ARCHITECTURE CULTURE & HISTORY 2 [ARC 60203] NATIONAL VISUAL ARTS GALLERY GROUP MEMBERS: LOH WEI SHUEN 0317896 MAXIMILIAN LIM JAKE YANG 0319604 NEOH JIA WEN 0318228 NG ZHENG SI 0322585 NOR SYARIANNA NEO 0318239 TUTOR: MS SHIRIN
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Tables of Contents 1
Introduction
3
1.1
Fast facts of the National Visual Arts Gallery
3
1.2
History of the building
6
2
Site context analysis (LWS)
8
2.1
Building accessibility
8
2.2
Relationship of building to surroundings
10
2.3
Respond to climate
13
3
Architectural layout of the building (NJW)
15
3.1
Plan to section analysis
15
3.2
Circulation to use-space
17
3.3
Organization analysis
20
4
Architectural style analysis (MLJY)
24
5
Building construction, structure & material analysis (NSN)
34
5.1
Analysis of the traditional Malay house
34
5.2
Analysis of the National Visual Arts Gallery
37
5.3
Material analysis
44
6
Architectural elements / components analysis (NZS)
50
6.1
Roof
50
6.2
Windows
52
6.3
Elevated space
54
6.4
Stairs and escalators
54
6.5
Doors
56 3
6.6
Flooring
57
6.7
Lighting
58
6.8
Ramp
59
6.9
Faรงade
60
7
Conclusion
62
8
References
63
* Loh Wei Shuen (LWS) Maximilian Lim Jake Yang (MLJY) Neoh Jia Wen (NJW) Ng Zheng Si (NZS) Nor Syarianna Neo (NSN)
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1
Introduction Being one of the most developed capital cities in Southeast-Asia, Kuala Lumpur has
a rich cultural history and is slowly becoming one of the most important contemporary art scene in the region. In reflection of the uprising artistic culture in the country, several art galleries and museums can be found in the city, and amongst them is one distinctive and prominent gallery which has long been established since 1958,right after the country’s independence and it is no other than Malaysia’s National Visual Art Gallery. The brainchild of Prime Minister, Tunku Abdul Rahman, The National Visual Art Gallery has been a prominent platform of Malaysia’s contemporary art scene, showcasing a permanent collection of 4,000 pieces by Malaysian artists including Wong Hoi Cheong, Ahad Osman, and Chuah Than Teng, a collection far cry from the early days of the national art collection, which began with only four pieces upon its opening in 1958. Apart from the art collection, the building itself is a distinctive architecture landmark. Featuring a blend of slate, tinted glass and clean modern lines with traditional Malay roof design, the building merges local vernacular structure with modernistic expressionism, making it one of the most prominent examples of vernacular revivalism architecture alongside with the National Library and the National Theatre in the 1990’s. 1.1
Fast facts of the National Visual Arts Gallery
Fig. 1.1.a: Logo This logo was invented by Y. Bhg. Datuk Syed Ahmad Jamal. The eye represents the views of the visual arts artists. The square represents visual arts. The long oval suggests the essence of arts. Vision -To become the ultimate centre for the development and collection of the national visual arts and the trustee for the national art heritage. 5
Mission -To collect, restore, preserve, exhibit, promote and nurture awareness, understanding and appreciation of art for all community. Objective -To have a collection of artworks as the National Visual Art Permanent Collection that portrays the creativity and cultural arts aspirations in local and international aspects. -To restore, preserve, document and research the National Visual Art Permanent Collection and the historical of national arts. -To promote and improve the quality of national visual arts by organizing exhibitions, seminars, workshops, competitions and arts activities in local and international aspects. -To create awareness, understanding, appreciation and respect towards arts. Facilities -
The Galleries The National Visual Arts Gallery is located has seven galleries and different gallery showcases different artwork. Gallery 1A and the National Portrait Gallery exhibit works from the National Collection and major collections, while Gallery REKA exhibits a collection of works of industrial design, architecture, ceramics, and other art-related design. Galleries 2A, 2B, 3A and 3B hold periodic exhibitions while Gallery 2C is dedicated to children’s educational art programmes. Gallery 1A -
Located on the first floor and is the largest exhibition floor. With the size of 1650 square feet, this gallery is suitable to hold large exhibition for art painting, printing, sculpture, photography and installation. The area is equipped with controllable lighting system to create creative ambience. This gallery also houses exhibits and sculpture of famous artists.
Gallery REKA 6
Fig. 1.1.b & Fig. 1.1.c: Artworks exhibition -
Located on the 1st floor, this gallery
provides facilities for display of photography, textiles, fashion, prototype, model, posters, architectural and instrument. The gallery has 36.52 meter wall, a 3.6 to 4.2 meter ceiling height and two mobile side panel measuring 2.44 meter x 1.22 meter. This gallery also features Ultra Violet Filter. Gallery 2A, 2B, 3A -
Located at the 2nd and 3rd floor, these galleries hold periodic exhibitions and features different artworks monthly.
Gallery 2C
-
Located on
the third floor, this is a
gallery
specially dedicated to
children, exhibiting artworks by children locally and internationally.
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Gallery 3B -
Measuring 208 square feet, Gallery 3B is suitable for small scale display and experimental area for successful artists, locally and internationally.
