Measure Drawing Report (Old state museum kedah)
Transcript of Measure Drawing Report (Old state museum kedah)
METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305) OLD STATE MUSEUM OF KEDAH
ALOR SETAR
JANUARY – MARCH 2017
The Old State Museum
of
Kedah
Declaration
It is a group effort by:
Nik Ahmad Munawwar Nik Din
Benjamin Tan Zi Hern
Chang May Chen
Low Chi Yin
Chia Keh Chian
Chloe Teh Shu-Ern
Chong Jia Yi
Chong Wen Bin
Bachelor of Science (Honours) (Architecture)
January 2017
Taylor’s University
Supervised by:
Mohd Adib Bin Ramli
Loo Yee Pei
Loong Bo Lin
Muhammad Zaim Bin Azmi
Shum Li Sze
Tg Nabilah Diyana Binti Tg Mohd Amran
Teo Kuo Chien
Vincentia Mutiara Kartika
Wee Sue Wen
This report was submitted for the module ARC 1215 / ARC60305 - Methods of Documentation and Measured Drawings,
to School of Architecture, Building & Design of Taylor’s University to obtain 5 credits for Practicum 1.
AbstractThe following report is produced in conjunction with the completion
of the Methods of Documentation and Measured Drawings module,
which documents the research, analysis and measured drawings of
the Old State Museum building in Alor Setar, Kedah. Data collection
pertaining to building measurements, historical information and
visual documentation were conducted by a group of 16 architecture
students from Taylor’s University throughout a period of five days
on site. The Old State Museum was Kedah’s first purpose-built
museum, completed in 1961. It now serves as the office for the
museum administration as well as the Kedah Historical Society after
the present museum building is completed. The building is a prime
example of buildings built during the early years of Merdeka, of a
nation still searching for a national identity. Hence, it provides an
excellent platform for architecture students to study the historical
progression of architecture in Malaysia.
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Acknowledgement
The group would like to extend its utmost appreciation to the following
individuals who have actively assisted throughout the group’s journey in
completing this module.
First and foremost, our gratitude goes out to our lecturer, Mr. Adib, who had
provided the group with immense support, including having the patience to
put up with our antics, all the way from day one up until the completion of
the project.
Our appreciation also goes out to Dr. Nor Hayati for carefully designing the
module to be as beneficial as it is to our learning development. We have
indeed gained a lot from the experience over the short period of time.
Finally, we would like to extend our appreciation towards Lembaga Muzium
Negeri Kedah and Persatuan Sejarah Negeri Kedah and their officers for
allowing us to conduct measurement and research activities on the museum
grounds, and for providing us with significant amount of information to ease
the research process.
CONTENTSCHAPTER 11.1 The Old State Museum of Kedah 1.2 Objectives and Aim1.3 Group Structure and Organisation 1.4 Timeline 1.5 Methods of Measurement 1.6 Equipments Used1.7 Methods of Research 1.8 Literature Review1.9 Significance of Study1.10 Scope1.11 Limitations
CHAPTER 22.1 Malaysia, Kedah and Alor Setar2.2 Local Culture and Heritage2.3 Kedah Historical Society2.4 Museum of Kedah Development Timeline2.5 Purpose and History of the Old Museum
CHAPTER 33.1 Site Context3.2 Landscape3.3 Architectural Influences3.4 Refurbishment Into Administration Office
CHAPTER 44.1 Form4.2 Spatial Planning4.3 Symbolism
CHAPTER 55.1 Columns5.2 Doors5.3 Windows5.4 Ceiling5.5 Lighting5.6 Wooden Carvings5.7 Bronze Metalwork5.8 Portico Ornamentation
CHAPTER 66.1 Structural Materials6.2 Non-Structural Materials6.3 Floor Covering & Finishing
CHAPTER 77.1 Timber Colonnade7.2 Roof Timber Skeleton7.3 Timber post beam & Floor Joists7.4 Windows & Doors7.5 Staircase7.6 Others
CHAPTER 88.1 Operation And Functionality Of The Building8.2 Exterior8.3 Improvement Suggestions on Design
CONCLUSIONGLOSSARYAPPENDIX
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Figures
Fig 1.01: Photo of the building as a museum
Fig 1.02: Group structure
Fig 1.03: Group members
Fig 1.04: Group members on site
Fig 1.05: List of subgroups and job distribution
Fig 1.06: Working in the laser cutting workshop
Fig 1.07: Measurement instrument on site
Fig 1.08: Measuring and recording data on site
Fig 1.09: Conducting and interview with Chairman of Kedah Hostorical Society, Dato’ Wan Shamsuddin
Fig 1.10: Model making in progress
Fig 1.11: Gantt chart
Fig 1.12: Sketching a template to record measurement
Fig 1.13: Using measuring tape to determine the run of a staircase
Fig 1.14: 30m measuring tape for medium length measurement
Fig 1.15: Laser measurement tool for inaccessible locations or distance
Fig 1.16: Tripod stand for DSLR camera
Fig 1.17: Level ruler used with laser measurement tool to determine angle
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LIST OF FIGURESCHAPTER 1
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Fig 1.18: 8m aluminium CAT ladder to climb up inaccessible height
Fig 1.19: Ruler for measurement of small details
Fig 1.20: DSLR camera to capture video footage and photo
Fig 1.21: Powerful laptop with Autocad for instance CADing on site
Fig 1.22: Reference materials including books, pamphlets and special publications
Fig 1.23: School boys and girls waiting in line to enter the old museum (c.1971)
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CHAPTER 2Figures
Fig 2.01: Masjid Zahir and Dataran Alor Setar
Fig 2.02: Menara Alor Setar in city centre
Fig 2.03: Kedah traditional attires; Baju Melayu Cekak Musang and Baju Kurung Kedah 24
Fig 2.04: Performers performing Cinta Sayang dance for an event
Fig 2.05: Depiction of the game Sepak Bulu Ayam
Fig 2.06: Logo of the Malaysian Historical Society
Fig 2.07: Balai Besar in Alor Setar
Fig 2.08: The late Tan Sri Mubin Sheppard
Fig 2.09: School excursion at the old museum
Fig 2.10: The new building of Kedah State Museum
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CHAPTER 3Figures
Fig 3.01: Location plan of Kedah State Museum Complex
Fig 3.02: Site plan with landmarks
Fig 3.03: Entrance to Wat Siam Bakar Bata Buddhist
Fig 3.04: Façade of Persatuan Leong Say Tong Kedah/Perlis
Fig 3.05: Stadium Darul Aman
Fig 3.06: Buildings within the museum complex
Fig 3.07: Entrance to the new museum
Fig 3.08: Old museum building, now museum and administrative office
Fig 3.09: Headquarters for the Kedah Historical Society
Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the old museum
Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim
Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah
Fig 3.13: Drainage system around the complex
Fig 3.14: Concrete paves used on site
Fig 3.15: Planter boxes as part of landscaping
Fig 3.16: Blue and pink mosaic tiles at the corridor
Fig 3.17: Wodyetia Bifurcata
Fig 3.18: Ficus Benjamina
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Fig 3.19: The National flower, Hibiscus
Fig 3.20: Ravenala Madagascariensi
Fig 3.21: Ixora
Fig 3.22: Fruit trees on site
Fig 3.23: Comparison of the old museum with the design of a Malay traditional house
Fig 3.24: Large roof overhangs define the vernacular Malay house
Fig 3.25: The grand entrance to the old museum
Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom)
Fig 3.27: List of timber according to construction parts
Fig 3.28: Comparison of decoration openings between traditional Malay house and the old museum
Fig 3.29: Comparison between building layout of traditional Malay house and the old museum 48
Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia 49
Fig 3.31: Influence of colonial styled architecture on the arches shading devices 49
Fig 3.32: Open floor plan for the interior space, segmented by movable partitions
Fig 3.33: Example of open plan floor, Villa Savoye by Le Corbusier
Fig 3.34: Pilotis at the corridor
Fig 3.35: The free façade
Fig 3.36: Modernist motifs at the windows and entrance of the old museum
Fig 3.37: Roof overhang ornamentations in Thai architecture
Fig 3.38: Wooden overhang ornamentation on the roof of the old museum
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Fig 3.39: The old museum in its heyday
Fig 3.40: The old museum today
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CHAPTER 4Figures
Fig 4.01: The team arriving at measurement site old building of Kedah State Museum 55
Fig 4.02: Example of ‘Gajah Menyusu’ house
Fig 4.03: Adaptation of Malay vernacular roof by the old museum building
Fig 4.04: Front portico of the old museum
Fig 4.05: East elevation showing evidence of symmetry
Fig 4.06: Building columns being repeated along the corridor
Fig 4.07: North elevation showing repetition elements in the building
Fig 4.08: Contrast in materiality between the ground floor and the first floor
Fig 4.09: The scale of the front portico evokes a sense of grandeur
Fig 4.10: The double staircase at the entrance of Balai Besar
Fig 4.11: The double staircase at the entrance of the old museum
Fig 4.12: The linear open plan for both ground floor (top) and first floor (bottom) of the old museum
Fig 4.13: The museum’s application of pitched roof to combat local weather
Fig 4.14: Diagram demonstrating stack ventilation inside the building
Fig 4.15: Ornamentation at the front portico
Fig 4.16: Inverted ‘S’ motifs around the building
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CHAPTER 5Figures
Fig 5.01: Conditions of columns around the building
Fig 5.02: Entrance to the first floor, accessible via the grand double staircase
Fig 5.03: Entrance to the office at the ground floor
Fig 5.04: Close up of door handle
Fig 5.05: Louvered ‘Jalousie’ windows around the facade
Fig 5.06: Wooden louvered windows on the ground floor contrast the glass louvered windows on the first floor
Fig 5.07: First floor interior fenestration via glass louvered windows
Fig 5.08: Ground floor windows are now sealed from inside.
Fig 5.09: Tinted casement windows replacing the original louvered windows
Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building
Fig 5.11: As wood carvings are common in Malay traditional architecture, they are used abundantly in the design of this building. They can be
found below the windows and roof
Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outwards from the middle to create a star-like shape
Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar inverted ‘S’ pattern as seen in the picture are repeated
throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the
Fig 5.14: Bronze metal artwork on the first floor
Fig 5.15: Close up of bronze metal art work
Fig 5.16: Rubber tappers collecting latex
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Fig 5.17: Farmers harvesting on paddy field
Fig 5.18: Farmer ploughing the land with a bull
Fig 5.19: Locals pounding rice the traditional way
Fig 5.20: Multiculturalism in Malaysia
Fig 5.21: Traditional activities of the locals
Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico
Fig 5.23: Application of the ornamentation on a triangular window
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CHAPTER 6Figures
Fig 6.01: Building elements made out of chengal at the front portico
Fig 6.02: Reinforced concrete column and footing
Fig 6.03: View of reinforced concrete columns from the corridor
Fig 6.04: Bricks wall on the ground floor
Fig 6.05: Museum display cases made of clear glass
Fig 6.06: Office partition walls made of clear glass
Fig 6.07: East elevation tinted glass door
Fig 6.08: East elevation tinted glass casement windows
Fig6.09: Tinted glass office partition wall
Fig 6.10: Texture of frosted glass
Fig 6.11: Application of frosted glass
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Fig 6.12: First floor louvered windows made of frosted glass
Fig 6.13: Timber door and timber partition wall at the interior
Fig 6.14: Nyatoh and meranti building elements at the front portico
Fig 6.15: Iron work ornamentation at the portico
Fig 6.16: Close up of iron work ornamentation
Fig 6.17: Application on the window grille
Fig 6.18: Staircase baluster made out of iron
Fig 6.19: Barrel lock made out of iron
Fig 6.20: Tinted windows with aluminium frame
Fig 6.21: Close up photos of frosted glass window with aluminium mullion
Fig 6.22: A row of bronze metal artworks in the first floor as part of interior decoration 86
Fig 6.23: Reinforced concrete double staircase
Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer 87
Fig 6.25: Concrete flooring with mosaic tiles
Fig 6.26: Concrete drainage
Fig 6.27: Unglazed ceramic mosaic tiles
Fig 6.28: Ground floor plan shows the usage of unglazed ceramic mosaic tiles
Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridor
Fig 6.30: Layers of paint coating accumulated over the years
Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions
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Fig 6.32: Roof coverings made of clay roof tiles
Fig 6.33: Texture of clay roof tiles
Fig 6.34: Ground floor plan shows the usage of unglazed ceramic mosaic tiles
Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles
Fig 6.36: First floor plan showing areas covered by carpet
Fig 6.37: First floor interior carpet flooring
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CHAPTER 7Figures
Fig 7.01: Ground floor plan showing the location of timber colonnades
Fig 7.02: Timber colonnades at the corridor
Fig 7.03: Axonometric detail of the roof construction
Fig 7.04: East elevation
Fig 7.05: Section showing construction details
Fig 7.06: Tenon and mortise joint
Fig 7.07: Bird’s mouth joint
Fig 7.08: Timber roof trusses
Fig 7.09: Image shows the steel straps connectors
Fig 7.10: Connection of clay roof tiles
Fig 7.11: Sketch drawing of construction of clay roof tiles
Fig 7.12: Timber fascia boards at the roof edge
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Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection
Fig 7.14: South elevation shows the location of aluminium-framed louvered windows
Fig 7.15: Details of louvered windows with aluminium frame
Fig 7.16: South elevation shows the location of casement windows with aluminium frame
Fig 7.17: Details casement windows with aluminium frame
Fig 7.18: Casement windows with aluminium frame
Fig 7.19: South elevation showing the location of traditional timber louvered windows
Fig 7.20: Perspective view of the windows
Fig 7.21: Details of traditional timber louvered windows
Fig 7.22: North elevation shows the location of timber door with glass panels
Fig 7.23: Details of timber door with glass panels
Fig 7.24: Mortise locks at the exterior of the timber door
Fig 7.25: Barrel bolt and door closers at the interior of the timber door
Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase
Fig 7.27: Connection of different parts of staircase
Fig 7.28: Sectional drawing of reinforced concrete staircase
Fig 7.29: Handrails and iron balusters of staircase
Fig 7.30: First floor plan showing the location of interior open stringer timber steps
Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge
Fig 7.32: Axonometric drawings of exterior ornamentations
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Fig 7.33: Inverted ‘S’ shape ornamentation
Fig 7.34: Close up of the architrave
Fig 7.35: Bronze metal artwork in the first floor
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CHAPTER 8Figures
Fig 8.01: Dignitaries visiting the old museum
Fig 8.02: Condition of the first floor today
Fig8.03: Original colour of the old museum
Fig 8.04: Colour of the old museum today
Fig 8.05: Changes of the roof colour over time
Fig 8.06: Deterioration of column base
Fig 8.07: Ageing of timber column
Fig 8.08: Changes in the windows
Fig 8.09: Addition of tinted glass sliding door to the main entrance
Fig 8.10: Degradation of wood panelling for the exterior shading device
Fig 8.11: Some parts of the exterior ornamentation have fallen off from the wall
Fig 8.12: Minor oxidation of the metal ornamentation
Fig 8.13: The first floor is now completely covered by carpet
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Chapter 1
Introduction
Chapter 1: Introduction
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1.1 THE OLD STATE MUSEUM OF KEDAHThe old State Museum building, located in Bakar Bata, Alor Setar was
Kedah’s first ever state museum, set up by the newly formed Kedah
Historical Society in 1961. The building took over the role of exhibiting and
safekeeping the state’s most highly prized historical treasures from Balai
Besar, which was a temporary museum to house pre-historic artifacts found
in Bujang Valley. The old museum was originally set up to be a shared
building between the state museum and the city library. However, as
the number of collections and exhibitions grew, the museum space was
expanded to occupy the entire building.
