heeren street
JALAN TUN TAN CHENG LOCK , MELAKA
table of contents 01
INTRODUCTION
03 ABSTRACT 05 STREET MAP 07 OVERVIEW 09 HISTORY
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HISTORY
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SOCIAL & CULTURAL CONDITIONS
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TRADITIONAL TRADES
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SIGNIFICANT ARCHITECTURE
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REFERENCES
01 INTRODUCTION
A collection of photographs carefully curated from different angles - history - social & cultural conditions - traditional trades - architecture of Heeren Street, Melaka.
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s a group, we have collectively decided to select Jalan Tun Tan Cheng Lock, more famously known as Heeren Street, as our site for our analytical study. The decision is based on the knowledge that the street is the less known sibling of the famous Jonker Street (also known as Jalan Hang Jebat) therefore it will be an unorthodox choice. We also settled with Heeren Street as we have visited both of the streets and had our fair share of opinions as a group, considering factors such as the photos we taken on site, the information we can potentially obtain and the ease of access within the site. On further research of the historical values and contents available on site, we found that Heeren Street has a richer and more vibrant history and influences than Jonker Street. ORIGIN As validation of the richness of history in Heeren Street, we will start from the origin of the mentioned street. Heeren Street, or Jalan Tun Tan Cheng Lock, was once the place to live for those who made it to the top. Originally called “Kampung Belanda” (Dutch Village), it ended up with the nickname of “Millionaires’ Row” because of its well-heeled residents. The name “Heeren” is a remnant of the Dutch colonisation of Malacca. Heeren Street (originally Heerenstraat), is the Dutch equivalent of “lord”, used to refer to the highest class of gentlemen. The narrow street with houses adorned with ornately decorated façades was the choice neighbourhood for the prosperous Straits-born Chinese (Peranakan or Babas and Nyonyas) in the mid-19th and early 20th century. These affluent folks competed with each other to build the most flamboyant of houses, many of which stand to this day. CHARACTERISTICS The characteristic features of most buildings are high roofs, floors and corridors lined with intricate tiles, teak front doors carved with family names or mottos in gold calligraphy. Most windows are also beautifully decorated with motifs while some homes even have decorated roofs with image of dragons, birds and flowers. The houses on the street are rather narrow and small when viewed from the outside but are long and spacious inside. This is because the house owners then were taxed on the width of the buildings instead of the total area. Most of them have open courtyards to provide ventilation and light. Some even have small wells to draw water or ponds to collect rainwater from the roof.
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EXAMPLES A classic example to visit is Number 8, Jalan Tun Tan Cheng Lock, a two-storey shophouse built in the 1700s. The original builders of 8 Heeren adopted the construction methods of the Dutch, eschewing timber and thatch in favor of bricks and clay roof tiles. About 400 feet from the corner, you’ll see the Baba Nyonya Heritage Museum on 48 and 50. The museum presents Peranakan life during colonial times, showcasing the gewgaws and the little touches that distinguish the Peranakan lifestyle of its time. The staircase, for example, is built with no nails and a locking lid at the top. Like many rich merchant households at the time, the house is crammed with stuff appropriate to the affluence of the family living within: wood furniture inlaid with mother-of-pearl, and chandeliers imported from Victorian England. CHEE MANSION The grandest house in “Millionaires’ Row” is the Chee Mansion, which stands majestically directly opposite Hotel Puri. It was built by tycoon and philanthropist Chee Swee Cheng, the first chairman of the Overseas Chinese Banking Corporation (OCBC).The mansion at 117 Heeren Street was built as a dedication to his father, Chee Yam Chuan. The Chee Mansion, also known as the Chee Yam Chuan Temple, is used as the family’s ancestral home. Tun Tan Cheng Lock, who co-founded the MCA in 1949, was born at house number 111. The dignified family home was where the country’s first Prime Minister Tunku Abdul Rahman and Tan held many discussions before Merdeka. His son, Tun Tan Siew Sin, was Malaya’s first Commerce and Industry Minister before being the longest serving Finance Minister for 15 years. He was also the third president of the MCA after his father and Tun Dr Lim Chong Eu.
