/wedding-entertainment-dontlet-it-be-an-annoyance/)

Aerophones An aerophone is a musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes, and without the vibration of the instrument itself adding considerably to the sound.

Instruments: Seruling, Sompoton, Serunai

(Source: http://english.astroawani.com/malaysia-photos/ menjelang-hari-pertabalan-yang-di-pertuan-agong-xv-4385/ hasil-penulisan-sultan-kelantan-muhammad-v-44038)

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Chordophones An aerophone is a musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes, and without the vibration of the instrument itself adding considerably to the sound.

Instruments: Seruling, Sompoton, Serunai

(Source: https://musikterbaruaje.blogspot.com/2019/12/ alat-musik-tradisional-malaysia.html)

Idiophones

An idiophone is any musical instrument that creates sound primarily by the instrument as a whole vibrating—without the use of strings or membranes.

Instruments: Gong, Caklempong, Angklung

(Source: https://m.suarakarya.id/detail/96692/Lestarikan-Seni-MusikBambu-Pemkab-Bandung-Barat-Bersiap-Gelar-FMB-II2019

Metallophone

A metallophone is any musical instrument in which the sound-producing body is a piece of metal, consisting of tuned metal bars, tubes, rods, bowls, or plates. Most frequently the metal body is struck to produce sound, usually with a mallet, but may also be activated by friction, keyboard action, or other means.

Instruments: Gamelan

(Source: http://soloevent.id/mengenal-jenis-jenis-gamelandari-nusantara/)

Syncretic Music / Folk Music

(Source: https://www.researchgate.net/figure/The-ghazal-group-SriGurindam-Melayu-with-singer-Ju-Binti-Bujangperforming-at-a_fig1_336057650)

Syncretic music is a blend of different cultures or sounds combined into one work of art. In Nusantara Music, syncretic music is very prominent as these area had been colonised by different colonisers which influence the music too. Example of syncretic music would be Keroncong, Joget, Asli, Zapin, Ghazal, Dikir Barat. These type of genre mix both instruments from the local and different culture such as violin, double bass, flute and accordian and usually held in medium size ensemble.

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Teaching of Nusantara Music

Figure 2.1 : Children learning Gamelan (Source: https://www.walmused.co.uk/whats-on/music/world-music-day/)

According to Shahanum Mohamad Shah (2012), traditional music is being usually taught in an informal way orally, such as by listening, observing and playing. The transfer of skills and knowledge was carried from generation to generation to come. The Malay gamelan is one of the major genres of a traditional music ensemble in Malaysia in which comprises at least eight instruments.

With the introduction of formal music education in secondary schools and universities, the music curricular that includes traditional music genre is mostly aimed at preserving local music traditions only. But what is being preserved is more of the music notation compared to the actual cultural context of the music. For example, the notation is being used in part to facilitate and expedite the learning process, and issues related to the learning of traditional music orally are not emphasized.

The authenticity of the teaching culture of traditional music is left behind, and the essence is being diminished.

Supanggah (2008) mentioned that there are few significant differences between the way traditional music and western music are being taught: 1. The emphasis on togetherness with no individual instrument dominating; 2. The importance of a high level of sensitivity and depth of feeling as opposed to personal virtuosity 3. Technique can be studied at the same time as studying the repertoire 4. The importance of aural sensitivity in playing the gamelan where musical dialogue occurs through listening 5. Musical changes are marked or led by the gendang (a percussion instrument) through aural signals. In modern day compositions, the characteristics are still maintained and as such, teaching methods that develop these characteristics need to be adopted.

Thus, there are huge differences between the culture of learning traditional music and western music. This culture is what makes traditional music unique and specials.

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Layout of Nusantara Music According to M.Si, Suyatno et al. (2013), In a musical performance, the layout of the instruments plays an important role in maintaining communication between players in addition to building the resulting tone harmonization. Like a western music performance, the layout of the Javanese Gamelan instruments in performance has a specific purpose. There is a relationship between the layout of the Javanese Gamelan instruments and the acoustic preferences of the performance space.

The right acoustic conditions are necessary so that the sound can be heard by everyone present (the audience), and it is also very important for the performer (artist) as both an artist and a listener. Each instrument in a Gamelan ensemble (a set of Gamelan music) has a different function and contribution to the performance. This is due to differences, including sound intensity, sound direction and the frequency content of the sound produced by each instrument.