The design of the building was heavily inspired by the design of the Balai
Besar in central Alor Setar, albeit with simplified ornamentations and the
incorporation of modernist elements. The idea for the design was proposed
by the late Mubin Sheppard, a well known historian at the time who was
actively involved with the setting up of the Kedah State Museum. Its
design was finalised and approved by Jabatan Kerja Raya (JKR) Kedah
and constructed with financing from the federal government. The design
incorporates mainly traditional Malay motifs commonly found in the design
of vernacular Malay house, more specifically of the ‘Gajah Menyusu’ type
commonly found in Northern states.
With the completion of a new museum building adjacent to the original, the
old building has been transformed to become the administration office for
the state museum and the headquarters for the Kedah Historical Society.
Fig 1.01: Photo of the building as a museum
Chapter 1: Introduction
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1.2.1 AIM
The aim of this project is to produce a set of measured drawings and historical
documentation for the old State Museum of Kedah in Alor Setar, as a means
to develop an understanding on the principles of heritage preservation.
The process involves a number of components, beginning with the study
of the site, which includes surrounding buildings, geography, culture and
demographics. This was then followed by the detailed measurement of
the structure concurrent to conducting research via interview and literature
reviews. The outcome of these components are then to be documented
and presented via the production of full architectural drawings as well as
a complete publication comprising of both visual and literary components.
1.2 OBJECTIVES AND AIM
Chapter 1: Introduction
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1.2.2 OBJECTIVES
The main objective of this exercise is to develop an understanding and
appreciation of the architectural typology in Kedah, more specifically
pertaining to the historical evolution of the structure for the Old State
Museum of Kedah, within the context of the era it was built, as well as its
location and the original purpose of the structure. These understanding,
coupled with an in depth study of the technical and architectural details are
expected to aid in the preservation effort of heritage buildings in Malaysia,
which includes the Old State Museum structure. On the flipside, the process
of measuring and documenting is expected to assist in the development of
students’ skills in producing high quality measured drawings and research
publications. These activities provide first-hand experience for students in
terms of working on a large scale project in a team, an experience which
can be useful in professional practice in the future.
Chapter 1: Introduction
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1.3 GROUP STRUCTURE AND ORGANISATIONThe group is structured dynamically to be able to adapt to the changing demands of
different project requirements. The group structure evolves accordingly, before the
site visit, during the site visit and post-site visit in terms of allocation of personnels
in sub-teams that focus on a specific task. The benefit of this dynamic structure
is the ability for the sub-teams to specialise on a single component of the project
at a time, which would benefit the larger group in managing deadlines efficiently.
Another advantage of the shuffling of sub-teams is the opportunity for members to
experience different aspects of the project, thus maximising the experience gained
from the group work.
Pre-Site Visit
Before the site visit in Alor Setar, the group focused on compiling as much information
about the building and context as part of the two-week preliminary research period.
All team members participated in this stage. The building studied during this period
was the original building assigned to the group, the Balai Besar. Due to unforeseen
circumstances, the group had to be re-assigned to study and measure the Old
State Museum of Kedah instead. The preliminary research however did not go to
waste, as the Old State Museum was designed based on the Balai Besar. Hence,
a significant amount of data collected from the preliminary research is still relevant
in the study of the Old State Museum.
Tutor: Mr. Adib
Sub-Leader: Teo Kuo Chien
Modeling Team Reporting Team CAD Drawings
Sub-Leader: Loo Yee Pei
Group Leader: Nik Ahmad Munawwar
WEE SUE WENVINCENTIA MUTIARA KARTIKA
TG NABILAH DIYANA BINTI TG MOHD AMRANLOO YEE PEILOW CHI YIN
CHONG WEN BINLOONG BO LINMUHAMMAD ZAIM BIN AZMI
CHLOE TEH SHU-ERNSHUM LI SZEBENJAMIN TAN ZI HERN
NIK AHMAD MUNAWWAR BIN NIK DINCHANG MAY CHENCHIA KEH CHIAN
CHONG JIA YI
NAMETEO KUO CHIEN
Fig 1.02: Group structure
Fig 1.03: Group members
Chapter 1: Introduction
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Site Visit
During the site visit in Alor Setar, Kedah, the group was divided into
two main subgroups, the measuring team and the research team. The
measuring team was further divided into groups in charge of interior and
exterior measurements. The research team on the other hand was tasked
with researching the historical and architectural information from various
sources, photographing the structural details and process of measurement,
as well as shooting the video in preparation for the production of the
short documentary. Both teams would spend the day on site focused on
their specific tasks and regroup in the evening to compile and compare
notes to ensure the completeness of data. At this daily evening meeting,
the measuring team would CAD their measurements of the day, while the
research team would collate information, filter through and edit the photos
and video clips taken to determine the sufficiency of the footage collected. If
any insufficiencies are determined during the evening, the teams would then
itemise the required measurements, photo or video footage to be obtained
the next day.
Group Team Name
Measurement
Interior
Wee Sue WenChong Jia YiCharleene Low (Leader)Chia Keh ChianChang May ChenChong Wen Bin
Exterior
Loong Bo LinMuhammad ZaimBenjamin TanLoo Yee Pei (Leader)Shum Li SzeVincentia Mutiara
ResearchPhotos & Video
Nik Ahmad Munawwar Nik Din (Leader)Chloe Teh Shu-Ern
Interview & Observation
Teo Kuo ChienTengku Nabilah
Fig 1.04: Group members on site
Fig 1.05: List of subgroups and job distibution
Chapter 1: Introduction
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Post-Site Visit
After returning to Taylor’s University, the group started to compile each
component of the drawings to produce the final drawings for submission,
which include the floor plans, sections and elevations for the building, to
name a few. This process ran hand in hand with the research team’s effort
to produce the documentary video, photobook and report. To ensure an
equal learning experience for every person in the group, the members of the
research team were also required to produce CAD drawings for the detailed
ornamentation in the interior. With the drawings compiled, there was less
demand for individual CAD personnels in the measurement/drawing team.
Hence, some of the personnels were transferred to the research and
documentation team to assist with the production of the final report. On
top of that, a new team was also created to spearhead the model making
process, working closely with the measurement/drawing team. The model
making process began with the production of a digital model so to simplify
the process of deciding how the final physical model should be cut and
assembled.
Fig 1.06: Working in the laser cutting workshop
Chapter 1: Introduction
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Teams and Personnel
Measurement - Exterior & Interior Measurements and CAD Drawings
During the site visit, the exterior and interior teams were in charge of detailed
measurements, which include the floor plan, elevation, roof structure, doors
and windows, as well as exterior ornamentations. These measurements,
under the guidance of Loo Yee Pei were then used to produce the main grid
of the building which aids in the production of floor plans, building sections,
elevations and window schedules.
As part of the preparation to record the measurements, a rough sketch of
each component of the building were drawn out on butter paper as template.
The various measurements were then collated and compared to ensure that
they match, so that the floor plans, sections and elevations produced are
free of measurement discrepancies.
Fig 1.07: Measurement instruments on site
Fig 1.08: Measuring and recording data on site
Chapter 1: Introduction
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Research - Report, Interview, Video and Photobook
The research team’s main focus throughout the site visit and post-site visit was
the production of documentation, in either written or visual form to document
the building and the group’s progress. In preparing for the research, various
books relating to the architectural study were borrowed from the library,
in addition to the digital resources readily available online. Headed by the
group leader, Nik Ahmad Munawwar, the team was responsible in making
appointment for interviews with individuals knowledgeable about the history
and architectural details of the building, preparing the interview questionnaire
as well as conducting and recording the interview for research purposes.
The team was also tasked with recording footage and photos of the
building’s exterior and interior, coming up with a storyboard and script for
the production of the documentary and photobook.
The effort poured in by the team members culminated in the compilation
of a formal report which contains literary and photographic evidence of the
entire measurement and documentation process throughout the project
timeline. Fig 1.09: Conducting an interview with Chairman of Kedah Historical Society, Dato’ Wan Shamsuddin
Chapter 1: Introduction
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Modeling
The modeling team was formed after the interim review of drawings and
draft report. The team consists mainly of members previously working on
the report as well as members of the measurement team after submission
of their drawings for compilation. The research and measurement teams
were then downsized to allow the transfer of personnels into the model-
making team, spearheaded by Teo Kuo Chien.
The model-making process began with the production of a full 3D model of
the old museum in SketchUp, complete with construction details such as
the roof trusses and floor joists. The purpose of the 3D model was to ease
the process of deciding how the model should be built and sectioned to
maximise the visibility of architectural details. In the case of the old museum
model, the team decided to section out the East Elevation of the building
which holds the grand double-staircase and the entrance to the first floor.
The North Elevation will also be exploded, separated from the building to
expose interior spaces of the ground and first floor. Upon completion of the
design for the model, the measurement team then assisted in the production
of laser cutting templates to cut balsa wood and acrylic into building pieces
for the actual model. This was then followed with the assembly of the pieces
into a complete architectural model. Fig 1.10: Model making in progress
Chapter 1: Introduction
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1.4 TIMELINE
Fig 1.11: Gantt Chart
Chapter 1: Introduction
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1.5 METHODS OF MEASUREMENTOne of the key objectives of this project is to record measurements of the
Old State Museum down to the smallest detail. The biggest challenge in
recording the measurements is accuracy of the data recorded. Hence, a
general understanding was needed amongst team members on a standard
method of recording the readings, in order to avoid discrepancies in
measurement values when drafting in CAD later. Aside from a good set
of rules to adhere to during the measuring process, the accuracy of the
readings also rely on the instruments used. Precision equipments which
only allow a very small margin of error were used to get the best possible
measurement in the shortest period of time.
Various techniques of measurement were employed, including when
necessary, taking a picture of a structure with a ruler placed next to it for
scale so that the measurements can be recalibrated later in AutoCAD.
This method is particularly useful in measuring portions that are not easily
accessible with the equipments, commonly due to the lack of space.
Upon obtaining the measurements, the values were then recorded onto a
butter paper with a rough sketch of the portion of the building measured.
Each part takes up its own page as it contains detailed information specific
to the part, to avoid the measurements being mixed up with a different part
of the building.
Fig 1.12: Sketching a template to record measurements Fig 1.13: Using measuring tape to determine the run of a staircase
Chapter 1: Introduction
13
1.6 EQUIPMENTS USED
Fig 1.14: 30m measuring tape for medium length measurements
Fig 1.15: Laser measurement tool for inaccessible locations or distance
Fig 1.16: Tripod stand for DSLR camera
Fig 1.17: Level ruler used with laser measurement tool to determine angle
Chapter 1: Introduction
14
Fig 1.18: 8m Aluminium CAT Ladder to climb up inaccessible heights
Fig 1.19: Ruler for measurement of small details
Fig 1.20: DSLR camera to capturing video footage and photos
Fig 1.21: Powerful laptop with AutoCAD for instant CADding on site
Chapter 1: Introduction
15
1.7 METHODS OF RESEARCHThe research for the project began two weeks prior to the site visit, with preliminary research undertaken by all members of the group. The research
included mainly analysis done via online material and publications obtained from the university library. Research findings were compiled in a shared
document in the cloud, accessible by all group members for editing or referencing. Photos were compiled and sorted accordingly in a specific folder online
for ease of access.
Online Resources
Published online journals as well as recorded studies of the site and the
building were abundant. The research process also includes obtaining
information about the site and history of Kedah via videos online.
Print and Publications
Reference books and journals obtained from the University library as well as
the Museum’s library served as the primary source of information pertaining
to the history and architectural details of the building. One such instance is
the extraction of floor plans and elevations of the Old State Museum building
from an archived publication commemorating the museum’s anniversary in
2001. References obtained from the University library contributed in the
general study of buildings in the Northern states as well as an in depth
look into Alor Setar’s Balai Besar, which coincidentally provided the design
inspiration for the Old State Museum.
Fig 1.22: Reference materials including books, pamphlets and special publications
Chapter 1: Introduction
16
1.8 LITERATURE REVIEW
A book borrowed from the University library,
describes in detail the typical characteristics
of traditional houses in Penang and Northern
states.
Gifted by Dato’ Wan Samsudin, the chariman
of Persatuan Sejarah Kedah, the book contains
information on the history of Kedah, and the
customs and traditions of the people.
A gem found in the University library, the book
contains an in depth study of the architectural
details and a complete set of measured drawings
for Balai Besar, which formed the inspiration
for, and greatly influenced the design of the old
museum.
Chapter 1: Introduction
17
1.9 SIGNIFICANCE OF STUDY The objective of the module is to spark a sense of appreciation of the heritage
and diversity present in Malaysian architecture, which often times is a direct
reflection of the rich history and culture in Malaysia. Built on the foundation
of a multicultural society, the architecture in Malaysia benefits from the
blend of different styles, sometimes juxtaposing one another to produce
a captivating fabric of built environment, which is uniquely Malaysian. The
Old State Museum of Kedah is a prime example of this blend, blurring the
line between traditional vernacular architecture and the modernist design
language. This project is intended to scrutinise and dissect this fusion, in
order to create awareness and invoke interest in the study of local historical
buildings, with the intention to assist the preservation efforts of the Old
State Museum structure, as well as other historical buildings in Kedah and
Malaysia.
Chapter 1: Introduction
18
1.10 SCOPE The study focuses on the end-to-end measurement of the old building of
the Kedah State Museum, situated within the Kedah Museum Complex
along Lebuhraya Darul Aman in Alor Setar. Detailed measurement and
documentation of the structure were taken within the geographic and
historic context of Alor Setar, to ensure that the information collected
are substantiated by a solid understanding of its physical and historical
background. The Old State Museum building was the original home of
the Kedah State Museum, completed in 1961, when artifact collection and
preservation efforts began in Kedah in the mid-20th century. Prior to having
a purpose-built structure, the artifacts were housed at the Balai Besar, near
Dataran Alor Setar. The structure is today the administration office for the
Kedah State Museum. Due to the importance of the role it served during its
tenure as the home for the state museum, extreme care had to be taken
during the study and measurement process, as to not detriment the physical
aspects of the structure.
Fig 1.23: School boys and girls waiting in line to enter the old museum (c. 1971)
Chapter 1: Introduction
19
1.11 LIMITATIONSDistance
Distance was a major issue both during the site visit and after the site visit.
For example, out of 4 groups that were assigned to a location in Kedah,
two groups, including ours were assigned a building that was far from our
accommodation, requiring us to commute by bus every day. This was in
contrast to the other two groups who had the advantage of walking to their
site. The disadvantage of having to commute instead of walking is the time
limitation on site. We did not have the freedom to go early in the morning,
or stay back late on site to finish our measurements for the day. Instead, our
schedule was determined by the schedule of the bus.
Another way to define the issue with distance is the proximity of Alor Setar
from Kuala Lumpur. As compared to other groups who were assigned to go
to Melaka and Kuala Lumpur, we did not have the luxury of going back to
the site to take extra measurements or footages.