Thus with the historical values of Heeren Street laid out, we are able to go in depth in the process of our site visit as well as our thoughts about it. The date of our site visit was at the 20th of October 2017 as it was a friday on our semester break. With ample preparation of knowledge and tools to analyze and research the site, we met and set out to Melaka at 9am from our campus.
ABSTRACT
01 Jalan Tun Tan Cheng Lok / Introduction
Upon reaching the site at 11am, we went straight to work and oriented ourselves to the right direction. We came across an abandoned eclectic courtyard house and explored it despite it being off-site. Even though the conditions were bad, the building was still very reminiscent of the previous glory it possessed such as the skywell, the double volume space, the deep spatial arrangements. As we reached our site, we took pictures of the straits eclectic styled shophouses of Jonker Street then Heeren Street, taking in the culture and activities of locals as well as tourists. As pedestrians of the historic street, we were going through each facade of the shophouses using the five-foot walkways. The five-foot walkways are occasionally walled off and forcing our group onto the road which provides us with a better appreciation of the unique facade of each of the shophouses. The width of the straits eclectic facade is small but are special within the details showcasing the influences it received over the course of its history, such may be dutch influences, peranakan influences, or chinese influences. Additionally, we explored the spaces and the people instead of just architectural features and history. Traces of the past are experienced as we walk along the street. Culturally, there are temples, traditional crafts and museums. Each of them are important in preserving the traditions and roots of the people that have since spread through generations. We have also observed traditional trades that persevered through time and has become an integral part of the identity of Melaka. In conclusion, as a group we were able to thoroughly experience and analyze the site from many aspects. We were able to get an in depth insight of Heeren Street as well as its surroundings from the historical content, to the activities of day and night. Even as most of us are not strangers of Melaka or even Heeren Street, we have gained fresh knowledge architecturally, culturally as well as historically.
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Jalan Tun Tan Cheng Lok / Introduction
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street map
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OVERVIEW
Jalan Tun Tan Cheng Lok / Introduction
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alacca might have famous streets like Jonker street because of its night markets and antique shops. Nevertheless, there is a street running parallel to Jonker street that has a much richer architectural allure and much captivating history and is also a part within the core zone of the Malacca’s Unesco World Heritage Site. This street was introduced by the Dutch to be known as Heeren Street and up to this day, the local Chinese call it as Holland Street. The name Heeren is defined as master or gentleman as the street has always been home to the upper class of Malacca’s society. Numerous aspects such as history, architecture, social cultural conditions and traditional trades can be extracted from this street itself. Heeren Street houses several art galleries, temples, boutique hotels as well as tastes from local cafe restaurants that features Nyonya cuisines and traditional Hainanese Chicken Rice. Over the years, this street has illustrated enough historical architecture which tells the colonial stories of the town.
