1

2

DECLARATION OF SUBMISSION

This is to certify that:

1) The Report comprises our original work towards the course work on

Methods of Documentation and Measured Drawings (ARC

ARC60305/ARC2323/ARC1215),

2) Due acknowledgements have been made in the text to all other material

used.

Signed by:

STUDENT NAME SIGNATURE

ADAM TAN YEN SHENG

AIDA JUNITA BINTI ZULKIFLEE

AMIR FAUZAN BIN AMIRUDDIN

CHAN JIA XIN

CHEW JIA CHEN

CHONG JIN FENG

FARAH AIN BINTI ISMAIL

3

STUDENT NAME SIGNATURE

HARIISH KUMAR A/L THIAGARAJA

JASON LIM CHEE SHEN

KAN JIA WEI ADRIAN

LEE HUI QIN

LEE KAI YUNG

LIEW JIN

LOH YU JIN

MARK ENG SHANG

MUHAMMAD AZZAM BIN ABDUL AZIZ

NUR EMILY BINTI AHMAD TAJUL RAHIM

ONG JIA HUI

SARAVANAN VYTELINGUM

SHALINN TAN JIAWEN

SHERY EDRINA BINTI SALEHUDDIN

TAN YEW SIANG

STUDENT NAME SIGNATURE

TANG JU YI

TEO HONG WEI

VALENTINE HEW HUI LING

VICTOR HENG WEI YEN

YAN WAI CHUN

7 MARCH 2016

4

ABSTRACT

In a group of 27 students, we were given the task to measure and document

the Sin Sze Si Ya Temple as a part of our short semester module. The report

is meant to give a deeper understanding of the building from various aspects

such as architectural, historical and cultural. We choose to primarily base our

research on the relationship between its culture and architecture. The aspects

we covered were the relation of the building with its context, its significance,

the key components in its architecture and the way the users interact with it.

From the project, we hope to cover a gap of knowledge of the Sin Sze Si Ya

Temple.

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ACKNOWLEDGEMENT

We would like to express sincere gratitude to Ms. Tey as well as the countless

amounts of administrators, staff, and helpers that were present at the Sin Sze

Si Ya Temple that provided us with ample care, help, and a friendly hospitality

to enable us to conduct our research.

We would also like to extend our sincere thanks to Ms. Nor Hayati, the main

coordinator of the module and the respective teams and staff in Taylor’s

University for providing us with the opportunity to conduct this research and

project.

We are also greatly in debt to Architect Kevin Mark Low, whom willingly took

time away from his busy schedule to agree upon us to have an interview to

provide us a clearer understanding and heading of direction of our project.

Lastly, we would like to extend our thanks and gratitude to our tutors Ar Ian

Ng and Dr. Sucharita Srirangam for guiding us along this project from the

beginning until the very end.

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LIST OF FIGURES, PLATES AND ILLUSTRATIONS

Page

1.01 Sketch of the road leading to the temple 17

1.02 Natural light shining through the opening 18

in the main hall of the temple

1.03 Staircase located in the temple storeroom 19

1.04 Sketch of temple façade 20

2.01 Sketch of temple entrance and face 22

2.02 Roof of temple and Kuala Lumpur skyline 23

2.03 Ladder assembly and usage 24

2.04 One of the books used for the research 25

2.05 Interview being conducted with Ms.Ranjit 25

2.06 An elder praying to the deities 26

2.07 Members of the group conducting measuring exercise 26

3.01 Sketch of temple main entrance 28

3.02 Picture of Yap Ah Loy 29

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Page

3.03 Ample light is able to shine into the temple through these openings 30

3.04 Temple main hall when in use 30

3.05 Tourists and visitors arriving at the temple 31

3.06 Main hall of temple, level change seen on green tile 31

3.07 Usage of temple with rituals 32

3.08 Temple helper working on fortune telling services 32

3.09 Details on roof, of original state 33

3.10 Original staircase of temple still in use 34

3.11 Temple sillihoutte with buildings nearby 34

3.12 The temple and Kuala Lumpur 35

3.13 List of names of the influential people 35

in the making of the temple

4.01 Sketch of the back entrance 37

4.02 Floor plan colour-coded according to the temple’s 38

function, supporting spaces and services.

Page

4.03 Visitors taking photographs in one of the temple halls 39

4.04 Floor plan showing the places (red) that is most frequent in-use 40

4.05 An elder standing next to the main altar 41

4.06 One of the many skylights in the temple 42

4.07 Picture of the ancestral hall 42

4.08 Statues of the Goddess of Mercy at the altar 44

4.09 Drawings of deities in the temple 44

4.10 “Sedan” used by the Gods in certain times of the year 45

4.11 Sketch of the offerings 46

4.12 Location of statues of deities 47

5.01 Sketch of main hall 49

5.02 Back entrance and alley of temple 50

5.03 Section of temple 50

5.04 The use of wrought iron suggests that this part of 51

the building is an add-on

5.05 Arc doorway that serves as a connector between halls 51

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Page

5.06 Traditional use of threshold to separate spaces in the temple 52

5.07 The main hall 52

5.08 The kitchen, located in the middle of two halls 53

6.01 Sketch of back entrance 55

6.02 The parking as seen from the office 56

6.03 The back entrance of the temple 56

6.04 The main hall of the temple with wooden beams 57

and columns

6.05 The section of the temple 58

6.06 Dougong and column components 58

6.07 Roof of the temple 59

6.08 Brick usage in temple, such as this furnace 59

6.09 Floor tiles at the main hall 60

6.10 Timber framing at the top of the main hall skylight 60

6.11 Poison arrows’ pointing at the temple 61

Page

6.12 The beam and column 62

6.13 Main door and the Door God 63

6.14 Sketch of dragon ornamentation on the urn 64

located outside the temple

6.15 The main porch of the temple 65

6.16 Fu Dog 1 65

6.17 Fu Dog 2 65

6.18 Main Door 66

6.19 Dragon ornamentation 66

6.20 Boundary of the temple 67

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FOREWORD

We thank the entire team who worked on the Methods of Documentation and

Measured Drawings course work at the site of Sin Sze Si Ya Temple, Kuala

Lumpur, for offering such a great time and learning experience together.

The team’s task was to measure and document the temple, which is one of

culturally and historically significant landmarks in the city of Kuala Lumpur.

The team enjoyed studying the temple for it offered a contrasting experience

within the city, where the tradition meets the contemporary and where the

chaos meets some order. With the immensity of such dualism, the team went

ahead to study both a) the tangible, scientific and technical aspects of the

building and b) the intangible, experiential and qualitative aspects of the

temple.

The production of deliverables from the course work, thus, became of two

folds. On one hand, the students presented the measurements by translating

the spatial measurements into graphical and physical representation through

drawings and model. And on the other, they presented sketches and

photographic journals, through actually becoming part of the temple itself by

participating in the cultural or ritual activities inside the temple.

The spatial articulation of Sin Sze Si Ya temple is of great complexity that has

its frontage facing a central courtyard that has two entries from two parallel

streets; the temple also exhibits complexity in its geometry as it orients an

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angle to the streets in an attempt to confirm to the original intensions on Feng

Shui. The team deserves deep appreciation for handling such complexities in

meticulous, systematic efforts with passion.

The team also captured the significance of the temple by paying attention to

details; may it be construction details, poetic aspects such as lights from the

sky, smoke escape from the incenses and chimneys, decorative altars of the

deities, furniture facilitating the ritual practices. We congratulate the team on

capturing the intangible significance into tangible expressions of architecture,

spaces and the interior.

Thus the outcomes, Report, Model and Measured drawings, exemplify the

passion on the spatial and perceptional studies. The following pages of the

Report is the concise of the entire work by the cohort towards understanding,

analysing and recording the place of dualism, the Sin Sze Si Ya Temple.

Dr Sucharita Srirangam

Tutor

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Having ever measured only one building in my long career, I approached Sin

Sze Si Ya with excitement. Deja vu it would not be then, particularly when 27

energetic and enthusiastic students under my charge would undertake the

task, not me. The most curious trait we would share would be that I was their

age when I measured a cruck barn in Yorkshire in the 70’s.

The purpose of the exercise in Leeds, UK, was quite removed from that of

classical European tradition where it was thought that measuring up and

drawing of works of masters would somehow awaken some kind of

consciousness of the perfection of the classical orders and their proportions.

It was more than the acquisition of practical skills using instruments of

measuring, and recording onto paper (in pre-digital days.) Of that I would be

certain, as the final question from my reviewer would reveal. It was a question

I would remember above all other recalls. “And what have you learnt about

the building?” he asked. Thinking that it was an historic-theoretical question,

I fumbled in response. “Basically,” he said to end the ordeal, “it’s a simple

structure that works very well in keeping out the weather.”

Things have perhaps not changed today. It is more than measuring.

Sucharita and I challenged the students to extract more than merely bricks

and mortar from Sin Sze Si Ya. Beyond the mandatory mechanics of

measuring, cadding and model making – old skills to be repeated, no doubt,

for the rest of their undergraduate studies – we picked the video as an

opportunity to explore short-film communication as a means of synthesising

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research. The basis of choice was the increasing use of narratives in video to

relate human experiences that other forms of communication do less well in,

particularly in the youngsters’ cyber spaced world. Happily, the students took

to textual analysis for an understanding of the principles of fictional narratives

with strict adherence to appropriate points of views. And amazingly,

Goldilocks and the 3 Bears fared well as the context for study.

Sucharita and I were delighted with the enthusiasm and the level of film and

dramatic talent the students harness on plunging into the filmmaking.

Finally, the reflective pieces each student wrote bear witness that the learning

had gone beyond measured drawing to drawing from cultural life and

relationship management. That, for me at least, is enough to make this an 8

weeks well spent together.