Roof Access
During our measurement process, we had trouble getting an accurate
measurement of the roof as we were not allowed to access or walk on
the tiles. The closest we were able to go was via a crane that limits our
movement to take accurate measurements.
Lack of Literature
Since the old museum building is currently not considered as a heritage
building, there is very little quality literature for us to research upon. Most
of the information compiled were either via word of mouth, or through old
photos and account statements. There was of course the museum library
which thankfully had very helpful staff. However, the reading material with
regards to the original building of the Kedah State Museum is still lacking.
Chapter 2
Historical Background
Chapter 2: Historical Background
21
2.1 MALAYSIA, KEDAH AND ALOR SETARSituated strategically in Southeast Asia, Malaysia benefits from its
geographical location in mediating global trade and becoming the melting
pot of various cultures. It is a multi-racial country, comprising of diverse
ethnic groups that live together in peace and harmony despite having
different customs and religions. This multiculturalism has made Malaysia
home to a colourful mix of art and architecture.
Kedah
The early history of Kedah can be derived from various sources, including
the prehistoric period from the archaeological site of Bujang Valley, the
early Maritime trade of India, Persia, Arabs from the written works of early
Chinese traders, as well as the Hikayat Merong Mahawangsa (known
as Kedah Annals) from Al-Tarikh Salasilah Negeri Kedah. The recorded
history of Kedah often begins with the Kingdom of Bujang Valley, located
in central Kedah. This maritime Kingdom was frequently visited by Indian,
Persian, Arabs and Chinese traders as far back as the 4th century CE / AD.
For many centuries, the Empires of Sri Vijaya, followed by the Cholas,
exerted their influence and dominance over this Kingdom. Kedah Peak
(Gunung Jerai), at 1217 metres, provided the navigational landmark for
ships in the Strait of Malacca. Bujang Valley was a centre of trade for the
Malay Peninsular and a transit trading post for ships awaiting the change of
currents and monsoon winds in the Indian Ocean. Traders soon propagated
Hinduism and their culture, building shrines and temples along the coastal
area, which is evident from artefacts found at the valley today.
The Kedah Annals tell an interesting tale of the first Kedah ruler, a Hindu
known as Merong Mahawangsa. He was the first Maharaja of Kedah.
Eight Hindu Maharajas were believed to have ruled Kedah before the ninth
maharaja, Phra Ong Mahawangsa, who converted to Islam in 1136. Upon
conversion, he subsequently ruled as Sultan Mudzafar Shah (1136 - 1179).
The Kedah Sultanate, the oldest monarchy in Malaysia, began with this
first sultan and has been hereditarily intact for more than eight centuries
until today. The Kedah Sultan is the constitutional head of state and
carries out his duties under the advice of the state government. The Kedah
government is headed by a Chief Minister (Menteri Besar), selected by the
State Assembly (Dewan Undangan Negeri). The State Assembly is formed
from representatives elected by the people of the state in their respective
constituencies.
Chapter 2: Historical Background
22
Fig 2.01: Masjid Zahir at Dataran Alor Setar
Chapter 2: Historical Background
23
Today, Kedah is still an agricultural-based economy, with a growing number of small scale
industries. The state is currently the largest rice producer in Malaysia. It also grows and
manufactures other agricultural products and related industries. Non-agricultural industries,
such as high tech manufacturing are mainly based in Kulim and Sungai Petani. The state
enjoys a diverse economy comprising mainly of agricultural, manufacturing and tourism.
Alor Setar
Alor Setar was founded in 1735 by the 19th Sultan of Kedah, Sultan Muhammad Jiwa
Zainal Adilin Mu’azzam Shah, and has been the state’s eighth administrative centre since
the establishment of the Kedah Sultanate in 1136. The earlier administrative centres were
located in Kota Bukit Meriam, Kota Sungai Emas, Kota Siputeh, Kota Naga, Kota Sena, Kota
Indera Kayangan and Kota Bukit Pinang.
“Alor” or more correctly, “alur” is Malay for a groove, furrow or main stream of a channel.
In Tamil “alur” means drain. “Setar” is a tree with small, sour fruit (Bouea macrophylla) also
known as either “kundang” or “remia” in Malay. The city has been attacked twice, when
Kedah was attacked by the Bugis in 1770 and the Siamese in 1821. Alor Setar was officially
granted a city status – the ninth in Malaysia, on 21st December 2003, during which the
spelling of its name was temporarily changed from Alor Setar to Alor Star. The proclamation
ceremony to declare the Alor Setar a city was held at Dataran Tunku.
Fig 2.02: Menara Alor Setar in the city centre
Chapter 2: Historical Background
24
2.2 LOCAL CULTURE AND HERITAGE
Traditional Clothes
The traditional garments of locals in Kedah have significant Thai influence
because of its proximity to Thailand. A prime example would be the ‘Baju
Kurung Kedah’ which resembles the simple short blouse often worn by
women in Thailand. It is noted for being shorter than the common ‘Baju
Kurung’ in other parts of Malaysia. It is normally worn with less accessories
to achieve a simple look and is considered demure when matched with ‘kain
sarong berlipat’. On the other hand, local Malay men would wear ‘Baju Melayu
Cekak Musang’ or the ‘Baju Sikap’. The ‘Baju Sikap’ has been worn since
1786, with buttons running down the front up to the waistline. It is paired with
pants containing patterns with Chinese-influence and a ‘samping’ - a piece of
ornamented cloth tied around the waist.
Fig 2.03: Kedah traditional attires, the Baju Melayu Cekak Musang and Baju Kurung Kedah
25
Chapter 2: Historical Background
Traditional Dance
As one of the oldest civilisations in Malaysia, Kedah has over the years
developed its own traditional dance. Dances are usually performed at
festivals as entertainment.
Traditional Games
The Cinta Sayang dance was derived from an original dance called
‘Remembrance of Grace’. It is famous in the state of Kedah and is usually
danced historically by fishermen in the West Coast states of Malaysia. Cinta
Sayang is a representation of families of fishermen who wish them good
fortune at sail and return with big rewards. The fishermen also prayed that
their wives will be safe from harm during their absence. Now, the Cinta
Sayang dance is a tribute to a laid-back, fun lifestyle and is danced in pairs.
“Sepak Bulu Ayam” is a game consisting of a quill shuttlecock which at
a glance looks almost like a modern day shuttlecock. This game requires
a great amount of dexterity and balance in keeping the quill shuttlecock
in the air for as long as possible, with the objective being scoring
points. The player has to kick the quill using the inner edge of his heel
or toe. In certain situations, players are allowed to receive the quill with
their head, chest or knee but not by hand. The player will be forfeited if
the quill touches the hand. This game is usually played amongst men.
Fig 2.04: Performers performing the Cinta Sayang dance for an event
Fig 2.05: Depiction of the game “Sepak Bulu Ayam”
26
2.3 KEDAH HISTORICAL SOCIETYThe history of Kedah Historical Society began way back during the
establishment of the Malaysian Historical Society in 30th April 1953, 4
years before Malaysia achieved its Independence from the British. The
Kedah Historical Society was established as a branch of the Malaysia
Historical Society to keep records of historical events in Kedah. The then
Vice President of the society, Tunku Nong Tunku Mohd Jiwa suggested
the establishment of a historical museum for the state. His suggestion was
supported by Mubin Sheppard, the President of Malaysian Historical Society.
The Kedah Historical Museum was established on 3rd February 1957.
The museum, which was initially located at the ground floor open
space of Balai Besar in Alor Setar, was launched by Tan Sri Tunku
Ismail Bin Tunku Yahya, the Chief Minister of Kedah at that time.
Today, more than 50 years later, the museum has played a huge role in
maintaining the heritage and precious treasures of the history of Kedah. Fig 2.06: Logo of the Malaysian Historical Society
Chapter 2: Historical Background
Chapter 2: Historical Background
27
2.4 MUSEUM OF KEDAH DEVELOPMENT TIMELINE
Chapter 2: Historical Background
28
2.5 PURPOSE AND HISTORY OF THE OLD MUSEUMIn the early stages of its establishment, a number of issues arose such
as the lack of money and space. This hindered the development of
museum activities. As the collection of artifacts grew over the years,
there were issues with space limitations for large exhibitions, and a
storage system that was not purpose-built for the safekeeping of artifacts.
This issue prompted the board of the Kedah Historical Museum to find
ways to increase the exhibition space. In 1958, a draft for a new structure
was submitted to the state government. The board proposed that a new
building was necessary. The state government finally agreed to build a
new museum on a piece of land owned by the government in Bakar Bata.
The design for the new building, which took some cues from the Balai Besar,
was put forward by Mr. Sheppard. He had a deep appreciation towards art
and history and wanted to pay tribute to the grandeur of Balai Besar in
the design of the new museum. Prof V. R. Galea, the architect at Jabatan
Kerja Raya Negeri designed according to Mr. Sheppard’s proposal. The
front elevation of the new building bears a great resemblance to Balai Besar,
with the double-arched staircase converging from both sides, and a lounge
verandah or ‘sesayap lelayang’ on both sides of the upper floor.
Fig 2.09: School excursion at the old museum (c. 1971)
Fig 2.07: Balai Besar in Alor Setar Fig 2.08: The late Tan Sri Mubin Sheppard
Chapter 2: Historical Background
29
Kedah Historical Museum officially moved to the new building on December
30, 1961. His Majesty Tunku Sultan Haji Abdul Halim Mu’adzam Shah
officiated the exhibition in the new building. In July 1964, the museum
had its name changed to the Kedah State Museum. In 1983, under the
institution of the State Museum, two new branches were opened; the Kedah
Art Gallery and the Royal Museum, both located in the city. For over 50
years, the museum has possessed great heritage and a valuable treasure
in the land of Kedah.
With overwhelming response from the public and the growing scale of
exhibitions, the State Government agreed to build the present Kedah State
Museum building in 1997. The building houses exhibition halls, workshops,
a library and a mini theater. There are 10 permanent exhibition galleries in
the new museum, including dedicated galleries for Culture, History, Nature,
Figure, Transportation, Weapons, Manuscript, Textile, Crafts and Arts, as
well as Language and Literature. There are also outdoor exhibitions within
the museum compound such as the Traditional Houses and the Royal Ark. Fig 2.10: The new building for Kedah State Museum
Chapter 3
Architectural Development
Chapter 3: Architectural Development
31
3.1 SITE CONTEXT
Located in Bakar Bata, the Kedah State Museum
Complex is approximately 2km away from the town
centre. The museum is easily accessible as it sits
along Lebuhraya Darul Aman, a major street in Alor
Setar. Its location in Bakar Bata grants it a unique
setting, whereby it is convenient for the locals to
visit, without the hustle and bustle of city traffic. This
setting is also symbolic of how the museum functions
as the guardian of culture and history, keeping it away
from the pressures of modernisation.
The complex includes the new museum building,
as well as its original two-storey building which now
functions as the museum’s administration office and
the headquarters for the Kedah Historical Society.
Fig 3.01: Location plan of Kedah State Museum Complex
Chapter 3: Architectural Development
32
3.1.1 SURROUNDING BUILDINGS
Fig 3.02: Site plan with landmarks
Chapter 3: Architectural Development
33
Bangunan Persatuan Leong Say Tong Kedah/Perlis
Located behind the Malay houses, this building is owned by the Kedah/
Perlis Branch Persatuan Leong Say Tong. It is a function and event space
catered to the public. It most commonly hosts Chinese wedding events.
Wat Siam Bakar Bata
Due to its proximity to Thailand, there are many Thai Buddhist temples in
Kedah. However, Wat Siam Bakar Bata is the only temple in Alor Setar. It is
located by the Sungai Kedah riverbank, behind the Kedah State Museum. It
is also sometimes known as Wat Samosorn Rajanukpradit.Fig 3.03: Entrance to Wat Siam Bakar Bata
Fig 3.04: Facade of Bangunan Persatuan Leong Say Tong Kedah/Perlis
Chapter 3: Architectural Development
34
Stadium Darul Alam
Located along Lebuhraya Darul Aman, Stadium Darul Aman is the state stadium of Kedah and was officially opened by the Sultan of Kedah in 1962 during
Malaya’s 1-0 win against South Korea. The multi-purpose, all-seater stadium is currently used mostly for football matches. It can accommodate up to
40,000 spectators at one time after the expansion in 1997, and was chosen as one of the venues for the 1997 FIFA World Youth Championship. It is the
official stadium for the Kedah FA.
Fig 3.05: Stadium Darul Aman
Chapter 3: Architectural Development
35
3.1.2 EXISTING BUILDINGS IN THE SITE COMPOUND
All the buildings in the site boundary (Kedah State Museum complex)
have strong connections to each other. They all serve the single purpose
of preserving and showcasing the cultural heritage of the state to the
public.
Fig 3.06: Buildings within the museum complex
Chapter 3: Architectural Development
36
Kedah State Museum (New State Museum Building)
The new building of the Kedah State Museum is located next to the original
building. It houses a library, a mini theatre and a series of exhibition halls.
Similar to the old building, floor-to-roof high columns, ornamentations and
light pink paint are the definitive elements of the building.
Administrative Office (Old State Museum Building)
The building was built on December 30, 1961 at Lebuhraya Darul Aman,
Bakar Bata due to the increase in the number of artifact collections and lack
of exhibition and storage space at Balai Besar, where the Kedah Historical
Museum was previously located. In 1964, its name was changed to the
Kedah State Museum. It now functions as an administration office after the
museum moved to its present day location in the new building.
Fig 3.07: Entrance to the new museum
Fig 3.08: Old museum building, now museum’s administrative office
Chapter 3: Architectural Development
37
Pejabat Persatuan Sejarah Malaysia Cawangan Kedah
Located right next to the old museum, this building is the administrative
office of the Kedah Branch of Persatuan Sejarah Malaysia (also known
as the Kedah Historical Society). It is connected to the old museum by a
covered pedestrian walkway.
Boat Structure
Part of the museum exhibition is an outdoor structure which houses a boat
that was once used by a Sultan of Kedah.
Fig 3.09: Headquarters for the Kedah Historical Society
Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the museum
Chapter 3: Architectural Development
38
Rumah Tradisional Kampung Sungai Ular, Kulim
This traditional Malay kampung house was owned by Encik Saman bin Saad
before it was gifted to the authority of the State Museum. It was preserved
and used as an exhibition space to display a collection of Kedah cultural
artifacts. The artifacts have now been moved into the new museum building,
and the house is no longer open for public visits, except for purpose of
research.
Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah
The construction of the house started in 1939 and was completed in 1941.
Initially, the house was owned by Haji Abdul Rahman Merbok. He was given
the title Dato Mursyid Diraja by KDYMM, Sultan Kedah for his expertise
in Islamic Affairs. He used the house as a venue to teach Al-Quran and
Islamic studies. The house was gifted to the authority of the Kedah State
Museum after the death of the owner. It now functions as a surau which is
open for public usage.
Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim`
Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah
Chapter 3: Architectural Development
39
3.2 LANDSCAPE
The landscaping within the Kedah State Museum is well designed and maintained. The hardscape elements provide a foundation for the vegetation
whilst reducing hazards on site. The softscape elements provide shade and aid in directing breeze to the site, yielding a pleasant and natural
experience. Landscaping unites both man-made structures and plants, to create a comfortable and visually-appealing space not just for the visitors,
but also for the museum staff and students measuring the Kedah State Museum.