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eeren Street, or Jalan Tun Tan Cheng Lock, was once the place to live for those who made it to the top. Originally called “Kampung Belanda” (Dutch Village), it ended up with the nickname of “Millionaires’ Row” because of its well-heeled residents. The name “Heeren” is a remnant of the Dutch colonisation of Malacca. Heeren Street (originally Heeren-straat), is the Dutch equivalent of “lord”, used to refer to the highest class of gentlemen. The narrow street with houses adorned with ornately decorated façades was the choice neighbourhood for the prosperous Straits-born Chinese (Peranakan or Babas and Nyonyas) in the mid-19th and early 20th century. These affluent folks competed with each other to build the most flamboyant of houses, many of which stand to this day. The characteristic features of most buildings are high roofs, floors and corridors lined with intricate tiles, teak front doors carved with family names or mottos in gold calligraphy. Most windows are also beautifully decorated with motifs while some homes even have decorated roofs with im-
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age of dragons, birds and flowers. The houses on the street are rather narrow and small when viewed from the outside but are long and spacious inside. This is because the house owners then were taxed on the width of the buildings instead of the total area. Most of them have open courtyards to provide ventilation and light. Some even have small wells to draw water or ponds to collect rainwater from the roof. A classic example to visit is Number 8, Jalan Tun Tan Cheng Lock, a two-storey shophouse built in the 1700s. The original builders of 8 Heeren adopted the construction methods of the Dutch, eschewing timber and thatch in favor of bricks and clay roof tiles. The street was home to famous Malacca Babas, including Tan Kim Seng, one of the pioneers in the development of Singapore, and Tan Chay Yan, who was Malaya’s first rubber planter in 1896. Tan Kim Seng’s stately ancestral home, built in 1822, is the present Hotel Puri. The grandest house in “Millionaires’ Row” is the Chee
Jalan Tun Tan Cheng Lok / Introduction
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HISTORY
Mansion, which stands majestically directly opposite Hotel Puri. It was built by tycoon and philanthropist Chee Swee Cheng, the first chairman of the Overseas Chinese Banking Corporation (OCBC).The mansion at 117 Heeren Street was built as a dedication to his father, Chee Yam Chuan. The Chee Mansion, also known as the Chee Yam Chuan Temple, is used as the family’s ancestral home. Tun Tan Cheng Lock, who co-founded the MCA in 1949, was born at house number 111. The dignified family home was where the country’s first Prime Minister Tunku Abdul Rahman and Tan held many discussions before Merdeka. His son, Tun Tan Siew Sin, was Malaya’s first Commerce and Indus¬try Minister before being the longest serving Finance Minister for 15 years. He was also the third president of the MCA after his father and Tun Dr Lim Chong Eu. Early shophouses commonly served as shop, residence, stable and animal yard all at the same time.
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02 HISTORY
photographers Chloe Teh Shu-Ern . Dana Kan Jia Torng . Harwinder Singh Girn . Lee Kylie . Ong Von Wan
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Jalan Tun Tan Cheng Lok / History
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A PLETHORA OF COLORS photographed by Lee Kylie In traditional Chinese temple ornamentation, carvings and paintings are used as a tool for communication and storytelling. The picture displays a depiction of a tiger and its cub, atypical of traditional chinese folklore which often use animals as symbolisms to instill righteous values.
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COMPACT photographed by Chloe Teh Shu-Ern The narrow streets of Heeren Street draw the attention of pedestrians to the compact arrangement of shop houses of similar peranakan elements on both sides of the streets that were built in the 19th-20th century. These traditional houses, many of which stand to this day, are tourist attractions and an integral part of Malacca’s identity.
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KNOWING YOUR ROOTS photographed by Dana Kan Jia Torng This is the front facade of the Baba Nyonya Heritage Museum preserved and built in the late 19th century. It used to be an actual home to Chan Kim Lay, a Peranakan family who lived for a few generations before it was converted into a heritage museum for tourists to visit. Previously, it was used as a rumah abu - an ancestral home to honour the family’s ancestors and an office since the 1950’s. But ever since Heeren Street became very busy particularly during the weekends, it wasn’t ideal to be used as a home. Thus, in 1985, the family decided to turn the property into a museum to preserve and promote Peranakan culture. The “Straits Eclectic” architectural style of Peranakan homes is very characteristic as it is a fusion of Eastern and Western designs. We can see chinese lanterns symbolising family origin and surname were also hung in front of the house as back then they did not have a proper address.A “gate” was installed in front for security in the current day. The museum offers an interesting architectural and cultural insight of the daily life of a Baba Nyonya as it is a heritage unique to Southeast Asia, a mixture of Malay and Chinese cultures with a dash of the English way of life
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RUSTIC photographed by Dana Kan Jia Torng This two-storey building is a heritage centre called No 8 Heeren Street and an example of a modest Dutch shophouse built in Malacca in the late 18th century. As plain and rustic it seems among the many well-decorated shops along the street, this shophouse has a history and shows the humble dwelling of the common foreign traders of that era. It was built in the Dutch colonial control of Malaysia and has been conserved with its original materials where possible.