Ar Ian Ng Aik Soon

Tutor

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TABLE OF CONTENTS

Subject Page

Declaration of Submission 2

Abstract 4

Acknowledgement 5

List of Figures 6

Foreword 9

Table of Contents 13

1.0 INTRODUCTION 16

2.0 MODULE AND METHADOLOGY 21

2.1 Module 22

2.2 Aim 23

2.3 Objectives 23

2.4 Instruments 24

2.4.1 Measurements 24

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2.4.2 Accessibility 24

2.5 Method of Research 25

2.5.1 Internet 25

2.5.2 Books 25

2.5.3 Interviews 25

2.6 Limitations 26

2.6.1 Lack of Information 26

2.6.2 Human Error 26

3.0 BLOODLINE – History, Folklore and Culture 27

3.1 History of Sin Sze Si Ya Temple 28

3.2 Social Significance 30

3.2.1 The Temple and Its role in Society 30

3.2.2 Temple and Tourism 31

3.2.3 Temple and Religion 31

3.2.4 Temple and History 33

3.2.5 Circulation of Network 34

3.3 Other Temples Around the Area 35

3.4 Summary 35

4.0 LIFEBLOOD – Rituals, Activities and Belief 36

4.1 Functions 37

4.2 Activities on Annual Calendar 38

4.3 Rituals 41

4.4 Hierarchy of Deities 44

4.5 Summary 47

5.0 CONDUITS – The Circulation and Usage of Space 48

5.1 Space Configuration 49

5.2 Spatial Articulation 51

5.3 Summary 53

6.0 PULMONARIES–Structure, Construction and Detail 54

6.1 Structure 55

6.2 The Study of the Façade 56

6.2.1 The Main Entrance 56

6.2.2 Back Entrance 56

6.2.3 Opposite the Temple 56

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6.3 Construction 57

6.3.1 Roof Details 58

6.3.2 Column Details 58

6.4 Materials Used in Relation to Climate 59

6.4.1 Tile Roofing 59

6.4.2 Brick Structure 59

6.4.3 Tile Flooring 60

6.4.4 Roof Timber Framing 60

6.5 Feng Shui 61

6.5.1 Orientation 61

6.5.2 Construction Details 62

6.5.3 Symbolic Ornamentation 63

6.5.4 Customs 65

6.6 Ornamentations 66

6.6.1 The Order and Chaos 66

6.6.2 Meanings 66

6.7 Summary 67

7.0 CONCLUSION 68

8.0 DRAWINGS 80

GLOSSARY 122

REFERENCES 123

APPENDIX 1 125

APPENDIX 2 136

APPENDIX 3 138

APPENDIX 4 139

APPENDIX 5 140

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Fig 1.01 Sketch of the road leading to the temple by Farah Ain Ismail

1.0 INTRODUCTION

This report is an outcome of an eight-week exercise undertaken by 27

students from the School of Architecture, Building and Design, Taylor’s

University, Malaysia. As part of a mandatory short semester course we, the

students, measured the Sin Sze Si Ya Temple in Kuala Lumpur with the

objective of learning methods of measuring and recording as well as to

research and report on the history and culture of the heritage building which

was constructed before formal and modern systems of design drawings were

invented. The team of measurers comprised students who had just completed

the Semester 2 and Semester 3 of the BSc (Hons.) Architecture programme,

and was supervised by Senior Lecturers, Dr Sucharita Srirangam and Ar Ian

Ng.

This report includes reduced copies of all the drawings (originally A1) and

written text from our research questions which themselves were derived from

literature review, site visits and class discussions responding to the privilege

given by the course module. The privilege was to choose to investigate either

the history or the culture of the building. We chose to research and report on

the culture of the Sin Sze Si Ya Temple.

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One of the first findings that impressed us was the circumstances surrounding

and giving rise to the building of this temple, a series of socio-political events

in the founding years of Kuala Lumpur in the mid-19th Century. This involved

protracted inter-racial and communal wars which saw its turning point when

the leader of one of the groups was beheaded. Folklore has it that white blood

flowed from his beheaded neck, a phenomenon that so startled the opposing

group that repentance and reconciliation between the warring parties

followed. The building of the temple followed in the ensuing years in

commemoration of the event.

This report, thus, takes inspiration from this generating point, entitling itself

WHITE BLOOD, and picks up on the metaphor to flesh itself out.

Following the introduction Chapter 2, Module and Methodology, tables the

module outline given for our instruction and the methodology which were in

the main prescribed. The methodology led to a guiding research question

which is, “In what way does the temple respond to the need of

contemporary users?”

Fig 1.02 Natural light shining through the opening in the main hall of the temple

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With the clear research question, reporting was naturally organized into the

ensuing five chapters.

Chapter 3, Bloodline- from history to legend to faith, records the founding

and growth of the temple to present time. It starts with the white blood

occurrence, discussing the degree of truth of the matter, and attempts to show

its relationship to the character of the faith that forms the basis of this temple.

It also discusses the value of this temple to not only its adherents and

devotees but also the neighbouring community and our multicultural nation.

Chapter 4, Lifeblood - rituals and activities, gives a descriptive analysis of

the user content that range from formal and symbolic rituals to the day to day

activities of the temple occupants, and covers the deities housed. It focusses

on the essential rituals that give this temple its unique characteristic.

Chapter 5, Conduits - the spatial articulation within the temple, moves

into an analysis of how the architectural spaces within the temple are

configured according to our contemporary values of perception. It uses the

concept that what appears to be chaos may actually be order of a “natural,

organic” kind and comments on how this dynamic between order and chaos

speaks of the life of the temple.

Fig 1.03 Staircase located in the temple storeroom

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Chapter 6 Pulmonaries - the architectonics of the temple, is a

straightforward description and analysis of the container of the space – the

physical building itself, and includes the controversial (yet fervently held)

belief of Feng Shui.

Chapter 7, Conclusion comprises 3 parts – 27 individual reflections on the

pedagogical experience of this 8-week exercise, an analysis of the group

feelings (a corporate response, so to speak) and a summary conclusion to

the project.

Following the preceding textual narratives are the measured drawings, a link

to our video on perceptions of the temple from an individual experience point

of view, and appendices which include our original English translation of the

temple manual.

Fig 1.04 Sketch of temple façade by Farah Ain Ismail

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2.0 MODULE AND METHODOLOGY

2.1 Module

The task set before us – in terms of the Learning Objectives and Outcomes

– was extremely precise with little room for creative variance as university

standards had been set and many precedents archived. We followed the

prescription as much as we could, diverging only where we felt it was

absolutely for clarity of communication or for creative impact based on the

research questions we had set ourselves.

Module outlines may be inspected in Appendix 5.

One of the rather unusual approaches we adopted was to video-record the

cultural perception of the temple through a simple narrative framework of

human relationship as we felt it was the element closes to how users might

experience the temple and for the fact that the human plot-element is often

the best way to bring the building to life. You may view our video on YouTube

at the link given in Appendix 3.

Fig 2.01 Sketch of temple entrance and face by Amir Fauzan

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2.2 Aim

Our aim was simple; to relate the architecture of the building to its

significance, highlighting how the two support the inhabitation of the building.

2.3 Objectives

The objectives of this project are to analyse the relationship between

architecture and the significance of the building as well as its inhabitation.

Furthermore, to learn to use different type of methods for researching

information.

Fig 2.02 Roof of temple and Kuala Lumpur skyline

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2.4 Instruments

2.4.1 Measurements

Measuring tape string and retractable measuring for curved and round

objects, construction laser ranger finder to measure height and distances on

high ground.

2.4.2 Accessibility

Multi-purpose ladder, Folding ladder, Safety Harness

Fig 2.03 Ladder assembly and usage

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2.5 Method of Research

2.5.1 Internet

This method was used to gather basic information about the site and its

context. It was also used to gather a deeper knowledge of the use of Feng

Shui in our temple.

2.5.2 Books

Understanding Sin Sze Si Ya histories, cultures, events, activities and type of

gods in the Chinese version of the temple’s book and translated into English

to allow others to understand it. We also got some inside of the design of the

temple in order to meet the requirements of the Feng Shui.

2.5.3 Interviews

Interviewing the worker in the temple, Miss Ranjit and Ms Lim, a committee

member of the temple, to gain more inside information about the temple.

Fig 2.04 One of the books used for the research

Fig 2.05 Interview being conducted with Ms.Ranjit

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2.6 Limitation

2.6.1 Lack of Information

Information about Feng Shui in books are limited and mostly about modern

building. Hence, we obtained the information through some elders who have

more knowledge on the Feng Shui of old buildings like temple but some of it

has various versions due to the fact of hearsay.

2.6.2 Human Error

Parallax error may occur during measuring as the eye level is not

perpendicular to the reading of the measuring tape. Besides, not all the

measurements take several attempts thus it leads to the documentation of

inaccurate measurements.

Fig 2.06 An elder praying to the deities

Fig 2.07 Members of the group conducting measuring exercise

27

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3.0 BLOODLINE

3.1 History of Sin Sze Si Ya Temple

Sin Sze Si Ya Temple, built in 1864 by Kapitan Yap Ah Loy, is hailed as the

oldest Taoist temple in Kuala Lumpur. The Sin Sze Si Ya Temple is an object

and place of faith for the civilians as well as a symbolic monument of the

historical fights of the Chinese. The existence of the temple allows us to look

at the backgrounds and life experiences of the Chinese heroes who were part

of the early stages of the development of Kuala Lumpur, which were

comprised of blood and tears.

According to history, in year 1859, there were two local emirates in Seremban

who were in a fight against each other due to mining and taxations rights. The

Chinese then followed the Malay landlords and were divided into two

organizations which were Ghee Hin and Hai San. At that time, Liu Ngim Kong

was a captain under the Chinese Kapitan Shing Kap and he recommended

Yap Ah Loy as someone capable who is brave, resourceful and can play a

major role in the fight to be the vice-captain.

In the year 1860, a war broke out and unfortunately, Kapitan Shing Kap’s

forces was defeated and Kapitan Shing himself was beheaded after being

captured by the opposing Malay forces. His death was extraordinary as white

blood was seen flowing from his neck after his head was chopped off. In Fig 3.01 Sketch of temple main entrance by Mark Eng

History, Folklore & Culture

29

Malay belief, it is an indication that the person is a saint if white blood is spilled

by a dying person. After witnessing such phenomenon, the Malays begged

for forgiveness and allowed the Chinese to retrieve his body for burial.

The news spread like wild fire and had soon become a myth. It was said that

Kapitan Shing Kap was very kind and had the heart of a Buddha, hence after

he was killed, he took his place as one of the Gods. Ever since then, Shing

Kap is regarded and looked upon by the local Chinese as a deity, and a

temple was built in his honour in order to worship and commemorate him. In

1861, Yap Ah Loy became Shing Kap’s successor as the Kapitan of

Seremban.

Aside from Shing Kap, there was another hero, Sze Si Ya, who was the

commander-in-chief during the Selangor Civil War. He admired Yap Ah Loy

during that time and followed him to the war. He won a lot of battles but in the

end he was killed in the battlefield. In order to commemorate him, Yap Ah Loy

built a temple and named it as Sin Sze Si Ya Temple, which is the combination

of the name of Shing Kap and Sze Si Ya.

Sin Sze Si Ya Temple is a part of the history of Kuala Lumpur. To the Chinese

community, the temple is a clear evidence of the contribution of the Chinese

community to the country. The temple holds certain sentimental values for the

local Chinese as it reflects the hard work of their ancestors who came to

Fig 3.02 Picture of Yap Ah Loy.

Source: http://www.wonderfulmalaysia.com/kuala-lumpur- history.html

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this land and witness the birth and growth of the city of Kuala Lumpur, which

indirectly formed the core starting point for the current Chinese community

who eventually resided here in the country as their home.

Other than the Sin Sze Si Ya Temple, there are twelve other temples with the

same theme and objectives in many other towns and cities around the region,

each of them easily dates back to more than a hundred years old.