Chapter 3: Architectural Development
40
3.2.1 HARDSCAPEDrainage
Drainage systems hold an important role in flood control as Malaysia has
tropical rainforest climate with high humidity, especially for the Kedah
Museum complex which is located next to a river. Different types of
drainage can be found within the site boundary, varying from open drain to
partially covered drain. The covers are removable for easier maintenance
and cleaning.
Concrete Pavers
Concrete pavers are used in certain parts of the compound to highlight an
area that contains a significant structure, and provide an overall pleasing
aesthetic to the area. Concrete pavers can be seen applied at the elevated
platform facing the old museum’s North elevation which holds a historical
war tank.
Fig 3.13: Drainage system around the complex
Fig 3.14: Concrete pavers used on site
Chapter 3: Architectural Development
41
Planter box/retaining walls
Planter boxes and retaining walls can be seen widely employed within
the site compound to house and sculpt vegetation, providing a pleasant
atmosphere for workers and visitors alike. The common material used for
the planters is concrete as it is durable and resistant to weathering. Plus, it
is impermeable and requires minimum maintenance.
Paved walkway
The walkway at the corridor of the old museum is covered with textured
glazed mosaic tiles arranged in a homogenous pattern. The paved walkway
prevents possible hazards such as slipping that might occur due to mud and
dust, apart from providing a smooth surface for users to walk on. The colour
of the tiles blend in with the aesthetics of the building.
Fig 3.15: Planter boxes as part of landscaping
Fig 3.16: Blue and pink mosaic tiles at the corridor
Chapter 3: Architectural Development
42
3.2.2 SOFTSCAPEWodyetia Bifurcata
The most common plant on the site compound. Commonly known as foxtail
palm, the wodyetia bifurcata plant has one of the most spectacular foliage
displays of all palms. The pale green arching fronds have leaflets that
radiate out at all angles from the leaf stem, thus appearing like a bottlebrush
or the tail of a fox. The plant is extremely easy to grow, even small plants
and seedlings can tolerate hot, full sun from an early age. It grows rapidly in
sunny condition, when water and fertilizer is supplied regularly.
Ficus Benjamina
This broadleaf evergreen plant is commonly known as the weeping fig. It
is native to regions between India and northern Australia, usually seen in
round, droopy form with shiny leaves. Weeping fig is a popular plant used
for landscaping because of its attractive shape and tolerance to a variety
of conditions, from very bright to considerably shady conditions. This plant
can be seen everywhere within the site boundary as it is easily grown in
Malaysia’s tropical climate and requires very low maintenance.
Fig 3.17: Wodyetia Bifurcata
Fig 3.18: Ficus Benjamina
Chapter 3: Architectural Development
43
Hibiscus
The hibiscus is widely grown around the perimeter of the new building of
Kedah State Museum as it is the national flower of Malaysia. It is commonly
known as the “celebratory flower” in Malay. Also known as Chinese hibiscus
or shoe plant, the flowers are large, firm and generally red in its original
variant. The color red symbolizes the courage, life, and rapid growth of the
nation, and the five petals represent the five Rukun Negara of Malaysia.
Ravenala Madagascariensi
Commonly planted in an urban setting. Its long stem and deep green leaves
resemble banana leaves and extend out from the trunk like the slat pieces of
a giant hand fan. Small plants need to be grown in partly shady areas before
it can tolerate full sun condition. A mature plant blooms all year round and
produces brown fruits that contain light blue seeds.
Fig 3.19: Hibiscus
Fig 3.20: Ravanela Madagascariensi
Chapter 3: Architectural Development
44
Ixora
Ixora is a popular flowering shrub widely used in landscaping due to its
attractive rounded shape and glossy foliage. It is native to Southern India
and Sri Lanka. The plant can be seen everywhere within the site boundary
because of its striking appearance of green leaves and scattered red flowers.
Fruit Trees
Banana and mango trees can be seen around the two Malay traditional
houses, as it was planted to accurately recreate the “kampung” setting in
which the two houses were originally from.
Fig 3.21: Ixora
Fig 3.22: Fruit trees on site
Chapter 3: Architectural Development
45
3.3 ARCHITECTURAL INFLUENCES
Drawing inspiration from Malay traditional houses, the old museum is similar in terms of the building materials, roof style, ornamentations, openings and
layout.
3.3.1 MALAY VERNACULAR DESIGN
Fig 3.23: Comparison of the old museum with the design of a malay traditional house
Chapter 3: Architectural Development
46
Roof Style
As a tropical country, Malaysia receives a generous amount of sunlight and
rain all year round. The type of roof adapted by the administration office is
limas styled roofing, a common roofing structure used in malay vernacular
design. Ventilated roof space at the top cools the interior of the house while
the large overhangs provide efficient sun shading and reduce traces of
rainwater, allowing the windows to be opened for better air flow.
Fig 3.24: Large roof overhangs define the vernacular Malay house
Fig 3.25: The grand entrance to the old museum
Chapter 3: Architectural Development
47
Building Material
Typically, Malay traditional houses are built with local natural resources
such as timber and rattan. The old museum is mainly made of chengal
wood which has low heat absorption capacity to create a cooler interior
environment. Chengal wood is also environmentally friendly, durable and
can be easily sourced in Malaysia.
Ornamentations
Ornaments along the extended frame below the roof eaves are distinct in the old
museum building. Similar to vernacular Malay houses, ornamentations feature
floral patterns, geometric shapes and exaggerated curvatures. The butterfly
and inverted ‘S’ motifs can be seen in the form of filigree from the front and back
view of the building, underneath the roof. The decorations are made of steel
instead of wood, modified and simplified from the typical vernacular design.
Additionally, the facade features wooden panels carved with the inverted
letter ‘S’ and painted in light yellow. The letter ‘S’ is used for both wooden
and steel ornamentations as is a simple alphabet which offers the most
curvature.
Construction Parts Types of Wood
Structural Cengal, Merbau Damar Laut, Petaling
Non-Structural Meranti, Bamboo
Roof Nipah, Rumbia, Bertam, Kabong
Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom)
Fig 3.27: List of timber according to construction parts
Chapter 3: Architectural Development
48
Decorative Openings
Besides allowing ventilation into the interior spaces of the house, windows
also serve another purpose in Malay vernacular architecture. Some windows
in Malay houses have intricate wood ornamentations carved open at all
times for ventilation and decorative purposes. On the first floor of the office,
a series of metal artworks are displayed, showing the cultural activities of
the locals. Initially, they serve as natural ventilation openings but they have
since been sealed after the installation of air conditioning inside the building.
Building Layout
The open plan layout is common in Malay vernacular houses. Similar to the
dwellings, the open plan of the administration office promotes air movement
whilst creating an impression of spaciousness in the interior. The elongated
layout also eases the circulation within the building, as it was once used as
an exhibition space, which receives large numbers of visitors daily. Today,
the absence of walls or fixed partitions allow better communication between
office workers, creating a friendly workspace that could lead to an improved
working environment.
Fig 3.28: Comparison of decorative openings between traditional Malay house and the old museum
Fig 3.29: Comparison of building layout between traditional Malay house and the old museum
Chapter 3: Architectural Development
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3.3.2 COLONIAL ARCHITECTURE
The old museum building was designed as an homage to Balai Besar,
which exhibits a fusion of colonial and traditional architecture. The colonial
influences in Balai Besar, in particular the ground floor level, was carried over
into the design of the old museum building, albeit with significant simplication.
The most obvious reference to colonial architecture is the arched wooden
panels which act as a shading device for the building. These panels are
installed along the collonade-corridor on the ground floor of the building,
which in itself is another influence from colonial-styled architecture.
Another notable element derived from colonialist architecture would be
the wooden louvered windows, which were the common window design in
colonial buildings in pre-Independent Malaya and Singapore.
Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia
Fig 3.31: Influence of colonial styled architecture on the arched shading devices
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3.3.3 MODERNIST INFLUENCES
The old museum is a fusion of the Malay vernacular style with
modernist principles of architecture. On top of having design similarities
with Malay traditional houses, the design follows the 5 Principles
of Architecture as set out by Modernism pioneer Le Corbusier.
For example, the building has an open floor plan where interior spaces are
divided by movable partitions instead of structural walls. Although this design
choice relates more on the function of the interior space, it also validates
Corbusier’s first principle, the free plan, which is the absence of supporting
walls to allow the flexible usage of interior spaces. The principle liberates
the plan from construction restrictions.
Fig 3.32: Open floor plan for the interior space, segmented by movable partitions
Fig 3.33: Example of an open floor plan, Villa Savoye by Le Corbusier
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The design of the building also adheres to the other 3 points:
1. The use of pilotis to replace load-bearing walls via a grid of reinforced
columns that bear the structural load. According to Le Corbusier via his
prototype the Dom-Ino House, this is the basis of the new aesthetic.
2. The free facade. Walls are relieved off of their structural role, allowing
freedom in the design of spaces and a fluid transition between interior
and exterior spaces.
3. The horizontal “ribbon” window that runs the length of the facade, which
takes advantage of the second point mentioned above. This design
approach once again blurs the boundaries between interior and exterior,
apart from allowing better fenestration into the interior spaces.
Aside from than butterfly and the inverted ‘S’ patterns, simple geometrical
motifs are applied to the window and door grills, which is influenced by the
cleanliness and efficiency of Modernism.
Fig 3.34: Pilotis at the corridor Fig 3.35: The free facade
Fig 3.36: Modernist motifs at the windows and entrance of the old museum
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3.3.4 SIAMESE INFLUENCES
As the design of the Balai Besar was influenced, to a certain degree, by
Siamese architecture, these subtle influences were naturally passed down
to the design of the old museum building.
According to historical records, Sultan Muhammad Jiwa often took inspiration
from the building designs in Thailand (formerly the Kingdom of Siam) whilst
roaming the Malay Archipelago. These design ideas were translated, with
local flavour, into the designs of royal buildings such as the Balai Besar and
Balai Nobat. They were then carried on to newer buildings, and are today
widely regarded by locals as being part of the identity of Kedah.Fig 3.37: Roof overhang ornamentations in Thai architecture
Fig 3.38: Wooden overhang ornamentation on the roof of the old museum
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3.4 REFURBISHMENT INTO ADMINISTRATION OFFICE
The new museum building, situated next to the original, was completed
in 2001 to house the growing number of museum exhibits. The original
building was then transformed into the administration office for the museum,
necessitating minor refurbishment of the interior spaces.
A notable addition to the interior is the use of partitions to define working
spaces for officers. Two cubicles were built on the ground floor and one
on the first floor to accommodate the working spaces for higher-ranking
officers. The wooden exhibition panels which were installed originally to
display museum exhibits on the first floor were preserved and now act as a
divider between working spaces and the pantry. The windows on the ground
floor were sealed with plywood following the installation of air-conditioning
units.
Fig 3.39: The old museum in its heyday
Fig 3.40: The old museum today
Chapter 4
Design Concept
Chapter 4: Design Concept
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4.1 FORM
The Old State Museum of Kedah is a double-storey museum with a simple
rectangular form constructed of mainly timber with a concrete base. The
design of the building projects an overall traditional feel, which jives well
with its function as a place for the safekeeping of the culture and history of
Kedah.
Linearity
The old museum’s open, rectangular form is a direct response to the
economics and practicality of fulfilling its original function as a museum.
A museum typically requires large open spaces for exhibition of artifacts
and a linear circulation for visual clarity. This is aside from the fact that the
rectangular form was the most economical, as it conserves space whilst
still providing a large floor area. The practical and economic approach of
dictating the form has a lot to do with the influence of modernist architecture
back in 1960s Malaya, a nation still in search of its true identity, free from
the influence of its colonial past.
Fig 4.01: The team arriving at the measurement site
Chapter 4: Design Concept
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Vernacular Malay Architecture
The rectangular form was then developed further with the influence of
vernacular Malay architecture. The upper floor verandahs on both sides
of the building and the gabled roof “bumbung limas” design was a direct
infusion of the Malay traditional architecture, inspired by the roof of the
‘Gajah Menyusu’ house commonly found in the northern states of Malaysia.
These elements all adhere to three main design approaches, which are
symmetry, repetition and juxtaposition.Fig 4.02: Example of the ‘Gajah Menyusu’ house
Fig 4.03: Adaptation of the Malay vernacular roof by the old museum building
Chapter 4: Design Concept
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4.1.1 SYMMETRY
The building’s facade and plan is symmetrical, which yields a sense of balance that
creates harmony and order in an aesthetically pleasing design. The old museum was
built via symmetrical halves and is the most noticeable characteristic of the building.
By having a symmetrical form, the museum benefits from the predictability in terms of
spatial order and circulation, which is crucial in a building designed for the public.
Philosophically, the symmetrical design demonstrates dependability. This interpretation
relates to the function and responsibility of the museum, as a balanced and dependable
source of historical records and the guardian of the local culture and heritage.
Physically, the implementation of this characteristic can be seen in both wings, facade,
the number of columns on both sides, as well as the grand staircase, which is a double
staircase that converges at the landing in the middle. The corridor and the verandah
above, flanking the main rectangular space, exaggerates the symmetry to highlight the
idea of balance even more.
The only asymmetrical aspect of the building can be observed in the placement of
the ground floor entrance on the North elevation instead of at the centre of the front
portico.
Fig 4.04: Front portico of the old museum
Fig 4.05: East elevation showing evidence of symmetry
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4.1.2 REPETITION
Another obvious design technique implemented in the design development
of the old museum is repetition. Apart from having a symmetrical form,
repetitive elements in the building provide a harmonious rhythm that
communicates the idea of movement. This can be seen in the repetition
of columns along the corridor to promote exterior circulation around the
building.
Aside from the columns, other examples of repetitive elements include the
windows that run along both the North and South facade, the exterior wall
ornaments, and the floor tiles.
Repeated use of shape, colour and other artistic elements in the design of
a building can also help in unifying different parts of the building to form
a robust design. Minimal repetition is sufficient to create a visual echo to
highlight certain aspects the building.
Fig 4.06: Building columns being repeated along the corridor
Fig 4.07: North elevation showing repetition of elements in the building
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4.1.3 JUXTAPOSITION
The juxtaposition of opposing design elements can produce a striking visual
impact. Formally, juxtaposition describes the placing of two elements that
may or may not occur naturally together in close proximity. Juxtaposition
can be applied in terms of material, colour, shape or even spaces.
In the case of the old museum building, it can be observed that juxtaposition
occurs in the following:
1. Material change from concrete walls on the ground floor to timber walls
on the first floor.
2. A vernacular exterior with ornamentations on the walls, the roof overhang
and portico frieze contrasted by a bare and simple interior space,
especially the ground floor level, which is devoid of any ornamentations.
The above applications of juxtaposition help in defining different spaces in
the building, between interior and exterior as well as between the ground
floor and upper floor via the sudden change in materiality and the level of
ornateness of the spaces.Fig 4.08: Contrast in materiality between the ground floor and the first floor
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4.1.4 SCALE
The old museum welcomes visitors with a grand portico with a double
volume height that spans two floors. The ceiling is supported by 8 columns
and is a direct mimicry of Balai Besar’s main entrance.
The high ceiling tweaks the architectural scale of the building, by giving the
main entrance an impression of grandiosity. This implementation of scale
can be traced back to Greek and Roman architecture, which makes use of
solid columns to support a double volume grand portico.
