ARCHITECTURE HISTORY & THEORY
NOV ‘18
STADIUM NEGARA & CHURCH OF OUR LADY OF LOURDES
STADIUM NEGARA
CONTENTS STADIUM NEGARA 1. INTRODUCTION 1.1 Introduction 1.2 Brief History Timeline Analysis 2. SITE CONTEXT 2.1 Site Accessibility 2.2 Relationship Of Building With Surroundings 3. ARCHITECTURAL STYLE AND DESIGN ANALYSIS 3.1 Architectural Style and Influence 3.2 Organization Of Form 3.3 Design Elements and Principles 3.4 Materials and Elements 4. SPATIAL ORGANIZATION 4.1 Function of Spaces 4.2 Circulation and Path-space Relation 5. CONSTRUCTION AND STRUCTURE 5.1 Ventilation and Light Control 5.2 Ventilation and Air Circulation 5.3 Roof Construction 5.4 Structural Components 5.5 Response to Climate 6. INFLUENCE OF MALAYSIAN HISTORICAL CULTURE 6.1 Influence of Malaysian Culture 6.2 Influence of Islamic Culture 6.3 Influence of the West
1 INTRODUCTION
1.1 INTRODUCTION Stadium Negara is Malaysia’s first indoor stadium located 2KM from Kuala Lumpur City Centre, and right beside Stadium Merdeka. It was designed by Sir Stanley Edward Jewkes back in 1957. Stadium Negara officially opened to the public on 10 April 1962, by DYMM Tuanku Syed Putra Al Haj Ibni Al Marhum Syed Hassan Jamalullail, Malaysia’s third Yang Di Pertuan Agong. It is facilitated with 10,000 permanent seats and non air-conditioned space. It is also capable of housing sport events and concerts. The construction took 2 years to complete.
1.1.1 Aerial view of Stadium Negara
1.2 BRIEF HISTORY Along the years and in 2016, it was pronounced that Stadium Negara and it’s neighbouring stadium, Stadium Merdeka will be preserved as heritage sites of Kuala Lumpur proving that modern and historical sites can be placed side by side along with future development. Built around the time Malaysia gained independence, the movement of a new legacy building contributed heavily to the modernising of Malaysia. Back then, stadiums were built to develop the country’s ideology of bringing Malaysians together. Stadium Negara played an important role in urbanising the country’s infrastructure with features like the complex truss. Since it was built with early-modernism style, specifically under Brutalist architectural style, the long-lasting style of building pulled up until today and the future, not losing the sense of modernism. Stadium Negara was built to represent partly the political idea of modernisation as well as to present a modern appearance for Malaysia which is why other significant buildings adopted the modern style as an expression of national identity.
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STADIUM NEGARA Stadium Negara was announced as one of the eight symbolic national buildings a day after Malaya became Malaysia. It represented a healthy body and mind together with Stadium Merdeka.
1962
1963
The construction of Stadium Negara was completed but however, was announced by Tunku Abdul Rahman a year before completion.
The building of Stadium Negara was initiated in order to host the upcoming Thomas Cup.
Stadium Negara officially opened to the public by DYMM Tunku Syed Putra Al Marhum Syed Hassan Jamalullail, the third Yang Di Pertuan Agong
1960
1956
1949 Britain organized the first Thomas Cup where Malaya won earning them the right to host the next Thomas Cup in 1952. Tunku Abudul Rahman then proposed to build the first indoor stadium in Malaya.
TIMELINE ANALYSIS STADIUM NEGARA
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1992
2018
Stadium Negara is now a landmark of Malaysia holding on to it’s national identity, representing as an epitome of modern architecture in Malaysia.
Stadium Negara was named one of the heritage buildings of Malaysia. And by then, had undergone renovation and have hosted several major events.
Malaysia finally hosted the 1992 Thomas &Uber CUp, proudly at Stadium Negara, serving as host team of the year.
1985
2003
Unfortunately, the largest concave roof was the replaced by space- frame dome due to leakage in the stadium.
2 SITE CONTEXT
2.1 SITE ACCESSIBILITY Stadium Negara can be accessed by using public transport, walking, by car and etc. By public transport, the nearest MRT station, ‘MERDEKA’ is situated 5 minutes away from the stadium. Similarly, by using the LRT, stopping at ‘Pasar Seni’ station, which is 17 minutes walk away.
2.1.1 Walking distance from LRT ‘Pasar Seni’
2.1.2 Walking distance from ‘MERDEKA; MRT
2.2 RELATIONSHIP OF BUILDINGS WITH SURROUNDINGS Stadium Negara has been a choice location for social and cultural events also in hosting exhibitions, fairs, concerts, sport. There are several famous buildings around Stadium Negara — Chin Woo Stadium,Stadium Merdeka, Victoria Institution and SJK(C) Jalan Davidson.
2.2.1 Map of Stadium Negara with Surrounding Buildings
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3 ARCHITECTURAL STYLE & DESIGN ANALYSIS
3.1 ARCHITECTURAL STYLE & INFLUENCE Stadium Negara was built with mainly Brutalism style but also includes modernism and International architecture Style. It represents the brutalist movement through characteristics like bold, confrontational and bulky form, exposed concrete, textured and raw, as expressed through the word ‘brut’. The Brutalist movement also comes under as a sub-architectural style to International Style and Modernism. 3.1.1 View of stadium from outside
Brutalism can be found at the terrace level of the stadium which are left in bare concrete. In order to portray the Malaysia's architect implements murals in the stadium, it uses the theme of malay traditional beliefs to represent the malay culture. The murals consisting of human figures of a malay band and a group of ronggeng girls, showing malaysian people as kind and opened.