1.2 History of the National Visual Arts Gallery Under the initiative of the first Prime Minister of Malaysia, YTM Tunku Abdul Rahman Putra Al-Haj, the National Art Gallery was established in 1958. At that time,the National Art Gallery was constructed upon refurbishing the Majestic Hotel which was located at Jalan Ampang, Kuala Lumpur, adjacent to Malaysia’s first parliament building. As the gallery expanded and more artworks were showcased, proposal for a new building was proposed and the construction of the new building was done through a privatisation project between the Government of Malaysia and Yeoh Tiong Lay (YTL) Company and is located at Jalan Tun Razak alongside with two other cultural monuments, the National Theatre and the National Library. Now, it is named as the National Visual Arts Gallery (NVAG). The new building of the National Visual Arts Gallery was designed by Dato’ Mir Shariman Mir Saharuddin and completed in 1998. Incorporating contemporary lines and the elements of traditional Malay architecture, the design of the National Visual Arts Gallery imitates the” Rumah Serambi Gajah Menyusu”, which is characterized by a high and low roof while the interior has a modern characteristic which has warm lighting and a Guggenheim-esque spiral ramp. Its unique design has distinguished the complex as one of the most modern art venues in this part of the world.
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The National Visual Arts Gallery (NVAG) is run by the Ministry of Culture, Arts and Tourism and is counted among the earliest art museums in Southeast Asia. It has built one of the world’s most important public collections of Southeast Asian modern and contemporary art and holds more than 20 exhibitions annually featuring works by Malaysian artists as well as international. It has seven galleries, a creative workshop and store, resource center, an auditorium that can accommodate 144 seats and offices of the administration. The building was built at a cost of RM 40 million on a land area of 15 thousand square feet.
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2
Site context analysis (LWS)
Fig. 2.a: The site plan Jalan Tun Razak is the main ring road and orbital highway in Kuala Lumpur and the local urban context comprises a mixture of government buildings, cultural monuments, major hospitals and schools. The National Visual Art Gallery is located right next to the National Theatre along Jalan Tun Razak, in conjunction with Jalan Termeloh. Although it is situated beside a heavily traffic road, the gallery can be easily observed due to its prominence faรงade. Boundaries of the National Visual Art Gallery are defined by the trees surrounding it which also serve as a noise buffering system in counter to the busy roads.
2.1 Building accessibility Due to the later implementation of the LRT system, the accessibility of the gallery is not as convenient by using public transport, it takes around 15 minutes walking distance from the nearest LRT station. The gallery is easiest assessed by cars due to the orbital highway alongside the building.
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Fig. 2.1.a: Pedestrian route from Titiwangsa LRT station
Fig. 2.1.b: Vehicle route from Jalan Tun Razak There are two entrances to the building: One is the northern wing from the carpark and the other at the southern wing. The main entrance is located at the southern wing which faces directly towards the road, allowing the visitors direct and visible access to a flight of stairs and elevator leading to the main lobby of the gallery. For visitors with disability, a ramp is also available right beside the main entrance.
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Fig. 2.1.c: Staircases and elevator
Fig. 2.1.d: Ramp The elevated entrance is extracted from the traditional Malay house, where there are stairs leading to a front porch or verandah, which is known as the ‘Serambi’ before entering the main hall. In the traditional Malay house, the front porch is used for social interactions and activities. Same theory goes to the National Visual Arts Gallery, the spacious front porch allows visitors to be gathered before entering the gallery. In addition, the elevated entrance is also an efficient system to safeguard against flashflood so that the art pieces able to be protected.
2.2 Relationship of the building to surroundings
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Fig. 2.2.a: National Visual Arts Gallery
Fig. 2.2.b: National Theatre
Architect firm
Area
National Visual Arts
National Theatre
National Library
Gallery Dato’ Mir Shariman
(Istana Budaya) Muhammad Kamar
Kumpulan Arkitek
Mir Saharuddin
Ya’akub
5.67 hectare
5.44 hectare
13,000 sq metre
54,400 sq metre
2.22 hectare
The National Visual Arts Gallery is situated between the National Theatre and National Library. The National Library was first built in 1989 and later on the National Visual Arts Gallery and National Theatre were built consecutively in 1998 and 1999 respectively. In respect of both preceding cultural monuments, the design of the National Visual Art Gallery continued the traditional Malay Vernacular form of both buildings but at the 13
same time introduced a more modernistic approach in terms of facade and materiality. The architects of the National Theatre and the National Library incorporated metaphors of sirih junjung and songket tengkolok into their designs while the National Visual Arts Gallery was designed in a more straightforward way by extracting the structural form of the overlapping bumbung panjang of a traditional rumah gajah menyusu, thus making the building more modernistic than its’ precedents but still retaining their traditional elements. Sirih junjung: Betel leaves in trays that used to mark ceremonial welcomes Songket tengkolok: Traditional Malay folded brocade headgear Bumbung panjang: Long ridge roof Rumah gajah menyusu: A traditional Malay house whose design resembles a suckling elephant
Fig. 2.2.c: Rumah gajah menyusu In terms of scale, the National Visual Arts Gallery maintained a respectable scale and did not overpower nor competed with the adjacent National Theatre which is much prominent in size and scale. While in terms of facade, the striking turquoise-blue tiled roof ‘A’ framed roof of the National Theatre first creates a visual attention and was later continued by the more subtle light blue ‘A’ frame tinted glass roof of the National Visual Arts Gallery. Visually, the transition from the prominent National Theatre towards the National Visual Art Gallery is nicely adjusted, as both buildings complemented each other well.