Figure 2.2 : Javanese Gamelan Layout (Source: Pengaruh Tata Letak Instrumen Gamelan Jawa Di Panggung Pendhapa Isi Surakarta Terhadap Parameter Akustik Bagi Pengendang)

There are few reasons for the layout of gamelan is made that way: a. The resulting sound quality (sound intensity / level) b. Instrument functions c. Volume of space d. Number of instruments e. Similarity in types of instruments f. The type of song composition played g. Communication between players (artists)

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Case Study of ISI Surakarta’s Pendhapa

Figure 2.3 : Performance Area in ISI Surakarta’s Pendhapa (Source: Pengaruh Tata Letak Instrumen Gamelan Jawa Di Panggung Pendhapa Isi Surakarta Terhadap Parameter Akustik Bagi Pengendang)

ISI is Institut Seni Indonesia, which is located in Surakarta, Indonesia. The pendhapa located at the campus is used as a performing space, which is a reminiscence of the ancient playing of gamelan before. The semi-open performance space is a performance space designed without walls on each side except for a part of the back but has a roof (ceiling) with a certain shape. Because it is semi-open, the sound reflection only comes from the ceiling and floor and the boards on the back. Figure 2.4 shows the situation of the ISI Surakarta Pendhapa room and the floor plan (the position of Javanese Gamelan in Pendhapa)

Figure 2.4 : General Layout of Pendapha (Source: 2013, Pengaruh Tata Letak Instrumen Gamelan Jawa Di Panggung Pendhapa Isi Surakarta Terhadap Parameter Akustik Bagi Pengendang)

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Figure 2.5 : Sound reflection of gamelan music through the building elements of Pendhapa (Source: Pengaruh Tata Letak Instrumen Gamelan Jawa Di Panggung Pendhapa Isi Surakarta Terhadap Parameter Akustik Bagi Pengendang)

Figure 2.5 above shows an illustration of the sound produced by the Javanese Gamelan instrument on the stage area, which will propagate in all directions and experience a reflection by the ceiling, while in the middle, the sound will be diffused by the shape of the terraced ceiling. Based on Figure 2.5, it can also be seen that the sounds heard by artists in the stage area are direct sound, while the bounced sound will aim towards the audience area. From this case study, there are a few points that can be extracted:

1. Function Space and gamelan layout were arranged in such a way to accommodates its functions.

Gamelan act as a piece of background music for the dance performance that occurs in the middle of the space in the Pendhapa.

2. Context As gamelan is performed in a rectangular space, the arrangement of gamelan is usually arranged in a rectangular grid.

3. Visual From the audience's point of view, we can see the harmony of each gamelan element, which is completely visible without selfishly accentuating each of them.

(Source: Hayati, Salma. 2012. Rumah Joglo: Sisi Fungsional dan Spiritual Arsitektur Jawa)

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Type of Stages for Performance Stage design is an important aspect to be understood to select the best stage that suits the function of the performance. These are among the prominent stage design:

Proscenium Stage A proscenium can be viewed as a frame the play taking place on the stage. The audience can have a good view because the performers need only focus on one direction rather than continually moving around the stage to give a good view from all sides. A proscenium theatre arrangement also simplifies the hiding and obscuring of objects from the audience's view.

(Source: https://cassstudio6.wordpress.com/types/)

Thrust Stage A thrust theatre stage is known by its arrangement, which consists of being surrounded by the audience on three sides. The fourth side serves as the background.

Often the playing area is of square or rectangular shape, usually raised and surrounded by raked seating.

(Source: https://cassstudio6.wordpress.com/types/)

End Stage An End stage is the same as the Thrust stage, but in this case, the audience is located only on the front of the stage and doesn't extend around it. "Backstage" is behind the background wall. There is no real wing space to the sides, although there may be entrances there. An example of a modern end is a music hall, where the background walls surround the playing space on three sides. Like a thrust stage, scenery primarily background.

(Source: https://cassstudio6.wordpress.com/types/)

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Arena Stage

(Source: https://cassstudio6.wordpress.com/types/)

An Arena stage is characterized by a central stage surrounded by the audience on all sides.

The stage area is also often raised to improve sightlines. Hearing and visual contact between spectator and performer are improved, and as audience members can see each other when facing ahead, the sense of inclusion is increased even more. However, film presentation requires minor alteration such as multiple screens to accommodate multiple views from the audience.

Flexible Stage Sometimes called a "Black Box" theatre, these are often big empty boxes painted black inside.