3.1.2 View of interior of stadium
Modernism can be found at the facade of the stadium, in which some areas are made out of geometric triangles. It can also be found at the fin walls on the side of the entrance where they provide sun shade and protection from the external environment. The shape of the fin walls are formed from cylindrical shapes.
3.1.3 Windows along the facade
3.1.4 View of stadium in the past
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3.2 ORGANIZATION OF FORM Stadium Negara has a circular form structure that is highlighted by the dome-shaped roof. It’s seating arrangements is also designed in a circular form for spectators, foreshadowing that it is a modern stadium. Additionally, the stadium is designed in circular form because of the symmetrical balance that it is able to achieve. It allows 360° vision, which means that the radial form of the structure allows each of the spectators to have visual balance and also a clear view from all sides. Taking world’s first stadium as example, a huge hotchpotche form built only to host a large amount of spectators but however, there was no architectural value on the design but the form stayed in circular form to provide vision while accommodating a large amount of spectators. For material, all tiers were made of concrete and with just the arrangement of embankments standing. Till then, Great Britain introduced the White City Stadium that is used as a football facility with rectilinear form running parallel to the sides of the pitch. It was soon adapted to become the official Olympic stadium. Its design has continuous tiers running along the perimeter of the athletics track. So, the form it adopted remains as a circular or rectilinear-circular form.
3.2.1 Indication of concentric rings and circular geometry
3.2.2 Radial Balance shown on Plan
Field as radial point of the building, representing it's the main focus of Stadium Negara A round geometric shape is the most remarkable outline of the building . The building developed by concentric rings. Repetition of triangular and vertical lines consolidates the arched and circular exterior and plan.
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3.3 DESIGN ELEMENT & PRINCIPLES The facade of stadium negara has a repetition of geometric shapes which made out of triangles as a decorative element. Both elevation and plan view of the building achieve balance and symmetry.
3.3.1 Balance shown on plan
3.3.2 Symmetrical balance shown on elevation
3.4 MATERIALS & ELEMENTS OF DESIGN ORCHESTRAL WALLS The interior space of the building also designed for orchestral section, the backing sound boards were designed to reflect sound in diffused direction around the stadium.
CONCRETE AS A BUILDING MATERIAL Concrete is one of the building materials that was being used widely throughout the whole stadium due to its durability and low-cost maintenance. The concept of brutalism can also be easily portrayed by the choice of concrete utilization.
RUBBLE AND MOSAIC SURFACES Jewkes designed the facade using rubble and mosaic surfaces to complement the plainer surface. EXTERNAL WALLS External walls of the building were built by washed limestone and granite aggregate.
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4 SPATIAL ORGANIZATION
4.1 FUNCTION OF SPACES Arena entrances, which are located at the perfect East, South and West directions allow people to enter and exit the arena without congestion and provide good circulation throughout the space in the stadium.
Upper Level Lower Level
VIP Room
Subsequently, seating areas in the centre arranged in a curved line along one big circle provides different seating arrangement based on the heights. There are also private spaces in the stadium that is only accessible to workers and other important figures for private uses. At the ground floor, on both sides of the main entrances, there is an organising room and a VIP room used by workers and staff and also to hold VIPs respectively. In addition, the South of the arena has 4 changing rooms to serve as preparation rooms, for example, for performers to prepare for performances.
Changing Room Organizer Room
4.2 CIRCULATION & PATH-SPACE RELATION Stadium negara has a circular form which happens to have more than one entrance. There are in tota, 5 main entrances. Arrows coloured in light orange is the main entrance of the stadium where the ticket counters, lobby and waiting area is located for the spectators.
Arena Entrance Front Entrance Back Stage Entrance
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Arrows coloured in blue is the backstage entrance of the stadium which is facing the entrance of Victoria Institution. Arrows coloured in maroon depicts the entrance of the arena which are separated into 3 sides GATE A, GATE B, and GATE C.
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5 CONSTRUCTION AND STRUCTURE
5.1 VENTILATION AND LIGHT CONTROL To allow huge ventilation and enough sunlight, the upper section of the stadium perimeter was articulated with vertical louvers 12 feet deep to control ventilations and also the amount of light entering the interior space. The vertical louvers provide a clear of reflected light into the terraces areas without its heat component. On the front area space, the Jewkes designed a concrete of glass screen to let diffused light into the gymnasium and restaurant.
Airflow throughout stadium 5.1.1 View of louvers from facade
5.2 VENTILATION & AIR CIRCULATION The air ventilation within the arena is ventilated by a huge air tunnel running beneath the seats and large vents at the upper section. Small slits at the back of the concrete seats also allow air ventilation. For sports like badminton, such ventilation systems allow for the true flight of the shuttlecock in low air velocities which was desirable, also fitting the hot and humid weather of Malaysia to allow the spectators to have a comfortable experience. From the small tunnel, air is then blown through narrow slits in the seats on the concrete terrace section which reaches to the spectators’ feet, arms and back. This way, it doesn’t bulk the air movement of the interior space and also the air friction of the shuttlecocks.