3.2 Social Significance

3.2.1 The Temple and Its Role in Society

Sin Sze Si Ya Temple is the oldest and most respectable Chinese temple in

Kuala Lumpur, it was first established during year 1864. Visitors, from tourists

to devotees, the temple and the social value it possesses is by no means

feeble nor just a dot on maps of Kuala Lumpur.

Social value is defined by a location’s value to society, be it of any aspect

whatsoever. Sin Sze Si Ya temple, most obviously would contribute upmost

to those whom value a little religion in their lives. Besides that, the temple too

serves as a tourism destination, a cultural and historical landmark, and an

architectural goldmine with many original aspects of the building still in place

from centuries abode.

Fig 3.03 Ample light is able to shine into the temple through these openings

Fig 3.04 Temple main hall when in use

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3.2.2 Temple and Tourism

As a tourism destination, the temple provides an excellent representation of

ancient Chinese culture and community in Malaysia that is conveniently

located mere feet away from another historical landmark of Kuala Lumpur,

the Central Market. Tourists and visitors of especially the western portion of

the world would find themselves greeted by friendly locals that work and

reside at the temple, showing no hesitation to speak and teach about the

ways of the temple. Tourists would learn on the fantastic architecture that had

its origins form mainland China dating thousands or years back, the expert

craftsmanship that went into the details of the ornaments, statues and

decorations made with pure precision. They may learn something new, or

trigger the most memorable portion of their trip. Needless to say the temple’s

contribution to tourism is immense.

3.2.3 Temple and Religion

Devotees appear in masses especially during the annual Chinese New Year

celebrations. Many arrive with the intentions of conducting a prayer that will

provide luck and prosperity to the prayers. Some may pray for health and the

safety of loved ones. Others may pray because it has already become a

routine for them, many familiar faces can be seen bleeding the interiors of the

temple. Sometimes, yearly event would spawn pilgrimage-esque turnouts,

such as the now famous and well documented ritual of crawling under a red

Fig 3.05 Tourists and visitors arriving at the temple

Fig 3.06 Main hall of temple, level change seen on green tile

32

table of the main altar on the eve of Chinese New Year, in the hopes of

lessening mortal burdens through help from the Almighty above.

Humans from the oldest and wisest to the purest and youngest would conduct

this ritual, without any hesitation. Further influences that draw in devotees

and visitors alike include the unique ritual of praying to Wenchang Dijun,

known widely as the God of Education in Chinese history and mythology.

Most popular during times of examinations, prayers to the God of Education

himself will hopefully lead to the passing of examinations of flying colours for

hopefuls. Also ever present in the temple’s religious line up are the odd

devotee conducting a prayer that includes them circling the main altar three

times, to shower his or her with good fortune from the Gods.

Of course, a temple would not be a temple if it were not for the fortune telling

facilities as well. An extremely popular bread and butter service from the

temple, many a time the odd hopeful will seek a hint or clue to their next big

break of hitting the fortune bucket. Sadly, this service has its place well in

Chinese culture, as wealth is an ominous sign of success and social stature

that all so craved in Chinese culture. Therefore, to say that the temple’s

influence on religious matters is profound is an understatement. Serving a

city with thousands of inhabitants that observe the religion would mean that

the temple is not only influencing the social stature, it is an essential aspect

within the community.

Fig 3.07 Usage of temple with rituals

Fig 3.08 Temple helper working on fortune telling services

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3.2.4 Temple and History

The temple’s historical significance is nothing short of priceless. Groups of

individuals that may value this most are ones that may appreciate the

temple’s history, examples of which include the Chinese citizens here in

Kuala Lumpur, historians, scholars, or even hopeful architects that may study

the architecture of the temple. The temple, which has maintained its mostly

19th century built state to this day, include original pieces, bobs, ornaments

that were exclusively hand made from China. Special architecture designs

and construction methods that were unique to that era is also still available to

see. The skylights located all over the roof, a later edition to the temple,

provide a sense of purity and clarity during times of intense light. The interior

room designs, mostly used for storage too provide the opportunity to learn of

the ways interior architecture was handled during the 19th century.

Fig 3.09 Details on roof, of original state

34

On a wider scale, the temple, along with the aforementioned Central Market

grew up to adapt to the changing landscape of Kuala Lumpur. Surviving horse

carts and world wars, the temple remains in its place amongst the cloud

piercing buildings of the modern era, blending in seamlessly in a beautiful

mixture of modernity and tradition.

3.2.5 Circulation of Network

The temple, too, is an important circulation on its surroundings. As it is located

sandwiched between buildings and busy roads, many people, often workers

of nearby offices and such, would cross over to nearby areas via the temple

to access restaurants and transportation hubs. Therefore, not only is the

circulation of the temple restricted to its users, non-users that belong live and

breathe in the area too use it as a connecting tool from one area to another.

Fig 3.10 Original staircase of temple still in use

Fig 3.11 Temple sillihoutte with buildings nearby

35

3.3 Other Temples Around the Area

Other than the Sin Sze Si Ya Temple, there were 12 other temples which had

the same theme and objective in many other towns and cities around the

region, each of them easily dates back to more than 100 years old. The

temple signifies a lot of sentimental reasons for the local Chinese as it reflects

the hard work for early batches of Chinese who came here and witness the

birth and growth of the city of Kuala Lumpur, hence indirectly formed as core

starting point for the current Chinese community who eventually resided here

in the country as their home. Founded in 1886, this is one of the temples that

still stands today.

3.4 Summary

The temple holds strong social significance through its historical heritage and

contemporary cultural practices. The beliefs on supernatural and rituals have

been carried on for centuries and still vibrant in the contemporary urban

enclave. The temple creates surprise and contrast by its institution and

informal function in the busy commercial node of the city.

Fig 3.12 The temple and Kuala Lumpur

Fig 3.13 List of names of the influential people in the making of the temple

36

37

4.0 LIFEBLOOD

4.1 Functions

Functions in the temple fall into three major categories:

1) Main activities of worship and rituals

a) Main Hall

b) Ancestral Hall

c) Guan Yin Hall

2) Supporting activities of administration and retail for temple offering

a) Administration office

b) Maintenance

c) Counters for selling the offerings such as incense, prayer-

scripts

3) Services:

a) Kitchen

b) Storage

c) Toilets

The functions have been taking the form of certain order; the main functions

occupy the three major halls, the supporting functions exhibit themselves in

fronting and separated spaces and the services fill-in the transition spaces.

Rituals, Activities & Belief

Fig 4.01 Sketch of the back entrance. by Yan Wai Chun

38

Referring to Figure 4.02, the colours of red represent the three main halls,

while orange represents the supporting spaces and finally yellow

representing services.

4.2 Activities on Annual Calendar

Below is the list of events that happen annually in the temple:

1) New Year’s Eve – Temple opens at midnight for prayers for a blessed

year

2) Shang Yuan Dan – The act of Zhuan Yin (change of luck)

3) Cai Shen Dan (Financing Day) – Pray to the deity of Guan Yin to

gather wealth and prosperity

4) Jing Zhe (White Tiger Praying) & Villain Hitting – To get rid of bad

luck, gossips and prevent misfortune. The person engaged in the

villain hitting would give the villain a nickname and not the real name

of his/her as that will bring bad luck to all parties instead.

5) Parade Festival – Flower parades, lion dance performances

conducted along the streets. Gongs and drums along the parade are

played to ward off evil spirits.

6) Fu De Gong/ Da Bo Gong Dan (Earth God) – Celebrating the birth of

Fu De Gong, the Lord of Blessing and Virtue. Also traditionally

worshipped before the burial of any deceased, to thank him for

allowing the use of his land to return their bodies to the earth. Fig 4.02 Floor plan colour-coded according to the temple’s function, supporting spaces and services.

39

7) Wen Chang Dan – Celebrating the birth of Wen Chang, the God of

Culture and Literature. Believers flock to be blessed with good

academics and smooth education.

8) Kapitan Yap Ah Loy Dan – Celebrating the birth of Yap Ah Loy to

commemorate his prominent role in history, his influence to the

temple and to obtain his blessings.

9) Guan Yin Dan – Celebrating the birth of Guan Yin. Devotees offer oil

to Guan Yin;s lamp and pray for health and peace, while others offer

long silk scrolls in hopes of bearing a son. Some pray to Guan Yin to

bless their child with longevity.

10) Yee Yong Chee Dan – To commemorate Yee Yong Chee

11) Tham Gong Dan – Celebrating the birth of Tham Gong and

Siddhartha Gautama

12) Jin Hua Dan - Celebrating birth of Jin Hua, praying for blessings and

fertility

13) Guan Yin Dan (to reach illumination – Buddhism) – Celebrating the

birth of Guan Yin

14) Guan Di Dan – Celebrating the birth of Guan Di

15) Si Ya Festival – Taoist Masters conduct reading of the sutra,

celebrating the birth of Si Ya

16) Zhong Yuan Dan – Zhuan Yin (changing of luck)

17) Cai Bai Dan – Celebrating the birth of Cai Bai

Fig 4.03 Visitors taking photographs in one of the temple halls

40

18) Guan Yin Dan (to become a Buddhist monk or nun) – Celebrating the

birth of Guan Yin

19) Tai Sui Dan – Celebrating the birth of Tai Sui

20) Anniversary of temple – Yearly celebrations

21) Hua Guang Dan – Celebrating the birth of Hua Guang

22) Xia Yuan Dan – Zhuan Yin (change of luck)

Thus the temple is full of liveliness throughout the year. Figure 4.04 illustrates

the locations of one of the key-event in the Chinese calendar. During Chinese

New Year the three main halls, highlighted in red, are frequently visited and

used for rituals and activities, becoming the most used spaces in the temple.

This explains the culture of the space, with people performing religious

activities and rituals.

Fig 4.04 Floor plan showing the places (red) that is most frequent in-use

41

4.3 Rituals

A few of the most unique rituals carried out by this temple are the activities

carried out on the eve and first day of Chinese New Year, Jingzhe Day, and

Wen Chang Day.

To begin with, devotees will visit Sin Sze Si Ya temple on the eve or first day

of Chinese New Year to get blessings for peace and security for the whole

year. Devotees will have to crawl under a table in front of the altar to secure

a smooth sailing year.

On Jingzhe Day, devotees will worship the White Tiger God and perform the

“Da Xiao Ren” (villain hitting) ritual. According to folklore, on this significant

day the insects will awake from hibernation and the White Tiger God should

be worshipped. Devotees are to silently say a verse while worshipping along

the tones of

“Hope to get away from villains, dispel all bad luck,

turn around dangers to be safe, enjoy good luck”

These devotees then carry out the ritual of hitting villains whereby paper

effigies representing said person would be hit in hope that they would be

defeated.

Figure 4.05 An elder standing next to the main altar

42

When perceived psychologically, this activity actually ensues in emotional

relief to the villain hitter without causing any danger to the “villain”. This ritual

is only done to expel bad luck and negative gossip to prevent misfortune, and

not to put the said villain in harms’ way. In fact, the real names of the “villains”

are not encouraged to be written on the paper as the hitter itself will acquire

bad luck too. Nicknames are encouraged to be written on the paper effigies

instead.