derwent many roles in its time, from shop, residence and storehouse, it was also a dormitory for coolies working in the port. But as trade declined, the workers were forced to move on to other businesses and it was left unoccupied for a long time before it was used as a shophouse for family business. It was then abandoned again but today it was restored as part of Badan Warisan Malaysia model conservation project, showcasing exhibitions, workshops and corporate events, effectively conserving the heritage it is today to teach people how the building resonates No 8 Heeren Street Heritage Centre reflects how with the social, cultural and historical fabric of the the city’s streetscape evolved from timber thatched Malaccan community. structures to brick and clay roof tile buildings. It un-
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Jalan Tun Tan Cheng Lok / History
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OLD BUT GOLD There are several abandoned buildings along Heeren Street. This particular one has an early eclectic style of late 19th Century which is a style popular among Europeans. In essence, the Straits Eclectic is the architectural manifestation of east meeting west. The style incorporates many of the features of the ‘grand’ classical style, reinterpreted and adapted to suit the
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shophouses vernacular may include pediments, pilasters, keystones and arches. Although abandoned, these historical buildings are beautiful and contribute to preserving the original essence of Melaka.
Jalan Tun Tan Cheng Lok / History
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photographed by Chloe Teh Shu-Ern
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photographed by Lee Kylie
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Jalan Tun Tan Cheng Lok / History
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A HIERACHIAL AFFAIR According to the classification by Majlis Perbandaran Melaka Bandar Bersejarah (26th June 2005), Malacca town houses are categorised into 2 categories, which is Mid-18th Century and earlier, after Mid-18th Century.
ters and doors, heavy hardwood framing and minimal ornamentation due to cost constraints.
Also, each shophouse displays their very own individuality. As can be seen from the picture, the shophouses differ in roof heights and coincidenThe townhouses along Heeren Street are very tally in ascending order, creating an appealing vimuch exemplary of the Dutch colonial style, with sual. more usage of wood on its facade ie. timber shut-
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HISTORY IN MOTION photographed by Lee Kylie A catholic nun cycling along Heeren Street induces a historical flashback of when the Portuguese seized Malacca in 1511 , bringing with them the Crusade, spreading the Gospel. The catholic church in Malacca is still very much prominent nowadays, evidently in the existence of famous churches such as St. Peter’s Church, Church of St. Francis Xavier, and Church of St Theresa in Malacca. The nun is a true testament of the persistence of the catholic religion against time in multiracial melaka.
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Jalan Tun Tan Cheng Lok / History
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CHEE MANSION photographed by Ong Von Wan The sudden open courtyard that caves inward from the road brings attention to the once grand and majestic mansion. Now, it is treated as any other building of the road as vehicles park ignorant of the rich historic value. The grand white building on ‘Millionaire’s Row’ is owned by tycoon Chee Swee Cheng, known as Baba Cheng as he is the 6th generation Peranakan descendent. His forefather Chee Soo Sum along with many Chinese left Zhangzhou prefecture in Fujian Province, China to seek his fortune in Malacca as the Ming Dynasty collapsed on the hands of the Manchus.
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ENG CHOON ASSOCIATION photographed by Ong Von Wan Established in the 1800s, the association contains a shrine and was a centre for Chinese migrants. The intricate details on the architectural elements brings out the depth of history within the building as it heavily features traditional Chinese architecture from days past. Eng Choon, meaning Eternal Peace, is the name of the village in Fujian province where they came from. As with all new migrants landing in this part of the world, the clan associations and village associations provided a haven for newcomers from the same village to find help and support in their new lives in Malaya. The roots from Eng Choon Association has since spread all around malaysia while some locals are able to find their original lineage dating back to the 1600s.
