WISMA ANGKASAPURI0325167

0319440

0320303

0319926

TUTOR: PN. NORHAYATI

School of Architecture, Building and Design

Bachelor of Science (Honours) in Architecture

ARC60203 Architecture Culture & History II | Project 2: Modern Architecture Report

NIK MUNAWWAR

NG WYN JANE

ONG SHI HUI

RACHAEL CHEONG KAH YEN

No. Title Page no.

1. INTRODUCTION 2 - 3

2. SITE CONTEXT 4 - 6

3. ARCHITECTURE LAYOUT by Ng Wyn Jane

7 - 13

4. ARCHITECTURE STYLE by Nik Munawwar

14 - 19

5. BUILDING CONSTRUCTION STRUCTURE & MATERIALSby Ong Shi Hui

20 - 26

6. ARCHITECTURE ELEMENTS by Rachael Cheong

27 - 34

7. CONCLUSION 35

8. LIST OF REFERENCES 36

TABLE OF CONTENTS

1

Amongst the many buildings built in and around Kuala Lumpur post-independence, very few still

embrace the design language of the early Merdeka period. These early buildings today stand as a

monument to remind Malaysians of the pride and aspirations our forefathers had for the new

fledgeling nation. It represented the vision they had for the country, to be a nation that is

progressive, modern, global and united. One of the buildings, is the headquarters of Malaysia’s first

broadcasting centre, Wisma Angkasapuri.

1.0 INTRODUCTION

1.1 FAST FACTS OF THE BUILDING

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ARCHITECT : Ronald Pratt (BEP Akitek)

FUNCTION : Headquarters of Radio Televisyen Malaysia(RTM), concert halls and event spaces.

ARCHITECTURAL STYLE : International Style

FEATURES : A broadcasting complex consisting of 4 main blocks; Bangunan Rentak 50, Wisma TV,

Wisma Angkasapuri (main building) and Wisma Radio. Each block has its own distinctive design, but

adheres to the International Style, which expanded upon the ideas and principles of Modernist

architecture. Wisma Angkasapuri faces the Federal Highway with its imposing facade, featuring sun-

shading panels that was inspired by the human tongue, but may also resemble the horseshoe crab or

a traditional Malay shield.

Radio Televisyen Malaysia (then Radio Malaya) was established in 1946 and operated out of

Singapore up until the independence of Malaya in 1957. Radio Malaya then moved from Singapore to

Kuala Lumpur in 1959, operating out of the Federal House, located in the vicinity of Sultan Abdul

Samad Building. With the advent of television in Malaya, Televisyen Malaya was launched and started

operations from its studios on Jalan Ampang in 1963. It was the nation’s first free-to-air terrestrial

station. It was soon obvious that both Radio Malaya and Televisyen Malaya would be merged into a

single entity. Hence, the government initiated the project to develop a national broadcasting complex

in Kuala Lumpur. The construction of the new complex began on 1 January 1966 and was officiated on

17 January 1968, together with the official merging of Radio Malaya and Televisyen Malaya into Radio

Televisyen Malaysia (“RTM”).

Wisma Angkasapuri is designed by Ronald Pratt, an architect of BEP Akitek (Booty and Edward’s

partnership) and the engineer is N. J. Pappas & Associates, which is a Canadian organization that

committed in the design of radio and television facilities. When designing the building, they prefer

forms follow function which they designed the equipment first then a building to suit it instead of

function follows form. The Pappas organization integrates with different departments and maintains

operation across the globe until they described themselves as “the only completely incorporated

broadcasting design service consistently available to broadcasting interest in the Free World.”

1.2 HISTORY & DEVELOPMENT

1.3 THE ARCHITECTS

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2.0 Site Context

As it was then the new broadcasting centre and home of Radio Televisyen Malaysia, the government

granted a prime piece of land at the top of Putra Hill for the development of Angkasapuri. The site was

considered strategic as it is situated along the newly completed Federal Highway, which connects

Kuala Lumpur and the then relatively new satellite city, Petaling Jaya. Its location at a hilltop gives it an

imposing image that represents strength and stability, whilst granting the tenants of Angkasapuri an

impressive vantage point of the young Kuala Lumpur and Petaling Jaya. The land along Federal

Highway has always been considered prime, and priority would be given to buildings of government-

related departments. Aside from Angkasapuri, other government-linked entities such as the

Employees Provident Fund, Tenaga Nasional Berhad and Telekom Malaysia also have been given

allocation for their offices in the surrounding vicinity

There are two ways to access the building, which are through the main highway and KTM komuter.

The highways that allow accessibility to the building is Federal Highway and NPE highway. The Federal

Highway is located at the North direction from the building whereas the NPE Highway is located at the

East direction. Besides, the Angkasapuri Komuter Station which served by the Sentul-Port Klang Route

is also located near the Angkasapuri building. So, the people can walk to the building as it is just a

stone away from the station.