Another unique activity provided by the temple is Wen Chang Day, whereby

folks pray for smooth sailing education for their children. Offerings will be

brought to worship Wen Chang Di Jun (God of Culture and Literature) that

comprises mainly of fresh vegetables so that their children can have good

luck while facing their examinations. The significance of the vegetables is as

such:

1) Celery: diligence and perseverance

2) Garlic Sprout: ability to calculate accurately

3) Onion Sprout: intelligence and wisdom

4) White Carrot: auspicious omen

Fig 4.06 One of the many skylights in the temple

Fig 4.07 Picture of the ancestral hall

43

5) Osmanthus flower: achievement of noble and honourable status

6) Steamed sponge cake and glutinous rice dumpling: excellent results

in examinations

7) Bamboo Shoot: smooth sailing in all efforts

8) Steamed bun and glutinous rice dumpling: assurance for passing

examinations

9) A bottle of oil: efforts to cheer somebody on.

There are also considerable amounts of the mix of visitors; may it be Chinese

or other races, locals or tourists, pedestrians or car-drivers. This proves that

the temple is a vibrant cultural anchor in the urban configuration of the KL City

Centre.

44

4.4 Hierarchy of Deities

Hierarchy exists in everywhere. Just like social hierarchy, hierarchy of gods

and immortals exists in Taoism. At the top of the hierarchy are the gods of

the highest ranks – the Celestial Worthy of Primordial Beginning, the Celestial

Worthy of Numinous Treasure and the Celestial Worthy of the Way and Its

Virtue, who are the epitome of Tao or the Tao itself. Below them are the gods

of the lower positions, who are depended with the obligations as indicated by

their fulfilments in Tao and Virtue.

The Three Pure Ones, San Qing (三清) are the greatest deities in Taoism.

They transcend the entire hierarchy of Taoist deities. The Three Pure Ones

are known as the avatar of Taoism which has come to signify ‘an embodiment, a

substantial indication of the heavenly’.

When all things are created, Tai Shang Lao Jun (太上老君) descends and

settle on the right. He holds a mystical fan which symbolizes the

consummation of the Universe, and that Taoism can be spread far and wide,

and living things can seek salvation.

According to the Chinese Folklore, the Jade Emperor, Yu Huang Da Di (玉皇

大帝) is the supreme ruler of the Heavens, the hades and the protector of

mankind. He is said to be the highest ranking deity among the Taoist

Fig 4.08 Statues of the Goddess of Mercy at the altar

Fig 4.09 Drawings of deities in the temple

45

pantheon and directs Heaven and Earth. His birth, commonly known as Tian

Gong Dan (Festival of the Heavenly God) is an important festival to the

Chinese community and is celebrated on the ninth day of the Lunar New Year.

Taoist temples throughout the world will hold gatherings and prayers together

to worship him, to entreat him to allow peace, plenteous harvest, and

assurance from catastrophes for the year.

Despite the hierarchy of deities in Taoism, the main deities in Sin Sze Si Ya

Temple are none other than Si Sze Ye (四师爷) and Sin Sze Ye (仙师爷),

as the temple was deliberately built in their honour. Hence, they are both

seated in the centre altar in the main hall. However, the two main deities

worshipped were not traditional deities originating from China, instead, they

were two local people that had elevated to the status of deities based on their

merit.

The two deities are considered patron deities of the local population of Kuala

Lumpur and are very important and prominent to the local community as the

deities had guided Kapitan Yap Ah Loy in his dreams, which helped to defeat

the enemies and defend Kuala Lumpur during the Civil War from year 1870

to 1873.

Devotees will visit the temple when the white tiger opens its mouth annually

which is what the temple is famous for, the Tai Sui and the White Tiger

Prayers. Fig 4.10 “Sedan” used by the Gods in certain times of the year

46

Aside from that, devotees will also come forth to the temple to pray to the

deities listed below:

1) Tai Shang Lao Jun (太上老君) – The Grand Supreme Elderly

Lord (TheTaoist Ancestor)

2) Zhu Sheng Niang Niang (注生娘娘) – Goddess of Child Birth

3) Fu De Zheng Shen (福德正神) – God of the Soil and Graves

4) Guan Di Sheng Jun (关帝圣君)

5) Guan Yin Pu Sa (观音菩萨) – Goddess of Mercy

6) Tian Hou Sheng Mu (天后圣母) – God of Wind and Safety

7) Wen Chang Da Di (文昌大帝) – Deity of Education Scholar and

Prosperity

8) Di Zang Wang Pu Sa (地藏王菩萨) – the Bodhisattva of the

Great Vow (to save all souls before accepting Bodhi)

9) Da Ye Be (大爷伯) – Deity of Prosperity

10) Qi Tian Da Sheng (齐天大圣)

11) Hua Guang Da Di (华光大帝) – Deity of Artistes and Craftsmen

12) Tai Sui Ye (太岁爷) – Master of Deities of Prosperity, Health

and Good Luck

13) Cai Bo Xing Jun (财帛星君) – Deity of Business

14) Hu Ye Gong (虎爷公)

15) Shi Jia Mu Ni (释迦牟尼) – the historical Buddha and founder

of Buddhism

Fig 4.11 Sketch of the offerings. by Valentine Hew

47

16) He He Er Xian (和合二仙) – two Taoist immortals known as the

‘Immortals of Harmony and Unity’

17) Tan Gong Xian Shi (谭公仙师) – Deity of Medicine and Health

18) Di Mu Niang Niang (地母娘娘)

19) Hua Fen Fu Ren (花粉夫人) – Deity of Beauty

20) Jin Hua Fu Ren (金花夫人) – Deity of Fertility

The locations of statues of the deities (figure 4.12) in the temple correspond with

previous information mentioned before in that the deities are placed in order of

importance and hierarchy to the temple the same way that places the activity

locations to their importance in the temple. In this case, deities that are very

important will be placed in the main hall (red), in terms of religious beliefs and also

corresponding to the history of the temple. Other deities (orange) are placed in the

smaller halls hence their separation and distinction from each other.

4.5 Summary

The temple has significantly unique rituals such as nailing-the-villain etc. The

architectural space adapts to activities of varied time of the annual calendar.

The simplicity of form offers great flexibility to the ways of those temporal and

permanent activities.

Fig 4.12 Location of statues of deities

48

49

5.0 CONDUITS

5.1 Space Configuration

An architectural study is never ever complete without studying form and

function. Within the discipline, form and function almost always become two

entities that co-exist with one another. Some may argue that the former is

more significant than the latter and vice versa. Nonetheless, we can always

agree that these two aspects of architecture are derived almost always by its

surroundings – a manifestation of a response. The solution to a question.

Prior to building the form, an architect and his team goes through a cultivated

process of design – deriving from the needs of the users, the needs of the

surroundings, the urban fabric of the location, the weather, the required

spaces, the materials of the building – the list goes on.

The Circulation & Usage of Space

Fig 5.01 Sketch of main hall. By Amir Fauzan

Hew

50

Situated in the middle of Central Market, a busy bustling city at Leboh Pudu,

the temple immediately sets itself apart from other traditional Taoist temple.

Sin Sze Si Ya Temple is sandwiched between a bank tower and colonial shop

lots, causing the façade to be constraint to the template, in terms of the size

of the entrance, again, following the likes of its neighbours with regards to the

dimensions and the height. Yet, the architecture that partakes in the façade

is purely traditional Chinese architecture – allowing the form to emulate the

function of the temple being a sacred place, a temple. Referring to the location

plan, we can observe where the façade acts as the main entrance, and the

back alley houses the long stretch of gate, the temple’s back entrance.

The form of Sin Sze Si Ya Temple itself has a degree of symmetry to the

design. Cutting the section through the main hall, you could see that the

essence of the building is based on symmetry, an element very commonly

applied in sacred buildings. The very initial purpose of the building as a sacred

place for Taoist believers has initiated the extensive use of traditional Chinese

architecture, apparent in the ornamental design of the roof, the façade, the

high volume of space constructed by a high ceiling and open spaces evokes

a certain ambience to assist the emphasis on the spaces being a sacred

place. The temple has also paid attention to its décor by relishing it in

masterpiece paintings with symbolic meanings as it goes to the ornaments

and details.

Fig 5.02 Back entrance and alley of temple

Fig 5.03 Section of temple

51

The continuous changes of the form of the building itself has been contributed

by the cultural advancements and changes in the social, political and

economy of Kuala Lumpur itself. Due to the dire needs of advancements in

the social and economic success in the city, the temple has come to offer

believers to cleanse apart from having rituals for good fortune, and fortune

telling. The design of the temple exists a clash in the uses of modern

materials, indicating that a few renovations and expansions were made due

to the increasing need of space within the temple as the outstanding interest

for these activities has resulted in an increase of influx of visitors and staffs.

5.2 Spatial Articulation

In terms of architecture, articulation means to delineate spaces so different

functions are clear and meaningful and avoids ambiguity. It simultaneously

makes spaces more functional and interesting. The public spaces in Sin Sze

Si Ya Temple, though are not separated by doors, one can still clearly make

out where one function of a room ends and another begins. The spaces in

the temple are well articulated as they do not blend indiscriminately into

another by adopting certain architectural features and elements to help

articulate the functions of spaces and make them more meaningful.

Fig 5.04 The use of wrought iron suggests that this part of the building is an add-on

Fig 5.05 Arc doorway that serves as a connector between halls

52

Aside from the obvious use of doors for the separation of the private areas

(the office and store room) from the public areas, the other spaces in the

temple were separated by the use of different floor levels, arc doorways, and

in the case of a temple, a threshold. The use of these architectural elements

provide the users an idea of when they are entering another place of different

functions or purposes while maintaining the flow of the space. Also, these

subtle architectural elements segregate the crowd according to what they

intend to do or where they intend to go in the temple. This in turn brings an

order to the otherwise overwhelming or sometimes – chaotic – crowd in the

temple.

Sin Sze Si Ya Temple possesses a uniqueness that differs itself from other

traditional temples where the deities that were worshiped were not of the

traditional Chinese deities, rather it was for two people – Sin Sze Ya and Si

Sze Ya, who were elevated to the status as deities through their merit.

Therefore, to accommodate the patron deities, the building’s main component

consists of two wings, the west and the east for the two deities and a main

hall.

Fig 5.06 Traditional use of threshold to separate spaces in the temple

Fig 5.07 The main hall

53

Spatial proportion plays an important role in space planning as well. In Sin

Sze Si Ya Temple, the main hall has the greatest area and volume followed

by the west and east halls. Aside from praying, most activities such as fortune

telling and the selling of joss sticks and other tokens for the deities are taken

place at the main hall, while the two other halls are solely for praying. On the

other hand, there are two hallways which are narrow in comparison to the

three main halls as the hallways serve as a form of connector from the main

hall to the west and east wing. Besides that, the spaces delegated at the

hallway are the kitchen and toilets, which the activities taken place there are

considered inconsequential in a temple.