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03 SOCIAL & CULTURAL CONDITIONS
photographers Chloe Teh Shu-Ern . Dana Kan Jia Torng . Danica Gan Jia En . Harwinder Singh Girn . Ong Von Wan . Shum Li Sze
photographed by Chloe Teh Shu-Ern
Located in a recessed part along the shop houses in scenarios. These creates attraction to Heeren Street is the Yishui Pavilion. It is an incense tion of bypassers and also emphasize store with a collection of calligraphy and artistic cul- the shop, which is to embrace the ch tural exchanges. Written along the exterior stretch of wall is a series of chinese poetry depicting ancient chinese picturesque
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Jalan Tun Tan Cheng Lok / Social Cultural Conditions
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A WRITTEN TRADITION
capture the attenes the intention of hinese culture.
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ADAPTATION
photographed by Dana Kan Jia Torng The first hall as seen is very welcoming as to receive guests and is used as a restaurant, while the second hall is separated with two doors or small openings, signifying the transition of one space to another space. This is because back then, the first hall of the house was used as a reception hall while the second hall or tiah gelap was usually used by the unmarried Nyonyas to peep through small openings dividing the first and second halls.
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In the current day, this layout can be seen adapting to the traditional Chinese shophouse, where business was done in the front half of the lower floor, while the back half and all the upper floor were living spaces. Furthermore, the Baba Nyonya were a wealthy community and spared no expense in acquiring Chinese blackwood furniture, Dutch tiles and porcelain vases to decorate their homes as this signifies their high social status.
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And because of development, the houses are renovated and refurbished to fit the the modern needs of the current era as the younger generation moves out of the house. This is an example of how people adapt to the current situation as the main facade of the tiah besar (reception hall) is maintained but renovated into a restaurant for use in Heeren Street.
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photographed by Danica Gan Jia En
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Jalan Tun Tan Cheng Lok / Social Cultural Conditions
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SYMBOLISM Due to the poor economic situation during the Qing dynasty, roosters and chickens were painted by workers in China because those who worked on crafting tableware saw roosters as a positive symbol. It was the animal that woke them up early in the morning, signifying the start of a new day. Chickens are also a symbolism of the dragon and phoenix.
A picture of the rooster is painted on one of the walls along Jalan Tun Tan Cheng Lock to allow the modern generation to reminisce and ponder the identity and true meaning of a rooster.
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photographed by Ong Von Wan
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Jalan Tun Tan Cheng Lok / Social Cultural Conditions
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BOUND FEET SHOES Not to be mistaken as shoes made for infants, these As it brings about infection and deforms feet, it is no are shoes made for traditional Chinese women to at- longer practical in the modern era. These shoes are tain Lotus feet. now sold as souvenirs to remind people of the history and roots previously practiced. The specialists Lotus feet derived from the process of foot binding. in bound feet shoes making are now adapting to the It was a custom practice of binding the feet by young modern needs by making slippers and shoes with Chinese girls to prevent further growth of their feet traditional influences. as it was associated with feminine, beauty, and dainty. It also became a prerequisite for finding a husband and sometimes an opportunity for poorer women to marry into rich families.
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photographed by Shum Li Sze
The frontal of the shophouses are now catered to different usage, from setting up a stall to a parking s time preserving the Southern Chinese Eclectic architectural style. It was built by wealthy Malacca Str them are unoccupied but are maintained as ancestral homes. Some of the shop houses are refurbishe
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Jalan Tun Tan Cheng Lok / Social Cultural Conditions
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INDIVIDUAL IDENTITY
space for the motorcycles. Refurbishment of shop houses cater to the current needs and at the same raits-born Chinese merchants for business and residential purposes in the early 1800s. Now, most of ed for tourist attraction.