.

2.0 SITE CONTEXT

2.1 BUILDING ACCESSIBILITY

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2.2 RELATIONSHIP OF BUILDING TO SURROUNDING

Being one of the first building to occupy the land surrounding the Federal Highway, Angkasapuri had

for years benefited from its strategic location. Back when the Highway and its surrounding areas were

still underdeveloped, the top floors of Angkasapuri allowed tenants to look down on much of Kuala

Lumpur and Petaling Jaya, with the Federal Highway looking like a busy ribbon in between. The

towering University Hospital and other University Malaya buildings stood out proud and clear. The

Tenaga Nasional Berhad’s headquarters were also within view, while a cluster of towers could be seen

sprouting up in what would soon be known as the Golden Triangle of Kuala Lumpur. As it was the only

building on Putra Hill, Angkasapuri was itself an impressive addition to the panorama. Just as its height

offers the visitor a view of distant places, so does it fill a section of the sky. From the Federal Highway,

in particular, this huge new building loomed even larger. At dusk, Angkasapuri (Angkasa meaning Sky,

and Puri meaning City in Malay) blazes across the sunset scene in a way that befits its name as “The

City in the Sky”.

Angkasapuri Komuter Station

Main Entrance of Wisma Angkasapuri

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The areas surrounding Wisma Angkasapuri were developed much later, as Kuala Lumpur expands

beyond its traditional city centre at the river confluence. For the few decades, Angkasapuri was

surrounded by village houses and greeneries in its neighboring Kampung Kerinchi as well as Kampung

Abdullah Hukum across the highway. The closest office building to Angkasapuri back then was the

headquarters of the Central Electricity Board (now known as Tenaga Nasional Berhad or “TNB”. Since

they were both developed around the same time period, and both also being a government-related

entity, similarities in the architectural language is evident in both buildings.

The two were designed based on strict modernist principles, taking into account the local site context

which includes climatic requirements. The TNB building for example, makes use of Le Corbusier’s well-

known “sunbreakers” in dealing with the high amount of sunlight Kuala Lumpur receives. This is in

contrast to Angkasapuri’s solution, which is to use shields that block direct sunlight through the

building’s ribbon windows. Both however, adheres to the rectilinearity and the columns and beams

construction method which is consistent with the philosophies of modern architecture.

2.3 COMPARISON OF BUILDING TO SURROUNDING

2.4 RESPONSE TO CLIMATE

SUN PATHAngkasapuri, which is perched on top of Putra Hill faces both sunrise and sunset. The generous

amount of sunlight received each day necessitates the incorporation of an architectural element to

limit the amount of fenestration into the building. This is achieved via Angkasapuri’s well-known

“scales” that have sparked a long time debate on the origins of the shape ever since.

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3.1.1 PLAN

An aerial view of Wisma Angkasapuri shows that it is divided into two parts. The left part consists of

Wisma Radio and Auditorium; while the right consists of the Reception Hall, Wisma TV and

Administration Building. The forms and shapes of the two parts of building are contrasting with each

other which make them unique in their own way. The left part of the building is curved in geometry

form and also a star shaped auditorium whereas the right part of the building is rectangular in form

which looks very rigid. Although they are contrasting with each other with form, they have a similarity

which is both of them are linked by a centroidal volume that acts as an entrance lobby.

The right part of the building is the main centre because it is the place where the administrative work

and planning is done for publishing and broadcasting. The plan below shows that the Administration

Building and Wisma TV is linked by the reception hall. The reception hall acts as the main entrance for

both of the buildings. It has a large floor space that allows people to direct between the two buildings.

The administration building is supported by 18 columns, and there is no internal wall in order to

decrease the load pressure. To achieve a more flexible human circulation, most part of the floor is left

to be un-partitioned and the columns are exposed to give a sense of originality. In contrast, the wisma

TV is divided into many divisions according to their own functions which consist of many walls and

doors. There is also a clear and straight corridor that leads to each of the spaces.

3.0 ARCHITECTURAL LAYOUT

3.1 PLAN TO SECTION AND ELEVATION

Left:Wisma Radio, Auditorium

Right:Wisma Tv,Reception Hall,Administration Building

Site Plan and 3D Drawing of Angkasapuri (Diagram Above)

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Floor Plan

View 1: The entrance of reception hall

View 2: Studio for recording purpose

View 3: Spaces division along the walkway.

