SITE PLAN
SCALE 1 : 1000
ANJUNG // BANDAR - KAMPUNG
BARU
URBAN
THRESHOLD -
HKL
SHOP HOUSE
RESIDENTIAL
COMMERCIAL
MASJID HOSPITALITY
FOOD
INSTITUTION
1900 - MALAY AGRICULTURE SETTLEMENT
MARKET AGRICULTURE
RECREATION
S. LINK
1946 - UMNO FORMATION
1969 - MAY 13th RACIAL CLASH
1971 - FLASH FLOOD DISASTER
JRA Cultural Infill is a master plan proposal that wish to bind the disjointed elements of Kampung Baru that would tie back its spirit of place and significance
‘PINTU GERBANG’ AT KAMPUNG BARU - THIS NEWLY ERECTED MODERN LIKE ARCHAIC TYPE STRUCTURE REPLACES THE OLD AND MORE TRADIONAL ONE IN 2017 WHICH RECREATE THE ICONIC LANDMARK AS THE FRONT DOOR AND MAIN ENTRANCE INTO JALAN RAJA MUDA ABDUL MUSA FOOD AXIS WHICH KAMPUNG BARU IS MOST ASSOCIATED WITH BY MANY
Jalan Raja Abdullah occupied by mostly commercial settings with few public buildings notably the Masjid Jamek Kampung Baru which anyone who enters Kampung Baru along this road will uniquely identify themselves being inside Kampung Baru.
CIVIC
SITE SS LINK
The master plan proposed a regeneration to this unique sense of place or being inside of Kampung Baru. Through Urban Design attributes and tactics utilizing Kampung Baru cultural image and historical identity, thus revitalize the whole stretch of Jalan Raja Abdullah as main cultural axis.
SME COMMERCE
COMMERCIAL COMMERCIAL
In addition, with the introduction of new placemaking architecture and urban infill buildings as intervention, it could further enhance thus sustain existing and forgotten Kampung Baru values therefore improving its public and urban realm
URBAN INFILL MASTER PLAN
PROPOSED SITE LOCATION AND CONTEXT ; JALAN KHATIB KOYAN, KAMPUNG BARU M LO SA A K LIN
SULTAN ISMAIL LINK - DISPERSE PEDESTRIANS FROM JALAN SULTAN ISMAIL INTO AN UNDERGROUND PATH WHICH TELLS AND DEPICTS KAMPUNG BARU HISTORY ON ITS TUNNEL WALLS
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Kampung Baru has been a traditional ‘Malay’ settlement area since the 1900s. Throughout time it evolves and matures thus become one of its kind. Under treat from urbanization and gentrification, this Urban Village is embedded with unique history and demographic, with distinctive set of activities and way of life. To sustain its unique environment, civic public places need to apprehend. Purposeful Architectural Intervention could infill the cultural and communal gap between the Urban and Village norms thus enhance the vitality of its context, dwellers and their public realm. ‘Anjung Bandar’ serves as threshold for Kampung Baru. It functions as cultural institution which acknowledges its sense of place, thus provide communal spaces for dwellers to participate as part of their daily livelihood. - “revitalizing its image and identity as a unique settlement”
CONNECTING SULTAN ISMAIL LINK > ANJUNG BANDAR > WETLANDS > KAMPUNG BARU > SALOMA LINK The proposed site sits around Jalan Khatib Koyan which located near edge of intersection between Jalan Raja Abdullah and Jalan Sultan Sulaiman. In the overall master plan proposal, there is a new underground link known as Sultan Ismail Link which one of its end arrives at the proposed site thus allows pedestrian connectivity into Kampung Baru and towards Saloma Link
SALOMA LINK - CONNECTS KLCC URBAN PRECINCT WITH KAMPUNG BARU EDGE, NEAR KG. BARU LRT STATION WHICH LEADS TOWARDS JALAN RAJA MUDA ABDUL MUSA FOOD AXIS
3D MODEL SITE VIEW NOT TO SCALE
GROUND FLOOR PLAN
J A L A N
J A L A N
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K H A T I B
K O Y A N
A B D U L L A H
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PRO PO KA SED M PU WE TLA NG BA ND RU
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JALAN RAJA ABDULLAH NARRATIVE ;