Stage and seating are not fixed. Instead, each can be altered to suit the needs of the play or the whim of the director.

(Source: https://cassstudio6.wordpress.com/types/)

Profile Stage

(Source: https://cassstudio6.wordpress.com/types/)

These types of theatres are usually used in existing or "found space" theatres, for example, converted from the original space usage.

The audience is often placed on risers to either side of the playing space, with little or no audience on either end of the "stage." Actors are staged in profile to the audience. It is often the most workable option for long, narrow spaces.

Based on the type of stages, a combination of arena and thrust stage suit for the performance of Nusantara Music, as it provides a sense of intimacy between performer and audience, at the same time provide flexibility to add additional performances such as dancing or theatre while the music is played on the background.

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THE MUSIC TREND Each culture around the globe has its distinctive music that is native to their culture. Nusantara Music within the timeline of music history exists even before classical music in Europe rises. This timeline is made to get to know the future path of Nusantara Music in the future.

Future of Music

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Nusantara music in the mainstream media once flourished during the Pak Lah era, but now diminishing and now can only be seen during an official ceremony, launching and cultural events.

There are no denying that Nusantara music influenced some prominent musician in the past such as P. Ramlee, M. Nassir, Ramli Sarip and music band such as Monoloque, but the current community in Malaysia did not have the exposure of Nusantara music itself. Based on a survey handled by Ang, M. Yeoh and Miranda (2002) these are the ranking of preferences of the music of Malaysian student: 1. Beat it (Michael Jackson)​ 2. The Power of Love (Celine Dion)​ 3. Night Fever (B. R and M Gibb)​ 4. Star Wars (John William)​ 5. Didn’t We Almost Have it All​ 19.

20.

21.

22.

7. Symphony No. 5 in C Minor (Beethoven)​ 12. Yu Da Ba Jiao (Chinese Folk Song)​ 13. Nutcracker Suite (Tchaikovsky)

Getaran Jiwa (P. Ramlee)​ Joget Pahang (Saloma)​ Irama Gamelan Kyaipranaja (Minni Ang)​ Ulik Mayang (Rohani Aziz)

Thirty songs with various genres were given a listen to these students. These rankings indicate the popularity of a certain genre among Malaysian students. The first until the fifth place is filled with popular western songs, classical and Chinese folk songs can be seen filled the middle-rank-

According to this music trend chart, music will become a digital consumption in the future as streaming music services and access to the internet become a norm. However, a new pedagogy revealed that as technology advances, older technology becomes valuables and collectible. Thus, preserving traditional music becomes more important.

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Figure 2.6 :The figure shows the decrease value of physical revenue and increase of digital revenue, but at the years 2015, both of the revenue become almost equilibrium.

Figure 2.8 : The graph above shows the increase value of total global revenue of live music. This indicate an increase market of live music performance around the worlds.

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According to the previous chart, old technologies and live music performance are not totally replaceable by new technology, as some people still prefer to listen in authentic or analog ways. Furthermore, old music tends to re-emerge or reused in the music industry as a musical trend tends to be repeated as time goes by. Preserving the old culture are also preferable as it can become a reference and source of cultural identity and pride in the community. Brian Eno quoted:

Brian Eno (Sources: Wikipedia)

“Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided.

It’s the sound of failure: so much modern art is the sound of things going out of control, of a medium pushing to its limits and breaking apart. The distorted guitar sound is the sound of something too loud for the medium supposed to carry it.

The blues singer with the cracked voice is the sound of an emotional cry too powerful for the throat that releases it. The excitement of grainy film, of bleached-out black and white, is the excitement of witnessing events too momentous for the medium assigned to record them.”

Brian Eno, Musician

Conclusion In conclusion, musically, Nusantara music varies according to region but shares a basic concept. Its culture encompasses togetherness and learning the music informally through oral and listening. During performances, the layout and arrangement of the instruments are according to the context of the location, which encompasses the function of each instrument and the visual from the viewer’s perspective. Nusantara music should be preserve as it will become a reference for future generations to come.

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THEORETICAL FRAMEWORK The theoretical framework will be focusing on how to preserve and stimulate the growth and passion toward Nusantara music within the community and justify the needs of the design thesis as one of the solutions.

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CHAPTER THREE

SITE SELECTION This chapter will explain the site selection, site inventory, site analysis and site synthesis.