3.1.2 ELEVATION

The three buildings are differentiated in terms of their expressions through their unique textures. The

Wisma TV is covered with a façade that made up from tiny pieces of flat tiles and the vertical strips

that made up of ceramic tiles divided the façade into 8 pieces. The Reception Hall has a repetitive

curved shell roof with full height glass window which is to allow maximum sunlight to penetrate

through. Moreover, each level of the Administration Block consists of a long ribbon window with

repetitive ‘horseshoe crab’ façade which allow the light to lid the interior evenly and also to frame

the outdoor view. To conclude, all of the textures used a repetitive design to create a sense of unity

which has their own functions behind it.

Elevation

WISMA TV

RECEPTION HALL

ADMINISTRATION BUILDING

1

2

3

WISMA TV RECEPTION HALL

ADMINISTRATION BUILDING

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3.1.3 SECTION

A sectional view of the building shows the connection between the three parts of the building on the

ground floor and the first floor. The Reception Hall that acts as the entrance can be considered as a

public space as it is the main circulation that directs traffic between the administration office and

Wisma TV. The Wisma TV on the left of the reception hall is a three-storey building that acts a space

for film services and production facilities. It is a semi-private building because not only employees

but anyone with the permission such as singers, actors or visitors can access into the building. The

Administration Office is erected with a height of ten floors above the vast area of about 33-acres.

Each floor has an area of 11,000 square feet and it is equipped with three service lifts that direct

people vertically. It is a private space as only employees can access into the offices. The lower ground

floor consists of 22 parking spaces and service rooms while the ground floor is kitchen and dining

area for the staffs. From the first to the seventh floor, the offices are arranged and separated into

standard divisions which provide maximum flexibility for the users to move around. In addition, the

eighth floor of the administration block has a lounge space that act as an observation deck and also

dining room.

WISMA TV

RECEPTIONHALL

ADMINISTRATIONBUILDING

Section9

3.2.1 VEHICULAR CIRCULATION

There are two main highways that lead to Wisma Angkasapuri which are Federal Highway and NPE

Highway. The buildings in Wisma Angkasapuri are densely linked with the road to ease the

accessibility. The large open parking area is located in the middle of the buildings so that it can act as a

centre point to access the buildings around.

3.2.2 HUMAN CIRCULATION

3.2.2.1 PEDESTRIAN WALKWAY

Pedestrian walkways are built alongside the buildings to ease the human circulation, due to the vast

land area of the complex. Because of the high exposure to light, the walkways are either covered with

a roof or trees as a form of shading.

3.2 CIRCULATION TO USE SPACE

FEDERAL HIGHWAY

NPE HIGHWAY

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1

2

3

4

View 1

View 2

View 3 View 4

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3.2.2.2 INTERNAL CIRCULATION

The reception hall is the main entrance to the Wisma Televisyen and Administration building. It has a

large floor surface with a double-volume height which give a sense of welcoming. The reason of

being a spacious area is because it is the main entrance that directs the circulation to the adjacent

buildings.

The left side of reception hall is the Wisma Televisyen whereas the right side is the administration

office. The walkway of the Wisma Televisyen is straight and perpendicular to the each of the rooms

to ease the circulation when searching for the rooms. With the service lift and staircase, user can

access to every floor of the administration office.

The administration office is divided into spaces of private, semi-private and public. The red

highlighted part is the private space which is only for superior position employees to access; the

yellow highlighted part is semi-private space while the blue highlighted part is public space because it

is accessible for everyone.

The first photo is the pathway towards the main building which is the Administration Office and Wisma Televisyen.The second photo is a garden walkway that connects the main building to the auditorium and Wisma Radio. The last photo is a staircase that leads to the car park area which is in the middle of Wisma Angkasapuri.

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3.3.1 MASSING

Wisma Angkasapuri is made up of three rectangular shapes and forms. The building uses the general

shape and size to minimize the energy loads as well as maximize the free energy from the sun and

wind. By taking the advantages of the site conditions, the orientation of the building also provide

passive thermal and visual thermal comfort to the user.

3.3.2 CONTRAST

The two buildings contrast each other in shape. The star shaped and cury form on the left functions as

the Auditorium and Wisma Radio, while the rectangular form on the right is administration office and

Wisma Televisyen. Instead of having similar forms, they used different shapes and forms to contrast

the two spaces.

The first photo is the spacious reception hall which the reception counter is right opposite to the entrance door. The second photo is the walkway to the Wisma TV from the reception hall.The third photo is the entrance to the administration office.

3.3 ORGANIZATION ANALYSIS

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3.3.3 HIERARCHY

From the elevation, there is a hierarchy in leveling shown through the size and height of the building.

Each part of the building plays different functions and roles in the organization to ensure the workflow

for publishing and broadcasting. The administration office which is designed to be more emphasised

and iconic because of its strategic location on the higher ground that faced towards the highway. The

reception hall is also unique with its own barrel vault roof that allows the natural lighting to sift

through and creates the ever changing shadow. For the Wisma Televisyen, the exterior is designed

with vertical patterns which give a sense of tidiness yet simplicity.