5.2.3 Concrete seats
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5.2.4 Seating arrangment on terrace levels
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ORIGINAL STADIUM ROOF (SUSPENDED ROOF) The splendid roof allows 300-ft diameter roof to be built without support of columns, yet it turned out to have a limited lifespan and had to be reconstructed over 20 years due to water leakage. The dropped roof are secondary ceilings suspended from the structural floor slab above, creating a void between the underside of the floor slab and the top of the suspended ceiling. As well as concealing underside of the floor slab, this void can provide a useful space for the distribution of heating, ventilation and installation of the PA system.
CURRENT STADIUM ROOF (DOME ROOF) The dome was a remarkable structure for Stadium Negara, supported by Fuller’s Tensegrity Dome. Clerestory accommodation act as additional supportive system. Sloping tubular columns serve as support along exterior circumference of the Stadium Building load is transferred along the dome via wide-flange columns and foundation distributed around the stadium.
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5.4 STRUCTURAL COMPONENTS 5.4.1 LOUVERS To allow huge ventilation and enough sunlight, the upper section of the stadium perimeter was articulated with vertical louvers 12 feet deep to control ventilations and also the amount of light entering the interior space. 5.4.1 (i) Louvers from the exterior
The vertical louvers provide a clear of reflected light into the terraces areas without its heat component. On the front area space, the Jewkes designed a concrete of glass screen to let diffused light into the gymnasium and restaurant.
5.4.1 (ii) Louvers from the interior
5.4.2 TERRACE LEVEL The air ventilation within the arena is ventilated by a huge air tunnel running beneath the seats and large vents at the upper section. 5.4.1 (iii) Louvers from the elevation
For sports like badminton such ventilations system allowed for the true flight of the shuttlecock in low air velocities which was desirable, which also fits the hot and humid weather of malaysia to allow the spectators to have a comfortable experience. There are also small slits at the back of the concrete seats to allow air ventilations.
5.4.2 (i) Seats in the stadium
5.4.2 (ii) Seats on the terrace levels
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The air movement among the spectators was to extract the heat and humidity produced from their bodies, fresh air was introduced into a tunnel and into the surrounding of the amphitheater. From the small tunnel, air is then blown through narrow slits in the seats on the concrete terrace section which reaches to the spectators’ feet, arms and back. This air tunnel was used in aircrafts and ships but was not employed in a building. In this way, it doesn’t bulk the air movement of the interior space and also the air friction of the shuttlecocks. Seating was also laid out in an elliptical shape with air nozzles.
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5.4.3 COLUMNS The columns support the design where shapes are in juxtaposition in order to shape the surroundings. At the rectangular shaped main entrance hall, all four columns were all in circular shapes even the fittings on top was designed to bring the circular feeling from the roof and throughout the environment.
5.4.3 (i) Columns with circular fittings
5.4.4 WINDOWS Hundreds of windows are placed along the perimeter of the arena to allow natural sunlight to penetrate into the interior of the stadium. A smooth transition is created by placing the windows in between the hemisphere roof and cylindrical volume of Stadium Negara. 5.4.4 (i) Windows seen from interior
5.5 RESPONSE TO CLIMATE The entry of light through the clerestory created by the vent windows at the perimeter of the stadium was sufficient to light up the arena. The roof spaceframe is covered by PVC sheets ensuring sufficient natural sunlight penatrating during the day. The dome roof allows rain run-off off the slope hence improving the air circulation within the interior. When the stadium is fully occupied, the hot air will rise to the centre tip of the roof dome where ventilation openings are placed. The Dome roof provides a streamlined surface that enables wind development to have direct contact with the curved surface, moving along the arch and entering the stadium.
Entry of light into building Water run-off from roof Air Circulation within the space
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6 INFLUENCE OF MALAYSIAN CULTURE
6.1 INFLUENCE OF MALAYSIAN CULTURE Built around the time Malaysia gained independence, the movement of a new legacy building contributed heavily to the modernising of Malaysia. Back then, stadiums were built to develop the country’s ideology of bringing Malaysians together. Stadium Negara played an important role in urbanising the country’s infrastructure with features like the complex truss. Since it was built with early-modernism style, specifically under Brutalist architectural style, it doesnt lose the sense of modernism. Stadium Negara was built to represent partly the political idea of modernisation as well as to present a modern appearance for Malaysia which is why other significant buildings adopted the modern style as an expression.
6.1.1 Photo of stadium with concave roof
6.1.3 Main entrance of the stadium
6.1.2 Seating area during construction
6.1.4 Trusses and framework in terrace levels
6.2 INFLUENCE OF ISLAMIC CULTURE Two silhouette screens at the eastern sides illustrated indoor sports and the western sides portrayed a malay band and group of ronggeng girls set between the coral of the seashore and inland bamboo groves. The murals in stadium negara would explore figural representations of the new nations. The one attempted to portray the malayan life and culture and each of the panels it is figurative and segmented into eight pieces with thin white lines.
6.2.1 Wall murals
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6.3 INFLUENCE OF THE WEST The stadium was influenced by a stadium, The Estadio Nacional Mane Garrincha in Brasillia. Some of the similarities are the seating arranged sloping down to the arena. Both buildings are in circular form allowing visual and neither stadiums are air-conditioned.