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Both buildings neither showcased their own identities without overlapping nor overpowered each other unique architectural features. The continuity of the vernacular architectural style from the National Visual Arts Gallery, the National Theatre and all the way down to the National Library creates a sense of harmony to the local context. Both iconic structures were not only adapted to the local context but also approaches the local community. Every Saturday, a Leisure Square Programme is held on a monthly basis at the open space located right between the National Theatre and the National Visual Arts Gallery. This programme is a collaborative effort between the National Theatre and the National Visual Arts Gallery and features stage presentation and painting demonstration of some local artists.
2.3 Respond to climate The temperature of a gallery has to be regulated at all times, to preserve the quality of the art piece as well as to provide the visitors a good visual experience. Kuala Lumpur is hot and humid throughout the whole year. As a response, the National Visual Arts Gallery has a great amount of tinted glass which allows the maximum use of natural lights.
Fig. 2.3.a: Shaded areas show the penetration of natural light
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Fig. 2.3.b: Wind direction The building is orientated to align with the east-northeast winds, allowing the cooling winds to pass through the open terrace.
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Architectural layout of the building (NJW)
3.1 Plan to section analysis
Fig. 3.1.a: Elevation
Fig. 3.1.b: Plan
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TERES
CAFÉ GALERI GALERI SCULPTURE
GALERI PAMERAN
MINI TEATER LOBI UTAMA
GROUND FLOOR
GALERI 1
GALERI 2 RUANG
SECOND FLOOR
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3.2 Circulation to use-space How visitors circulate through museums determines what they will see, where they will focus their attention, and, ultimately, what they will learn and experience.
1
Public/ Private
Fig 3.2.a: Public and private The transition between public and private spaces is gradual through the use of partition wall, defining a sense of separation. 2
Ramp & Stairs
Fig. 3.2.b: Primary circulation 19
A swirly Guggenheim Museum–style staircase is used to provide access to the main galleries and to descend at a leisurely pace along the gentle slope of the continuous ramp. To maximize the display of art works, the side staircases are also used to showcase some drawings and sculptures. 3
Radial circulation
Fig. 3.2.c: Radial circulation A radial configuration path is used in the gallery which terminate at a central point for visitors to discourage path crossing during crowded conditions. 3
Display influence circulation
Fig. 3.2.d: Display influence circulation There is a tendency for visitors to move along only one side of a path through an exhibition. When exhibits or objects are displayed on both sides of a path, there is 20
competition for visitor attention between the two sides and one or both sides will have a lower rate of attention and/or approach. To save steps, many visitors continue along one side. 5
Light
Fig. 3.2.e: Light The contrast between light and darkness defines main points of interest in the building. Daylight comes from the tinted glass wall on top. Reflected light brightens the central atrium to allow visitor approach to the main circulation, the ramp. At the same time, it illuminates the artwork by the corridor. 6
Light and function
Fig. 3.2.f: Light and function With tropical climate in Malaysia, causes problems of heat gain and glare. The design works to combat these issues while reducing dependence on mechanical cooling system. The exhibition spaces are located on the higher levels to allow in natural light, whereas the auditorium, which does not need natural light, is located on the ground floor. 21
3.3 Organization analysis 1
Space within a space
Fig. 3.3.a: Space within a space The space contains a smaller space within. The contained space slightly differs in form from the enveloping one; the formal contrast indicates a functional difference. The contained space reiterates the form of the enveloping space. Then, the contained space becomes a focus of attention. 2
Symmetry and balance
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Fig. 3.3.b: Symmetry and balance It follows the Traditional Malay House which use the concept of anthropomorphism, the underlying belief system of the Malays resulting in symmetry design. 3
Rhythm
Fig. 3.3.c: Repetition of windows show rhythm Windows and doors repeatedly puncture the surface of a building to allow light and views to enter the interior. Spaces accommodate repetitive functional requirements in the art gallery. 4
Hierarchy of spaces
Fig. 3.3.d: Hierarchy of spaces 23
The main art gallery lies on ground floor which is right beside the entrance. It is mostly visited by visitors, followed by the second floor’s gallery and the third floor’s gallery. The third floor’s gallery is least used for exhibition but mainly served for studio purpose. 5
Geometry
Fig. 3.3.e: Geometry The formative idea of the art gallery is triangular which centers from the concept of Traditional Malay House. It allows individual to stand and capture the tie between modern architecture and Traditional Malay House. 6
Parti
Fig. 3.3.f: Parti diagram The overall plan of the art gallery offers a combination of forms that are aggregated around a central circular structure. As a visitor walks up or down its ramp, the accesses to the ancillary spaces are gradually revealed, allowing for various different plan forms to emerge.