5.3 Summary

The connection between the main and supportive functions happens through

the transition spaces which are effectively used for services. The simplicity of

the form, once again, allows effective or layered connection between the

prayer halls, i.e., main functions, and linear connection inside any hall or given

space.

Fig 5.08 The kitchen, located in the middle of two halls

54

55

6.0 PULMONARIES

6.1 Structure

The building was built on 1864, ancient Chinese wooden architecture was

used to build this temple. There are few significance components that can be

found in this building such as the timber frame and the decorative roof.

The fundamentals of Chinese wooden architecture are the load-bearing

timber frame and a network of interlocking wooden supports forming the

skeleton of the building. Unlike western architecture, in Chinese traditional

architecture, the wall is only defined by an enclosure, and did not form a load-

bearing structure. The building in Chinese traditional architecture are being

supported by wooden frame. There are several types of wooden joint can be

found in this buildings such as, half lap joints, mortise and tenon, and cross

lap joints.

This building also features architectural bilateral symmetry, one of the

significant element from Chinese architecture. The building emphasizes on

articulation and bilateral symmetry, which signifies balance, it can be seen

from plan to elevation. The building tends to contain an even number of

columns in a structure to produce an odd number of bays. The plan of

renovation of an extension often try to maintain overall bilateral symmetry.

Structure, Construction & Details

Fig 6.01 Sketch of Back entrance. by Chew Jia Chen

56

6.2 The Study of the Facade

6.2.1 Main Entrance

The primary function of this entrance is to allow cars to enter and park in the

building. The second floor houses the office for the temple.

The main entrance is sandwiched between two buildings. The ornament

heavy facade stands out because it contrasts the facade of the two buildings.

The facade is asymmetrical balanced. It has like a framed effect going on

each part of the facade is framed. This gives an illusion of many stacked

painting.

6.2.2 Back Entrance

The back entrance primary function is to allow easier entrance to the building

for patrons that walk. It is shorter and has light ornamentation.

It uses bright colours to stand out rather than ornamentation as the main

entrance. It is not symmetrical due to a longer right side.

6.2.3 Opposite The Temple

The facades opposite the temple is mostly monotonous and the back

entrance is facing the back alley. The back alley is mostly bare walls with

some small entrances.

Fig 6.02 The parking as seen from the office

Fig 6.03 The back entrance of the temple

57

6.3 Construction

Sin Sze Si Ya temple's construction has many distinct features that relates to

traditional Chinese architecture such as its massive columns and beam

structure which supports this edifice. The exterior is mainly brick and stone

work while it's counterpart is mostly made out of wood. It uses the technology

of skylights which is becoming very popular in architecture nowadays

although it being built hundreds of years ago. Temple roofs were also made

of glazed ceramic tiles and have an overhanging cave distinguished by a

graceful upward slope. The roof arch comes from the intricately fitted rafters,

which were jointed together. The ridges of each roof are topped with figures

of mythical creatures, each curve no more than a sweep. The roof has wave-

like tiles that run horizontally, and vertical round ridges that run vertically.

Fig 6.04 The main hall of the temple with wooden beams and columns

58

6.3.1 Roof Details

The roof construction is very complex due to the fact its components are

made from timber. The roof mainly consists of horizontal girders that gives

support to the vertical posts. The brackets supporting the horizontal

components are called Dougong. Dougong (Figure 6.05) is a ‘cap and block’

bracket system. A dou is an inverted cap holding a gong, a block, or a beam

on top of it, and each dou has a small hole drilled in the bottom into which a

matching pin protruding from a gong is mated.

6.3.2 Column Details

The external columns are connected with the installation of Pingban Fang

(perimeter girders). The connection continues with other components such as

Ying Ding until roof installation is completed.

Fig 6.05 The section of the temple

Fig 6.06 Dougong and column components

59

6.4 Material Used In Relation to Climate

6.4.1 Tile Roofing

The material used in relation to this climate is the overlapping clay tiles used

in the steep sloped roof of Sin Sze Si Ya temple as it reacts to the hot climate

because of its high solar reflectivity causes it to be a popular cool roofing

material. The tiles are glazed to enhance its solar reflectance ability. In moist

locations, cool roof surfaces can be more susceptible to algae or mold growth.

So, the clay tiles are also coated with special chemicals to prevent mold or

algae growth.

6.4.2 Brick Structure

The whole Sin Sze Si Ya temple structure is basically constructed with bricks.

Bricks have excellent thermal mass as it helps adjust the building’s

temperature by storing cool air and heat, keeping the internal temperature in

the comfort zone. They provide great cooling effect especially in a tropical

climate. Situated in a high humidity climate, bricks can easily absorb humidity

as they have a surface which is more diffusion-open than other materials. As

they are 100% inorganic and absorb humidity, this combination minimises the

risk of mildew.

Fig 6.07 Roof of the temple

Fig 6.08 Brick usage in temple, such as this furnace

60

6.4.3 Tile Flooring

Tile is suitable in tropical climate because of its high thermal mass. The

flooring of the Sin Sze Si Ya temple uses tile flooring as it can store energy

absorbed from the sun and release it over time. Conversely, it can resist

heating up too fast from solar radiation.

6.4.4 Roof Timber Framing As the tile roofing minimizes the heat intake and has moisture prevention,

timber frame can be used due to its ability to heat up quickly and retain that

heat for longer. The openings in the timber roof construction also allow air to

escape as heat rises so that air can flow through all areas.

Fig 6.09 Floor tiles at the main hall

Fig 6.10 Timber framing at the top of the main hall skylight

61

6.5 Feng Shui

The Sin Sze Si Ya temple showcases multiple informal codes of Feng Shui,

which means the absence of formality in its exhibit of Feng Shui. The

architecture of the temple can sometimes influence the culture of its

occupants and this chapter is to uncover the informal practices that the temple

fulfils to balance the yin and yang ergo creating a harmonious surrounding,

ranging from its apparent to its obscure details.

In the past, the temple was built on the site as it was an open space. However,

due to development around the area, the temple is now ensconced by various

buildings. This causes ‘poison arrows’ to be pointed at the temple (as can be

seen on the plan). Poison arrows are the edges of the surrounding buildings

pointed at the temple. If not fully understood, bad luck could fall upon the

occupants. Therefore, many steps have to be taken to prevent ‘bad energy’

in the temple.as explained below.

Most may think that Feng Shui is just a belief that may not even work but most

of it has scientific reasoning behind it. In other words, Feng Shui brings order

to the building.

6.5.1 Orientation

History informs that Yap Ah Loy decided to build the temple on its present site

after consultation from a Chinese medium. The deity who spoke through this

medium promised good Feng Shui, prosperity and wealth if the temple was

Fig 6.11 ‘Poison arrows’ pointing at the temple

62

to be built on that land. The temple was the Chinese religious and community

center of Kuala Lumpur at that time. It was the place where the leaders of the

Chinese community held meetings and made important decisions about the

administration of Kuala Lumpur.

It is said that a temple should be built far away from residential areas as there

are a lot of Chi energy in a temple. The negative Chi will flow to the

surrounding thus people should avoid living near to that area. In regards to

that, temples are normally built at quiet places due to the negative Chi.

A temple built in an urban area must have a lot of tall trees or tall buildings in

its surroundings to reflect the negative Chi away. In year 1864, when the Sin

Sze Si Ya Temple was first built, it was not built in an urban area. The

buildings such as the Hong Leong Bank only erected along the stages of the

development of its surroundings. In order to balance out the negative energy,

many plants are planted and placed along the perimeter of the Sin Sze Si Ya

Temple so as to create a harmonious balance between the energies.

6.5.2 Construction Details

The Chinese belief is that any sharp edges or corners should be avoided as

it can be harmful to the occupants, and gable roofs are said to have a better

Feng Shui than flat roofs. Which is why the roofs of Sin Sze Si Ya Temple, be

it during the initial construction or the renovations after that, had taken the

propensity to use gable roofs over any other roofs. Besides, a higher ceiling Fig 6.12 The beam and column

63

can be constructed using a gable roof as the temple could use the source as

a form of passive ventilation from the smoke of the incense sticks.

The beams and columns in the interior of the temple is cylindrical because in

Chinese, yuan man (圆满) means harmony, where the first word yuan (圆)

means round in English. Round pillars signify Chi moving upwards and brings

the promise of abundance. Hence, we can see that the preferred shapes of

the beams and columns inside Sin Sze Si Ya Temple are cylindrical rather

than square-shaped.

Additionally, the rain water down pipes are placed strategically through the

inside of the temple as the rainwater from the roof will flow from the exterior

to the interior and then to the underground. According to Feng Shui, it is

believed that this will bring wealth to the temple as the flowing of rainwater

symbolizes wealth.

Another belief is that earth materials should be used on the floors as anything

broken suggests an unstable foundation. The tiles that cover the floors of the

temple are good earth materials as they suggest a stable foundation.

6.5.3 Symbolic Ornamentation

A powerful Feng Shui features is to have personalized main doors which has

a small roof to symbolize protection, as can be seen on the main door of Sin

Sze Si Ya Temple. The door open inwards to welcome the Chi and to create

a positive flow of Chi into the temple. The personalized doors of the temple

are painted with a pair of gate guardians with fierce faces and glaring eyes,

powerful presence, muscular bodies and threatening poses while bearing

weapons. These guardians serve to ward off evil spirits and show their power

by carrying out their duties in protecting the temple. They are the

manifestation of the Bodhisattva Vaiparani, protector deity and are a part of

the Mahayana pantheon believed to have travelled alongside the historical

Buddha to protect him.

Fig 6.13 Main door and the Door God

64

Also, Fu Dogs are placed in a pair flanking the main door of Sin Sze Si Ya

Temple as it will guard against wandering spirits from entering the temple.

Their fearful faces and muscular bodies are believed to ward off evil

influences and spirits. The male Fu Dog is placed on the left while the female

Fu Dog is placed on the right side with both of them facing outwards. They

are placed near the doorway to ensure protection of the visitors and devotees

when they exit the abode.

It is widely believed that dragons bring prosperity and success. Thus, a pair

of dragons made in the color of gold flank the urn in the main porch. Gold

dragons are said to best portray the dragons.

Spiritual consciousness can also be heightened through the sense of smell.

The aroma of incense purifies and revitalizes spatial energy to the temple.

The fragrant scent of the sandalwood is particularly uplifting and has the

power to break down negative Chi. It brings out the creative spirit of the

devotees’ consciousness and is wonderful for transcending into other

dimensions.