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ESTADIO NACIONAL MANE GARRINCHA
ROOF CONSTRUCTION
Dome shaped roof
Concave roof
ROOF SUPPORT SYSTEM
Galvanised iron tubes supported by roof trusses
Large white roof to reduce the heat and also protect the building which provides shading inside and outside of the building
LIGHTING
Natural light penetration through clerestory
A concrete ring sits at the centre top of the building which provides full natural lighting for indoors competition
OPENINGS
Openings all around the structure
360 degree breathable facade that provides full natural ventilation during all season.
COLUMNS ARRANGEMENT
Arranged diagonally
Arranged in parallel and in linear arrangement
SEATING CAPACITY
10,000 people
72,788 people
6.3.1 View of Stadium Negara in aerial
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6.3.2 The Estadio NacionalMane Garrincha in aerial
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6.4 ARCHITECT’S INFLUENCE ON BUILDING’S SIGNIFICANCE Stanley Edward Jewkes is the architect who designed Stadium Negara, which has became an iconic post-independence architecture on Penang Hill. He was born in America and arrived to Malaya in 1941 to serve as director of the Public Works Department (PWD) in the districts of Karina and Keroh. After World War II, he returned to Kuala Lumpur and was assigned to become the leader of the new Design and Research Branch. His philosophy in designing Stadium Negara was “to deal with people through different world, of different ethnicities, of different religion and beliefs, which led him to believe that everyone is the same, everyone is enigmatic. In other words, no one is better than anyone or worse than anyone.” 6.4.1 Architect: Stanley Edward Jewkes
In relation to Stadium Negara, he designed it as what Tunku Abdul Rahman had requested, he wanted a multi-purpose indoor stadium for exhibitions, conventions, indoor games, concerts and even ice rink shows. But it was built particularly for badminton because the country’s success was in badminton sport. As to fulfill the request, he put the request to a design, form, and shape, to relate a country’s success with architecture. He designed the stadium like an earth bowl to retain the idea of a sport stadium by applying the significant of a non air-conditioned stadium. Also, building it like a acropolis in the city centre to unite different people in Malaysia through sports.
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REFERENCES
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Stadium Negara. (2018, June 21). Retrieved from https://en.wikipedia.org/wiki/Stadium_Negara C. (1970, January 01). Cavingliz non-cave albums. Retrieved from http://cavingliz-noncave.blogspot.com/2011/05/stadium-negara.html Merdeka Stadium and Stadium Negara to remain as landmarks. (2016, March 17). Retrieved from http://www.therakyatpost.com/news/2016/03/17/stadiummerdeka/ HERITAGE OF MALAYSIA. (n.d.). Retrieved from http://untold-architecture.wixsite.com/architecture/heritage-of-malaysia Haja, H. (n.d.). A STUDY OF STYLES CLASSIFICATION AND INFLUENCES ON ADMINISTRATIVE BUILDING IN MALAYSIA (15TH-21ST CENTURY). Retrieved from https://www.academia.edu/3038010/A_STUDY_OF_STYLES_CLASSIFICATION_AND_INFLUE NCES_ON_ADMINISTRATIVE_BUILDING_IN_MALAYSIA_15TH-21ST_CENTURY_ Yen Min Khor Follow. (2015, December 02). DOCUMENTATION OF STADIUM NEGARA. Retrieved from https://www.slideshare.net/kyenmin/documentation-of-stadium-negara Characteristics of the Brutalist Movement. (2018, March 26). Retrieved October 27, 2018, from https://delzottoproducts.com/2015/09/02/characteristics-brutalist-movement/ Lai, C. K. (2007). Building merdeka: Independence architecture in Kuala Lumpur. Kuala Lumpur, Malaysia: Petronas. (n.d.). Retrieved from http://www.ecoarenas.com/highlightproject.html Estádio Nacional de Brasília | gmp · von Gerkan, Marg and Partners Architects. (n.d.). Retrieved from https://archello.com/project/estadio-nacional-de-brasilia 1992 Thomas & Uber Cup. (2018, June 10). Retrieved from https://en.wikipedia.org/wiki/1992_Thomas_&_Uber_Cup Chreportstadiumnegara (2). Retrieved from https://issuu.com/jscheok/docs/chreportstadiumnegara__2_ ForestedTiger Follow. (2016, December 09). Stadium negara report history2. Retrieved from https://www.slideshare.net/ForestedTiger/stadium-negara-report-history2 Stadium Negara Precedent Studies Report. (n.d.). Retrieved from https://www.scribd.com/document/291940095/Stadium-Negara-Precedent-Studies-Report
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CHURCH OF OUR LADY OF LOURDES
CONTENTS CHURCH OF OUR LADY OF LOURDES 1 INTRODUCTION 1.1 Brief History Timeline Analysis 1.2 Architectural Style and Influence 1.3 Components of Architectural Elements 2. SITE CONTEXT 2.1 Relationship Of Building With Surroundings 2.2 Site Accessibility 2.3 Circulation 3. ARCHITECTURAL STYLE AND DESIGN ANALYSIS 3.1 Organization Of Forms 3.2 Axis and Relation of Axes 3.3 Symmetry and Balance 3.4 Rhythm and Repetition 4. SPATIAL ORGANIZATION 4.1 Organization of Space 4.2 Circulation and Path-space Relation 4.3 Function of spaces 5. CONSTRUCTION 5.1 Construction 5.2 Climate Response 6 INFLUENCE 6.1 Influence of the West 6.2 Architect’s Influence on Building’s Significance 6.3 Interpretation of Malaysian Modern Architecture
1 INTRODUCTION
1.1 BRIEF HISTORY Founded by Reverend Father John Baptists Souhait in 1923, who was directed to take charge of the spiritual needs of the Catholic residents in Klang and the surrounding districts, including Selangor and Kuala Langat. He was soon aware of the need of a permanent building/a church to set about his missionary by acquiring the present site. Eventually he succeeded in getting the land where the Church of Our lady of Lourdes is now located in Klang. The church demonstrates the beacon of hope to many, both with Virgin Mary and her Priest as a Parish itself in helping migrants to settle and adjust in a new land so the sense of homelessness for the migrants which including Chinese, Indians and as well as Filipinos was not only geographical but also the nature spirit.