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4
Architectural style analysis (MLJY) In the 1990’s, a trio of buildings, the National Visual Art Gallery, the National
Theatre and the National Library, on Jalan Tun Razak, have reinterpreted traditional Malay forms, reviving traditional vernacular architecture. The Visual National Arts Gallery is a great example of vernacular revivalism and modernistic expressionism in which it is influenced by traditional Malay architecture yet structuralized in a modernistic approach. Vernacular revivalism is a response to the government’s call to project a national architectural identity and it was reflected through the incorporation of traditional Malay architecture. In which the National Visual Art Gallery has implemented through the sedate use of the long ridge roof inspired by the traditional ‘Rumah Gajah Menyusu’ Malay house. While the modernistic expression of the gallery can be seen through the structuralizing of the abstract extraction of the traditional metaphor and form. The gallery is an abstraction of the Malay house as evidenced in its raised entrance and porch like the ‘serambi’ and the ridged roof which covers the gallery. The modernism approach is also evident in its’ image void of frivolous ornamentation and clean modern facade. Malay houses are traditional dwellings that were originated before foreign influences were constructed by ethnic Malays of the Malay Peninsula. During its early years, the Malays constructed their houses in a simple manner. They woved banana leaves or palm fronds to form the roof in a shape like an inverted ‘V’. A ridge was fitted along the apex of the roof while either end were fixed two erect wall-like structures resembling the letter ‘A’. These gable ends were known as ‘tebar layar’.
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Fig. 4.a: Structure of the early Malay house
After this, houses with longer roofs appeared. These houses were made possible from the implementation of better building tools. For example:26
1.
Joints at the pillars were no longer tied, but rather connected by a dowel and a wedge to ensure pillars and roof were stable.
2.
Pillars were shaped with an axe.
3.
Walls of the houses were made of overlapping planks to provide regularity and stronger walls.
4.
Holes were drilled into the floor of the house for support beams to pass through.
5.
Dowels, wedges and wooden nail-like implements were used to strengthen the structure
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Fig. 4.b: Structure of the long roofed house The surroundings of the house is the most important influence in traditional Malay architecture. Malay builders developed their style by observing the natural surroundings and to ensure a suitable site. The tropical climate is another factor that influenced the form of the Malay house.
Fig. 4.c: Diagram of ventilation in a Malay house
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Raised floors served to reduce effects of dampness from the land beneath and facilitated ventilation. It also keeps the house above flood waters during rainy seasons. Area under the roof was left open to allow ventilation. Walls of the house that were made of woven bamboo contain small holes. The roofs of the houses were sloped at around a 45 degrees angle. The roof consists of a wooden framework with a long crossbar (for main pillar), to a wooden ridge above on top. The roof cover was made in a variety of materials. Previously, leaves from the Baeckia Frutenscens (jungle palm), a sago palm and a nipah palm were used. Today, Malay houses use wooden shingles for the rooftop. Some have tiled roof (Senggora tiles), zinc roof or asbestos roof.
Fig. 4.d: Roof structure of the long-roofed Malay house
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Fig. 4.e: Interior spaces of a Malay house The Malay house can be divided into the front and back portions which are centered around the ‘rumah ibu’ (the core house) and the ‘dapur’ (kitchen).
Fig. 4.f: Floor plan of a Malay house
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The Long Roofed House One of the two types of the traditional Malay house, the long roofed house is built depending on its surroundings and the owner’s way of life. In the house, one long horizontal ridge was used to support the double in the rood. It was supported by a pillar (the kayu tunjuk langit) in the roof. This is so that the sides of the roof formed a triangle like an inverted ‘V’or the letter ‘A’. The gable was called the tebar layar (flying sails). The roof design of The National Visual Art Gallery was influenced by one type of long-roofed house found mostly in Pulau Pinang. This type is known as the ‘Rumah Gajah Menyusu' which is a Malay house that resembles a suckling elephant. The ‘Rumah Gajah Menyusu' separates the main building from the kitchen. The kitchen is located at the back of the house. There are two types of ‘Rumah Gajah Menyusu', one with a verandah and one without a verandah. The shape of the roof is determined by the arrangement of the rooms.
Fig. 4.g: Photo of the long-roofed Malay house with a verandah
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Fig. 4.h: Plan and elevation of the long-roofed Malay house with a verandah
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Fig. 4.i: Elevation of the National Visual Arts Gallery Just like the long-roofed Malay house, the roof of the National Visual Art Gallery is shaped like the letter ‘A’. It contains both traditional and modern elements. For example, the roof is tiled with mirrors and provides a wide angled view from the interior of the structure. The art gallery is divided into the main building, large galleries and smaller galleries. The main part of the building consists of the spiralling ramps and a large space for activities. The left and right section of the building contains the galleries. Not only that, the ramps of the art gallery are also inspired by one of the works of architect Frank Lloyd Wright, which is the Guggenheim Museum located in New York City. Wright’s concept for his structure is three-dimensional and connects the visitors, the pictures and the environments into a unit to form a unity. His design for the ramp is based on the principle of the unbroken wave. 33
In the museum, visitors are taken up to the top floor upon entering the museum and they walk down the slope to the ground floor, viewing the galleries and exhibits as they walk downwards. Similarly, the ramps of The National Visual Arts Gallery greet its’ visitors as they enter the gallery past the reception area. Visitors are able walk to top floors using the ramp. Unlike the Guggenheim Museum, visitors are to visit its exhibits in gallery rooms.