It is widely acknowledged that the use of colonnades and grand porticos
of immense scale could represent trust and stability, which explains the
adaptation of columns and pediments in the design decision for government
buildings around the world. In the case of the old museum building, the
adaptation of scale sends the message of trust, as the museum is
responsible for the safekeeping of Kedah’s historical treasures.
Fig 4.09: The scale of the front portico evokes a sense of grandeur
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4.2 SPATIAL PLANNING
As with most public buildings built in the 60s, the old museum was built with an open, fluid floor plan to give it flexibility in terms of functionality. Similar
types of floor plan can be seen in government offices as they attempt to apply one of the tenets of modernism, which is the free designing of the floor plan,
unencumbered by the restrictions of load bearing walls. This elegant approach to designing spaces is both economical and practical, which is crucial for
a young nation like Malaya following its independence.
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4.2.1 ENTRANCE AND APPROACH
The old museum replicates the grand double-staircase of Balai Besar. The
grand staircase, coupled with the double volume portico emanate a warm
welcoming feeling to visitors as they approach the building. The landing
area that connects the double staircase adds a node in the movement of
visitors into the upper floor. This node allows visitors to pause and appreciate
the surrounding context prior to entering into an enclosed space inside the
museum.
In terms of entry and exit, the circulation of the building is unique whereby
the two floors are only connected via the grand staircase externally.
This internal disconnect between the two floors is most likely due to the
separation of functions originally, when the bottom floor functioned as an
exhibition space and the top floor functioned as a library when the building
was first opened.
Fig 4.10: The double staircase at the entrance of Balai Besar
Fig 4.11: The double staircase at the entrance of the old museum
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4.2.2 SPATIAL ORGANISATION
Extra focus was given to the spatial planning of the old museum building
for practical reasons. Built mainly as an exhibition space, the building must
be able to accommodate large number of exhibits that vary in their sizes,
whilst still allowing comfortable roaming and standing areas for museum
visitors. Its open rectangular form grants the ability to have a linear open
floor plan. An open plan allows the freedom to manouver the movement of
visitors to suit a specific type of exhibition that is being hosted, whilst a linear
circulation simplifies the organisation of exhibition space.
A linear organization consists essentially of a series of spaces or objects.
These spaces can be directly related to one another or linked through a
separate and distinct space. Spaces that are functionally or symbolically
important to the organization can occur anywhere along the linear sequence
and their importance articulated by size and form.
In the case of the old museum building, it’s spatial planning also benefited
its new tenants when it was converted into an office space, as setting up
working areas are as simple as installing partitions, permanent or temporary,
to define new boundaries within the large open floor plan. Fig 4.12: The linear open plan of both ground floor (top) and first floor (bottom) of the museum
Chapter 4: Design Concept
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4.2.3 RESPONSE TO CONTEXT
Given Malaysia’s hot and humid climate, certain aspects of the design had to respond
directly to the demands of the climatic characteristics of a tropical country. The original
design makes use of natural ventilation techniques such as having huge window
openings and the implementation of a pitched roof. A pitched roof, specifically the
“Bumbung Limas” type for the old museum helps in allowing stack ventilation inside
the building.
Stack ventilation begins with the creation of a buffer space in the roof for hot air to rise
up. The upward movement of hot air into the roof leaves a void below it, which naturally
pulls in cooler air and wind from the outside through the huge window openings. This
creates a passively ventilated interior that requires very little need for active ventilation.
In order to take advantage of passive ventilation, the roof was designed based on the
study of temperature, humidity, atmospheric pressure, wind rose, rainfall and other
elements that relate to the weather in Malaysia. The “Bumbung Limas”, by design,
already takes into account all aspects of Malaysian climate.
However, passive ventilation had been abandoned by the building, in favour of air
conditioning, when it was refurbished to become an office in 2001.
Fig 4.13: The museum’s application of a pitched roof to combat local weather
Fig 4.14: Diagram demonstrating stack ventilation inside the building
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4.3 SYMBOLISMThe Old State Museum of Kedah was designed with influences of Malay
vernacular architecture. Naturally, it contains various symbolisms scattered
around the exterior and to a smaller degree, the interior. Symbolism is
embedded deep into the art and architecture of the locals, as evidenced by
the intricate wooden carvings in traditional Malay houses. The ornamental
carvings in traditional Malay houses commonly represent floral motifs and
geometrical shapes.
In the case of the old museum, symbolism is present in the metal friezes of the
portico, the walls of the verandah, as well as the ventilation openings inside
the building. Some of the symbols used include the wings of a butterly, as
well as the inverted S-shaped carving, which runs alongside both elevations.
The inverted ‘S’ motifs are made of steel are modified and simplified from the
typical vernacular design.
Similar ‘S’ motifs are used for both the wooden and steel ornamentation
at the building as it is simple and answers to both traditional and modern
architecture styles.
Fig 4.15: Ornamentation at the front portico
Fig 4.16: Inverted ‘S’ motifs around the building
Chapter 5
Details and Ornamentations
Chapter 5: Details and Ornamentations
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5.1 COLUMNSA total of 24 columns surround the exterior of the building. There are 8
columns on each side of the building holding up the verandahs, while 8
taller columns are situated at the grand entrance of the building, supporting
the portico.
The columns, being simple and bare in design, portray the modernist
influence as mentioned. The shaft and base are cylindrical, with the base
being slightly larger in diameter as it forms a solid foundation to support the
columns that span two storeys. They sit firmly on a rectangular pedestal.
The columns are identical and repeat throughout the building, varying only
in height between the portico and the corridor.
Fig 5.01: Condition of columns around the old museum building
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5.2 DOORSThe building is accessible through three entrances - one on the first floor
and two on the ground floor.
The main entrance is located on the first floor at the front of the building.
It is protected by a glass sliding door and a sliding metal grille in front of it.
The metal grille consists of simple repetitive patterns, a significant modernist
phiolosophy. Similar subtle modernist characteristics can be seen at different
parts of the building such as the metal ornamentation on the edge of the
roof, signalling the infusion of modern and vernacular architecture.
The entrance to the office on the ground floor is located at the north elevation
of the building. It is less noticeable and less inviting compared to the main
entrance. The entrance consists of a double leaf wooden panel door with
8 panels on one side and four on the other. The top half of the panels are
replaced with tinted windows allowing users to look in, however still creating
a sense of privacy for the workers in the office.
The door is sealed with a two piece handle and an extra lock underneath it.
Fig 5.02: Entrance to the first floor, accessible via the grand double staircase
Fig 5.03: Entrance to the office on the ground floor
Fig 5.04: Close up of door handle
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5.3 WINDOWSRows of windows are decked along each elevation of the building. As
the usage of electricity was not common in the past, windows were used
abundantly to provide ample sunlight and ventilation.
The majority of windows used are louvered windows, with the windows on
the upper floor made of glass sheets and the windows on the ground floor
made of timber. However, the ground floor windows are now completely
sealed due to the installation of air-conditioning in the building, which has
also affected the amount of fenestration. Therefore the interiors are now lit
with artificial lighting.
Fig 5.05: Louvered ‘Jalousie’ windows along the facade
Fig 5.06: Wooden louvered windows on the ground floor contrasts the glass louvered windows on the first floor
Chapter 5: Details and Ornamentations
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The interior on the first floor is lit by glass louvered windows, also known
as “Jalousie Windows” on the upper half of the wall, though minimum. It is
generally dark with slight fenestration, hence artificial lighting is needed.
Some windows are merely an opening with steel ornamentation, but are
also now covered and sealed from the inside.
The windows of the area connecting the main building to the toilet building
are Casement Windows with Fixed Clerestory above it, a sudden change
from the other traditionally designed windows in the building. Fig 5.07: First floor fenestration via the glass louvered windows
Fig 5.08: Ground floor windows are now sealed from inside
Fig 5.09: Tinted casement windows replacing the original louvered windows
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5.4 CEILING
5.5 LIGHTING
Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building.
Fluorescent lights are used in the interiors of the building. There are more lights used in the ground floor than the first floor because windows are not
present on the ground floor. Rectangular two-pieced lights are used on the ground floor while tube lights are used on the first floor.
Chapter 5: Details and Ornamentations
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5.6 WOODEN CARVINGS
Fig 5.11: As wood carvings are common in traditional Malay architecture, they are used abundantly in the design of this building. They can be found below windows and roofs.
Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outward from the middle to create a star-like shape
Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar “inverted-S” patterns as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the eye.
Chapter 5: Details and Ornamentations
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5.7 BRONZE METALWORKRows of ventilation openings are decked as clerestory below the roof on the
North and South elevations of the building. As usage of electricity was not
as common in the past, these open clerestories of bronze metalwork were
used abundantly to bring in cool air from the outside.
Fig 5.14: Bronze metal art work on the first floor
Fig 5.15: Close up of bronze metal art work
Chapter 5: Details and Ornamentations
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Rubber tapping and agricultural activities are common ways the locals make a living in the past. These activities are represented in the bronze metalwork
ornamentations:
Fig 5.16: Rubber tappers collecting latex Fig 5.17: Farmers harvesting on paddy field
Fig 5.18: Farmers ploughing the land with a bull
Fig 5.20: Multiculturalism in Malaysia
Fig 5.19: Locals pounding rice the traditional way
Fig 5.21: Traditional activities of the locals
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5.8 PORTICO ORNAMENTATIONThese ornamentations can be seen below the roof of the portico. They are
intricate in design and are made of iron. These patterns, again, invokes a
modernist feel in terms of its abstraction.
The ornaments are portrayals of flora and fauna. The top and bottom rows
are made up of representations of a butterfly, whereas the middle row
represents a series of floral patterns.
These ornaments are painted to avoid corrosion to the iron as they are
placed outside the building, exposed to rain and moisture in the air.Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico
Fig 5.23: Application of the ornamentation on a triangular window
Chapter 6
Materials
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6.1 STRUCTURAL MATERIALS6.1.1 CHENGAL TIMBER
The main structure of the building is constructed
of chengal hardwood timber. This species of
timber was used in the construction of the old
museum due to its strength and resistance
against termites. Native to the region, this
heavy duty tropical hardwood can withstand
the local climate and temperature, typically
unaffected by the volatile changes between
wet and dry seasons in the country.
This highly durable wood is painted for both
longevity and aesthetic purposes. The coat
of paint gives the building a traditional yet
welcoming look, embracing the essence of
the Malay traditional house. Other than that,
the gap between the timber joist floor on the
second floor and timber structure rafter acts as
a channel for natural air ventilation.
Fig 6.01: Building elements made out of Chengal at the front portico
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6.1.2 REINFORCED CONCRETE
The 460mm x 460mm reinforced concrete footing is made up of concrete
with steel mesh. Other than acting as a support for the columns and holding
up the foundation from any kinds of settlement, its main function is to
stabilise the whole structure as it is able to withstand the compressive load
from the verandah above.
The embedded columns for the ground floor are also made of reinforced
concrete. Its compressive strength allows it to hold up the floor above it, as
the vertical load is transferred from the upper floor beams to the columns
and down into the foundation of the building.
Reinforced concrete is also fire resistant and durable, resistant against
the changes in weather, which is suitable for use in a tropical climate. The
decision to use reinforced concrete for the construction of the ground floor
was possibly due to the design decision of emulating Balai Besar’s load-
bearing masonry base. However, it has served the construction well for
decades as it increases the load capacity of the upper floor, which now
houses dozens of heavy filing cabinets ever since the building was turned
into an office.
Fig 6.02: Reinforced concrete column and footing
Fig 6.03: View of reinforced concrete columns from the corridor
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79
6.2 NON-STRUCTURAL MATERIALS6.2.1 BRICK WALL
Due to the skeletal construction of the building, the exterior wall of the
ground floor merely acts as a skin to separate interior and exterior spaces.
It does not bear any load, and is constructed of bricks that complement the
timber collonade and the reinforced concrete structural frame.
Bricks are fire resistant and does not rot. Therefore, maintenance costs has
been relatively low.
Another benefit of using bricks is its acoustic insulation quality, creating a
more quiet and comfortable space for the users inside the building.Fig 6.04: Brick walls on the ground floor
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6.2.2 GLASS
Clear Glass
Clear glass is utilised as the material for interior partition windows and display
cases in the upper floor of the old museum due to its high transparency and
clarity.
The display wall with the clear glass encasement was previously used
as a wall exhibition space to allow visitors to have a more intimate visual
interaction with the exhibits. These exhibition panels are still preserved
today even after the space has been transformed into an office.
Clear glass is now used as as an element of the newly erected office partition
walls, placed approximately 1 metre above floor level to allow unobstructed
views inside the enclosed office cubicles.
Fig 6.05: Museum display cases made of clear glass
Fig 6.06: Office partition walls made of clear glass
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81
Tinted Glass
Tinted glass is mostly used together with new replacement windows or doors
in the building, including the casement windows on the bridge connecting
the main building to the bathroom at the back of the old museum, and the
entrance to the offices.
A thin film lines the interior glass surface to partially restrict the penetration
of light. It blocks the blazing sun rays to regulate the temperature inside and
provides a comfortable working environment.Fig 6.07: East elevation tinted glass door
Fig 6.08: East elevation tinted glass casement windows
Fig 6.09: Tinted glass office partition wall
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Frosted Glass
Frosted glass is produced by acid etching or sandblasting a clear sheet glass. It is widely used in the building to allow controlled fenestration to the interior
spaces. The application of frosted glass in the building is to ensure visual privacy by blurring images with its textures while still allowing a limited amount
of light.
Fig 6.10: Texture of frosted glass Fig 6.11: Application of frosted glass Fig 6.12: First floor louvered windows made of frosted glass
Chapter 6: Materials
83
6.2.3 WOOD
Nyatoh and Meranti
These variants are used in the partition walls, wooden doors and the ground
floor louvered windows of the building.
Nyatoh and Meranti are hardwood that are high in workability and are able to
withstand staining. Their reddish brown color and straight, shallowly interlocking
fine grain provide a pleasing aesthetic for the interior. Due to their low resistance
towards termite attack, they are to be periodically polished to improve its
durability and quality.Fig 6.13: Timber door and timber partition wall at the interior
Fig 6.14: Nyatoh and meranti building elements at the front portico
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6.2.4 METAL
Iron
Iron is used for the ornamentations at the exterior of
the building and the handrail ornamentations on the
grand staircase.
It is composed of iron, silicon and a bit of carbon,
a corrosion prone element. Therefore, they are
painted to increase resistance towards corrosion and
improve the aesthetic quality.
The advantage of iron is significant in this building
as its high flexibility allows it to be bent for
ornamentations, creating smooth curves and organic
shapes for the iron work.
Fig 6.15: Iron work ornamentation at the portico
Fig 6.16: Close up of iron work ornamentation
Fig 6.17: Application on the window grille
Fig 6.18: Staircase balusters made out of iron Fig 6.19: Barrell lock made out of iron
Chapter 6: Materials
85
Aluminium
Aluminium is used as window frames and mullions in the interior and the
exterior of the building. It is composed of copper, manganese, magnesium,
silicon, tin and zinc, which gives it its unique quality of being lightweight and
extremely durable at the same time.
It is waterproof and corrosion resistant. Hence, it is able to withstand heavy
rainfall and humidity.
Aluminium is also known for its quality of partially reflecting heat and light,
which complements the application of tinted glass to block the penetration
of the blazing afternoon heat and sun.