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MAGAZINE

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SITE JUSTIFICATION

SITE INVENTORY

The site is located in the main commercial area in the city center. Mix development is allowed to be built on the site.

There are multiple landmarks located near the site, and the architectural style is modern and contemporary.

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The site is located perpendicular to Jalan Bukit Bintang, which is the primary road that is soon to be converted into a pedestrian road in accordance with Greater Kuala Lumpur Plan. Road access is limited.

The site is surrounded by multiple public transportations such as MRT, Monorail and bus line.

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During the night, activities such as busking and hawker stall are the prominent features around the site, especially from Jalan Alor.

The site is already dense with a medium rise and a few high rise buildings.

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During morning and evening, 30-40% of the site is covered with the surrounding building’s shadow. The building on the site will also help to cast a shadow around the street for better protection from the sun.

GENERAL SITE SYNTHESIS

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SITE SYNTHESIS

The ground floor consists of many access for pedestrians and vehicles. Thus, the ground floor is designed to be as open as possible. This opportunity is used to maximize the exposure towards any kind of musical performance that will be held on the ground level.

Two main amphitheaters will be located at the ground level, maximizing the shape of the site.

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The site zoning will be divided into two areas. The lower area is designated for public activities such as music performance and gallery whilst the upper area is for more serious activities for the students, musicians and the community.

The education area will be divided accordingly in repetition to facilitate different Nusantara music ensemble, individual practice, and classroom according to the structure of gamelan music repeating phrases.

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CHAPTER FOUR

DESIGN BRIEF In this chapter, a few selected case studies were examined, and the potential clients and users are explained. Then the formulation of schedule area is shown to show the overall spaces within the building.

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CASE STUDY 1

PJ Trade Center

(Source: https://archnet.org/sites/6947/media_contents/78542)

PJ Trade Center is located at Damansara Perdana. It is four blocks of office tower headquarters with the intention to adjust to suit the hot and humid climate by taking the traditional Malay House as reference. The building block was oriented facing the lush greeneries at the north and west of the site while a hollow brick facade fills the elevation of the building at the east side, at the same time becoming a prominent element of the building. The ground floor was designed to welcome the people into the cool and well-shaded garden and a grand staircase to welcome people into each block of the buildings. The building block was divided by a large opening, which consists of a garden and double volume open space, allowing natural ventilation to pass through the building.

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CASE STUDY 2

Bell Studio, Calgar y Canada

(Source: https://www.archdaily.com/805377/studio-bell-allied-works-architecture/58a37793e58ecedc8100002a-studio-bell-allied-works-architecture-floorplan-01?next_project=no)

Bell Studio is located in Calgary, Canada. It is a museum, performance hall, live music venue, recording facility, and broadcast studio all at once. The building mass is inspired by curvilinear shapes of musical instruments, and from the surrounding, indigenous landscape of Calgary, Alberta.

Studio Bell is built to educate the community and tourists about the rich history and possibilities of future Canadian music. The building was designed at two sites separated by the road. Two blocks are were raised with each accommodates different functions and connected by a bridge that functions as multipurpose space.

The design of the building is taking consideration of solid and void between spaces, which allow light, sound and view to come and create an experience within the spaces. The building taking consideration of the urban context and made the spaces develop vertically.

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CASE STUDY 3

The Hive by Heather wick Studio

(Source: https://www.archdaily.com/607594/learning-hub-heatherwick-studio)

The Hive is a learning hub located at Nanyang Technological University, Singapore. The Hive is taking consideration of the norm of today's contemporary learning style, which only requires internet connectivity and a device. Instead of the traditional educational building with many corridors and rectangular lecture rooms, the designer approach the solutions with open layout floor plan intertwine with greeneries.

The design tries to accommodate the modern culture of doing works and learning. Learning spaces are arranged and interlace with green spaces to act as a buffer and place to rest. The atrium at the center allows sunlight to enter and provide a sense of connectivity between floors.

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POTENTIAL CLIENT

The Ministry of Tourism, Arts and Culture abbreviated MOTAC, is a ministry of the Government of Malaysia that is responsible for tourism, culture, archives, library, museum, heritage, arts, theatre, handicraft, visual arts, convention, exhibitions, Islamic tourism and craft.

PUSAKA is a cultural organisation that works intimately with the leading custodians of ritual and traditional performing arts in Malaysia and the region. PUSAKA is dedicated to creating a comprehensive documentary archive of traditional performing arts in Malaysia, while strengthening the viability of these traditions at the community level.