Besides that, a seven metal Tibetan singing bowl is placed on the central

table of Sin Sze Si Ya Temple to create a fresh new energy in the abode and

absorb and transform negative Chi. A small mirror is also placed facing away

from the deities so as to reflect away evil. To bring Yang life into the temple,

the bell and gong in the main hall is used periodically as it will bring the energy

alive instantly.

Fig 6.14 Sketch of dragon ornamentation on the urn outside the temple by Valentine Hew

65

6.5.4 Customs

Each and every gestures are significant in a temple. Upon arriving at the Sin

Sze Si Ya Temple, devotees are required to bow to the Jade Emperor Urn

outside (heaven) to show respect to the deities of the temple as well as to

inform that they are here to pay their respects to the deities of the temple.

Whilst entering the main hall of the temple, the devotees will be sure to cross

the red frame, which symbolizes them passing into another dimension and

cleanse one’s physical body, mind and soul. The traditional Chinese belief is

to enter with the left leg and exit with the right leg as this will ensure that upon

exiting, one’s ‘bad luck’ will be retained by the deities and they will be blessed

upon with ‘good luck’.

6.6 Ornamentations

6.6.1 The Order and Chaos

This principle is seen throughout most of the ornamentation and the motifs

used in temple, the chaos being the ornamentation and motif itself while their

arrangement is order. The order they are arranged in, is always balanced. It’s

either symmetrically or asymmetrically balanced.

Fig 6.15 The main porch of the temple

Fig 6.16 Fu Dog 1 Fig 6.17 Fu Dog 2

66

6.6.2 Meanings

Chinese guardian lions, also known as Fu Dogs are believed to have powerful

protective powers, discovering the bad intentions from someone who is

coming into the temple and help to ward off evil spirits and influences. Fu

Dogs are often display in pairs. According to Feng Shui, the female lion

should be placed on the left with her left paw fondling a cub and the male lion

on the right playing with a ball. The female is said to protect the interior of the

place as well as its worshipping believers or inhabitants and the male guards

the structure.

The Door gods (Figure 6.12) are the earliest gods worshipped by the Chinese.

They are regarded as the Spiritual Guardians of the Entrance. People believe

that peach wood has spiritual properties and can ward off evil spirits so they

started making auspicious carvings on peach wood, made and pasted on

gates in the hope of attracting good luck and scaring away evil spirits.

The door gods usually come in pairs, facing each other; it is considered bad

luck to place the figures back-to-back.

Ancient Chinese Dragons are ultimate symbols of cosmic Chi (energy). It is

said to be the most potent symbol of good fortune in the Chinese pantheon

of symbols. The Dragon stands for new beginnings.

Fig 6.18 Main Door

Fig 6.19 Dragon ornamentation

67

6.7 Summary

The symmetry in the temple offers a lot of order in the architectural form and

thus the detailing. The magnificent form is put together with simple structural

logics on load bearing walls, columns and struts, rafters and beams. The

entire composition offers comfort in the interior and poetic qualities such as

light and shadow, human scale and visually cuing perspectives.

Fig 6.20 Boundary of the temple

68

69

GROUP DISCUSSION AND CONCLUSION

The journey of this this course has taken us to the final chapter to discuss -

how did the Sin Sze Si Ya Temple manage to respond to the need of

contemporary users? Based on fore-mentioned arguments, Sin Sze Si Ya

has embodied the essence of duality, time and time again. The duality of

order and chaos has become very apparent through the temple’s form and

activities, where form becomes the order and activities represent chaos. To

elaborate further, the form and the activities continuously complements one

another and as the activities within the temple evolves, the form changes to

quip to the user’s needs.

The temple was created in symmetry, with two identical wings attached to its’

main hall in order to accommodate the specific rituals carried out in the

temple. In contrast to the orderly form, Sin Sze Si Ya is wedged in between

two shop-lots in an asymmetric manner. This significant concept of duality

then supports the inhabitation of the building, balancing again between its’

architecture and its’ significance.

Finally, we learnt the importance of coordination in the team in order to

succeed. One of the key examples are when tallying all the measurements to

produce an accurate drawing.

70

PERSONAL CONCLUSION

AMIR FAUZAN

Based on my personal

experience, Sin Sze Si Ya Temple

is a building which had full of

complexity. A temple built

surrounded by rebel cityscape and

urban development that had a

simple spatial layout but in term of

religious circulation (function) it’s

a bit crowded. Other than that, this

exercise is an opportunity for me

to expose into a different world

which is very important nowadays,

`Seeing is believing` not because i

believe on their religion but

because of knowing the

importance of cultural sensitivity

and humility as an acknowledge

the country where you live, its

culture and be to others as you

would have them be to you what

you give is what you get

Getting access to different

cultures is important in

appreciating the positive aspects

of our multicultural society has to

offer and as an architect it offers

me to learn more about the form

and function and how it serve to

the people(user).

TEO HONG WEI

When I first step into Temple Sin

Sze Si Ya, I found out that the

surrounding is totally different from

the outside. Being in this Chinese

temple, I was surrounded by the

elements of Chinese Temple

Architecture, which is flooded by

lots of carvings, ornaments and

red colour. Once stepped into the

main hall of the temple which is

always crowded, my senses were

completely impacted by the

surrounding inside the temple,

which is extremely saturated. The

skylight, ornaments, and the altars

formed a very nice view which

gives a spiritual feeling. The sound

of people chatting, the drum and

bell, is one of the things which is

unforgettable from the temple. The

smell, of course, coming from the

burning sticks which people use

for praying, the special smell and

the smoke coming out from them

would be the most unforgettable

element in the temple. While

measuring, I found out that it is just

a simple building with a lot of

furniture, ornaments and carvings,

which increases the complexity of

the temple. And that is why, the

important elements are all in the

details of the temple. “God is in the

details” as Mies Van de Rohe said.

Temple Sin Sze Si Ya, which is

around 200 years old, was well

taken care of. We, who were doing

the measuring, found out that the

temple, which is not made human

scale, covered by ashes. We were

told to be careful while measuring,

as the building is very old and we

risked breaking something.

Anyways, it all when out smoothly

and we had a different experience

staying that long in a temple.

SHALINN TAN

From this exercise, I have learnt to

be a better team player and to take

the lead when the situation calls

for it. Moreover, I learnt to put

down my ego and listen to the

71

team leader and lecturers and

learn greater insights from that. I

have also learnt to document the

significance of the building to

accompany this module. Other

than that, I am able to identify and

describe architectural cultural

heritage and apply it to this

project. Besides, this module has

pushed me out of my comfort zone

which allowed me to further hone

some skills and also learn new

skills such as AutoCAD Drawings,

report writing, on site measuring,

on site sketching, researching,

triangulating information, the skill

of interviewing and interacting with

people and many more. It was an

eye opener for me because it is

the first time that we have been

given so much freedom in

completing our respective parts of

the module, and being able to

dabble in so many different areas

all at once. It has been a real

pleasure to be in this group

because most of the members has

been very cooperative and

efficient in their completing their

work.

CHONG JIN FENG

I think that this project was very

successful. All of the group

members co-operated well. We

get a chance to visit to a temple

which was fulfilled with the smell of

Chinese culture. With a lot of

awesome and patience

teammates, we get to finish our

project in time.

In this project, we had learned a lot

of things like how to solve the

problems about fining data, to get

along with our group members.

We have learned many things

about the Sin Si Sze Ya Temple.

Through this semester i get to

meet new friends and work

together as team, this was really

great.

VALENTINE HEW

It was certainly breath-taking as I

ventured into the temple. When I

entered the main hall I could see

the joss sticks burning with

smokes billowing up at the

background silhouetting the

statues of the deities, god and

goddesses. It gives me a peaceful

break in this bustling city although

there’s an influx of crowd in here.

The design of the building may not

be appealing but it really does

serves its own function and

purposes. The ancestral hall is

where the people have their

recitation ceremony and it is much

more packed compared to the

other two halls. Whereby the guan

yin hall has a totally different

surrounding, as it illustrated an

environment of serenity with the

light penetrating into the hall

through the skylight.

Bell ringing can be heard from

time to time, from my perspective

bell works as an antidote to one’s

mind. It is said to believe that the

ringing sound is to invite the deity

to accept the worship and prayers,

also to drive away the evil forces.

Sin Sze Si Ya temple is a sacred

place, when you are in there it set

apart from turmoil of the outside

world. Hence, the heightened

sense of awareness of Sin Sze Si

Ya temple stays with me as I leave

and somehow influences my

perspective on life.

72

YAN WAI CHUN

‘’ Gain ‘’ would be the only word I

can used to describe this whole

activity throughout the week. It

was different compared to other

site visit that I’ve participated as it

was truly an eye-opener trip down

to Kuala Lumpur. In the first day,

when I stepped out the bus, the

scent of joss sticks flow through

the air into my nose. The

unfamiliar scent of the joss sticks

made me uncomfortable. This had

worried me as I need to bear with

this situation for the rest of the site

visit. Once I entered the temple’s

compound, my feelings changed

180 degrees, thoughts rushed

through my mind, questioned

myself why there is a heavenly

nice place inside a hustle and

bustle area. I think I am attracted

to this temple not because of the

architecture itself, it’s the warmth

of the area that protruded through

the culture activity in the temple.

Not sure if I am the only one who

felt like a little kid inside the

Disneyland. My vision was

attracted by every single details of

the temple such as the carvings or

the detail parts of the temple.

Besides, the Taoist temple that

I’ve visited was air-conditioned

and cement were used mostly in

the temple. The presence of the

vintage wooden windows,

Skylights, and other different

materials used to construct Sin

Sze Si Ya temple were interesting

for me. Coming from a Chinese

person, I never experience such

ambiance and culture as I never

been in a temple for so many days

in a row. It was a privilege to

participate and visit this temple.

MARK ENG SHANG

This project has helped me to

enhance my leadership skills and

guide me to better express my

feelings. I have learnt skills that

will be with me for the rest of my

work life. Being the group leader,

it was essential that I know the

skills for measuring on site, etc.

Thankfully, I have some

experience in that before and I

relayed my knowledge to my

group mates. They were eager to

learn and very hardworking, that I

must commend. As the AutoCAD

Drawings compiler, I have

experienced various ups and

downs during the compiling such

as having conflicting

measurements in the drawings

and having to triangulate

everyone’s data. It can sometimes

be very frustrating but once I’ve

fixed the issue it felt very

satisfying. I have pushed myself to

the limits during the 5 days at the

temple while doing the

measurements. A fine example is

when I climbed onto the very

fragile roof to help my group

members with their

measurements. This has been a

wonderful experience and I will

remember everything we went

through to ensure the smooth sail

of this project.

SARAVANAN VYTELINGUM

73

During our visit to the Sin Sze Si

Ya temple, we got to learn about

the ancient architectural wonders

of the Taoist culture ranging from

long narrow corridors to large

open main halls depicting

longevity and abundance. We also

learned about how light and

shadows affects the emotions

transmitted to the visitors and

what kind of remembrance it will

hold in their mind. We also

acquired new skills on measuring

a building in the proper ways with

the help of real on-field measuring

tools and surveying equipment.