Fig 6.20: Tinted window with aluminium frame
Fig 6.21: Close up of frosted glass windows with aluminium mullion
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Bronze
Bronze is used for the metal artwork ornamentation for the interior of
the building. Bronze is composed mainly of copper, aluminium, nickel,
zinc and manganese. The composition makes it a strong metal with
high durability and ductility properties, allowing it to be welded for the
production of the bronze artwork on the interior ventilation openings.
It is resistant to corrosion, thereby ensuring the longevity of the bronze
artwork in the building.
Fig 6.22: A row of bronze artworks in the first floor as part of interior decoration
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6.2.5 CONCRETE
Concrete
The exterior flooring is made out of concrete. It has high
compressive strength and is durable against weathering. Instead
of being furnished with mosaic tiles, it is left bare to provide a
natural, slightly brutalist look for the exterior of the building,
exposing the concrete which juxtaposes the colored mosaic
tiles. The drainage of the building is also constructed of concrete,
mainly due to its high tolerance to dirt and durability.
The grand staircase is constructed of reinforced concrete to
withstand the weight of the users, especially when receiving large
number of visitors in its heyday as a museum. Its durability allows
the concrete staircase, which is placed outside the building, to
withstand extreme weather conditions.
Another advantage of reinforced concrete is its ability to be poured
and molded into virtually any form, allowing the construction of the
arched double-staircase.
Fig 6.23: Reinforced concrete double staircase
Fig 6.25: Concrete flooring with mosaic tiles
Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer
Fig 6.26: Concrete drainage
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6.2.6 PLASTER
Plaster is used as a protective and sometimes decorative layer on walls. It
is used exclusively in the interior of the building as it is highly sensitive to
moisture, and can easily warp should it not be properly protected.
Its unique quality includes the ability to insulate sound. This makes it an
ideal material for use in the partition walls of the office to keep noise levels
at a minimum. It is also fire resistant, which indirectly increases the fire
safety in the interior spaces.
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6.3 FLOOR COVERING & FINISHING6.3.1 EXTERIOR FINISHES
Unglazed Ceramic Mosaic Tiles ‘Pebble Washed’
Blue and pink mosaic tiles are used as the exterior floor finish around the
perimeter of the building. This type of mosaic tiling is suitable for outdoor
use as it is durable and could withstand exposure to intense sunlight and
the acidity in rain water. It provides texture and friction to the concrete floor
to prevent slips.
Mosaic tiles are easy to maintain, which makes it an economical material in
the long run. Fig 6.27: Unglazed ceramic mosaic tiles
Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridorFig 6.28: Ground floor plan showing the usage of unglazed ceramic mosaic tiles
Chapter 6: Materials
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Paint
Paint is applied to act as a protective and decorative layer on the building to
protect the wall and other building components against harsh environmental
conditions. It prolongs the longevity of the construction materials that are
prone to deterioration via rotting or oxidisation such as timber and mild steel
in the building.
Mild steel is susceptible to oxidisation, whereas timber should be protected
from moisture and are vulnerable to termite attack. The application of paint
coating on these materials are therefore necessary.
Paint coating will gradually peel over the years and would require periodic
reapplication. The building has been repainted a number of times over the
years, and have received different colour treatments with each reapplication.
The present-day colour of the coating is cream as the base colour, with light
pink applied to certain parts of the building that need accentuation.
Fig 6.30: Layers of paint coating accumulated over the years
Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions
Chapter 6: Materials
91
Clay Roof Tiles
Clay roof tiles are used as the roofing material, well-known for its durability
and aesthetic value. Its high thermal capacity and reflective properties
complement the pitched roof structure to create an effective cooling system
via passive stack ventilation.
Clay roof tiles are strong enough to withstand extreme weather conditions,
protecting the internal timber rafters from exposure to the sun and rain. Clay
tiles are not susceptible to corrosion and does not expand or shrink under
extreme temperatures. Therefore, it is a long lasting material, suitable for
the humid Malaysian weather.
The vintage Hacienda clay tiles create a mix of rough and delicate textures,
emulating the roof style of vernacular Malay architecture.
Fig 6.32: Roof coverings made of clay roof tiles
Fig 6.33: Texture of clay roof tiles
Chapter 6: Materials
92
6.3.2 INTERIOR FINISHES
Unglazed Ceramic Mosaic Tiles
Similar to the exterior floor finish, the interior floor is also
finished with unglazed ceramic mosaic tiles. However,
certain parts of the interior floor is finished with a darker tone
of blue that highlights the structural points of the building.
The colour variation in the tiling separates the interior
space into distinct areas, helping with circulation and spatial
organization. Fig 6.34: Ground floor plan showing the usage of unglazed ceramic mosaic tiles
Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles
Chapter 6: Materials
93
Carpet
The upper floor is completely carpeted, covering the original timber flooring.
Carpets are effective in acoustic insulation and can be easily replaced
should the need arise. The carpet also hides the gaps in the timber flooring
planks, giving the floor a seamless appearance.
The timber flooring of the first floor was first covered with carpet to prevent the
leakage of cool air when the building was first installed with air-conditioning.
It is therefore not a permanent fixture to the flooring, making it easy to be
removed and cleaned.
Presently, the upper floor has a blue-coloured carpeting that spans the
entire floor, including within the office cubicles.
Fig 6.36: First floor plan showing areas covered by carpet
Fig 6.37: First floor interior caarpet flooring
Chapter 7
Construction Details
Chapter 7: Construction Details
95
7.1 TIMBER COLONNADEThe timber colonnade acts as the main supporting structure for the whole
building, distributing lateral and vertical loads from the timber roof rafters, as
well as live and dead loads from upper floor downwards into the foundation.
The construction of the collonades’ reinforced base and footing begins
with the creation of the formwork. Concrete mixture is then poured into the
formwork and vibrated to ensure the release of any air bubbles which may
cause defects to the concrete. This is then followed by the placement of
the 230mm diameter timber column which caps the base of the colonnade
and spans its length up across two floors. The base and footing act as a
supportive and protective layer to increase stability by anchoring the columns
to the ground. It also prevents the timber column from being placed directly
inside the ground which contains moisture and may affect the integrity of
the column.
Once construction is complete, plaster and paint is then applied to the
timber colonnade to create a sturdy look and improve its resistance against
termites and humidity.
Fig 7.01: Ground floor plan showing the location of timber colonnades
Fig 7.02: Timber colonnades at the corridor
Chapter 7: Construction Details
96
7.2 ROOF TIMBER SKELETONThe gajah menyusu roof design
incorporates receding degrees of
slanted roof, going from a steep
pitch in the middle, to a flatter
decline on the sides all the way to
the overhang. The dual degree slant
design of the roof helps to regulate
rainwater runoff. The degree of the
slant varies accordingly in different
states in Malaysia. As for the old
museum building, the slant is
approximately 52 to 57 degrees.
50mm x 45mm sized batons with a
distance of 160mm in between each
are used in the construction.
Detail B
Detail A
ridge tiles
ridge boardcollar tie
100mm thick post
70mm thick rafter
50mm x 50mm thick batten
clay roof tiles to manuf's detail
rafter
50mm x 50mm thick batten
clay roof tiles to manus'f detail
metal connector
rafter tie
ceiling joist
beamfascia board
DRAWING NO.:
SHEET NO.:
E / 04
2017 / ARC1215 / MLNKEDAH
PROJECT TITLE :
ARC 1215 / METHODS OF DOCUMENTATION AND MEASURED DRAWING
MUZIUM NEGERI KEDAH,LEBUHRAYA DARUL AMAN, KAMPUNG LUBOKPERINGGI, 05150 ALOR SETAR,KEDAH, MALAYSIA.
DRAWING TITLE :
- ROOF DETAILSSTARTING DATECOMPLETED DATE
DRAWN BYCHECKED BYMEASURED BYRECORDED BY
SCALE
FACILITATOR
REMARK:
MR. MOHD ADIB
21.01.201704.03.2017AS SHOWNLOO YEE PEI (0329 148) , CHONG JIA YI (0320 869) , WEE SUE WEN (0322 633) , TEO KUO CHIEN (0320 195)LOO YEE PEI (0329 148)--
Roof Exploded Isometric View AE04 SCALE: 1:75
Roof Exploded Isometric View BE04 SCALE: 1:50
Roof Exploded Isometric View CE04 SCALE: 1:25
DETAIL AE04 SCALE: 1:10
DETAIL BE04 SCALE: 1:10
The axonometric drawings show that the roof is constructed of multiple layers that form a sturdy, rigid roof skeleton that is able to effectively transfer load
down to the foundation.
Fig 7.03: Axonometric details of the roof construction
Chapter 7: Construction Details
97
Fig 7.04: East elevation
Chapter 7: Construction Details
98
Fig 7.05: Section showing construction details
Chapter 7: Construction Details
99
Construction of Timber Trusses
The construction of the roof begins with the installation of the timber trusses,
which are the fundemental structural component of the roof skeleton. The
roof trusses of the old museum is a variation of the Polynesian truss design.
The upper part of the skeleton is supported by a King post and truss webs
which are connected to a collar tie. The supporting structures are then
joined to the rafters, distributing the weight equally to the the chords, and
then to the roof joist. Metal plates and straps are used to strengthen the
joints and connection between components as to minimise the use of nails
in the construction.
Types of Joints
1. Tenon and mortise joint (king post to chords & king post with webs)
2. Bird’s mouth joint (rafter to eaves overhang)
3. Traditional heel joints (rafter to chords)
Types of Connectors
1. Steel straps connectors
2. Dowels / Bolt
Fig 7.06: Tenon and mortise joint Fig 7.07: Bird’s mouth joint
Fig 7.09: Image shows the steel straps connectors
Chapter 7: Construction Details
100
Roof Coverings
Clay tiles are used as roof coverings and capped
with clay ridges at the hips of the roof.
Roof ornamentation
Timber decorative fascia board is installed as a
finishing touch to conceal the overhung rafters.
Fig 7.10: Connection of clay roof tiles
Fig 7.12: Timber fascia board at the edge of the roof
Fig 7.11: Sketch of clay roof tiles
Chapter 7: Construction Details
101
7.3 TIMBER POST BEAM & FLOOR JOISTSThe building applies a mix of varying methods for joints, including the
traditional mortise and tenon method. Steel connectors are used to
strengthen the bond of the joints to improve stability of the post beam and
floor joists.
Joinery and connections
1) Post and Beam Joint Connection
2) Post to Floor Joist Connection
Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection
Chapter 7: Construction Details
102
7.4 WINDOWS & DOORS7.4.1 WINDOWS
Louvered “Jalousie Windows” with Aluminium Frames
There are 4 locations where louvered windows with aluminium frames are
used in the building:
1. Ground floor
2. First Floor
3. Clerestory
4. First Floor Bathroom
The main component of the jalousie window is the aluminium frame which
houses the mechanism for the opening and shutting of the glass louvers.
The window is placed at an opening in the wall, sitting on the window sill.
The window sill on the ground floor is made out of concrete as part of the
exterior wall, while the window sill on the first floor is made out of timber.
Aluminium mullions are then fixed to the window frames before attaching the
window jambs and handles. The handle can be used to adjust the opening
of the glass louvers to allow for the adjustment of interior fenestration. The
glass blades that form the louvers are arranged horizontally, with varying
numbers and width depending on the size of the window frame.
ELEVATION
Fig 7.14: South elevation showing the location of aluminium-framed louvered windows
Fig 7.15: Details of louvered windows with aluminium frame
Chapter 7: Construction Details
103
Aluminium Casement Windows
Casement windows are one of the later additions to the design of the
old museum to either replace broken windows or as a means to insulate
the building for air-conditioning. An example of this window can be seen
installed at the bridge of connecting the main building with the bathroom and
utility block at the back of the old museum.
The size of the window opening must be decided before attaching the
aluminium window frame. This is then followed by the fixing of window
mullions and sills to the window frames. Casement windows with tinted
glasses are then attached to the structure, held by the hinges of the window.
Fig 7.16: South elevation showing the location of casement windows with aluminium frame
Fig 7.18: Casement windows with aluminium frameFig 7.17: Details of casement windows with aluminium frame
Chapter 7: Construction Details
104
Traditional Wooden Louvered Shutters
The construction of the traditional wooden
louvered shutters begins with the installation of a
timber window frame. The window sash is then
constructed with four individual timber pieces
that are joined together. This is followed by the
connection of 23mm individual timber panels to
the window sash via the mortise and tenon wood
joint technique at an angle. Fig 7.19: South elevation showing the location of traditional timber louvered windows
Fig 7.21: Details of traditional timber louvered windowsFig 7.20: Perspective view of the windows
Chapter 7: Construction Details
105
7.4.2 DOORS
After deciding on the size of the door opening, the timber door frame is set
in place. The timber door with glass panels is then constructed off-site and
brought over for installation onto the timber frame via three hinges on both
sides.
Finally, door accessories such as the barrel bolt, door closers and mortise
lock are fixed to the door with screws.
Fig 7.22: North elevation showing the location of timber door with glass panels
Fig 7.23: Details of timber door with glass panels Fig 7.24: Mortise locks at the exterior of the timber door
Fig 7.25: Barrel bolt and door closers at the interior of the timber door
Chapter 7: Construction Details
106
7.5 STAIRCASEExterior Reinforced Concrete Staircase
The grand double-staircase housed at the entrance portico
consists of 40 risers (150mm high each), 37 treads (260mm
width each) and a landing in the middle. It sits on an arched
stringer that is supported by 2 square columns.
The staircase is made out of reinforced concrete finished with
mosaic tiles. The landing creates a lookout point and connects
the arched staircase to a series of steps that leads to the upper
floor.
The construction of the staircase begins with the creation of
a timber formwork in which reinforcement steel is laid into.
Concrete is then poured into the mould and vibrated to allow the
release of air bubbles, and is left for a few days to cure.
Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase
Fig 7.27: Connection of different parts of staircase Fig 7.28: Sectional drawing of reinforced concrete staircase
Chapter 7: Construction Details
107
Once the concrete is completely cured, blue and pink coloured mosaic tiles
are laid on top, secured by a layer of mortar. White mosaic tiles are used to
line the edge of the staircase nosing to improve the visibility of the edge of
the steps for safety.
Iron balusters are then attached onto the concrete stringer capped with a
painted wooden handrail.
Fig 7.29: Handrail and iron balusters of the staircase
Chapter 7: Construction Details
108
Interior Open Stringer Timber Steps
The main office space in the upper floor
is connected to the rear bridge via timber
steps that consist of 3 risers and 2 treads.
After deciding the number of treads and
risers based on the floor height, the framing
for the steps is constructed. Glue blocks
and wedges are used to hold the treads
and risers together. Extended nosings are
added to ensure safety.
Fig 7.30: First floor plan showing the location of interior open stringer timber steps
Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge
Chapter 7: Construction Details
109
7.6 OTHERS7.6.1 EXTERIOR ORNAMENTATIONExterior ornamentations are constructed over multiple layers to add depth to
the design of the decorative element.
Inverted ‘S’ Ornamentation
For the construction of inverted ‘S’ ornamentation:
1. 3 timber planks are joined together to form a wooden board.
2. The carved ornamentations and frames are then nailed to the timber
board and painted accordingly.