3.4 CONCLUSION

A careful study of the area plan, section and elevation of Angkasapuri reveals how well the spaces

have been designed. The developers of Angkasapuri took advantage of the vast land area and the

slopes to thoughtfully arrange each building, so that there is a clear separation between each block,

without losing the cohesiveness of the whole complex. The designers made use of the slopes to define

boundaries of buildings and connected them via a unified pathways centred around an open space.

This same concept is also applied to each individual buildings, as aptly demonstrated by the

hierarchical separation of Wisma TV, Reception Hall and the Administration Block.

Overall, Wisma Angkasapuri highlights the importance of wholesome design, in which all factors are

taken into account, including taking advantage of site conditions, having clear separation according to

functions, accounting for adequate vehicular and human circulation space and most importantly,

having a clear design language to get the message across to the masses. Angkasapuri is an example of

a robust design that we all can look upon.

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With these goals set in mind, the government then embarked on

a journey to redefine local architecture, starting with government

buildings in its new capital, Kuala Lumpur. Amongst the

government buildings to be designed with this new language

include the Parliament building, General Hospital, Subang

When Malaya became an independent nation in 1957, a movement to redefine the identity and image

of the nation ensued, spearheaded by the then Prime Minister himself, Tunku Abdul Rahman. The

Tunku had wanted a new identity for the fledgeling country to show progress, its freedom from the

clutches of colonialism and most importantly, the spirit of unity amongst all races that worked towards

attaining independence.

4.0 ARCHITECTURAL STYLE

4.1 A NEW ARCHITECTURE FOR A NEW NATION

Amongst all the factors that define the identity of a nation,

be it through the arts, politics, economy or culture, the

strongest and possibly the most physical aspect of a nation’

s identity would be its architecture; specifically, post-

independence architecture. It has the ability to instantly

portray the vision of the country and speak volumes on the

nation’s ability to embrace advancement in technology and

move forward on its own without having to depend on the

infrastructure left by the colonists.

The newly completed Parliament building

International Airport, Employees Provident Fund office, Bangunan

Lembaga Letrik Negara (now TNB) and the headquarters of Radio

Televisyen Malaya (as it was known then), Wisma Angkasapuri.

EPF Building, Petaling Jaya

Subang International Airport

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As a means to show progress, it has been decided that the style of architecture to be adopted should

be the “International Style”, which was then looked upon as the progressive style of architecture

worldwide. The International Style screams of modernity, with clean rectilinear forms that answer to

function rather than being mere ornamentation. The architecture style fits the purpose of re-

establishing the new identity for Malaya as it breaks away from the colonial-styled architecture, which

were mostly the ornament-heavy Graeco-Roman architecture.

The International Style provided with an easily applied and economical modern architecture style for

big-scale urban development projects for new cities such as Kuala Lumpur, as it focused on maximising

the amount of floor space for a given site and champions practicality over unnecessary

ornamentation.

4.2.1 DEFINITIONThe International style was one of the styles that evolved within the early stages of the Modernist

movement. Whilst the Modernist movement (or L’Esprit Nouveau) had its roots in European countries,

with focus on minimalism and practicality, the International style was developed mostly in America.

First coined by Henry-Russell Hitchcock and Philip Johnson during the first ever architectural exhibition

in New York’s Museum of Modern Art (MoMA), the International style expanded upon Modernist

ideas to put the focus on aesthetics.

Hitchcock and Johnson defined the International style through three main principles:

1. The expression of volume rather than mass

2. The emphasis on balance rather than preconceived symmetry

3. The expulsion of applied ornament

4.2 INTERNATIONAL STYLE

The first principle deals with the concept of

utilising skeletal building forms to define the

volume of the space rather than mass-

portraying forms. In this instance, the choice

of material is key in allowing a smooth-flowing

space that is unbroken, such as in the use of

metal plates or glass sheets to define a space

which then yields a freedom of organisation.Le Corbusier’s Dom-ino House Diagram which demonstrates the skeletal structure allowing for the free plan

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4.2.2 HISTORYThe term "International Style" was first coined by Hitchcock and Johnson in 1932, for the “Modern

Architecture: International Exhibition” which took place in MoMA. The exhibition declared the

architecture of the 20th century as the “International style”. The exhibition was then followed by a

book titled “The International Style”.

4.2.3 EXAMPLE OF INTERNATIONAL BUILDINGSWorldwide

Left to Right:Hamilton City Hall, CanadaSchocken Store, Germany

Seagram Building, USA

Locally

Left to Right:Bangunan Parlimen

Menara DBKLBangunan TNB

The second principle puts the focus on regularity rather than

axiality. Attention is put onto proportions and geometry that

harmonises the elements of the building to create the

perception of a single complex of buildings. An example of

this applied proportion would be the application of

horizontality into the design.