FUNCTION Church of Our Lady of Lourdes serves as a church to reach out and give both spiritual and social attachments to Catholicism. Also, providing a connection between the migrants’ homeland and new communities. Plus, the priest was important in being a friend for guidance and offering counsel in difficult times when British colonised Malaya.
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CHURCH OF OUR LADY OF LOURDES
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1923
1890
The building of the Chucrh of Our Lady of Lourdes commenced. Of which the it was built by Father Souhait himself, that studied architecture in French and was inspired by Lourdes
Reverend Father John Baptists Souhait took charge of the spiritual needs of the Catholics in Klang and the surrounding districts such as Kuala Selangor and Kuala Langat. He realised the need for a permanent church and began acquiring the present site.
Priests from St. John’s Church were sent to tend to the spiritual welfare of the people. Besides Chinese and Indian immigrants, Catholic British civil servants also attended the Mass service conducted at the Chapel.
In this era, foreign immigrants started to settle on the areas near Klang River. Many of the Chinese tin miners and the Indians who worked under the estates around Klang were Catholics. Back then, the Sunday service mass was held in a wooden chapel on Rembau Street (now known as Jalan Tengku Kelana).
TIMELINE ANALYSIS CHURCH OF OUR LADY OF LOURDES
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2018
1937
1928
Our Lady of Lourdes Church in Klang is now a famous historical landmark in Selangor. She is one of the most photographed buildings by many tourists who visit Klang.
Our Lady of Lourdes Church in Klang reached out to all of them and took them all under her wing, becoming a strong sign of community to bring people from other states and countries together.
Due to the opening of factories and big companies in Klang, people from Singapore started coming in. Although Klang was only a small town then, those people came all the way to look for better job opportunities.
Church of Our Lady of Lourdes was completed along with the very first man-made grotto in it’s original location.
1.2 ARCHITECTURAL STYLE AND INFLUENCE Father Souhait, who played a major role in design the Church of Our Lady of Lourdes built the church based off of inspiration from ‘Our Lady of Lourdes’ who is the Roman Catholic title of the Blessed Virgin Mary origination in Lourdes, France. The church’s design follows the style of Gothic Architecture. It is also a reminiscent of Notre Dame of Paris having numerous Gothic design elements highly represented in the Notre Dame. Most churches are built as an orientation of the West but the Church of Our Lady of Lourdes is oriented to face the East symbolising the ‘born of a new life.’ The church is also built with an adaptation of the Malay Village House specifically in the use of the overhanging pitch roof. So, the entire church is inspired by Gothic architecture and minor Malay architectural influences as well as the typical cathedral/church build and Catholicism.
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1.3 COMPONENTS OF THE ARCHITECTURAL ELEMENTS The Church of Our Lady of Lourdes is an adaptation of Gothic Architecture therefore containing many significant elements of the architectural style. Although containing a large amount of Gothic features, some features are adaptations of the features in relation with the Malaysian climate. BELL TOWERS The bell towers of the facade at the left and right wing arranged in 3 stages are composed of cross tipped pinnacles and joined by arcaded railings at the 4 corner of the top of bell towers, and a blind arcade with decorated frieze separate the bell towers into different stages.
ROSE WINDOW The main entrance is facing Southeast therefore allowing sunlight to pass through the rose window that are made of quatrefoils as the light and art of the facade. The quatrefoils are placed around a floral heart as the centerpiece. The original design concept of the church is Light and God, which is expressed through the shape and placement of fenestrations, the lighting of the church represents God’s love that overcomes darkness when the light penetrates through the fenestrations. The facade is also complemented by a pair of arch windows to beautify the facade.
ARCHED WINDOWS The altar of the church is located at the apsidal that has a higher ground level, 2 arched windows allow the sunlight to brighten up the area. Arched windows can also be found on the mezzanine level facing the front at the bell towers.
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STAINED GLASS WINDOWS The stained glass windows of the church describes the different stories and chapters of the bible. It is also a common element of Gothic Church architecture.
VIRGIN MARY GROTTO Alongside the main church building is the grotto which is the adaptation of the grotto of Massabielle in Lourdes where a sculpture of the Virgin Mary is placed within an artificial cave alongside a water feature. It is currently located behind the church functioning as a shrine. The Grotto now serves as a ‘meeting point’ for the Parishioners to gather for the Parish functions and events.