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04 TRADITIONAL TRADES
photographers Chloe Teh Shu-Ern . Dana Kan Jia Torng . Danica Gan Jia En . Harwinder Singh Girn . Ong Von Wan . Shum Li Sze
KEEPSAKE FROM THE PAST photographed by Dana Kan Jia Torng
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Jalan Tun Tan Cheng Lok / Traditional Trades
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Along Tun Tan Cheng Lock street many typical shophouses can be seen displaying a variety of items for sale. This is done to cater to the growing needs of businesses since the street became a popular tourist destination.This shophouse in particular uses the shaded kaki lima space to showcase their items for purchase. Behind the old bamboo blinds, keychains, magnets and postcards are made into souvenirs for visitors. Among them all, the
traditional Peranakan wear is also exhibited as a merchandise of Malaccan culture as it shows the possession of lavish material culture of the Baba Nyonya. During the peak of their era, the Babas and Nyonyas were wealthy and influential people in the business world. This is evident in their jewelry costumes (sarung kebaya), shoes and embroidery pieces. Chinese motifs such as dragons, phoenix-
es, crabs and colourful flowers are adopted into the elaborate design where they use these to differentiate themselves from the Chinese labourers who came in droves at the end of the fifteenth century. Today, it is an item showcasing the hybrid culture and refined craftsmanship which is highly sought after by art and antique collectors as people now rarely wear them in their daily life.
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Jalan Tun Tan Cheng Lok / Traditional Trades
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RATTAN
photographed by Harwinder Singh Girn Back in the days, the locals or natives would use rattans due to its flexibility and durability. It was weaved to make their furniture, baskets and handicrafts but time came when these traditional items were traded so that the locals could earn a living from it. Even today, the traditional trade is still continues as rattan can be seen being sold more as a form of art as it gives a feeling of nostalgia.
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BALANCE photographed by Shum Li Sze
Porcelain with different sizes, colors, motifs and shapes are arranged together, giving a sense of bala
Peranakan porcelain was brought into Malacca by a subgroups of the Strait Chinese migrants who and etc, exported from China in the early days which symbolises phoenix and peony. In the 19th ce needs. These nyonya wares are customized to be sold and exhibited in the shops, represent the Nyo
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Jalan Tun Tan Cheng Lok / Traditional Trades
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ance and at the same time preserving its own identity.
settles on Malacca Straits in the 15th and 16th. The base color is bright yellow, green, pink entury till now, new porcelain wares are imported from China to cater to tourists and local onya influence and cultures in Heeren Street.
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RUBBER photographed by Ong Von Wan
Introduced by the British to Malaya in 1877, the rubber industry further flourished in 1890s and peaking at 1930s as scendants of rubber tappers brought to Malaysia by the British to boost the rubber industry. In Melaka, the rubber t contributed to the welfare of the city.
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Jalan Tun Tan Cheng Lok / Traditional Trades
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s Malaya dominated the world production for rubber by 50%. Many of the Chinese and Indian population are detappers eventually became wealthy during the peak of the industry. As a result, the rich became philanthropists and
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05 SIGNIFICANT ARCHITECTURE
photographers Chloe Teh Shu-Ern . Dana Kan Jia Torng . Danica Gan Jia En . Harwinder Singh Girn . Lee Kylie . Ong Von Wan . Shum Li Sze
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Jalan Tun Tan Cheng Lok / Significant Architecture
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TYPICAL CHINESE SHOPHOUSE photographed by Chloe Teh Shu-Ern The Shophouse is one of the earliest architecture styles introduced in Melaka. They are narrow and long, with no intricate joinery and detailing, representing the simpler living of a very hardworking class of people. The tenants usually use the ground floor for commercial purposes such as sundry shops or warehouses, and reside in the upper floor. The building is connected to several other shophouses to form a shophouse block. Each shophouse has a five-foot verandahed walkway that connects to the
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next house, thus creating a continuous walkway on the front facade of the shophouse block. The louvered-panel windows on the entrance on the ground floor make the building look welcoming, inviting potential customers in. Whereas there are less openings on the first floor where it is private.
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Jalan Tun Tan Cheng Lok / Significant Architecture
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EUROPEAN ELEGANCE
photographed by Chloe Teh Shu-Ern Straits Eclectic architecture is used commonly in the shophouses at Heeren Street. The beautiful stained glass on the arch windows show a hint of early European architecture influence.