Fagus Factory by Walter Gropius

The third principle, concerning the “expulsion of applied

ornament” seeks to eliminate superficiality in design as

opposed to early architectural works in the 19th century

which focused mainly on revivalism.

Philip Johnson’s Glass House, made of steel and glass plates

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4.3 MODIFICATIONS / LOCALISATION

The panels were originally designed to resemble the human tongue, which in Malay culture

symbolises spoken words, consistent with Angkasapuri’s function as the headquarters of Radio

Televisyen Malaysia, a government-owned news and broadcasting company. The building is also

nicknamed “Bangunan Seribu Lidah” which means “The Thousand-Tongued Building”.

The use of shading panels is not unique to Angkasapuri, but was also applied to other buildings of the

post-Independence era, such as Menara DBKL and Bangunan Parlimen, as shown below:

Left to Right: Angkasapuri, Parlimen and Menara DBKL

4.3.1 SUN SHADING PANELSDue to the climatic differences around the globe,

the International style has been adopted with

some variations to suit the local weather

requirements. For tropical countries like

Malaysia which enjoys 365 days of sunshine and

heavy rainfall, shading panels have been added

to buildings designed based on the International

style, which takes advantage of its space-

efficiency. In the case of Angkasapuri, shading

panels in the shape of “horseshoe crab” is used

on the facade. Left side : One of the shading panels,

which was designed based on the human tongue.

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4.3.2 ISLAMIC AND MALAY MOTIFIn contrast to the principle of International style to be completely free of applied ornamentations,

later renovation works added minor decorative motifs to localise the building to suit the local culture.

These ornamentations include Islamic and Malay motifs in the form of wooden carvings and

geometrical shapes.

Ornamentations added later on. Left to Right: Islamic motifs in the courtyard, hrills with geometric patterns, traditional Malay woodcarving adorn the lobby area.

4.4 APPLIED COCEPTTo adhere to the International style, the complex of buildings adopted a rectilinear form which,

although different in design from one another, still keeps a coherent language which forms regularity

amongst the buildings, consistent with the second principle of the International style.

From left to Right: Bangunan Rentak 50, Wisma TV, Wisma Angkasapuri and Wisma Radio, all adopting a rectilinear form which sits in harmony within context with other blocks in the complex.

4.4 APPLIED CONCEPT

Solid, Grounded Rectilinear Form: To portray integrity and

strength of the national broadcasting company. Clean, White

Horizontal Lines: Projects the image of sincerity and purity as a

news source of the nation. Picture on the left shows the interior

courtyard of Wisma Radio, in between the two blocks.

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Comparison with other International style buildings:

Left to right: Le Corbusier’s Unité d’Habitation with its column supports similar to Angkasapuri; Villa Savoye’s ribbon windows and pilotis

supporting the structure; Affonso Eduardo Reidy’s Pedregulho Housing in Brazil showing pilotis/column support and continuous windows.

4.5 CONCLUSIONAs a young nation seeking to attain its own unique identity, the government of Malaya

looked abroad for a style of architecture that would fit their vision and aspirations. The

International style provided the country with a solid foundation in the architecture for future

buildings to come, by giving it its first post-merdeka image. The International style was

effective in fulfilling the country’s wishes to break away from the characteristics of

colonialism. It gave the young country a bold, daring and modern look unlike anything left

behind by the colonialists. Although the local architecture scene has progressed at an

impressive scale over the past few decades, credit is due to those early architects in Malaya

who were not afraid to ditch tradition and make the jump into a revolutionary style of

architecture. Without them showing us the way, we may not have made it this far.

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The International Style applied on the Wisma Television is slightly different from its application in

European and Western countries. The main difference between Europe and Malaysia is the weather

and climate. For instance, Malaysia is only hot and humid throughout the year with its equatorial

climate. These factors heavily influenced the choice of materials and their construction method.Thus,

the consideration of materials used play an important role before constructing a building. There are

some materials used in Angkasapuri such as concrete, aluminium, ceramic tile, terrazzo, wood, tinted

glass and brick.

5.1 Concrete

Nowadays, concrete is widely used in many types building around the world. The major material used

for facade of Wisma Television is concrete too. It is a trait inherited from modernism. Concrete is

commonly used in modern architecture because it is cheap, durable and able to cast any desired shape

easily.

5.1.1 PRECAST CONCRETEThe exterior of Wisma Television has almost zero ornamentation, other than the entire block is shaded

with repetition of unique shield form to act as sunshading purpose. Concrete is divided into two

category in construction method, which is precast and cast in-situ. These shields are made up from

precast terrazzo concrete. Precast concrete is manufactured and prefabricated in factory, then

transported it to site and assemble it. Using precast concrete is not only faster, but also safer as secure

working platforms are quickly established.