SPIRAL STAIRCASE Another significant feature is the spiral staircase leading to the upper level. It is placed right in front of the entrance, between the vestibule and the nave. However, this feature was added only recently, many years after the construction of the original church building. It is built of wrought iron and has 26 threads. Father Souhait used wrought iron for the stairs is to replace stone stairs due to wrought iron being cheaper and easier to install.
OVERHANGING PITCH ROOF The roof type used in Lady of Lourdes is the overhanging pitch roof to adapt to the climate of Malaysia to create a cooler environment. Located at the side entrances of the church as for shade purpose, which is inspired by local Malay village houses.
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GABLE ROOF The main roofing is the gable roof made of imbrices and clay tiles as well as steel trusses and wire plastering board ceiling. It is a characteristic of the Gothic Revival Style.
DIAGONAL BUTTRESS Diagonal Buttress is also present on the exterior facade next to the rose window. It is made of clay bricks and plaster finish, similar to the walls of this main facade. The diagonal buttress is the small angled buttresses set to the corner of the building used as projecting support of the walls.
JALOUSIE WINDOWS And for the windows, the Jalousie window type are used, which are inspired by Malay House’ fenestration that cover both southeast and northeast of the facade. The jalousie window act as ventilation of the church, also reduces the sunlight directly penetrating through the church. The Jalousie windows are also lined with lintels over the top as a method to let rain fall off the windows. Timber framing was used for all tracery of the window and nave doors to suit our tropical climate.
BARREL VAULT The church uses a barrel vault instead of the typical rib vault used in building Gothic cathedrals and churches.
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ROMAN ARCH Similarly, instead of a pointed arch, a roman arch is used. The roman arch can be found at the entrance of the church as it serves as 3 main entryways into the doors, narthex and into the church’s main hall.
IONIC AND CORINTHIAN COLUMNS The composition of the church consists of the typical nave, transept, vestibule, apse and sanctuary in which the nave is supported by 2 types of columns - Ionic and Corinthian (specifically with the ram horn volutes)
BLIND ARCADE AND DECORATED FRIEZE The base and the 2 stages above it are separated by a set of blind arcades as well as decorated frieze. Arcades can also be found in between the cross-tipped pinnacles at the top of the front facade. All of these can be found on all facades of the church.
ORNAMENTATION There are also ornamentations that can be found on the exterior near the main entrance of the church inspired by the gargoyles of Notre Dame but instead are sculptures placed one 4 corners of the columns.
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2 SITE CONTEXT
2.1 RELATIONSHIP OF BUILDINGS WITH SURROUNDING The church is strategically located along Jalan Tengku Kelana, Klang, a highly populated area surroudning by buildings and roads. It is surrounded by a few buildings such as Kuil Sri Sivan, a hindu temple, a Catholic Church, which is the old Church of Our Lady Of Lourdes and also SMK Convent, a school in which the teachers are nuns which increases education opportunities for the residents in the area. There are a lot of churches that can be found at that particular area and one of them is Church of Our Lady Of Lourdes which bring convenience to the Christians at that area.
Church of Our Lady of Lourdes Surrounding buildings
2.2 SITE ACCESSIBILITY The church is located at a very strategic location as it is just beside roadside. You can see it when you pass by Jalan Tengku Kelana. It is also very convenient to the residents at the area as there are bus stops there. The buses provide access to the church as well as the Convent School and the other places that is nearby. Buses helped a lot in solving the traffic problem as there are limited parking spaces and opportunities therefore reducing traffic congestion. Church of Our Lady of Lourdes Surrounding Buildings Accessibility to site
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3 ARCHITECTURAL STYLE & DESIGN ANALYSIS
3.1 ORGANIZATION OF FORM The Church of Our Lady of Lourdes has a similar plan and shape as compared to the Notre Dame de Paris. The form of the church is composed of a rectangular shape forming a cuboid, and at the apse, chancel and sanctuary, it is made of a halved circle form. The entire form and shape of the church is made of simple geometrical forms. On the mezzanine level, only the front part of the church is used for seating area as an elevated deck looking off the ground floor. Beside the seating area is rectangular void above the ground floor where it becomes an open space.
3.1.1 Geometry in form of church through plan
3.1.2 Geometry see in form of church through elevation
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3.2 AXIS AND RELATION OF AXES The axis shown in Lady of Lourdes is prominent in the elevation and plan as the church is built representing a lot of balance and symmetry. An axis can be placed along the centre of the main facade/elevation to show the balance of both sides equally. Another axis can be cut along the centre to separate equally two parts of the plan to show the balance, especially since it is a rectangular base. The axis in the church is all along a principal axis as a projection of the central vertical plane separating the entire building into 2 equal halves. The axis in relation to the axes are seen along the minor column axes along the side of the interior walls -- where it is parallel to the principal axis and where the columns are lined with organization. Along the same axes is as well, where the stained glass windows are lined. Both this elements strongly represent the relationship of axes with the principal axis.
3.2.1 Principal axis and principal axes on plan
3.2.2 Principal axis and principal axes on elevation
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3.3 SYMMETRY AND BALANCE The overall facade and many details of the Church of Our Lady of Lourdes incorporates symmetry and balance. For example, a characteristic of the Gothic Revival Style is the gable roof. The shape itself is symmetrical, making it attractive. Balance is seen where there are two bell towers, one on each side of the front facade. These bell towers are exactly the same as they both have cross tipped pinnacles at the four corners joined by arcaded railings. The floor plan and roof plan of the church also represent balance as it is symmetrical when cut through the center. The balance and symmetry can also be seen through the principal axis of the church itself.