Fig. 4.j: Photos of iconic ramp in the Guggenheim Museum
Fig. 4.k: Photos of the ramp in National Visual Arts Gallery
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Building construction, structure & materials analysis (NSN) The National Visual Art Gallery employed traditional structure but incorporated new
construction technologies involving aluminium, steel and glass cladding as well as steel tension bars in the roofing system. In the following sections, we will be analysing how the traditional Malay house has influenced the National Visual Arts Galley in terms of construction, structure and materiality.
5.1
Analysis of the traditional Malay house
Construction Strategies in Traditional Malay House: The construction of the traditional Malay house has been influenced by the iterative adoptions to local conditions such as climate and materials. Due to the hot and humid climate in Malaysia, the local builders and carpenters has adopted the building structure to be highly ventilated to keep the house cool, this contributes to construction elements such as light timber-framed structure, forming elevated floors, sloping long roofs with large overhangs, louvered windows, timber walls and screening. Climatic Design of Traditional Malay House:
1 Elevated Floors The traditional house are usually raised and elevated to prevent floods and dampness as well as other unwanted stray animals. In addition, stilted house catches winds of higher velocity.
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2
Sloping Long Roofs with Large Overhangs
Large overhangs and the low exposed vertical areas (windows and walls) in the traditional Malay house provide good protection against rain and provide good shading. Glare is also controlled by large roof overhangs and low windows which help reduce direct sunlight.
3
“A” Framed Gable End The traditional Malay house roof is constructed in an “A” frame to maximise ventilation , facilitates hot air out of the house, allows for fast water runoff and give it an underlighted effect, this gives the psychological effect of coolness.
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Structural Components in Traditional Malay House: The structural skeleton of the traditional Malay House is highly systematized and Fig 5.1.a: Construction Strategies of Traditional Malay House standardized, like a modern prefabrication system, but with a much higher degree of flexibility and variation.
Kasau Jantan
Tunjuk Langit Tiang Serambi
Alang Pendek Tiang Seri
Rasuk Pendek
Fig. 5.1.b: Primary Structural Skeleton of Traditional Malay House
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All traditional Malay house follows the primary structural skeleton as shown above. A basic Malay house construction starts by placing the first column known as a ‘Tiang Seri’ which is located in the middle of the house. Meanwhile, other structural components such as posts and girts,’Tiang Serambi’ and ‘Rasuk Pendek’ are laid in their respective sides. Following that,the roof ridge supported by king post is placed,which is the ‘Alang Pendek’ and Tunjuk Langit’ and subsequently the roof structures such as principal rafters,purlins and common rafters ,the ‘Kasau Jantan’ are put up. Lastly, the non-structural components are placed to make the house an enclosed structure. As a lightweight timber structure, a traditional Malay house uses ‘Post and Lintel’ structure . The post rest on concrete structure or stone footings without any footings required. The structural framework of the house consists of posts braced by floor joists and roof girders. Using sophisticated prefabricated construction methods, the house can be dismantled and reassembled in different locations.
Fig. 5.1.c: Basic construction of traditional Malay house
5.2
Analysis of the National Visual Arts Gallery
1
Construction of the Long Ridge Roof As discussed in the earlier sections,the most prominent feature of the art gallery is
the long ridge roof(Bumbung Panjang) influenced by the ‘Rumah Gajah Menyusu’ in Pulau 38
Pinang. In this building, the construction of the traditional long ridge roof is elevated by incorporating modern materials and technology.
Fig. 5.2.a (upper): Elevation of Rumah Gajah Menyusu Fig. 5.2.b (bottom): Elevation of National Visual Arts Gallery
As seen in the elevations, the National Visual Art Gallery has a prominent long ridge roof inspired by the traditional Malay house. The roof of the main house is higher than the roof of the verandah. Rumah Gajah Menyusu’ is recognized by the shape of its roof whereby the roof of the main house is higher than the roof of the verandah. This particular structure is akin to an elephant suckling her young. The architecture is made up of a long horizontal roof with gable ends at the ends.
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Fig. 5.2.c (left) & Fig. 5.2.d (right): Similarities can be seen in the long ridge roof,’Bumbung Panjang’ in both National Visual Art Gallery (Left) and the traditional Rumah Gajah Menyusu (Right) 2
Vaulted Parallel Chord Truss Whereas the traditional Malay house uses timber roofing, the National Visual Art
Gallery uses ‘Vaulted Parallel Chord Steel Truss’ for the roofing structure.
As seen in the images above, the roof structure uses flat howe parallel chord truss on each side of the roof which act as the rafter as the ‘Kasau Jantan’. The trusses have parallel top and bottom chord, and are joint together in the middle ridge, forming a
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distinctive “A” framed shape,leaving the middle of the roof empty for maximised air ventilation as inspired from the traditional Malay house.
Fig.5.2.e: Detailed Drawing of a Parallel Chord Truss Advantages of the “A” Framed Long Ridged Roof of the National Visual Art Gallery -
Facilitates Air Ventilation
Fig. 5.2.f: Facilitates the air flow As discussed in the construction strategies in the traditional Malay house,the spacious space in the A shaped roof allows air to flow through easily. -
Maximise Light Penetration
Fig. 5.2.g: Steel framed tinted glass windows 41
Different to the traditional gable end of a traditional house, the architect incorporated steel framed glass windows to allow natural light penetration and gives the otherwise closed-off museum a sense of transparency. 2
Steel Tensile Structural Rod Throughout the building, as one first stepped into the entrance, the transparent
structural framing can be seen almost immediately, apart from the structural trusses, another prominent roofing structure would be the steel tensile structural rod that is use in conjunction with the flat howe trusses.