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“KAKI LAMA� photographed by Dana Kan Jia Torng This covered five-foot way, which is typically an arched opening, which joins one house with the rest on the street front. This element is dominant in the urban landscape of South-East Asia such as Malacca as it provides a sheltered walkway from the torrential downpour and the tropical sun.The idea of the five-foot way was to provide a continuous walkway on the front facade of the shophouse block and to serve as an ideal communal space and where trades could operate. An indication of which period the shophouse was built can be made by looking at the level of the walkway, that is the older the shophouse, the lower the walkway. In this case, the arched walkways are rather low in Heeren street. This sheltered spaces are always filled with people passing by giving the street its sense of life and spirit that connects the community.
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Jalan Tun Tan Cheng Lok / Significant Architecture
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Jalan Tun Tan Cheng Lok / Significant Architecture
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MOON WINDOW photographed by Danica Gan Jia En The round frame of the moon window provides the best view as it allows the eye to focus. It intensifies light and shadow and concentrates all that is revealed in tunnel vision. The moon windows connect from house to house; from inside to outside as well as from public to private. The moon windows are like the moon which connects the other planets and universe. The moon is a symbolic image in Chinese culture as a circle is a symbol of heaven which means perfection (just as the square symbolises the earth).
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INFLUENCE photographed by Danica Gan Jia En
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The Late Straits Eclectic styled shophouse the actual wall space to the minimum and from the various ethnic traditions. Malay bouquets, festoons, plagues and other elab
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es uses the most ornamentations. The tripartite arrangement of three windows on the faรงade reduces d provides maximum ventilation. The constrained indigenous faรงade designs were borrowed freely timber fretworks that fringe the cape of the roof, brightly coloured plaster delicately moulded into borate ornamentation bear testimony to the artistry of the shophouse builders.
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LOSS OF IDENTITY photographed by Danica Gan Jia En
Interlocking bracket sets are formed by placing a large wooden block (dou) on a column to provide a solid base for formed with columns as the lower part and beams as the upper part. There is spacing between the columns and bea brackets are interlocked, the extreme heavy weight of the temple roof is transported to the supporting columns and framework to prevent the onset of rot in the timber.
Colours are also very symbolic in Chinese architecture and are used to mark the importance and function of the str element.
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the bow-shaped brackets (gong) that supports the beam or another bracket above it. So this timber structure is ams which helps the eaves to stretch out. This is extremely crucial to the stability of the structure. When Dou-Gong d they have so many redundancies that they could not be easily shaken apart. It is deemed essential to paint the
ructure. Red and green signify colours of life. However, nowadays the Dou-Gong structure is used as a decorative
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THE DRAGON’S PEARL
photographed by Danica Gan Jia En
Dragons are normally used as decorations on the beams, pillars, and on the doors on Imperial architecture. However the sun as white rather than red. Many legends state that dragons and other spirits of the sea preferred pearls over all lowed by oysters. As dragons are associated with rain and the seas, so they go after the round, white pearl which is lik sky. It is believed that this act caused a lunar eclipse. This is the reason for using the dragon and the pearl as ornamen
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r, in the oldest depiction, the dragon is holding the sun — a red, flaming ball. As time passed, artists started to show other treasure. As they believed that pearls are droplets that fall like rain from the moon into the sea and often swalken to the full moon. Many dragons have gone mad as a result of their obsession since they tried to steal it from the nts on the roof of a Chinese temple.
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HIDDEN IN TIME photographed by Harwinder Singh Girn As today many walls of buildings are finished with paint to bring color to life and brighten up a place but some elements of architecture that once stood out is now forgotten as it is old fashioned and not appreciated, such as the wall anchor. A wall anchor is a constructive element that was used to connect a timber frame to a brick wall. It was constructed either from cast iron or wrought iron and this structural component was made in a way that is ornamental. The presence of the wall anchor on many shop houses in Malacca today, shows the influence of the Dutch colonization.
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ELEGANCE photographed by Harwinder Singh Girn Heeren street was known to be street of the upper class and some of them were Peranakans. To express their richness each Peranakan would have elaborate designs of popular ornamental floor tiles that were laid on the external surfaces of their shophouse. Encaustic floor tiles come in various patterns or figures on the surface which are made of different colours of clay. Most tiles usually consist of two colors but it can also be composed of as many as six colours.This floor tiles with geometric designs of peranakan shophouses in Malacca were imported from England as it was a famous decorative floor tile during Victorian England from the 1860s.