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Contextually, Jalan Raja Abdullah is an ‘urban connector’. It is the main road for Kampung Baru. An axis, a linear node, physically separates Kampung Baru context between the commercial driven western district and its eastern residential edges Towards the north it connects with other major roads, Jalan Raja Muda Abdul Aziz which leads towards Jalan Tun Razak and Chowkit into Jalan Tuanku Abdul Rahman. While the southern end leads towards Jalan Dang Wangi and intersects with Jalan Sultan Ismail. Jalan Raja Abdullah existence is amplified by the visibility of Masjid Jamek Kampung Baru. Sits on the centre of this Axis where locals and people who are familiar with this context would identify themselves to be embedded inside Kampung Baru context everytime they see this building. Uniquely disjointed by its physical placement with the city centre context around it, thus disjointing the two district of Kampung Baru commercial and residential context. An Urban Infill intervention through placemaking and architecture along this axis shall unite back the whole spirit of this place. Therefore, preserve and revitalize its significant realm and context. Hence, an Urban Threshold unfolds
KAMPUNG
BARU
//
JALAN
KHATIB
KOYAN
The culture, history, heritage and identity of Kampung Baru context could revitalize Jalan Raja Abdullah as prominent axis for this urban village. Kampung Baru performs as both urban node for people who enjoy local Malay delicacies, while the people who provide them inhabits this urban village. As for Jalan Khatib Koyan, a prominent landmark which still stood there is Madrasah Rahmaniah built by Khatib Koyan, a prominent Malay figure in the past which the road is named after. The Madrasah functioned not only as a place of worship, among other things it is where he would stay between his travels and where he teaches many forms of intellectual knowledge of religious and cultural subjects. Nearby this Madrasah sits the Klang River which in the past was one of the main route of transportation by water. In the past, along this river is where Khatib Koyan also perform his hobby of ‘memikat burung’, a similar activity to what people call as ‘bird watching’ in the present day. A relatively popular past time activities occasionally held in Kuala Lumpur back then.
M.A.S.B
SURAU AL HIDAYAH
PLAZA RAH PASAR MASJID JAMEK KAMPUNG BARU
SURAU RAJAYAH
MADRASAH AR RAHMANIAH
LRT KAMPUNG BARU
KELAB SULTAN SULAIMAN
MADRASAH AR RAHMANIAH
ANJUNG BANDAR
PROPOSED KAMPUNG BARU URBAN WETLANDS TRAIL
JALAN KHATIB KOYAN
MADRASAH AR RAHMANIAH
KAMPUNG BARU CONSIST SEVEN KAMPUNGS OR DISTRICTS WITH EACH PROMINENT FOCAL POINTS ARE USUALLY A PLACE OF WORSHIP
KHATIB KOYAN BUILT MADRASAH AR RAHMANIAH FOR INSTITUTIONAL MEANS
ONE OF REASON BEING HIS HOBBY WAS ‘MEMIKAT BURUNG’ AT NEARBY KLANG RIVER
ANJUNG BANDAR AS REINTERPRETATION OF MADRASAH; A CULTURAL INSTITUION AND AN URBAN THRESHOLD
SENSE OF PLACE URBAN NARRATIVE
CONCEPT AND DESIGN TACTICS COMPOSITION // EXPLORATION
JALAN RAJA MUDA ABDUL AZIZ
RESIDENTIAL
ABDULLAH
SHOP HOUSE
COMMERCIAIL
MASJID HOSPITALITY RAJA
Jan Gehl and Jane Jacobs urban principles are explored and evaluated FOOD
INSTITUTION
ALAN
L MARKET S. LINK
RECREATIO T N
Anjung; one of the spaces in traditional Malay houses, as well as bird cages of traditional aviary object as inspiration and adaptation for many design justification and decision of the project. Composed with the Master Plan theme of urban and cultural infill. ‘Anjung Bandar’ provides a new public realm and an architectural urban intervention to revitalize Kampung Baru along Jalan Raja Abdullah axis.
- MADRASAH AS INSTITUTION -
PRACTICAL // PHYSICAL
SME COMMERCE
CIVIC // PLACEMAKING
KNOWLEDGE ON BIRDS
LIBRARY
AVIARY & BIRDING
INNOVATION // SKILLS
COMMERCIAIL
WORKSHOP
BIRD & NATURE SOCIETY
SS LINK
ARTS & CRAFT // WORKS
JALA N
CULTURAL INFILL
LITERATURE // INTELLECTUAL
- CULTURAL INSTITUTION -
JALAN SULTAN ISMAIL
PRECEDENT STUDIES
INSPIRATION // JUSTIFICATION
‘MICRO-INFRASTRUCTURE AS COMMUNITY PRESERVATION: KAMPUNG BARU’ - HARVARD GSD - In the face of immense development in Kuala Lumpur, Kampung Baru stands as a last testament to the past historical and cultural heritage of the capital city. The project rebukes the proposed master plans completed and instead provides a new paradigm of micro-infrastructural development through which residential design and new forms of public space are championed. Working on a parcel level, property owners would be able to remain in the community they call home while also improving their lives and retaining and strengthening their community’s identity and interaction.