Fig. 5.2.h: Steel tensile structural rod Structural tensile rods used in the Visual Art Gallery is made out of stainless steel with fork connectors at each end couplers to achieve the specific rod length. It is designed to transmit both compression and tension forces through the fork connectors, supporting the flat roof. The structural rods are structurally efficient and are an economical solution. Aesthetically, it continues the structural framing of the building, and gives the building a modernistic structural effect. 3
Column and Beam Construction And updated version of the ‘Post and Lintel’ structure of the traditional Malay
house, the National Visual art Gallery is constructed based on ‘Column and Beam’ structure.
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Fig. 5.2.i: Plan of the National Visual Arts Gallery As shown in the plan above,16 pre-cast columns are aligned per row and braced by pre-cast pre-stressed floor beams to erect a concrete skeleton structure for a building. The ends of the horizontal beams are imbedded in the columns at floor levels to stabilize and complete the skeleton. The horizontal beams are pre-stressed and are cast with passages that permit insertion of continuous reinforcing tendons into a network throughout each floor level.
Fig. 5.2.j: Beam and column joint
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Within the interior of the National Visual Art Gallery, two types of column can be found, they are: 1. Squared Concrete Column 2. Round Aluminium Column
Fig. 5.2.k (left): Squared concrete column Fig. 5.2.l (right): Round aluminum column Square Concrete Column These white-washed square column can be found extensively in the interior of the gallery. They are all aligned in a row and some are connected to parts of the wall as part of the background for the artpiece. It is kept white to maintain neutrality so that focus can be given to the artwork. Round Aluminium Cladded Column These aluminium cladded can only be found in the main lobby and main hall, as shown in grey symbol in the plan above. Round columns is installed in the main hall to serve as symbol of prestige and sophistication. And the aluminium cladding adds to the modernistic touch of the building.
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Fig. 5.2.m: Tensile steel rod At the exterior, the columns are cladded with metal panels to withstand the harsh outdoor weather condition. And at the porch, the columns have extra tensile steel joints and rods to help support the external roof. 4
Spiral Ramp Construction The National Visual Art Gallery has one of the most prominent internal spiral ramp
in the country. This dominant ramp is located in the middle of the main hall of the gallery and spiral up along all three floors.
5.3
Material Analysis The traditional Malay house are usually made out of timber or bamboo, as they are
easily acquired locally and they are suitable materials for light weight construction. In addition, timber and bamboo have relatively low heat capacity and thus promote coolness in the house. Most of the timber used in the traditional houses are of primary hardwood, for example cengal is the standard, durable timber of Malaya. As the architectural scene progresses, much of the local building opted for aluminium ,steel, concrete as building materials as influenced by the International Style and
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also due to the fact that these modern materials are easily fabricated, economical and highly durable. 1
Metal Roofing Tiles The roofing of the National Visual Art Gallery is done by using light blue coloured
aluminium tiles. The metal tiles are lightweight thus can be easily installed, and is weather resistant, suitable for the harsh hot and humid weather of Malaysia. The light blue coloured tiles are in a few different shades, creating an interesting visual motif and at the same time blends in harmoniously with the tinted reflective glass.
Fig. 5.3.a (left) & Fig. 5.3.b (right): Front and side elevations of the National Visual Arts Gallery 2
Reflective Coating Window
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As influenced by the International Style, the gallery maintains its’ modern, clean lines by incorporating glass windows throughout the facade and roofing. Due to the hot, bright in Malaysia, the buildings’ windows are all coated and glazed to reduce direct sunlight which may cause uncomfortable glare and increase in temperature.
Fig. 5.3.c: Glazed Window on the Roof of the National Visual Art Gallery
Fig. 5.3.d: Diagram on how Reflective Coating Window works
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Fig. 5.3.e: The gable end of the National Visual Art Gallery is filled with glazed windows that allow appropriate amount of light penetration 3
Aluminium Wall Cladding Aluminium is a ubiquitous material material in the 20th century and was extensively
used throughout the modernisation of the architectural style due to its’ lightweight,malleability and corrosion resistance. Thus, it is no surprise that this modernistic gallery is cladded with white and blue aluminium panels throughout the facade. In addition to the modernist appeal that aluminium presents, it is also a highly durable material and weather resistant, making it a good material to be used for the exterior facade.
Fig. 5.3.f (left): Blue and White Aluminium Wall Cladding at the Exterior Façade Fig. 5.3.g (right): White Aluminium Wall Cladding at the Porch Area 4
Aluminium Door & Window Framing
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Again, the use of aluminium is also extensive in the interior in the form of window framing,door framing and ramp railings. All of the framings are done in simple,clean lines to accentuate the sleek,modern look of the gallery.
Fig. 5.3.h: The aluminium used in the window (left), door (middle) and railing balustrade (right) 5
White-Plastered Concrete and White Tiles The interior of the gallery is mostly white-washed by white-plastered concrete and
white tiles, especially in the galleries where all walls and floors are muted in white, to give focus to the artwork and creating the best environment for artificial lighting of the artworks. Apart from the gallery, the ramp and the corridors are also coated in white plaster to give a sense of elegance, purity and modernity to the gallery.