Precast shield-liked terrazzo concrete form

5.0 BUILDING CONSTRUCTION ( STRUCTURE AND MATERIAL)

5.1 CONCRETE

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Owing to precast terrazzo concrete shields need to installed at the facade, the reinforcement bars

were designed extended out from the building for the structure to place on it.

Detail of the joint between the column and fenestration covering

5.1.2 REINFORCED CONCRETE

Reinforced concrete is widely used in Angkasapuri building. To maximize the cooling effect of the

building due to the local weather, barrel-vaulted roof is shaped between the tower block and

Television House. The construction of the aligned barrel-vaulted roof act as shading to control the

sunlight entering to the building. Reinforce concrete is a combination of traditional cement with

reinforcement which is steel bar. This combination is made to utilize the compressive strength of

concrete and tensile strength of steel simultaneously.

Barrel-vaulted roof

Detail of concrete

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Brick is simple, unornamented, and used in rectilinear masses and planes. It used in facade of Wisma

Television as well. It is similar with the precast concrete which is repetition of brick to create modern

aesthetic.

Brick wall facade

Aluminium has been such a ubiquitous material in 20th century architecture. It had considerable

advantages such as light weight, malleability,corrosion resistance and its alloy ability for special

properties. Repetitive unit of different size of circles aluminium was used as ornamentation purpose

and shading purpose for screen of the window at the entrance hall’s curved shell window.

Furthermore, the hallway was created with the aluminium pattern. It is designed Islamic arch and

repetition of geometrical floral-arabesque which presented Islamic style. It used to symbolize the

transcendent, indivisible and infinite nature of God.

Patterns that created by aluminium

5.2 BRICK

5.3 ALUMINIUM

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5.4 Tiles

Tile is a common building component and normally used for finishing. There are different types of

materials applied for interior and exterior to achieve certain aesthetic value and suit to context.

5.4.1 CERAMIC TILES

One of the tile can be found from the exterior is blue ceramic tiles combine with some black ceramic

tiles. It is a type of glazed tile with sheen on the surface. Ceramic tiles is also one of the important

elements as part of the heritage as yet it has not been changed during renovation. Therefore, this type

of tile is suitable to apply on the wall and the exterior column.

5.4.2 TERRAZZO TILES

Terrazzo tile is one of the cooling system from ancient beginning. It has an excellent quality and

appearance. Terrazzo elements are made in controlled, easy-to-work-in environment and often

employ similar mechanical equipment to finish marble or granite.

Detail of terrazzo form

Terrazzo Staircase

Standard Terrazzo- The surface is ground smooth, flat and marble-like surface. It was used for the

facade and the interior staircase. However, this terrazzo is not suitable to install outdoor due to the

exposure to the weather.

5.4 TILES

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Rustic Terrazzo- This type of terrazzo which comes with a textured surface is available with sand

cushion, structural, bonded and monolithic terrazzo systems. This material can be seen on the exterior

flooring, exterior step of staircase and column. It is rough surface for slip resistance purpose.

Exterior wall and steps of staircase

Wood is one of the traditional material that been use till today. It is naturally beauty, durable and

good for health and wellbeing.

5.5.1 WOOD WITH FLORAL PATTERN CARVING

One of the characteristic of modernism is using of traditional material in new way reflecting a modern

aesthetic. In this building, there are using timber combine with Islamic ornamentation in Malaysia to

create floral pattern carving door. Other than carving door, some decorations are made with wood

carving like the counter. This building is not only a modernise building but it is symbolize the identity

of Malaysia’s culture

Floral pattern carvings doors and decoration

5.5 WOOD

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5.5.2 WOOD FINISHES

Wood is applied in interior of the walkway in Wisma Television. Wood is often stained rather than

painted to express its natural character.

Wood wall along the walkway

Due to the hot weather in Malaysia, the chosen of glass is very important. It will affect the

temperature of whole building. For the building of Angkasapuri, window glazed with tinted glass was

installed behind the sun shading panels.

5.6.1 TINTED GLASS

Tinted glass is suitable to use in Malaysia because it can reduce the heat into interior. Glass can be

tinted with various types of coating which according to customer needed. Moreover, use of tinted

glass brings advantages to us such as block UV rays, reduce glare and increase privacy.

Tinted glass found from the facade

5.5 GLASS

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The construction of a single glazed glass window begins with building a frame on the opening on the

wall. A single piece of tempered glass manufactured by heating up normal annealed glass and rapidly

cooling it down, fitted into frame afterwards. Double glazing windows are not used because poor heat

conductor so the inner heat cannot release to outer.