Corridor Shading Devices
There are 18 sets of shading devices installed along the corridors and
portico of the building, constructed in the following method:
1. Three wooden strips, forming a frame, are connected to the timber
column via the tenon and mortise joint technique.
2. Wooden planks of varying lengths are then nailed to the wooden strips.
3. The number of nails used depends on the length of the wooden planks.
4. The different lengths form an arch-shaped shading device for the
corridor.
5. White paint is then applied to the structure.
Fig 7.32: Axonometric drawings of exterior ornamentations
Fig 7.33: Inverted ‘S’ shape ornamentation
Chapter 7: Construction Details
110
7.6.2 INTERIOR ORNAMENTATIONBronze Metal Artwork
The bronze metal artwork, which originally acted as ventilation openings for
the upper floor consists of separate bronze rods that are bent and welded
to form intricate shapes.
The rods, with thickness of approximately 10mm are bent to desired shapes
and welded to form compositions of abstract art. The compositions are
then left to solidify before they are cleaned, painted and installed onto the
ventilation openings on the wall.
Architrave
The architrave, which sits below the inverted ‘S’ ornament is made up of two
separate horizontal pieces:
1. The top piece was cut to make up the top half of the diamond shape.
2. The bottom piece makes up the bottom half of the diamond, and was
cut into a board with a series of triangular-shaped fringe.
Fig 7.34: Close-up of the architrave
Fig 7.35: Bronze metal artwork in the first floor
Chapter 8
Recent Condition
Chapter 8: Recent Condition
112
8.1 OPERATION AND FUNCTIONALITY OF THE BUILDING
Throughout most of its existance, the original building of the Kedah State Museum has served the community well. It began its life as Kedah’s first
purpose-built museum and was built at a time when Malaya was a new nation with a fledgeling economy. Therefore, the design of the building was kept
as simple as possible, whilst still incorporating elements that reflect the tradition and history of the locals. Similarly, the scale and floor space was kept
at a bare minimum as the country and the state were both very careful of their finances. The building was originally shared between the state museum
and the city library. It was not long before the museum exhibition space was expanded to take up all the spaces inside the building.
Chapter 8: Recent Condition
113
8.1.1 SPACES
With the conversion of the old museum into an office, the spaces inside
the museum received minor refurbishment. A notable change would be
the addition of partition walls to define working areas. The partitioning is
either partial or full, depending on the level of privacy needed by a specific
department. The refurbishment benefited greatly from the open floor plan
of the museum, which was originally designed to maximise exhibition
space. With the open floor plan, tables, working areas and partitions can be
arranged freely without the constraints that come with having fixed interior
walls.
However, as the years passed, and the country witnessed significant growth,
a new building was constructed adjacent to the original, to house the ever
growing number of museum exhibits. The old museum was then repurposed
as the administration office of the state museum and the headquarters for
the Kedah Historical Society.
Fig 8.02: Condition of the first floor today
Fig 8.01: Dignitaries visiting the museum (c. 1975)
Chapter 8: Recent Condition
114
8.1.2 APPEARANCE
As the building is primarily built out of timber, paint is applied as a protective
layer to shield the wood from weathering as it is constantly exposed to
extreme heat and humidity. The building is repainted every few years as the
coating would begin to peel after a significant period of time. With regular
reapplication of paint, it is inevitable that the colour of the building changes
with every new coat of paint applied.
The original colour of the building, as a museum, was cream with deep
yellow highlights on the columns, ornamentations and fascia board as it was
mirroring the colour of Balai Besar. Today the building still retains the cream
base, but repainted the deep yellow with light pink to match the colour of the
new museum building.
Fig 8.04: Colour of the old museum today
Fig 8.03: Original colour of the old museum
Chapter 8: Recent Condition
115
8.2 EXTERIORThe main components of the museum’s exterior are the roof, colonnade, exterior doors, windows, and the exterior walls. Additionally, the exterior also
houses ornamentations and the shading device. These elements act as the first line of defence against Malaysia’s hot and humid climate. They have
therefore over the years experienced a certain level of ageing and weathering.
8.2.1 ROOF
The roof is still intact and functions perfectly to protect the interior spaces of the museum.
However, the exposure to direct UV rays have affected its colour, changing it from its
original bright red to the present day dark, brownish hue.
The change in colour is due to photodegradation, whereby chemical bonds in the
composition of the clay roof gets broken down by UV rays, causing the change in
material colour. This phenomenon does not only occur to the clay tiles on the roof, but
also affects the exterior paint of the museum, causing them to fade over time.
Fig 8.05: Changes in roof colour over time
Chapter 8: Recent Condition
116
8.2.2 COLUMNS
The timber columns were constructed on a concrete base and are covered in
plaster and paint to reduce its exposure to moisture, both in the ground and
in the air. However, the coat of paint has started to deteriorate and peel due
to the volatile weather changes in Malaysia, which alternates between wet
and sunny conditions regularly. The deterioration begins with the formation
of a blister in the coating, which allows moisture and air to enter and form
bubbles or air pockets. The bubbles would continue to expand under high
temperatures, eventually causing the peeling of the coating. The exposed
area of the timber column would then be exposed to moisture which will
affect the structural integrity of the building.Fig 8.06: Deterioration of column base
Fig 8.07: Ageing of timber columns
Chapter 8: Recent Condition
117
8.2.3 WINDOWS AND DOORS
Windows
Not much has changed to the design of the windows, aside from the
replacement of some jalousie windows with new tinted aluminium casement
windows on the bridge connecting the main building to the bathroom and
services block at the rear end of the building. The same treatment can
be seen applied to the wooden louvered windows on the left side of the
ground floor under the entrance portico. The most notable change however,
is the boarding up of all ground floor windows due to the installation of air
conditioning after the building was converted into an office.
Doors
The main entrance, located on the first floor was originally a simple opening
with metal grilles. A tinted glass sliding door was later installed in addition to
the grilles, again, due to the installation of air conditioning inside.
These changes, especially concerning the addition of tinted glass windows
and doors, as well as the shutting of all ground floor windows have greatly
reduced the level of fenestration inside the building. Hence, artificial lighting
is now necessary to light up interior spaces regardless of the time of the day.
Fig 8.08: Changes in the windows
Fig 8.09: Addition of tinted glass sliding door to the main entrance
Chapter 8: Recent Condition
118
8.2.4 SHADING DEVICE
The shading devices along the exterior corridor on both sides of the building is made up of separate timber boards that are joined together into a solid
piece. This construction may have been ideal at the time the building was constructed. Over the years however, with constant exposure to changes in
weather, these individual pieces began to degrade at varying rates. This has left some shading devices with either broken, or incomplete number of boards,
which can be an eyesore to visitors.
Fig 8.10: Degradation of wood paneling for the exterior shading device
Chapter 8: Recent Condition
119
8.2.5 ORNAMENTATION
The ornamentations were inspired by vernacular Malay architecture, which
incorporates wooden carvings on the frieze and clerestory of the house.
The traditional carvings are incorporated into the design of the old museum
building, with a slight twist; as they are made of metal rather than wood.
Other ornamentations such as the inverted ‘S’ pattern on the building still
retain the spirit of traditional local architecture, being made out of wood.
Timber Ornamentations
Wooden ornamentations are more susceptible to decay in the country’s
humid weather as it causes rapid expansion and contraction of the wooden
ornamentations. It can be observed that most wooden ornaments have
either fallen off the wall, or are slowly deteriorating as they have not been
properly maintained.
Metal Ornamentation
Iron ornaments, such as the one on the frieze of the portico are susceptible
to oxidisation. However, they have been well maintained, with the periodic
reapplication of paint. The interior metal carving is easy to maintain as bronze
does not corrode. However, they are still painted for aesthetic purposes.
Fig 8.11: Some parts of the exterior ornamentations have fallen off from the wall
Fig 8.12: Minor oxidation on metal ornamentations
Chapter 8: Recent Condition
120
8.2.6 FINISHING
A notable change in the finishing is the installation of carpets in the interior
spaces on the upper floor. The floor was previously left exposed showing
the bare timber flooring. The carpets, although relatively new, seem to be
poorly maintained.
The tiles in the rear bathroom and utilities block have been changed as the
structure did not originally house toilets. When the building was redesignated
as an office, there was a need for the building to have its own toilet. Bathroom
tiles were added to the newly built toilets during the refurbishment to turn the
building into an office.Fig 8.13: The first floor is now completely covered with carpet
Chapter 8: Recent Condition
121
8.3 IMPROVEMENT SUGGESTIONS ON DESIGNAlthough it now functions as an office building, the old building of the state museum has, throughout its existence, contributed immensely to the development
and preservation of the culture and history of Kedah. Therefore, the structure deserves to be properly maintained and preserved for the benefit of future
generations.
To revive the spirit it once held, the building can be treated with a fresh coat of paint, which would not only improve its aesthetics, but also protect the metal
and timber elements from further deterioration. The building can be repainted with its original dark yellow colour, as it deserves the right to be true to its
history, especially in conjunction with Alor Setar’s 250th anniversary.
Another aspect that can be improved is the fenestration in the interior spaces of the building, especially pertaining to the ground floor. As mentioned earlier,
the ground floor now depends solely on artificial lighting after the side windows were sealed shut when it was repurposed as an office. Natural lighting
could improve the overall quality of the space and provide an improved working environment for the officers. This can be achieved with the replacement
of the plywood panels blocking the louvered windows with a glass panel that allows natural light in.
Finally, the wooden shading devices along the corridor can be replaced with new ones that look exactly as the original, as the wooden panels has over
the years been poorly maintained.
Conclusion
Conclusion
123
The Old Museum Building
Even though the museum has been moved to its present home in the new
building, the old museum structure should be preserved as a testament to
the passion locals have in preserving the rich history and culture of Kedah.
The building also presents a prime example of a blend between vernacular
and modern architecture, a characteristic unique to the young and fledgeling
Malaya in the early years after Merdeka.
The old museum structure will for generations to come, be a stark reminder
on the importance of preserving the local culture and history in the
pursuit of nation building. Its architectural elements should be studied and
documented, as it represents the ingenuity of the builders of the past in
incorporating traditional elements to help with the creation of an efficient
and functional public space.
In fact, the old museum would for a very long time stand as a physical
representation of the culture and lifestyle of the locals in Kedah.
Conclusion
124
The Team
As for the team of researchers, each member has had their own unique
perspective on the experience of completing the project. The learning curve
was steep at the beginning, with some just beginning to acquire the knowledge
to transfer collected data into proper architectural drawings. However, the
team has grown throughout the duration of the project, acquiring new skills
with each new task, which will greatly benefit the members in the upcoming
semesters particularly in the fields of producing quality CAD drawings as
well as architectural concept development and abstraction.
The experience of working in a team of dedicated students will be beneficial
in the future as the students move a step closer into entering the real world
in the labor market, where the environment is competetive and challenging.
Glossary
125
AArtifact
An object made by a human being, typically an item of cultural or historical
interest
Asbestos
A heat-resistant fibrous silicate mineral that can be woven into fabrics, and
is used in fire-resistant and insulating materials such as brake linings
Accentuation
the action of emphasizing something.
B
Baluster
A short pillar or column, typically decorative in design, in a series
supporting a rail or coping
Brutalist
A style of architecture or art characterized by a deliberate plainness,
crudity, or violence of imagery. The term was first applied to functionalist
buildings of the 1950s and 1960s that made much use of steel and
concrete in starkly massive blocks
C
Casement
A window or part of a window set on a hinge so that it opens like a door.
Ceramic
Made of clay and hardened by heat
Circulation
Movement to and fro or around something, especially that of fluid in a
closed system
Column
An upright pillar, typically cylindrical and made of stone or concrete,
supporting an entablature, arch, or other structure or standing alone as a
monument
GLOSSARY
Glossary
126
Colonnade
A row of columns supporting a roof, an entablature, or arcade
Clerestory
The upper part of the nave, choir, and transepts of a large church,
containing a series of windows. It is clear of the roofs of the aisles and
admits light to the central parts of the building.
Concrete
A heavy, rough building material made from a mixture of broken stone or
gravel, sand, cement, and water, that can be spread or poured into molds
and that forms a stonelike mass on hardening.
Corridor
A long passage in a building from which doors lead into rooms
Curvature
The fact of being curved or the degree to which something is curved
D
Dowel
A peg of wood, metal, or plastic without a distinct head, used for holding
together components of a structure.
E
Eaves
The part of a roof that meets or overhangs the walls of a building
Etching
The act of process of making designs or pictures on a metal plate, glass,
etc. by the corrosive action of an acid instead of by a burn
Elevation
A particular side of a building.
Exterior
Forming, situated on, or relating to the outside of something.
Glossary
127
F
Facade
The face of a building, especially the principal front that looks onto a street
or open space.
Fascia
A wooden board or other flat piece of material such as that covering the
ends of rafters
Fenestration
The arrangement of windows and doors on the elevations of a building.
Flank
Be situated on each side of or on one side of
Filigree
Ornamental work of fine (typically gold or silver) wire formed into delicate
tracery.
Foundation
The lowest load-bearing part of a building, typically below ground level
Frieze
A broad horizontal band of sculpted or painted decoration, especially on a
wall near the ceiling
G
Geometrical
The branch of mathematics concerned with the properties and relations of
points, lines, surfaces, solids, and higher dimensional analogs.
Grille
A grating or screen of metal bars or wires, placed in front of something as
protection or to allow ventilation or discreet observation.
H
Hardwood
The wood from a broadleaved tree (such as oak, ash, or beech) as
distinguished from that of conifers.
Hinges
A movable joint or mechanism on which a door, gate, or lid swings as it
opens and closes, or that connects linked objects.
Glossary
128
Homogeneous
Of the same kind, alike
I
Interior
Situated within or inside; relating to the inside; inner.
J
Joist
A length of timber or steel supporting part of the structure of a building,
typically arranged in parallel series to support a floor or ceiling.
Juxtaposition
The fact of two things being seen or placed close together with contrasting
effect
Jalousie
A blind or shutter made of a row of angled slats
L
Lateral
Of, at, toward, or from the side or sides.
Louvers
Each of a set of angled slats or flat strips fixed or hung at regular intervals
in a door, shutter, or screen to allow air or light to pass through.
M
Mullion
A vertical bar between the panes of glass in a window.
Modernism
A style or movement in the arts that aims to break with classical and
traditional forms.
Mortar
A mixture of lime with cement, sand, and water, used in building to bond
bricks or stones
Glossary
129
Mortise
A hole or recess cut into a part, designed to receive a corresponding
projection (a tenon) on another part so as to join or lock the parts together.
Mosaic
A picture or pattern produced by arranging together small colored pieces
of hard material, such as stone, tile, or glass.
Motif
A distinctive feature or dominant idea in an artistic or literary composition
N
Nosing
A rounded edge of a step or molding
O
Ornamentation
The branch of mathematics concerned with the properties and relations of
points, lines, surfaces, solids, and higher dimensional analogs.
Oxidize
A picture or pattern produced by arranging together small colored pieces
of hard material, such as stone, tile, or glass.
P
Partition
A structure dividing a space into two parts, especially a light interior wall
Photodegradation
Decomposed by the action of light, especially sunlight
Pediment
the triangular upper part of the front of a building in classical style, typically
surmounting a portico of columns.
Pedestal
The base or support on which a statue, obelisk, or column is mounted
Plaster
A soft mixture of lime with sand or cement and water for spreading on walls,
ceilings, or other structures to form a smooth hard surface when dried.