Fig. 5.3.i: All galleries are furnished in white concrete walls and tiles to maintain its’ neutrality
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Fig. 5.3.j: Most of the walls and ramp are also in white to give a sense of elegance, purity and modernity 6
Polished Wooden Floor The main hall of the gallery is furnished with polished wooden floor, the wooden
flooring gives off a sense of warmth, easing the highly metalic, mordernised, cold, white walls, ramps and galleries surrounding it. Thus, giving the visitors a welcoming feeling.
Fig. 5.3.k: The polished wooden floor in the main hall gives off a sense of warmth and welcoming 7
Mosaic Tiles The main lobby of the art gallery is furnished with mosaic tiles flooring, which is
presented in an symbolic Islamic motif. The mosaic tiles gives off a luxurious and elegant finish especially combined with the warm lighting in the lobby. Mosaic tiles are also durable and easily maintained.
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Fig. 5.3.l: The main lobby has a symbolic mosaic tiled flooring with Islamic motif. The mosaic tiles added a touch of grandness and elegance
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Architectural elements (NZS) Architectural elements of the building are the significant components that can be
observed clearly by just a glance. A building not only consists of a component, but several significant components to bring the building alive. These architectural elements not only simply symbolises the architectural style of the building, but also give an extraordinary experience to the user. Other than that, these significant components give the building its prominent character. For the National Visual Art Gallery, different architectural elements can be seen from the exterior to the interior of the building. These elements play different roles that actually create different ambience for the users to experience. National Visual Art Gallery is a fusion of Malay architecture with modern design, which we will be reviewing in specifics later. 6.1
Roof From the exterior of the National Visual Art Gallery, the roof of the building is
adapted from the traditional Malay houses. The architect incorporated contemporary lines and the elements of traditional Malay architecture called “ Rumah Serambi Gajah Menyusu� which is characterized by a high and low roof, evoking the image of a suckling elephant. This roof is designed to suit the culture and climate of Malaysia. It provides shade and protection from rain, as well as ventilation.
Fig. 6.1.a: Rumah Serambi Gajah Menyusu (Source of image http://www.tbnsa.gov.my/web/guest/rumah-pulau-pinang) 52
Fig.6.1.b: High and low roof From the front, the roof of National Visual Art Gallery looks modern as the facade is cladded in modern metallic and glassed tiles but not losing the essence of Malay architecture by incorporating the traditional long ridge roof (Fig6.1.a). It is a combination of the gabled roof (Fig. 6.1.d) and the hip roof (Fig. 6.1.e). The hybrid of these two kinds of roof is called the dutch gable roof (Fig. 6.1.f) . Other than just dutch gable roof, the architect added folded wings at each side of the roof, giving an origami-style roof. In the form of a light blue origami-style metallic roof, with the blend of traditional Malay design, this building becomes more prominent with clean modern lines.
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Fig. 6.1.c: Front view of the building
Fig.6.1.d: Gabled roof
Fig. 6.1.e: Hip roof
(Source of image : http://www.johnriebli.com/roof-types--house-styles.html)
Fig. 6.1.f: Dutch gable roof (Source of image: https://sites.google.com/site/cadfundamentals/home/class-notes/m2--2d-presentation-drawings/m2-1-project-an-elevation) 6.2
Windows
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The windows of National Visual Art Gallery are in repetitive grid form (Fig 6.2.a and Fig 6.2.b), and framed with sleek, thin aluminium steel, giving the building a very clean, modern look. Due to the large scale of building, light penetration through openings and windows is very important, thus the building has many large windows to allow as much natural light in as possible. Most of the openings at the lower part of the building features protruding window frames, and concaved opening.(Fig 6.2.c). This is to allow natural ventilation and filtered-light penetration into the building. The protruded frames act as shade which reduces unwanted glare. Some of the windows are tinted to reflect the sunlight. Fixed windows in the building between spaces are transparent so that natural surveilance could happen to ensure the safety of users and the security of this art gallery (Fig 6.2.d).
Fig. 6.2.a: Grid form of tinted windows
Fig. 6.2.b: Grid form fixed windows
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Fig. 6.2.c: Concaved openings
Fig.6.2.d: Transparent fixed windows 6.3
Elevated spaces Most of the traditional Malay houses are built on stilts, known as Rumah Panggung
(stage house). The interior space is elevated to avoid flood, dampness and also helps in ventilation. Although stilts are not used, yet from the exterior of the building itself, we can clearly see that lower part of the building has slanted faces (Fig.6.3.a). Visitors can used the stairs, escalator or ramp to enter the elevated gallery. This architectural element has fully adapted the concept of Malay architecture design.
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Fig 6.3.a: Slanted faces of the lower part of building
6.4
Stairs and escalators To access into the National Visual Art Gallery, stairs and escalators are required to
reach the elevated interior (Fig 6.4.a). This is the same as the traditional Malay houses and the stairs usually leads the user to the porch (serambi). This component is designed in the National Visual Art Gallery. The stairs and the escalators lead the user to the porch which users can gather around and enjoy the view around the gallery(Fig. 6.4.b).The stairs is symmetrical which gives off a sense of blanace and harmony.