‘REIMAGINE THE CHINESE HUTONG’ - MVRDV - For centuries Hutongs have been the standard form of settlement for Chinese populations that moved from the countryside to the growing cities. The settlement combines the life values and organizational model of classic rural villages at high urban densities. The Hutong guaranteed the classical intimacy of the family life within denser circumstances. It combined privacy with density and flexibility with organization. From its origins to today, hutongs evolved according to changing demands over time. In this era of globalisation and urban development, how can they evolve and adapt this organically grown urban fabric to current and future needs?
‘SEATTLE CENTRAL LIBRARY’ - OMA - The Seattle Central Library redefines the library as an institution no longer exclusively dedicated to only the books, but as an information centre of all potent forms of media new and old. Flexibility in contemporary libraries with generic floors which almost any activity can occur. Programs are not separated, rooms or individual spaces not given unique characters. In practice, this means that bookcases define generous reading areas through the collection’s relentless expansion, inevitably come to encroach on the public space. Ultimately, in this form of flexibility, the library strangles the very attractions that differentiate it from other information resources.
‘SECOND HOME LONDON OFFICE’ - SELGASCANO - Secondhomese is a concept of shared workspace (co-working space) that hosts some 30 companies that are as alternative as the neighbourhood, small scale, and quite related to technology. But more importantly in the program are the common spaces that can be used by any member: There are meeting rooms, several rest areas where you can read or chat, a cafe-bar, where coffee is free and a mixed area of work-events where the large work table rises to the ceiling to leave the clean room for any activity, ranging from yoga and morning pilates to evening concerts, parties, dinners, conferences, film, etc.
NORTH WEST ELEVATION
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SOUTH EAST ELEVATION
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JALAN RAJA ABDULLAH FACADE NOT TO SCALE
B U P
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Martin Heidegger described threshold as, “a space between two worlds, a potent common or middle ground which simultaneously holds, joins and separates two worlds. Thresholds are sacred places which form a boundary between what is ‘here’ and what is ‘there’, but they are in themselves neither here or there”. As example, the main entrance for building and its conditions plays a significant role in day-to-day life of the building. It is utilized for social encounter, a promenade architecturale and suggest pattern of movement around the building its spaces as well as places
THR ESH OLD
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Spatial theorists speak of thresholds – doorways, windows, gates, corridors – as demarcating boundaries of access and affect: who gets to go where (and when), and the emotions that accompany with the transition from one space to another. As we move between spaces, we also move from one state to another. This transfer can be highly ritualized, as in rites of passage, or more mundane, for instance in the domestic interior when children are allowed into the parents’ ‘master bedroom’ under certain conditions. Those conditions may be more or less well-defined, but the boundary to the space is clearly marked by the doorway and the open or shut door. The same holds true in the urban space for gated communities, for instance, which mark access and feelings of inclusion/protection vs. exclusion/ exposure. Existing literature on thresholds inclined with visibly intentional structures.
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An ‘urban threshold,’ - however, is created through the phenomenological/sensory experience, in the embodied process of moving through a city and of pedestrians who access different spaces. By phenomenological basis, urban thresholds Informs territories , creating emotional communities and perceptions of “place” as a space of meaning. It produce atmospheres of sanctuary, nostalgia, and immunity from the unfamiliar. Urban thresholds are often ephemeral and implied: even if the physical space of the city is open to those moving in it, urban thresholds create sensory boundaries and affective barriers. How tactile those thresholds drew lines of familiar and unfamiliar depends on a third aspect: appropriation, or how individuals reclaim spaces through small-scale acts of deviance and tactics of micro-resistance. - January 2019 by Eva Giloi (https://sasn.rutgers.edu)
URBAN THRESHOLD A LITERATURE REVIEW
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SECOND FLOOR PLAN SCALE 1 : 300
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JALAN KHATIB KOYAN
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TEMPERED GLASS
FLOOR SLAB
HOT ROLLED STEEL BRACING TIE BEAM CONNECTOR PLATE HIGH STRENGHT BOLT
CLOSE UP VIEWS - EXPLODED DIAGRAM AND WORKSHOP ENVELOPE AREA
GLASS CONNECTION
The building facade or envelope assembled using steel bracing structure technology and attached with tinted tempered glass panels. Installed mainly at productivity areas such as workshop and co-working spaces. It resembles akin to the traditional or antique bird cages or “sangkar”. The envelope give access to views towards various exterior points while transmit good daylight
STEEL BRACING ENVELOPE DETAIL
DRAWN @ 1 : 50 AND 1 : 10 SCALE (DETAIL A)
TECHNICAL DETAIL AS SHOWN
COMMUNITY LIBRARY
MAIN STAIRCASE
CO-WORKING SPACES
MAKER SPACE WORKSHOP
ROOF TOP AVIARY
SOUTH WEST AXO VIEW
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Historically, cultural institution had evolved from being reserved for the enjoyment of very few, a merely “common” public space which were more demographically specific, then becoming “privatised” for capitalistic purpose and survival, into now a more of a “social” public space which emphasis more on publicness, openness, flexibility and integration with the community. The cultural institution, as “social” public space, is when people of different demographic could get together, sometimes regardless of their interest in any cultural or communal content. This cultural institution acted as a platform for urban public to socialize and exchange opinion. Mostly overlaps between intellectual and leisure function, transformed from the subjective display of object into responsive narratives about the community, illustrating a transition from the space “for” the public to the space “of” the public.