3.3.1 Balance shown through centre of the Gable Roof
3.3.2 Balance shown through front and rear elevation
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3.4 RHYTHM AND REPETITION Rhythm and repetition can be found on both the interior and exterior of the building. As part of elements, firstly, many jalousie windows are placed at the facades of the church to provide ventilation and it shows repetition and rhythm. Similarly, both corinthian and ionic columns, iconically, the columns with the ram horn volutes are repeated along the walls of the entire building. In terms of structure, repetition is also shown in the interior of the Church through the barrel vaults. The intervals between each barrel vault creates a sense of rhythm and a sense of movement. The entire church expresses repetition and rhythm very strongly as the use of significant, important elements are repeated all over the facade, structure, exterior, interior and in details.
3.4.1 Left Elevation indicating repetition of windows and columns along interior facade
3.4.2 Reflected Ceiling Plan indicating repetition of barrel vault segments
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4 SPATIAL ORGANIZATION
4.1 ORGANIZATION OF SPACE The church is built to serve mainly as a church. Encompassing basic necessities of a typical church, such as a the altar, the nave, serving as the main seating area, the transepts and narthex. As part of the nave is seating areas for the laity as space to worship god. Seating area served only for sitting, alongside the upper level where another separate seating area is provided. The seating capacity is around 150 people. Also, there is a confession room located at the side of the seating area, nearby the spiral staircase. The seating area is facing the altar of the church, which is located at the apsidal, the northwest of the church. The alter has a higher ground level, for the purpose of worship God and practice religious activities. Behind the altar, the space is served as office and vestry for church. On the mezzanine floor, this space is served as a storage room.
4.1.1 Ground Floor Plan of Church of Our Lady of Lourdes labelling spaces within
4.1.2 Mezzanine Floor Plan of Church of Our Lady of Lourdes labelling spaces within
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4.2 CIRCULATION AND PATH-SPACE RELATION The main entrance is located between the 2 confession rooms past the porch (also known as the narthex), allowing access into the main hall of the building. There are 3 main doors, all of which are accessible at the entrance hall.
4.2.1 Ground Floor Plan indicating path and circulation flow throughout building
4.2.2 Mezzanine Floor Plan indicating path and circulation flow Primary Cicrculation route Secondary Circulation route Tertiary Circulation route
The entrance is located at the far end of the nave, allowing access into the nave and altar. Through the nave, is a single long hallway/walkway walking down towards the transept, altar and other spaces. On the second floor, led up by the staircases on both ends (spiral staircase and typical staircase), provides access to the bell towers and the bell along with a storage area above the altar.
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4.3 FUNCTION OF SPACE The entrance is located at the far end of the nave, allowing access into the nave and altar. Through the nave, is a single long hallway/walkway walking down towards the transept having seating areas for the laity, separating the altar, choir, sanctuary, apsidal and office with the nave. On the Mezzanine floor, led up by the spiral staircase on one end and typical staircase on the other, is another seating area off of a balcony overlooking the nave and altar with access to the bell towers on the two sides and the bells. Along with that, on the mezzanine floor led up by another set of stairs, is a storage area.
4.3.1 Seating Area at the Nave
4.3.2 Entrance Door
4.3.4 The Altar the front of the church
4.3.5 Seating area on the Mezzanine floor
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4.3.3 Bell Tower
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5 CONSTRUCTION AND STRUCTURE
5.1 CONSTRUCTION GABLE ROOF The unique designed shape of gable roof of the church which supported by hardwood rafter is to adapt to the climate change. The gable roof that cover with clay roof tiles provide protection for the church from rainwater and sunlight. BARREL VAULT Another significant construction feature is the use of barrel vaults which are semi-cylindrical vaults in the interior serves as structural support using barrel vault mechanism to support the walls. Parallel naves run down the entire building, having the strongest one of the ends of the church as the strongest support. DIAGONAL BUTTRESS Diagonal buttresses are used on the front facade of the church as structural support with the barrel vault for the walls.
5.1.1 Right Elevation - Gable Roof and Diagronal Buttress
3.5.2 Refelected Ceiling Plan indicating repetition of barrel vault segments
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5.2 CLIMATE RESPONSE 5.2.1 VENTILATION Jalousie windows allow cross ventilation to flow in order and sufficiently reduce the hot air inside the church through bell towers. It has the similar air stack effect from the local vernacular architecture.
5.2.1 (i) Right Section indicating flow of wind throughout building
5.2.1 (ii) Influence of Malaysian Malay House
Airflow throughout church
5.2.2 (i) Overhanging pitched-roof
5.2.2 CONSTRUCTION & THE TROPICAL CLIMATE The church is built with numerous jalousie windows, allowing light to pass through but only of a limited count so that the church is not too brightly-lit. Overhanging pitch roofs are built along the sides of the exterior as a way to accomodate the heat and rain in Malaysia and ensure the building stays cool and is sheltered in certain areas.