Fig. 6.4.a: Staircase and escalator
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Fig. 6.4.b: The porch
Fig. 6.4.c: The entrance
6.5
Doors Doors are an important component that connect exterior with interior, spaces with
spaces. The doors in the National Visual Art Gallery not only act as a connector between spaces, but also a component to express art. The door of the foyer is much more formal and is framed with aluminium to retain the modern, clean look while the glass door gives a the gallery a sense of transparency and lightness. (Fig. 6.5.a)
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Fig. 6.5.a: Glass door The doors of the galleries are more artistic and luxurious, playing a subtle role of transition between formality of building with the elegant and artistic feeling of the art piece in the gallery. (Fig 6.5.b)
Fig. 6.5.b: Artistic door Some entrance of the galleries are simple and clean with steel frame and steel columns against the white-washed concrete walls, keeping the modern sleek, look.(Fig. 6.5.c)
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Fig 6.5.c: Steel- framed door and steel columns 6.6
Flooring As one first walks into the building, the significant islamic flooring pattern
immediately captures our eyes. The two overlapping squares in different angles create an eight-pointed star design (Fig 6.6.a). This Islamic pattern reflects the unique Malaysian identity. Overscaled islamic flooring pattern provides a sense of holiness and seriousness in the space, as well as luxurious and elegant feelings due to the polished marble flooring.
Fig.6.6.a: Unique flooring pattern 6.7
Lighting Lighting plays an important role in the art gallery as it is the keypoint that can
enhance the artwork. Within the gallery itself, artificial lighting is used, thus no openings 60
can be made, thus reducing the natural light penetration into the building. Thus, the architect carefully created large windows along the roof to maximise the natural light penetration to illuminate the non-gallery areas in the building. The main natural light source is through the skylight located at the highest part of the building, which is the triangle on the roof (Fig 6.7.a). It consists of grid form glazed glass. This allows the light to penetrate into the building, providing a sense of spacious and brightening feeling.
Fig. 6.7.a: Skylight In the galleries, no window is installed to protect the artwork from ultraviolet light. The lighting in the gallery is dim to create a mysterious ambience while the fine arts are litted up by the artificial light. With the addition of soft lighting on the artwork, it creates an aesthetic effect as if the artwork is illuminating. (Fig. 6.7.b)
Fig. 6.7.b: Soft lighting on the artwork
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6.8
Ramp In the main lobby, a swirly Guggenheim Museum-style ramp dominates the central
space of the building. Polished wooden floors and warm lighting in the interior provide a sense of elegant for the user (Fig. 6.8.a). The interior uses specific lighting to create a warm ambience and the form in the interior is much more fluid, which enhances the modernistic style of the building. The ramp which connects the four levels by spiralling up creates a feeling of unity in the building. The scale of the ramp which is wide and big (Fig. 6.8.b), slows down the pace of the user and let the user to enjoy the artistic and elegant ambience provided in this building. This ramp is not just a connection between levels, but also a space where user can have a whole new level of experience.
Fig. 6.8.a: Spiral ramp
Fig. 6.8.b: Huge scale ramp The ramp outside of the building is specially built for the disabled. The painted ramp provide the users a sense of living in the art while using it. This is a different experience cin comparison with the spiral ramp as the colour used on this ramp provokes the excitement of user accessing into the gallery. (Fig 6.8.c) 62
Fig. 6.8.c: Ramp outside the building 6.9
Facade The interior facade of the galleries are painted in white to maintain its’ neutrality so
that focus can be given to the art piece. (Fig. 6.9.a) The contrast between the plain white wall and the famous masterpieces showcased in the gallery can accentuate the beauty and hidden message in the drawings. The white-washed wall also gives off a sense of purity and elegance to the gallery.
Fig. 6.9.a: White walls Different from the interior façade which creates an elegant and classy ambience, the exterior façade on the side of the building gives off a passionate artistic feeling. This is shown by the graffiti mural which is much more fiery and outlandish than the fine art in the galleries. (Fig. 6.9.b)
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Fig. 6.9.b: Artistic exterior wall
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CONCLUSION Through this project, we have learnt to analyze a building and also learn about the history of postmodern architecture in Malaysia, especially those in the Klang Valley. The National Arts Gallery is a distinctive postmodern landmark which represents the merging of vernacular revivalism and modernistic expressionism architectural style. It has adapted the traditional Malay vernacular architecture which symbolises our national identity yet revolutionised itself by fusing modernistic expression and progresses to become a good post modernistic building in the architectural scene. The National Art Gallery is not just a place that showcases spectacular artwork, but it is also an art itself. It provides a space for art to be alive, but at the same time, expresses itself as an art through its’ architecture expression. The architecture of the National Arts Gallery not only present its’ modernistic and vernacular expression through its’ aesthetics, but it also functional in terms of practicality. It responds well to the hot and humid climate of our country, has well-planned spatial organization and also integrated well with the site context. And the materials used in the building also reflects its’ progression of being an modernistic building yet retaining the traditionally through the construction method. In conclusion, the architecture of the National Visual Arts Gallery showcases the growth of postmodernism and local vernacular architecture co-existing together and hopefully we will continue to see the collaboration between the strive for architectural progression and preservation of local tradition.
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