Glossary
130
Portico
A structure consisting of a roof supported by columns at regular intervals,
typically attached as a porch to a building.
R
Rafter
One of several internal beams extending from the eaves to the peak of a
roof and constituting its framework.
Rattan
The thin pliable stems of a palm, used to make furniture.
Riser
A vertical section between the treads of a staircase
S
Stringer
A side of a staircase, which supports the treads and risers
Symmetry
The quality of being made up of exactly similar parts facing each other or
around an axis.
T
Tenon
A projecting piece of wood made for insertion into a mortise in another
piece
Timber
Wood prepared for use in building and carpentry
Tread
The top surface of a step or stair
Truss
A framework, typically consisting of rafters, posts, and struts, supporting a
roof, bridge, or other structure.
Glossary
131
V
Ventilation
The provision of fresh air to a room, building, etc
Verandah
A roofed platform along the outside of a house, level with the ground floor
Vernacular
Architecture concerned with domestic and functional rather than
monumental buildings
Vertical
At right angles to a horizontal plane; in a direction, or having an alignment,
such that the top is directly above the bottom
W
Wedge
A piece of wood, metal, or some other material having one thick end and
tapering to a thin edge, that is driven between two objects or parts of an
object to secure or separate them.
APPENDIX
Appendix
133
INTERVIEW WITH DATO WAN SHAMSUDDIN, CHAIRMAN OF KEDAH HISTORICAL SOCIETY(Interview was conducted in Malay)
Q: Terangkan sedikit sejarah ringkas mengenai Muzium Negeri Kedah dan bangunan lama muzium.
A: Persatuan sejarah Malaysia cawangan Kedah ditubuhkan pada tahun 28 julai 1956. Mula sekali di Balai besar yang terletak menghadap masjid
negeri di dataran budaya. Pejabat kami pada asalnya diatas sana. Masa itu belum merdeka lagi. Kalau di Kuala Lumpur persatuan Sejarah
Malaysia. Orang yang bagi semangat kepada kami untuk menubuhkan persatuan sejarah ini ialah Sir Gerald Templer masa darurat. Daripada
situ, kita menubuhkan cawangan untuk setiap negeri dan cawangan Kedah antara yang terawal ditubuhkan iaitu pada 28 Julai 1956. Pada masa
itu juga, pengerusi pertama cawangan Kedah dilantik iaitu Tunku Nong Jiwa. Kalau diikutkan, sejarah daripada Lembah Bujang (Bujang Valley)
sebelum dan selepas perang memang sangat banyak artifak-artifak dan peninggalan sejarah di Lembah Bujang itu. Jadi kerajaan Kedah yang
telah menjumpai kesemua artifak-artifak itu meminta kami (persatuan sejarah Kedah) untuk memelihara tinggalan sejarah itu dan kami kumpulkan
semuanya di Balai Besar pada masa itu. Oleh itu, presiden kami menubuhkan sebuah galeri di bahagian bawah Balai Besar untuk mempamerkan
arca-arca seni, patung-patung Buddha dan patung-patung Hindu memang banyaklah. Selepas itu, pengerusi kami juga dilantik sebagai pengerusi
pertama bagi muzium pertama di negeri Kedah tapi beliau tetap dipanggil sebagai Pengerusi Sejarah. Ahli-ahli persatuan sejarah termasuklah
saya juga antara orang yang terawal pada masa itu bersama pengerusi kami meminta kepada kerajaan negeri Kedah untuk membina bangunan
sebagai muzium negeri yang pertama.
Q: Apakah perubahan-perubahan ketara yang pernah berlaku kepada rekabentuk atau binaan bangunan lama muzium?
A: Tak banyak perubahan. Semuanya dalah struktur yang asal yang mana kita boleh lihat bahagian kiri dan kanannya dalah sama (iaitu symmetrical).
Bilik di bahagian belakang juga masih dikekaklkan walaupun berubah fungsi. Sebelum itu, dahulunya bahagian bawah ini dijadikan Perpustakaan
Negeri sebelum diwujudkan satu bangunan sendiri yang dikenali Perbadanan Perpustakaan Awam Negeri Kedah.
Appendix
134
Q: Bilakah kali terakhir lawatan/majlis bersejarah berlangsung di bangunan ini?
A: Kebiasaannya duta-duta Negara yang datang melawat kerana mereka juga hendak tengok tentang sejarah kita, dan bagaimana kita peliharanya.
Semuanya duta Negara luar biasanya.
Q: Mengapakah fungsi bangunan ini dipindahkan kepada bangunan baru yang terletak bersebelahan, dan tidak hanya dibesarkan muzium lama?
A: Jadi saya kira kerana tanah sekitar kawasan muzium ini memang luas dn lapang sebab itulah mereka nak buat bangunan baru, bukan sekadar
menambah ruang bagi bangunan sedia ada (extension). Kalau tanah yang sebelah kanan muzium ini, yang ini memang tanah yang baru kita beli,
tetapi tapak bangunan baru itu memang tanah yang sedia ada. Kerana yang pertama jika kita buat penambahan pada bangunan lama, ia juga
menambah kos kerana perlu banyak penambaikkan kerana ia adalah bangunan lama danyang keduanya adalah kerana kita memang mempunyai
tanah lapang.
Appendix
135
INTERVIEW WITH EN FAUZI, MANAGER OF KEDAH STATE MUSEUM(Interview was conducted in Malay)
Q: Terangkan sedikit sejarah ringkas mengenai Muzium Negeri Kedah dan bangunan lama muzium.
A: Asalnya terletak di balai besar di Dataran Budaya. Balai besar mempunyai dua tingkat yang mana ditingkat bawah dijadikan muzium pertama
negeri kedah yang asal dikenali sebagai Muzium Sejarah Negeri Kedah. Peningkatan pengumpulan artifak dan bahan pameran, menyebabkan
muzium itu dipindahkan ke bangunan sendiri iaitu bangunan lama Muzium Negeri Kedah pada tahun 1980-an. Bangunan ini mempunyai ruang
yang luas yang membolehkan lebih banyak artifak-artifak dikumpul dan dipamerkan. Itulah serba sedikit sejarah asal bagaimana kewujudan
bangunan lama Muzium Negeri Kedah ini.
Q: Apakah yang membezakan Muzium lama negeri berbanding bangunan-bangunan lain yang dibangunkan pada era yang sama?
A: Pada masa itu, tidak banyak lagi bangunan yang berkonsepkan begini yang mana bangunan ini mempunyai konsep yang sama dengan Balai
Besar. Arkitek yang membina bangunan ini sememangnya mengambil pengaruh daripada Balai Besar. Kalau ditengokkan, rumah-rumah kedai
yang dibina pada masa itu juga tidak ada yang mempunyai konsep seperti ini yang mengambil ciri traditional daripada Balai Besar. Manakala,
bumbung ini mengambil ciri bumbung traditional Kedah iaitu bumbung lima. Jadi, pengaruh luar masib belum lagi kelihatan dalam reka bentuk
bangunan-bangunan yang ada di Kedah ketika itu.
Q: Apakah perubahan-perubahan ketara yang pernah berlaku kepada rekabentuk atau binaan bangunan lama muzium?
A: Beranda, yang mana asalnya adalah ruang terbuka. Namun apabila terlalu banyak barang-barang artifak yang kita simpan, jadi untuk keselamatan
barang-barang tersebut, kita menambah tingkap nako di ruang tersebut. Kecuali di ruang belakang yang mana pada asalnya juga merupakan
tingkap nako dan digantikan dengan tingkap kerana terdapat penggunaan aircond yang mana fungsinya adalah untuk keselesaan bilik pejabat.
Dari segi struktur memang tiada perubahan, ia adalah struktur yang asal.
Appendix
136
Q: Apakah fungsi utama bangunan ini sekarang?
A: Fungsi asal bangunan ini adalah sebagai muzium dan library(perpustakaan) sebelum dijadikan pejabat. Ditingkat bawah adalah muzium dan
tingkat atas dijadikann library. Namun apabila koleksi semakin bertambah, tingkat atas juga dijadikan muzium dan sebahagian lagi ruang
dijadikan library. Apabila koleksi semakin bertambah dan ruang library juga semakin kecil maka sebuah lagi bangunan baru khas dibina untuk
menempatkan kesemua koleksi barangan bersejarah untuk simpanan Muzium Negeri Kedah. Manakala bangunan asal ini pula dijadikan pejabat
pentadbiran dimana ditingkat bawah terdapat unit pentadbiran dan ditingkat atas terdapat unit fotografi dan unit teknikal. Pejabat ini juga dijadikan
headquarters untuk pentadbiran Muzium Negeri Kedah dimana kita ada 5 cawangan lagi keseluruhannya. Antaranya Muzium Diraja, Balai Seni,
Muzium Padi, Memorial Tunku Abdul Rahman dan juga dua buah tradisional iaitu Rumah Toksu dan Rumah Seri Banai.
Q: Bilakah kali terakhir lawatan/majlis bersejarah berlangsung di bangunan ini?
A: Apabila dijadikan pejabat, kita sentiasa dilawati oleh orang ramai. Apabila bangunan baru telah dibina, masih ada lagi orang-orang lama yang
datang ke bangunan lama untuk melihat pameran kerana menyangka muzium masih lagi ditempatkan di bangunan ini. Mereka tidak tahu bahawa
sudah ada bangunan baru untuk muzium. Jadi untuk bangunan ini, kita tidak buka untuk lawatan kerana fungsinya lebih kepada pejabat kecuali
ianya untuk urusan yang melibatkan hal ehwal pentadbiran seperti mesyuarat dan sebagainya.
Q: Bagaimanakah bangunan ini berfungsi sebagai lambang kebudayaan dan nilai-nilai masyarakat tempatan.
A: Orang muda tidak tahu sejarahnya tetapi orang lama mungkin tahu tetapi pada masa itu tidak banyak bangunan-bangunan yang dibina berasaskan
konsep tradisional kecuali rumah traditional mungkin banyak tetapi tidak untuk bangunan-bangunan besar seperti ini. Bangunan ini pun dibina
untuk menyimpan kebudayaan dan kesenian jadi ianya sesuai dengan konsep bangunan dan juga muzium kerana muzium yang dibina adalah
sebagai organisasi yang ditubuhkan untuk memelihara, membaikpulih konservasi khazanah-khazanah yang ada di Kedah.
Appendix
137
Q: Apakah peristiwa-peristiwa menarik yang pernah terjadi yang melibatkan bangunan muzium lama ini (cth: mitos, dongeng, tragedi dsb.)
A: Orang ramai biasanya akan kaitkan muzium dengan peristiwa paranormal atau mistik. Cerita dongeng atau mitos biasanya tiada. Kalau tragedi,
kita pernah dilanda banjir pada tahu 2010 yang mana bahagian bawah memang dimasuki air sedalam 2 kaki. Kalau peristiwa mistik itu, tidak
semua dapat merasainya, mungkin hanya sesetengah orang itu rezeki dia.
Q: Apakah konsep rekabentuk bangunan ini, dan siapakah jurubinanya?
A: Staff daripada JKR. Soal nama tu, daripada layout plan yang kami terima tidak tercatat nama arkiteknya dan apabila kami tanya kepada pihak
JKR sendiri tidak pasti siapa yang melukis layout plan itu. Jadi kami sudah banyak kali ditanya, dan kami pun tiada maklumat dan info daripada
JKR jadi kami pun tak tahu siapa jurulukis asalnya.
Q: Apakah elemen-elemen yang menarik yang terdapat pada struktur bangunan ini?
A: Elemen menarik pada saya, satu konsepnya seperti balai besar. Kemudian bumbungnya juga bercirikan rumah tradisional Kedah atau bumbung
lima dan juga ukiran-ukiran yang terdapat di bumbung juga apa namanya orang panggil? Yang lain adalah biasa cuma didalam memang tidak
ada yang special cuma yang diluar itulah ukiran S.
Q: Mengapakah lukisan di bahagian atas menggunakan besi sebagai medium seni dan bukannya kanvas?
A: Saya rasalah sebab saya pun tidak pernah study lagi pasal ini. Mungkinlah pada saya,mungkin pada tahun lukisan itu dibuat kanvas atau material
lain masih lagi belum popular, lukisan kanvas mungkin tidak sepopular sekarang jika dibandingkan pada masa itu. Seingat saya lukisan itu adalah
salah satu daripada lukisan arkiteknya sendiri atau penambahan selepas selesai muzium dibina yang memang dibuat daripada material ini sendiri
bukan material lain. Yang itu pun saya tidak berapa pasti.
Appendix
138
Q: Apakah jenis bahan yang digunakan dalam pembinaan struktur bangunan ini termasuklah bumbung dan struktur asasnya?
A: Binaannya lebih kurang sama dengan balai besar. Bawahnya adalah batu dan atasnya adalah kayu. Tiang juga bahagian bawahnya 3 atau 4 kaki
adalah menggunakan simen/batu dan selebihnya kayu. Mungkin konsep pada zaman itu memang mengambil ilham asal daripada Balai Besar.
Jadi cara pembinaan dan material sama. Office yang diatas juga semua menggunakan kayu dan yang dibawah adalah terdiri daripada simen atau
bata. Selebihnya yang diatas adalah kayu sehinggalah ke bumbung di mana atas bumbung adalah mengguna roof tile. Kebanyakkannya adalah
campuran daripada dua material inilah iaitu 80 percent kayu dan 20 percent adalah batu bata/simen.
Q: Kenapa binaan tiang yang terdapat pada bangunan ini menggunakan dua bahan yang berbeza iaitu simen bagi tapak asasnya dan kayu sebagai
tiangnya?
A: Mungkin secara logiknya kita fikir, bangunan ini dibina untuk kegunaan muzium dan library dan diatas adalah tempat untuk library jadi mungkinlah
ialah untuk menampung bebanan yang berat. Tetapi secara dasarnya memang kita tidak tahu kenapa tiangnya dibina sedemikan tetapi itulah
secara logiknya adalah untuk menampung berat buku dan almari yang digunakan di library.
Q: Adakah ruangan tandas yang terletak di bahagian belakang bangunan merupakan struktur tambahan atau ia adalah struktur asli?
A: Bilik kecil dibelakang adalah part of bangunan asal yang mana ianya dijadikan stor dengan dua pintu. Apabila bangunan ini confirm menjadi office
dan tandas tiada jadi disebabkan itulah bilik belakang ditingkat bawah dijadikan tandas. Pada asalnya itu adalah memang bilik stor. Disebakan
tandas jauh, jadi bilik itu dijadikan tandas.
Q: Bagaimanakah sambutan penduduk tempatan terhadap penubuhan bangunan lama muzium ini sewaktu ianya dibuka?
A: Macam saya ialah orang baru di muzium ini, jadi saya pun tak pasti macam mana sambutan itu. Kalau difikirkan pada asalnya muzium itu kecil
sahaja, daripada asal yang dikenali sebagai Muzium Sejarah Kedah dan kini dikenali sebagai Muzium Negeri Kedah. Jadi sambutannya saya pasti
agak baik dan menggalakkan disebabkan kalau dilihat sumbangan orang ramai yang mendermakan barang-barang lama mereka yang bernilai
dan peningkatan artifak yang dikumpul juga menyebabkan bangunan baru muzium dibina.
139
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