Furthermore, we were able to

assess the functionality of the

architecture to its people and its

environment. In the end, it was

quite an experience and it helped

us understand a building in its

every nook and cranny.

TANG JU YI

Through this exercise, I have

gained more knowledge about

Taoist Temple Architecture. I think

that this temple is really

meaningful because it blends the

Taoist theories and believes with

the traditional Chinese methods of

construction. Together, they

create a unique Taoist style.

Another thing that impressed me

was the excellent ventilation of the

temple. The use of double-height

space allowed windows to be

positioned at a higher level, thus

provides good air and light

ventilation. The most interesting

part is the natural light that

penetrates into the dark space,

they are so beautiful! They give

out a feeling of warmth and hope.

Besides that, I have also learned

to gain measurements of the

building through various methods

with some help of mathematics.

This made me paid more attention

the details of the temple, for

example the fruit ornaments on

the roof, flower paintings on the

wall, human paintings on the front

façade. Through research, I found

out that in Taoist architecture, they

enhance the principle of harmony,

thus ornaments and murals are all

related to nature. That was the

reason why whenever I was in the

temple, I always felt calm and

comfortable. The concept of

embracing nature, compactness

of space and the magnificence in

height made Sin Sze Si Ya temple

emphasized a lot on harmony. For

me, Sin Sze Si Ya Temple is a

truly unique architecture in

Malaysia.

JASON LIM CHEE SHEN

A student of the measured

drawing course. A member of SIN

SZE SI YA TEMPLE’s group. I

would like to thanks to the

organization that giving us this

great opportunity for us to learn

something that we never get to

learn before. Especially doing

work at a historic structures and

also the safety awareness. I

realized that doing at all these

measurements at the historic

temple is much more different

compare to other structures,

because of every single details

measurement, we need to get it

right.

74

This site visit gave me a chance to

experience and learn what cannot

be gain during the lectures. One of

the first thing that I have learnt is

understanding the importance of

safety which is a basic knowledge

before we get to measure at the

site.

Furthermore, I have learnt many

things by identifying different types

of construction materials and their

uses at this temple. All these might

help in AutoCAD as well, and it is

also a benefit to know more about

AutoCAD.

LEE KAI YUNG

This building is the oldest and

most respected Chinese temple in

Kuala Lumpur. It is built on 1864

and there are few significance

components can be found in this

building such as the timber frame

and the decorative roof. Elements

such as architectural bilateral

symmetry can be found anywhere

in this building, from the floor to

roof. The building emphasizes on

articulation and bilateral

symmetry, which signifies

balance. This symmetrical

element enhances the spiritual

feeling from inside out. Besides

that, the use of Chinese wooden

architecture as the building

structure is now very rare to be

found. It is a network of

interlocking wooden supports

forming the skeleton of the

buildings, making it as a load-

bearing timber frame. This can be

found in the main hall of the

temple. And with this construction

method, walls are only use to

define an enclosure, unlike

western architecture. There are

several types of wooden joint can

be found in this buildings such as

half lap joints, mortise and tenon

and etc.

SHERY EDRINA

It was indeed an interesting

experience being able to go to a

temple for a first time. Getting to

know its architecture elements,

learning the meaning of each

ornaments and getting to know

their culture and way of praying is

a fascinating eye-opener. The

thing that impressed me the most

is how the building maintained its

structure for the past 200 years

still while still using some of old

wooden structure and just by

adding another structure over the

old ones to throughout the

renovations. The first time I

entered the temple, it was filled

with the smell of incense and for

the first two days it was quite hard

to adapt to the surrounding but

after a while, being in the temple

actually give me a sense of

calmness and peace. Situated in

the middle of Kuala Lumpur, it was

also an exciting and somehow

surprising to see the busy city

centre of Kuala Lumpur and how

the culture and people

surrounding that area doing their

daily activities every day. I also

learned in a more in depth way on

how to take proper measurements

for documentation. All and all, it

was a nice experience and it

taught me a lot.

75

HARIISH KUMAR

My experience in the gained me

new knowledge of how a design

building influences the way the

people interact to it. As simple as,

how a concrete slab made for the

drain can become a meeting area

or how a bench can become a

home of a cat. What I learnt from

this is that design isn’t what it was

meant to, but what it becomes. As

an example, there is an office on

the entrance. I don’t think it was

put there on purpose, it was

evolution that made it there. Now,

the office has become a meeting

area that has privacy from the rest

of the building.

LOH YU JIN

The cultural significance of Sin Si

Sze Ya Temple has proved that

how the historic culture of its own

is actually the key to why the

temple itself is still standing strong

today. The foundation of

architecture also resembles the

beliefs, hard work and dedication

of the devotees. Throughout my

journey in measured drawing, I

have gained more understandings

about the traditional construction

of Taoism and its cultural attribute.

It is a whole new experience for

me to visit the oldest temple in

Kuala Lumpur as it holds a

significant meaning and pride of

locality.

LIEW JIN

I personally think it was a great

practice to experience a different

environment and having an on-site

measuring work for 4 days

straight, with a huge team

consisting of around 26 people. To

experience a different culture and

having to adapt to that particular

lifestyle for a few days was pretty

much a ‘once in a blue moon’ kind

of thing. After all, we’ve all got to

meet new people and friends to

work together with as a team, it

was all great, and I think that’s

what matters the most.

AIDA JUNITA

Through the task of observing and

analysing the building assigned –

Sin Sze Si Ya Temple, I have

acquired a deeper understanding

as well as appreciation for

architecture, specifically Taoist

temple architecture.

From my personal experience

during and after the site visit, I

have come to the realization that

function precedes form is a

predominant idea of the Sin Sze Si

Ya Temple. In terms of

architecture, the temple has basic

blocks of spaces – a main prayer

hall with two smaller prayer halls

on each side, which shows

simplicity in its form. Culturally, the

152-year-old temple holds a

significant meaning to its visitors,

mainly consisting of local Taoist

worshippers who visit the temple

on a regular basis, be it for normal

prayers or special prayers during

important festivities such as

Chinese New Year. The temple

also functions as a strong symbol

of history, culture and religion to

the community.

Nonetheless, the spirit or sense of

place would not be as prominent

without physical details such as

76

the ornamentations, statues of

deities, smoke from the burning of

incense as well as intangible

aspects such as the togetherness

of the temple’s community and

ethereal ambience of the temple.

All in all, my overall insight of this

assignment is heavy on the

significance of a building and how

it still holds a strong importance for

the people and its surrounding,

even years after it is built.

CHEW JIA CHEN

Measurement is not made with

eyes but is made by using different

tools. Through this project, our

given place is Sin Sze Si Ya

Temple. At my first glance at the

temple's main hall, the red pillars

seemed to be symmetrical. But

our repeated measurement shows

that the difference is quite

significance. Most of the Chinese

temples have the same

architecture style as carvings,

ornaments and openings are in

the same style. Last of all,

communication and cooperation is

the most important thing to make

this project successful.

ONG JIA HUI

A building is like a clock and the

people resembles the machines

that make it function and whole.

This thought is what settles in

when one steps into Sin Sze Si Ya

Temple. The essence of the place

is strongly molded by the

architecture of the building, the

people and culture. A building,

especially one like the temple, is

hollow without its people and the

culture.

Also, throughout the visits to the

temple, I came to understand that

like humans, adaptation is likewise

important in terms of architecture,

which can be seen from how the

temple adapted to the need of the

users to park their cars by adding

in front porches on a later date.

Lastly, I have learned that the

function of a design is very crucial.

The design may not be very

appealing or pleasant, but it

should be adequate as long as it

serves the function or purpose.

The openings in the temple is

mundane with the absence of

fancy designs, yet the openings

served their purpose by allowing

sufficient natural light into the

building, which in turn creates a

very divine and holy ambience to

the building when the light shines

in - an attribute fitting for a temple.

LEE HUI QIN

During the 5 days’ field trip, I

learned about Taoism culture and

the history of Sin Sze Si Ya

Temple. Even though we were

busy on that day for measuring,

we were given some time to walk

around the temple, sat down and

sketched. Through sketching

session, we were able to enjoy the

beauty and significance of the

temple where every corner fully

decorated with ornaments. By

looking at both interior and exterior

of the temple, I was surprise to see

the uniqueness of every single

architecture element back to the

past where modern construction

technique was not introduced yet.

77

The ornaments, the statues, the

motifs on walls, columns and

beams have their own special with

every single detailed parts.

Besides, we also got some

information about the history, facts

and Feng Shui of the temple from

the visitors, mainly devotees

through hearsay when we were

having break time. There is a

saying “Better spend your time

travelling ten thousand miles than

reading ten thousand books” and

definitely, I agree with this.

Architecture, is something we

need to see on the spot while

culture, is something we need to

feel on the culture. It is a totally

different feeling from getting know

through books and internet.

KAN JIA WEI ADRIAN

Personally the greatest takeaway

from this journey is how I

managed to work with different

types of fellow students and

different lecturers in the form of

them being master’s lecturers as

well. This has provided me with a

greater chance to work with, and

understand various forms of

techniques of work and learn from

it, values which were of my

personal ambition throughout this

course. Furthermore, the ability to

work on a temple made me realise

how culturally colourful and

meaningful Chinese architecture

and culture can be, from the

temple to the inhabitants that were

very fond of us as well as users of

the temple, many whom which I

have made friends with and also

fits into my university life agenda

or aim that is to meet as many

people from different walks of life

as possible. Architecturally, the

experience of working on this

temple allowed me greater

appreciation of more ancient

architectural styles, something

which I previously was not fond of

given its many small details and

what I had seen as unnecessary

ornamentations, all of which have

been cleared throughout the

journey of this module.

VICTOR HENG WEI YEN

The architectural style of the

temple is very unique compared to

the architecture that we will see in

the modern days. Although it is not

very eye-catching on its façade

because of the typical temple-

look, but it has contained some

elements that makes the building

stand out among other temples in

Kuala Lumpur. The building was

built in the early days before Kuala

Lumpur become a developed city

in Malaysia, and it has significantly

present the history of KL by the

building itself in the modern days.

The building has mainly split into 3

main spaces, which is, Ancestor

Hall on the left, Main Hall in the

middle, and Guan Yin Hall. In the

middle of every hall, there will a

long corridor with low ceiling that

lead people walk into the hall.

When entering the hall, it gives

people a kind of spiritual

perception due to the ceiling

height contrast and light

penetration. The temple has been

designed with lots of skylights right

above the idols and altars, it

makes believers feel the holiness

while kneeling down in front of

their god. This is all I feel about the

temple during the days I visited the

temple, I think it is a good building.