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INTERLOCKED photographed by Harwinder Singh Girn With the knowledge from the Chinese, a method of construction was adopted to construct a simple timber bracketing component to support an extended roof structure that covers the verandah. Many of this bracketing components can be seen in early style shop houses of Heeren street.
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PERANAKAN PRIDE photographed by Lee Kylie
The Baba Nyonya Heritage Museum is a fine example of the lavish lifestyle of Peranakans of the past. The Peranakan gold-embroidered timber shutters and rococo-esque ornamentation on the frieze. They used to live in big houses an Style eg. pilasters of classical orders dividing the facade.
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n architecture is a source of pride for them as the extravagant aesthetics proves their wealth and status such as the nd palaces that were erected on East-Western style. These elements are also characterized by the Straits-Eclectic
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JOURNEY TO ENLIGHTENMENT photographed by Lee Kylie
Buddhist temples along Heeren Street follow the typical chinese shophouse typology whereby there is at l The spatial layout follows a linear typology, thus a user has to experience each space in sequence. The airw could feel a sense of enlightenment as you look up at the sky, and once you bring your focus back down, t
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least an airwell in the second part of the house. The Eng Choon Association temple has two airwells. well is effective in inducing focus via natural light penetration. As you enter the airwell compound, you the only thing in your vision is the temple altar.
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DRAGON PILLAR photographed by Ong Von Wan Dragons are considered as gods to ancient Chinese tradition. Therefore are immortalized as stone pillars to support the temple structurally. The dragon sculptures may be an offering from the wealthy as a sign of gratitude when their wishes were granted from a temple. Dragon Pillars are traditionally erected in temples or palaces as they believe dragons protect the people. The prominence of their placement have made them one of the emblems of traditional Chinese culture.
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HUMBLY SOPHISTICATED photographed by Shum Li Sze
Vibrant and polished glazed tubular tiles stand out among the normal ceramic roof tiles, drawing visual interest beyond eye level. Derived from chinese architecture, lotus motifs are moulded on the glazed tubular tiles. The outer bottom of the eave-edge plate tiles are decorated with triangles, complementing the circular shapes. The aesthetic and fine glazed tubular gives a touch to the modesty and earthy clay, contrasting yet complementing each other.
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MESSAGE FROM THE PAST photographed by Shum Li Sze
The layering of Dan Hu Xing Gable End is found at the Heeren Street shop houses. It cont and brings out the essence of chinese architectural style throughout the street. Feng Shui e
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trasts the overhang pitched roof at the opposite street, showing a clear difference of influences elements are carved at the gable end, a belief that is being passed down to the generation now.
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AUTHENTICITY photographed by Shum Li Sze
Carved wooden signboard is placed above the front door to display the family name. In the early days, it was used to d board at the entrance, the main entry for Chi (positive energy) it bestows auspicious greetings of prosperity. Compare essence of traditional wood carving crafts.
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display the district in China the owner originated from, identifying the family, dialect or clan. By placing the signed to the modern LED signboard, this traditional wooden carved signboard shows the originality and delivers the
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ART DECO photographed by Harwinder Singh Girn The wealthy Chinese businessmen who lived in Heeren Street, that were exposed to American, European and Shanghai (Chinese Cinema) cultures after returning from overseas for educational studies, adopted and popularized Art Deco style architecture on the facades of their shophouses. Art Deco style architecture was commonly used between the 1930s to 1950s. Its facade had geometric designs emphasizing on vertical and horizontal lines and the walls were rendered with granulated shanghai plaster giving it a grey appearance. Many of the Art Deco shophouses had a flagpole and a date highlighting the date the of construction on the facade.
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Contributors: Chloe Teh Shu-Ern Dana Kan Jia Torng Danica Gan Jia-En Harwinder Singh Girn Lee Kylie Ong Von Wan Shum Li Sze
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