ASWARA is the only institution of higher learning in the field of performance that is fully supported by the Government of Malaysia.

It is an institution of higher learning that provides learning space, academic research and publication as well as professional advisory services in the field of cultural arts and heritage aimed at producing skilled artists.

Rhythm in Bronze has been championing to conserve Malaysia’s musical heritage, and has been recognized for its role in promoting and preserving our national heritage for future generations.

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POTENTIAL USERS To provide sense of identity and belonging

To promote the city as cultural tourism -economic gain

To invoke interest on learning Nusantara Music

To be the major source of information and provide platform for historian, teachers and researches.

To provide platform and promote tourism economy.

REGULATION • • • • •

Land owner: UDA Holding Berhad Lot number: 1198 Area: 2.2 Acre/9012m2 Plinth area: 10% Plot Area: 1:7

BUILDING PRO GRAMS

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SCHEDULE OF ACCOMMODATION Program

Education

Performance

Space Gallery Lobby Gallery workshop Storage Gallery office Music Library Storage Academy Office Recording Studio Information kiosk Large Studio Medium studio Small studio Co-working space Total

Unit

Total Area

1 1 1 1 1 1 1 1 1 10 40 120 36 215

500.97 131.57 14.25 421.34 637.38 232.33 562.17 120.73 58.53 307.2 50.59 27.51 21.34 3085.91

0 500.97 131.57 14.25 421.34 637.38 232.33 562.17 120.73 58.53 3072 2023.6 3301.2 768.24 11844.31

1 2 2 1 1 2 2 2 10 1 1 25

1385.4 81.62 28.52 226.25 838 74.52 28.52 195.61 530.93 192.6 28.5 3610.47

1385.4 163.24 57.04 226.25 838 149.04 57.04 391.22 5309.3 192.6 28.5 8797.63

2 5 1 1 1

76.32 602.06 2943.87 176.88

286.11 381.6 602.06 2943.87 176.88

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67.18

1893.67

Control room Security office Security room

1 1 1

82.55 91.49 73.27

82.55 91.49 73.27

TNB Genset Switchgear MSB Transformer Meter room

1 1 1 1 1

44.84 70.54 44.05 41.59 8.37

44.84 70.54 44.05 41.59 8.37

Suction Tank Suction Tank Pump

1 1

89.32 36.59

89.32 36.59

Sprinkler Tank Sprinkler Tank Pump

1 1

59.85 38.06

59.85 38.06

RWH Tank RWH Filter

1 1

97.95 56.2

97.95 56.2

Break Floor

1

220

220

Rooftop Domestic Water Tank

1

95.84

95.84

1 1 1 85

40.65 15.51 11.38 5084.36

40.65 15.51 11.38 7502.24

2 10 12

78.53 78.53

277.53 785.3 1062.83

3

30

90

Outdoor amphitheatre 1 Green room Toilet Rehearsal room Outdoor amphithetre 2 Green room Toilet Rehearsal room Indoor Amphitheatre Workshop Storage Total

Musolla Retail Music Shop Café Briefing Room Toilet

Supporting

Area (m2)

MDF PABX SDF Total Green Space Total

Planter Box Garden

38 Staircases

Total Floor Area

Total Area Total Area Total Area Total Area Total area

Rooftop Domestic Water Tank MDF PABX SDF Total Green Space Total

Planter Box Garden

Staircases ELEC WLAN BAS Dry Riser Bomba lift Lift Total

Core

1

95.84

95.84

1 1 1 85

40.65 15.51 11.38 5084.36

40.65 15.51 11.38 7502.24

2 10 12

78.53 78.53

277.53 785.3 1062.83

3 26 26 26 28 2 4 115

30 8.59 2.65 2.65 2.1 28.3 27.7 101.99

90 223.34 68.9 68.9 58.8 56.6 110.8 677.34

0

0

0

Circulation

Total

Space Gallery Lobby Gallery workshop Storage Gallery office Music Library Storage Academy Office Recording Studio Information kiosk Large Studio Medium studio Small studio Co-working space Total

Unit

Area (m2)

Total Area

1 1 1 1 1 1 1 1 1 10 40 120 36 215

500.97 131.57 14.25 421.34 637.38 232.33 562.17 120.73 58.53 307.2 50.59 27.51 21.34 3085.91