78

NUR EMILY

After spending a week in the heart

of Kuala Lumpur, measuring our

chosen site – The Sin Sze Si Ya

Temple, I have learned to

appreciate the surrounding

architecture throughout the whole

project. The temple itself is located

in the busy streets of KL, which

offers exposure in the diversity of

the cultures as well as in

architecture. The opportunity we

had showed that there are so

many ways one can learn that are

both fun and educational. I’ve

became proficient in measuring to

the finest details of the temple. I’ve

learned to work and communicate

better in the group. I feel that I

have largely developed more

architectural thinking skills and

how to solve problems related to

the temple. This project also

teaches us how to properly

document our measurements in

detail and organised manner for

reference to the future

generations.

MUHAMMAD AZZAM

Architecture is what we

experience, this is one of the

aspects that really struck me

about this temple. The moment I

entered the temple, the light that

struck in the middle and the smoke

dissolving to it created an instant

holly feel. This what amplified as

the light shined through the brass

statues and furniture. The play of

the temple with light and shadows

is instantly clear even for a normal

goer. It still amazes how just light

and shadows can affect an

experience to that degree.

ADAM TAN YEN SHENG

During the visit to Sin Sze Si Ya

temple, I have managed to absorb

new knowledge through my whole

experience there. What I’ve

learned is that every detail counts,

how small or big it all may matter

in bringing the Chinese Taoist

experience out from the temple.

This can’t get any truer than Sin

Sze Si Ya temple itself.

Everywhere you turn a detail/

ornament can be seen, it’s like

every inch of the temple is covered

with details. Just the sheer amount

of work that has gone into making

the building it is today is simply an

awe for us to experience. Even a

small space in the temple have a

motif. While researching through

the detailing and ornaments that

are in the temple, I’ve gotten a

huge appreciation for it and have

found out that a lot of the

ornaments and detailing are would

relate to the Feng Shui of

protecting or warding the temple

off evil spirits and bring fortune

and happiness. Every detail

matters.

REION TAN

79

After the visit to Sin Sze Si Ya

Temple, I have gain new

knowledge about Kuala Lumpur

as the temple’s was built to honor

Sin Sze Ya and Si Sze Ya. As the

temple started to attract local

residents to come and pay them

respect, statues of other Gods

were brought in for them to pray.

When measuring the building, I

have noticed that each and every

ornamentation and structures has

different measurement even

though they have the same shape.

This is because in the early

constructions, these structures are

hand crafted instead of machine

made. This enhances the beauty

of craftsmanship as each and

every item there is made using the

skills and experience of an artist.

As he devoted his time crafting

ornaments to make each and

every one special in their own

way.

When researching the God’s

background and their meaning for

the report, I have also found out

that the spaces are set according

to the position of the Gods. For

example, in the main hall, the

statue of Sin Shi Ye and Xie Shi

Ye are found here. Even though

they are not Gods, their position in

the temple is higher than the rest

as the temple is dedicated to

them.

In the temple, each and every

ornamentation and structures has

their own specialty. This is what

makes the temple an interesting

place to be in.

CHAN JIA XIN

In what we have learn from this

module, normally Chinese temple

should be in a peaceful and quite

place, as well as Sin Sze Si Ya

Temple but slowly as times

passed, more and more high rise

buildings and shop lots were built,

but the structure of this temple still

remains as a remembrance of

traditional Chinese ornaments and

constructions technique since it

was strong enough to stand for

152 years as to date (2016). The

location of Sin Sze Si Ya Temple

were also relevant to the

battlefield of Kuala Lumpur.

Learning how to use different type

of instruments which I had not use

before in measuring the exterior

and interior of the building and

convert it to full architectural

drawings was also a new

experience for me. For example,

using the construction laser range

finder to measure the height of an

object such as the ceilings is

easier than climbing up the ladder,

this method is safe and accurate,

it also shortens the time taken,

FARAH AIN BINTI ISMAIL

I think that it was a great

experience to be given an

opportunity to be doing what we

have just done. Measuring a

temple in the heart of Kuala

Lumpur, it really shined a light

on my thoughts and

perceptions of Chinese culture

and have a new found

understanding of it. Through

this experience I also learnt to

work with many different

people, and gained many new

friends from this as well.

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GLOSSARY

1. Bodhisattva Vajparani - He is the protector and guide of Gautama

Buddha and rose to symbolize the Buddha's power

2. Chi – “energy force” in Chinese culture.

3. Feng Shui - Feng Shui is an ancient art and science developed over 3,000

years ago in China. It is a complex body of knowledge that reveals how to

balance the energies of any given space to assure health and good fortune

for people inhabiting it.

4. Fu Dogs - Chinese guardian lions, guardian dogs or stone temple dogs.

5. Mahayana - is one of two (or three, under some classifications) main

existing branches of Buddhism and a term for classification of Buddhist

philosophies and practice

6. Sutra - a Buddhist or Jain scripture.

7. Yin - Yin energy is the cool, slow, passive, feminine energy of darkness

and slow ice.

8. Yang - Yang is heat and action, movement, fire, and masculine force.

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REFERENCES

1. Bramble, C. (2003). Architect’s guide to Feng Shui: exploding the myth.

Burlington, Mass.: Architectural Press.

2. Too, L. (2003). Feng shui life planner. London: Hamlyn.

3. Ranjit, M., & Lim, M. (2016). Interview with workers of Sin Sze Si Ya

Temple. Sin Sze Si Ya Temple, Kuala Lumpur.

4. Feng Shui and Taoism. (n.d.). Retrieved February 19, 2016, from

http://fengshui.about.com/od/historyoffengshui/a/Feng-Shui-Taoism.htm

5. Magazine, K. (2016). Sin Sze Si Ya Temple - Oldest Taoist Temple in

Kuala Lumpur. kuala-lumpur.ws. Retrieved 16 February 2016, from

http://www.kuala-lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo

6. MUST SEE Feng Shui Tips And Taboo When Looking For House | Feng

Shui Beginner. (n.d.). Retrieved February 17, 2016, from

http://fengshuibeginner.com/must-see-feng-shui-tips-and-taboo-when-

looking-for-house/

7. T Which way does my property face? (n.d.). Retrieved February 20, 2016,

from http://www.fengshuiweb.co.uk/advice/property.htm

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8. Yapahloy.tripod.com,. (2016). The Sin Sze Si Ya Temple. Retrieved 28

January 2016, from

http://yapahloy.tripod.com/the_sin_sze_si_ya_temple.htm

9. A Temple That Tells Where Great Fortune Lies. (n.d.). Retrieved

February 20, 2016, from http://holidaysinmalaysia.org/kuala-lumpur/sze-

ya-temple/

10. Overseas Chinese in the British Empire. (n.d.). Retrieved February 20,

2016, from

http://overseaschineseinthebritishempire.blogspot.my/2011/12/chan-

sow-lin.html

11. Sin Sze Si Ya Temple - Oldest Taoist Temple in Kuala Lumpur. (n.d.).

Retrieved February 20, 2016, from http://www.kuala-

lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo

12. XIAN SI SHIYE / SIN SZE SI YA Temple, Kuala Lumpur, Malaysia - Index

Page. (n.d.). Retrieved February 20, 2016, from

http://www.mir.com.my/leofoo/landmarks/shiyemiaoKL/index.htm

13. Overseas Chinese in the British Empire. (n.d.). Retrieved February 20,

2016, from

http://overseaschineseinthebritishempire.blogspot.my/2011/12/chan-

sow-lin.html

14. Sin Sze Si Ya Temple - Oldest Taoist Temple in Kuala Lumpur. (n.d.).

Retrieved February 20, 2016, from http://www.kuala-

lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo

15. TAOISM. (n.d.). Retrieved February 19, 2016, from

http://mvtao.blogspot.my/2008/09/god-and-goddess-level-structure.html

16. Taoism Religion. (n.d.). Retrieved February 19, 2016, from

http://www.patheos.com/Library/Taoism/Beliefs/Ultimate-Reality-and-

Divine-Beings

17. Golden Dragon Mythology: Pangu. (n.d.). Retrieved February 20, 2016,

from http://www.goldendragontruro.co.uk/index.php/cult-deities-three-

purities-e

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APPENDIX 1

Translation of Sin Sze Si Ya Commemorative Book

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APPENDIX 2

Q: The thing inside the glass, is it the thing that they use for the parade?

A: Yes, they will carry the thing during the parade.

Q: What other events are there in the temple?

A: They have the White Tiger Festival and 'Zhong Hiong'. That is something

very interesting which is why people will come and pray. For the 'Zhong Hiong'

ritual, people will go around the table three times. Everybody will come and

'Zhong Hiong' and put the joss sticks, and they will go under the table for

blessing. Very interesting. During the eve of the festival, the crowd cannot

see each other. It's a yearly thing, ever since I'm here, I see all this thing.

Maybe when we were young that time we don't come in, so I was not used to

it.

Q: All these (the festival/events), are they celebrated on the second day as

well?

A: No, I don't think so.

Transcript of Interview with Ms.Ranjit

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Q: Is there a story for each of the halls?

A: Aside from the main hall, there’s also the business God. People come to

pray for their business. People pray with the joss sticks.

There's not only one Si Ye Temple, there's so many Si Ye Temple, like

there's one in Kajang.

He was a local and then he assumed the deities’ status. Visions came up

to him, and his blood was white and that is very, very rare. What I heard is

what I know. And it's true, you know, what the people who had been doing

divination says, they come true. My wish also came true.

The main door was in front that old one. It was not the current one. Now only

they change, after the May 13th.

Q: What was around this area in the earlier days?

A: Shop lots. When our temple was here and it was small, there was all these

shops, very old shops all over this area. There was not a building.

Q: Can you tell us about the ‘Da Xiao Ren’ event?

A: ‘Da Xiao Ren’ is the villain or bad people that gossip or whatnot. There’s

red and green paper, the red is like the person who guides you, the one you

step on (the green) is the ‘Xiao Ren’. There’s one special day for this event.

The white tiger will then open its mouth.

Q: The paper for the ‘Da Xiao Ren’, do people write names on it?

A: Some people writes, some don’t. It’s fine even without name, the god will

still show you the person and nothing will block you, at least that’s what I feel.

Q: Is this the only temple with this ‘Da Xiao Ren’ activity?

A: No, there’s another temple that has it, but I find here, they say that it’s more

powerful. Maybe the people praying here is powerful or what, I don’t know.,

but it’s really powerful. Compared to the other places, they are not as powerful

as this. Some shifu will specially send their people to come to this temple, but

I don’t know why do they specifically come to this temple. So I asked them

and they said their shifu asked them to come.

Q: Is there like a sequence to how people pray here?

A: Yeah, the first place they go is to the God at the front (main hall), then they

go to the sides

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APPENDIX 3 Video

Link: https://www.youtube.com/watch?v=exHjiGu63P4&feature=youtu.be

Directed by: Amir Fauzan

Acting credits: Valentine Hew & Adrian Kan

Video

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APPENDIX 4 Model

Model

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APPENDIX 5 Module Outline

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