Most contemporary cultural institution has integration into everyday urban life. With the capacity to express and to contain public life, the cultural institution plays a crucial role in the formation of democratic civil society. It can be either inclusive and supportive to social changes, or it can be exclusive and effective tool for capital gain. Which always they are somewhere in-between. Which the Centre Georges Pompidou by Renzo Piano and Richard Rogers could be viewed as the pioneer with a clear social direction, a Placemaking Architecture at its early years
Which today began to focus on its public interface and its function as public realm. Atriums, foyers, plazas became important urban spaces where citizen meet and socialise, as well as the site to manifest public (urban) issues in the case of social movements. The artistic disciplinary boundary became less important, originated as community arts centre, these cultural centres cultivates a social turn in cultural space. They are more adaptable to grow in various scale and context, with less focus on hard asset (the collection) but more focus on curatorial activities (the programme). The public space became the protagonist instead of being the residual space around the gallery or the auditorium. As a central institutional strategy, it is the (generic) space with a new meaning beyond circulation or waiting space. Furthermore, its effect extends across the threshold of interior and exterior spaces.
The cultural space as institutional public space is inhabited, lived and experienced, serving not only cultural users but most importantly the general public. The perspective to see it as part of the urban fabric could liberate the cultural building as a landmark object with greater effect to the public. While contemporary cultural institutions became more aware of social issues and their public role, they also face escalating challenges of commodification. A review of how cultural institutions evolves as public space reveals the interplay of private and public interest with difference social conditions. The public space plays out its institutional nature through design and operation, which could be the subject of investigation in order to study and question the role of cultural institutions in in urban social life. - May 16, 2020 by Melody Hoi-lam YIU (https://threshold.blog)
CULTURAL INSTITUTION A LITERATURE REVIEW
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FOURTH FLOOR PLAN SCALE 1 : 300
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JALAN RAJA ABDULLAH
NORTH EAST ELEVATION
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JALAN KHATIB KOYAN
SOUTH WEST ELEVATION
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In mixed-use interlinking does not exist, nor does the grafting of activities. Relationships are not meant to increase personal contact or exchange. The resulting volume is obtained by adding simple containers that with no control take up land and are attracted among themselves exclusively in economic sense. Hybrid buildings, by contrast are buildings, placed in fragmented forms that do not correspond, in volumes based on remnants of previous mixed typologies. Hybrid buildings produce a new being with a unifying personality. Mixed-use is limited by the isolation of aggregated parts and their self-sufficiency; hybrid buildings are incomplete composition and relies on the organization of the whole pretext in a way reorganizes the building’s social dimension. Mixed-use refers to combining different zoning occupancies in a same development. In most cases it’s combining residential with commercial.
Hybrid deals with spaces; its program or function and its network of connectivity both internal and external means (for example; OMA Seattle Library). In a way, mixed-use is like putting in many types of fruits in a basket e.g apples, oranges,pears,bananas etc. Hybrid is like putting one type of fruit (let us say apples) but it’s many kinds in a basket e.g McIntosh, Granny Smith,Gala etc. For hybrid buildings behavior is more important than typologies, in the end mixed use can be great, but so can monofunctionality. In planning for hybrid space, there are two types of boundary creation which are important. The first is the creation of a boundary space. The second response, which can be found in networks, is the creation of boundaries which allow a high de-gree of personalization, in a fundamental way, al-lowing users to define a personal space with barri-ers of one’s own definition.
- extract from ‘Hybrids II’, (p 21, 23)
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