0 500.97 131.57 14.25 421.34 637.38 232.33 562.17 120.73 58.53 3072 2023.6 3301.2 768.24 11844.31

1 2 2 1 1 2 2 2 10 1 1 25

1385.4 81.62 28.52 226.25 838 74.52 28.52 195.61 530.93 192.6 28.5 3610.47

1385.4 163.24 57.04 226.25 838 149.04 57.04 391.22 5309.3 192.6 28.5 8797.63

2 5 1 1 1

76.32 602.06 2943.87 176.88

286.11 381.6 602.06 2943.87 176.88

56

67.18

1893.67

Control room Security office Security room

1 1 1

82.55 91.49 73.27

82.55 91.49 73.27

TNB Genset Switchgear MSB Transformer Meter room

1 1 1 1 1

44.84 70.54 44.05 41.59 8.37

44.84 70.54 44.05 41.59 8.37

Suction Tank Suction Tank Pump

1 1

89.32 36.59

89.32 36.59

Sprinkler Tank Sprinkler Tank Pump

1 1

59.85 38.06

59.85 38.06

Outdoor amphitheatre 1 Green room Toilet Rehearsal room Outdoor amphithetre 2 Green room Toilet Rehearsal room Indoor Amphitheatre Workshop Storage Total

Musolla Retail Music Shop Café Briefing Room Toilet

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Total Floor Area

28821.52

Total Area

41%

Total Area

31%

Total Area

26%

Total Area

4%

Total area

2%

CHAPTER FIVE

DESIGN DEVELOPMENT This chapter will elaborate the development of the design from the site synthesis and few design approach that has been implemented into the building.

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DESIGN CONCEPT The building is zoned according to its function to promote and inject Nusantara music into the public realm. According to the Marketing Funnel Model, the transition into becoming the advocacy of Nusantara music will start from the ground floor, and it goes deeper as it goes up.

Performing and practicing music spaces are intertwined together as these two activities are the main activity for musicians. Besides, space such as classroom and coworking space is also provided to facilitate learning and socializing between the community.

Figure 5.1 : Marketing Funel Model

These spaces are important to provide a sense of togetherness and sharing ideas between musicians to make the music scene grow and improve in terms of exploration and qualities.

The shape of the building is a reminiscence of the Gendang Sunda. Gendang Sunda shape is selected as it is a very important instrument in any kind of Nusantara music ensemble because it provides the foundation for the music, which is the rhythm for the other instruments to follow.

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DESIGN STRATEGIES Collaborative and Green Space

The usual conventional studio layout is very mundane and seems to only provide a single utilitarian function. By making it facing one another, visual connectivity can improve a sense of unity while maintaining acoustic function. Co-working space and green space are interlaced around the spaces to provide social and resting spaces for musicians.

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Acoustic Treatment

Acoustic privacy and qualities are considered in each space. Performing spaces are provided with optimum reflecting and diffracting planes so it can be heard by the audience. Additional soundproofing in the form of material is also considered to absorb any unwanted sound from the environment. The size of spaces is also being controlled to suit any performance held in the space as the size of space affects the qualities of the space, such as the reverberation time.

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Sound Feature

Figure 5.2 : Pelog Scale

The soundscape also plays an important role in architecture. It is part of the process of experiencing the spaces with all the senses available to create a feeling. Soundscape can be divided into three types, sound made by environment, flora and fauna and human. We can control what kind of sound we allow and do not allow. In these cases, angklung is considered and made into a wind chime. These wind chimes will have varieties of length to produce a specific note, and these notes came from the Pelog Scale of the gamelan music. These scales will definitely add up to the soundscape and create the remembrance of the Nusantara music.

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The building's typical floor plan is divided into 3 towers. The main tower consists of the indoor amphitheater, rehearsal studio, classroom and co-working spaces. It is included with an acoustic reflector that can be flip to be absorber to control the overall sound quality to cater to a different type of performance.

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The two side towers are basically co-working space that connecting each floor with green space.

Space contained working space that is supplemented with an acoustic shell that improves acoustic privacy. These spaces are naturally ventilated, surrounded with louvers and angklung wind chime on the ceiling. Bamboo is also planted within these spaces, which later can be transformed into the angklung wind chimes.

46 46

CHAPTER SIX

PRESENTATION This chapter will include the final design presentation such as the floor plans, elevation, sections, perspective and construction details.

47

48

MAGAZINE

49

50

51

52

MAGAZINE

53

54

Arial night view.