Detail of glass window

5.7 Conclusion

In conclusion, modernism is the single most important new style and design of the 20th century from

Europe and Western countries. The style is characterised by using of sun and shading to enhance

human conform, modern material and system and lack of ornament. When those characteristic

applied in Angkasapuri, it was different from the other countries according to the climate and

weather. Material used play an important role in construction this building. The materials should be

chosen properly due to the hot weather in Malaysia. For instance, the use of precast concrete as sun

shading panel which combined modernist architecture and the climate in Malaysia. It reduces the cost

of air-conditioning, but also tend to give the building a rather muddied appearance. Last but not least,

Angkasapuri was applied Islamic culture in some part of building. It successfully created a beauty

identity of Malaysia’s building in that time.

5.6 CONCLUSION

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6.1.1 THE FORM OF THE BUILDING

Each building may have different components. Architectural elements are the unique details and

components that, together, form the architectural style of a building. Angkasapuri was built in such an

international style with an emphasis more on architectural style, form and aesthetics than the social

aspects of the modern movement. The typical characteristics and elements that represent the

International Style buildings include rectilinear forms; plane surfaces that are completely devoid of

applied ornamentation; and open, even fluid, interior spaces. This early form of minimalism had a

distinctively "modern look", reinforced by its use of modern materials, including glass for the facade to

show the fenestration.

Rectilinear form of the the building which represents a minimalism which is devoid of ornamentation giving a distinctively modern look

6.0 ARCHITECTURAL ELEMENTS

6.1 THE INFLUENCE

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FACADE

The local climatic conditions have warranted the use of many ingenious means to adapt International

style to local requirements. Angkasapuri uses such design of the facade which act as theshading

panels, grilles or even louvers instead of the ‘Basic form’ of international style in Europe, American and

even in local as to serve as the purpose to cope with the local climate and block the sun’s rays and

naturally lower the temperature in that building’s space. 'Basic form' wasn't able to cope with the local

climate. 'Form' meets its demise, and 'need' steps in as the catalyst for adaptation.

The unique shape of the shading panel which act as a griller or louvers, and also to give such aesthetic look by the repetition of the panel forming its own ornamental feature on the facade itself

AZ. The Bank of America Building, c.1961. This is a typical appearance and design for international-style office towers of the 1960s, small and large.

Includes plate glass windows separated between the floors by spandrel panels red

6.1 BUILDING FACADE

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The name “horseshoe crab” originates from the rounded shape of the head. Just like the shoe on a

horse's foot, the head is rounded and U-shaped. Just like the shape of the shading panels of Wisma

Angkasapuri was actually inspired from the shape of horseshoe crab and also the shield of warrior

which symbolize defensive, strong, protection and status. People were said that it was also inspired

by the tongue as Angkasapuri was representing democracy and music. It was a unique project to

preserve the nation’s musical khazanah, bringing the sense of anticipation to an unbearable zenith.

The shape of the shading panel. Like a shield that resembles a horseshoe crab shell

K uala Lumpur, Malaysia. Menara DBKL (Left) and Malaysia House of Parliament (Middle). Appearance and design for international-style building of the

1960s. Clean and unmistakable lines that were convoluted by grilles and large panels to keep the sun out.

6.1.2 SHADING PANELS

6.1 BUILDING FACADE

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The shape of Horseshoe crab. Where the inspiration came from for the shading panel’s shape.

Due to the local environment, roof is shaped according to the local context to constrain the sun heat

and glare from reaching the window. When people look at the view of the outside, the roof blocks the

glare of the sun which causes uneasiness to the eyes

6.2 BAREL VAULTED ROOF

Barrel Vaulted Roof Categories as Calenary type

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To maximize the cooling effect of the building, the architect implies the thin curved shell roof (Barrel

vaulted roof) to shade the interior from sunlight. Repetition of these roof and to align them together

has replace the boring flat roof as one of the show piece of the building.

6.2.1 METAL FRAME

The metal frame that attach to the middle of the roof has repetitive unit of different size of circles

enhance the shielding effect to the interior and act as an ornamentation purposes. It gives the window

a pleasing look but from the inside the view of the outside is block by the ornamentation. When the

sun shine on to the ornament a beautiful shadow was shown onto the ground like a piece of art of a

cast shadow.

To enhance the shading effect

Create beautiful Cast shadow

As an Ornament to that huge plain glass panel

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6.2.2 CLERESTORY

Besides, the curved shaped roof also happen to create a clerestory resulted from the barrel vault ceiling at the

main entrance allowing huge amount of natural lightning to penetrate into the building and minimized the

usage of artificial lightning for the entrance hall.

HALLWAY

As the main population of Malaysia is muslim, islamic architecture flourish throughout the country

independence. Islamic arches that used inside the building, mainly in the hallway show the effort to the british

architect to include local culture to the building. The islamic decoration on the arches makes great use of

geometric pattern which have developed over the centuries. Many of them derived from various earlier

cultures: Greek, Roman, Byzantine, Central Asia and Persian.