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6 ARCHITECTURAL INFLUENCE
6.1 INFLUENCE OF THE WEST The stadium was influenced by a cathedral, Chartres Cathedral. It is also built with Gothic Architectural Style and encompasses Gothic elements in construction.
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CHARTRES CATHEDRAL
STYLE
Dome shaped roof
Concave roof
MATERIALS USED
Timber and Brick
Limestone
PLAN
Bent Axial
Cruciform Plan
ORIENTATION
East Pitched Roof
ROOF TYPE ROOF MATERIALS
Clay Tiles
Copper Cladding
ROOF STRUCTURE
Hardwood Rafter and Steel Trusses
Wrought Iron and Cast Iron
VAULT TYPE
Barrel Vault
Ribbed Vault
ARCH TYPE
Roman Arch
Pointed Arch
6.1.1 Church of Our Lady of Lourdes Interior
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6.1.2 The Chartres Cathedral
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6.2 ARCHITECT’S INFLUENCE ON BUILDING’S SIGNIFICANCE The architect of Church of Our Lady of Lourdes, Father Souhait was once a student studying Architecture in France before joining the priesthood. Thus, he became one of the most influencial people when it came to designing the church. He designed the church based on the famous Gothic-styled church in Lourdes, France. Building it with inspiration and using the typical plan, architectural components and elements of the Gothic Architectural style. But due to Malaysia’s tropical climate, he had to make some changes on the building. Father Souhait was also in charge of the spiritual needs of the Catholics and was initially aware of the need of a church which is what made him the reason the church was initiated. 6.2.1 Photo of Father Souhait
6.3 INTERPRETATION OF MALAYSIAN MODERN ARCHITECTURE Back in 1928, when Church of Our Lady of Lourdes was built, it was a religious place and platform for the public that are mostly catholicism believers. In present day, Church of Our Lady Lourdes has become not only a religious platform for the believers, but it also serves as a significant historical landmark in Klang. The church did not contribute significantly to the moderrnism of Malaysian Architecture, however, it did contribute to the making of Malaysia’s architectural significance by the use of Gothic Architecture in a significant church building. The church now plays an important role to the local community. As the time goes by, it continues to bring people together through the church itself with the significant architecture and it contains different memories throughout the events from past decades. Since the main entrance of the church is facing Southeast, one of the main roads in Klang, it never fail to impress the visitors and pedestrians by its Gothic architecture style.
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REFERENCES
CHURCH OF OUR LADY OF LOURDES Church of Our Lady of Lourdes Klang. (2018, September 02). Retrieved from https://en.wikipedia.org/wiki/Church_of_Our_Lady_of_Lourdes_Klang Healing Planet Klang. (n.d.). Retrieved from http://ollklang.org/ Church of Our Lady Lourdes Analysis. (n.d.). Retrieved from https://www.scribd.com/document/189766255/Church-of-Our-Lady-Lourdes-Analysis Culture & History 1&2. (n.d.). Retrieved from http://michy0217.wixsite.com/sputnik-atelier/blank Our Lady of Lourdes. (2018, October 26). Retrieved from https://en.wikipedia.org/wiki/Our_Lady_of_Lourdes Church of Our Lady Lourdes, Klang. (n.d.). Retrieved from https://www.timothytye.com/malaysia/selangor/klang/church-of-our-lady-of-lourdes.htm Grotto. (2018, July 07). Retrieved from https://en.wikipedia.org/wiki/Grotto Lyee, J. (n.d.). Theories of Architecture and Urbanism Project 2. Retrieved from https://issuu.com/jessielyee/docs/project2 Britannica, T. E. (2017, September 21). Notre-Dame de Paris. Retrieved from https://www.britannica.com/topic/Notre-Dame-de-Paris The Importance of Axes in Architectural Drawing. (n.d.). Retrieved from https://chestofbooks.com/architecture/Cyclopedia-Carpentry-Building-4-6/The-Importance-Of-Ax es-In-Architectural-Drawing.html X. (n.d.). Gothic cathedral and church construction. Retrieved November 02, 2018, from https://www.abelard.org/france/cathedral-construction.php#other_materials Chartres Cathedral. (2018, October 30). Retrieved from https://en.wikipedia.org/wiki/Chartres_Cathedral Chartres Cathedral after 1194. (n.d.). Retrieved from http://chartrescathedral.net/chartres-cathedral-after-1194/ Cathedrals : the buttresses and roof of Chartres. (n.d.). Retrieved from https://www.abelard.org/france/cathedral_buttressing_chartres.php Interesting Facts about Chartres Cathedral. (n.d.). Retrieved from http://justfunfacts.com/interesting-facts-about-chartres-cathedral/ X. (n.d.). Gothic cathedral and church construction. Retrieved from https://www.abelard.org/france/cathedral-construction.php
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ARCHITECTURE HISTORY AND THEORY ARCHITECTURAL ANALYSIS BOOKLET
COMPLETED BY: Sau Jia Yi 0331919
Lee Wen Yi 0337274
Summer Tan Xia Qin 0332854
Cheah Chenxi 0332498
Ng Hui Lin 0332114
Reynaldo Leo Vardo 0336148
Ong Cheng Ying 0332142
Lim Yen Khing 0336593
Sin Yun Jing 0332882
Kong Zhen Onn 0336068
Zoe Chong Kar Min 0336952
INDEX
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TIMELINE & DIAGRAM ANALYSIS