55

Night view from the street.

Sunny day from the street

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Cafeteria.

Outdoor amphitheatre.

57

Co-working spaces.

Outdoor amphitheatre.

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The construction uses steel as the main structure as steel is light and easy to work with. Besides, it is convenient to produce building elements in a modular way as the repetitive nature of high rise type building. This structure is aided with a post-tensioned concrete floor slab to minimize floor thickness and add more floor to the ceiling area.

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MAGAZINE

60

MAGAZINE

61

MAGAZINE

62

CHAPTER SEVEN

SPECIAL STUDY The special study is conducted at the early stage of design to understand the acoustic requirements of the spaces.

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64

65

CHAPTER EIGHT

CONCLUSION

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In conclusion, this thesis was made to solve the issues regarding the Nusantara music being the dying culture in our society. This culture should be promoted and celebrated as it is our intangible heritage and can not be retrieved once it is gone. The architectural solution of this thesis is hoped to improve and promote this culture, starting from the individual, society, and to even larger groups of people all around the globe. Government and NGOs also play an important role in the preservation and improvement of these cultures, thus becoming the backbone of the programs behind Nusantara Creative Music Hub. The Creative Music Hub is hoped to be an example and blueprints for a better music center for promoting Nusantara music.

The objective of the thesis is fulfilled based on the three objectives: 1. Create a learning space that more engaging and interesting - the learning spaces are designed in a way that promotes collaborative and engaging interaction between musicians.

2. Create open spaces that promote engagements between musician and public - public spaces are transformed into performing spaces that propagates good acoustic and easy access for the public.

3. Create a design that complies with the acoustic quality - the acoustic consideration in attenuating wanted to sound and removing unwanted sound are applied in the spaces provided.

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3. Type of Musical Instruments Retrieved (April 2020) https://www.britannica.com/art/ 4. Music Timeline Retrieved (April 2020) https://music-timeline.appspot.com/ 5. Music Timeline Retrieved (April 2020) https://www.softschools.com/timelines/music_genres_ timeline/428/ 6. CKOSLEN92 (2012) Challenge 2: The Story of The Music Industry, Recording https:// design4dotme.wordpress.com/2012/04/02/challenge-2-the-story-of-the-music-industryrecording-and-illegal-downloading/ 7. Krause, Bernie (2012). The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places. Little Brown. p. 278. ISBN 978-0-316-08687-5 8. Krause, B (January–February 2008). "The Anatomy of a Soundscape". Journal of the Audio Engineering Society. 56 (1/2) 9. Dudley, L. (1998). The principles of architectural acoustics applied to community 10. Ermann, M. (2015). Architectural acoustics illustrated. The Journal of the Acoustical Society of America, 137(4), 2358–2358. doi: 10.1121/1.4920562 theatres. Master. Texas Tech University.

11. Shah, S. M. (2013). Contextualizing the Transmission of Malaysian Traditional Music. Procedia Social and Behavioral Sciences, 93, 1000–1004. doi:10.1016/j.sbspro.2013.09.318 12. Supanggah, R. (2008, August). Pengalaman mengurus, memperlengkap dan memperluas kaedah pengajaran seni di Sekolah Tinggi Kesenian Indonesian pengkhususan seni muzik dan tari gamelan. Paper presented at the World Gamelan Symposium and Festival 2008, Terengganu, Malaysia.

13. M.Si, Suyatno, & A. Tjokronegoro, Harijono & Merthayasa, I Gde & Supanggah, R & Fisika, Teknik & Bandung, Itb & Fisika, & Surabaya, Fmipa & Karawitan, Jurusan & Surakarta, Isi. (2013). Pengaruh Tata Letak Instrumen Gamelan Jawa Di Panggung Pendhapa Isi Surakarta Terhadap Parameter Akustik Bagi Pengendang. Jurnal Instrumentasi. 37.

14. Hayati, Salma. 2012. Rumah Joglo: Sisi Fungsional dan Spiritual Arsitektur Jawa. Tersedia : http:// jogjareview.net/seni/rumah-joglo-sisi-fungsional-dan-spiritual-arsitektur-jawa/ 15. Type os Stages. Retrieved (August 2020) https://cassstudio6.wordpress.com/types/ 16. Ang, M. & Yeoh, Miranda. (2002). Music preferences of Malaysian students and KBSM curriculum implications. Pertanika Journal of Social Science and Humanities. 10. 43-51.

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