At the pathway behind the lobby, the simple arches were decorated with malay culture elements, it was to symbolize our country.

6.3 ISLAMIC MOTIF

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Despite Using Plain and straight column, the architect uses organic shape of columns to enhance

movement along the hallway. This has created a new form of column and different ambiance of the

space.

INTERIOR ELEMENTS

As for the interior elements, one of the significant element that make used of the material which

called the Terrazzo was applied to design the stairs in the the building, it was adapted in Art deco’s

design concept which remarks the characteristic of international style in neo-classical themes. The

style is characterized by grandeur of scale and simplicity of geometric forms with lavish

ornamentation.

6.4 STRUCTURE

6.5 STAIRCASE

33

The components in wisma angkasapuri are designed with malay element (Wood carving) which mostly could be seen in the lobby area.

Base on the elements that reflects the international style, mostly were devoid of ornamentation. By

mid 18th century, some of the local architects had convey a Malaysian identity into architecture by

using structures and elements of traditional architecture. The elements in Angkasapuri play an

important part in reflecting Malaysia characteristics, which also reflect our national identity.

Therefore, the ornamentation were added later on Through the beauty of wood carvings and

elements used as ornamentation on plain structures to uplift nationalism in Malaysian.

In conclusion, I had notice that this building itself had such a unique feature named as the ‘’Belangkas’’

element that provide shades to the fenestration and cools the building naturally. It was influence by

the architectural style during that time which known as the international style, simple form with

devoid of ornamentation and with spandrel as its fenestration. But due to Malaysia’s climate, huge

window could brought a lot of consequences into the building, therefore, the design has to be in a way

to adapt the current environment where this leads to shading elements as a part of its design.

Besides, Angkasapuri has many interesting features such as how modern building can coexist with the

local architecture which of islamic architecture can be seen in the components of the building. Last but

not least, Wisma Angkasapuri has adopted the essence of western architecture and local influences

well and become one of the important landmarks in Kuala Lumpur.

6.4 ORNAMENT ON WALL

6.7 CONCLUSION

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7.0 CONCLUSION

35

Wisma Angkasapuri has always been and will always be one of the defining examples of

modern architecture in Malaysia. It has throughout the years, been the icon of

progressiveness and stability. It has witnessed, from its hilltop overlooking the Federal

Highway, the rapid growth of a city and a country. As impactful as it was when it was first

completed, the design of Wisma Angkasapuri will continue to be referred to by future

architects in the years to come.

A lot can be learned from the careful and robust design of the complex, from the spatial

planning all the way to material choices. The architects and engineers at the time never

skimped on construction methods and materiality. It was as honest a design as it can be,

as the complex was designed based on function rather than form. It is also a prime

example of how local requirements, be it climatic or geographic, are taken into

consideration when applying a foreign style within the Malaysian context.

Although the modernist movement have slowed down drastically worldwide, it still

serves as the foundation to various other styles that followed. Modernism have paved

the way to a paradigm shift in how architects design. It has taught architects that

architecture is not just about design. Architecture has a way to change people’s lives and

produce a better, healthier and happier society. Modernism showed that Architecture

encompasses everything surrounding us, and that architects should be sensitive to them.

Globally, we may have Le Corbusier’s Villa Savoye, Frank Lloyd Wright’s Fallingwater, or

Mies Van der Rohe’s Barcelona Pavilion to remind us of how much Modernism changed

the landscape. However, within the Malaysian context,

we will always have Angkasapuri.

REFERENCES

1. "Modernism". Architecture.com. N.p., 2016. Web. 20 June 2016.

2. "Specifying Precast Terrazzo". Constructioncanada.net. N.p., 2016. Web. 16 June 2016.

3. "What Are The Advantages Of Window Tinting?". Carlitos Tints. N.p., 2016. Web. 20 June 2016.

4. "Terrazzo Flooring". Cabella Stone. N.p., 2016. Web. 20 June 2016.

5. Ross, king. (November 2008). Kuala Lumpur and putrajaya : Negotiating Urban Space in

Malaysia

6. Khan, Hasan-Uddin. International Style. Ko ̈ln: Taschen, 2001.

7. Lim, Teng Ngiom, Jasmeet Singh Sidhu, and Ahmad Najib Ariffin. Shapers Of Modern Malaysia.

[Kuala Lumpur]: Malaysian Institute of Architects, 2010.

8. Chan, Chee Yoong and Ken Yeang. Post-Merdeka Architecture. [Kuala Lumpur]: Pertubuhan

Akitek Malaysia, 1987.

9. Ali, Suleiman. "Angkasapuri, City In The Sky". Perpustakaan Negara Malaysia. N.p., 1995. Web.

8.0 REFERENCES

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