report final old state museum of kedah

METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305) OLD STATE MUSEUM OF KEDAH

ALOR SETAR

JANUARY – MARCH 2017

The Old State Museum

of

Kedah

Declaration

It is a group effort by:

Nik Ahmad Munawwar Nik Din

Benjamin Tan Zi Hern

Chang May Chen

Low Chi Yin

Chia Keh Chian

Chloe Teh Shu-Ern

Chong Jia Yi

Chong Wen Bin

Bachelor of Science (Honours) (Architecture)

January 2017

Taylor’s University

Supervised by:

Mohd Adib Bin Ramli

Loo Yee Pei

Loong Bo Lin

Muhammad Zaim Bin Azmi

Shum Li Sze

Tg Nabilah Diyana Binti Tg Mohd Amran

Teo Kuo Chien

Vincentia Mutiara Kartika

Wee Sue Wen

This report was submitted for the module ARC 1215 / ARC60305 - Methods of Documentation and Measured Drawings,

to School of Architecture, Building & Design of Taylor’s University to obtain 5 credits for Practicum 1.

AbstractThe following report is produced in conjunction with the completion

of the Methods of Documentation and Measured Drawings module,

which documents the research, analysis and measured drawings of

the Old State Museum building in Alor Setar, Kedah. Data collection

pertaining to building measurements, historical information and

visual documentation were conducted by a group of 16 architecture

students from Taylor’s University throughout a period of five days

on site. The Old State Museum was Kedah’s first purpose-built

museum, completed in 1961. It now serves as the office for the

museum administration as well as the Kedah Historical Society after

the present museum building is completed. The building is a prime

example of buildings built during the early years of Merdeka, of a

nation still searching for a national identity. Hence, it provides an

excellent platform for architecture students to study the historical

progression of architecture in Malaysia.

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Acknowledgement

The group would like to extend its utmost appreciation to the following

individuals who have actively assisted throughout the group’s journey in

completing this module.

First and foremost, our gratitude goes out to our lecturer, Mr. Adib, who had

provided the group with immense support, including having the patience to

put up with our antics, all the way from day one up until the completion of

the project.

Our appreciation also goes out to Dr. Nor Hayati for carefully designing the

module to be as beneficial as it is to our learning development. We have

indeed gained a lot from the experience over the short period of time.

Finally, we would like to extend our appreciation towards Lembaga Muzium

Negeri Kedah and Persatuan Sejarah Negeri Kedah and their officers for

allowing us to conduct measurement and research activities on the museum

grounds, and for providing us with significant amount of information to ease

the research process.

CONTENTSCHAPTER 11.1 The Old State Museum of Kedah 1.2 Objectives and Aim1.3 Group Structure and Organisation 1.4 Timeline 1.5 Methods of Measurement 1.6 Equipments Used1.7 Methods of Research 1.8 Literature Review1.9 Significance of Study1.10 Scope1.11 Limitations

CHAPTER 22.1 Malaysia, Kedah and Alor Setar2.2 Local Culture and Heritage2.3 Kedah Historical Society2.4 Museum of Kedah Development Timeline2.5 Purpose and History of the Old Museum

CHAPTER 33.1 Site Context3.2 Landscape3.3 Architectural Influences3.4 Refurbishment Into Administration Office

CHAPTER 44.1 Form4.2 Spatial Planning4.3 Symbolism

CHAPTER 55.1 Columns5.2 Doors5.3 Windows5.4 Ceiling5.5 Lighting5.6 Wooden Carvings5.7 Bronze Metalwork5.8 Portico Ornamentation

CHAPTER 66.1 Structural Materials6.2 Non-Structural Materials6.3 Floor Covering & Finishing

CHAPTER 77.1 Timber Colonnade7.2 Roof Timber Skeleton7.3 Timber post beam & Floor Joists7.4 Windows & Doors7.5 Staircase7.6 Others

CHAPTER 88.1 Operation And Functionality Of The Building8.2 Exterior8.3 Improvement Suggestions on Design

CONCLUSIONGLOSSARYAPPENDIX

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Figures

Fig 1.01: Photo of the building as a museum

Fig 1.02: Group structure

Fig 1.03: Group members

Fig 1.04: Group members on site

Fig 1.05: List of subgroups and job distribution

Fig 1.06: Working in the laser cutting workshop

Fig 1.07: Measurement instrument on site

Fig 1.08: Measuring and recording data on site

Fig 1.09: Conducting and interview with Chairman of Kedah Hostorical Society, Dato’ Wan Shamsuddin

Fig 1.10: Model making in progress

Fig 1.11: Gantt chart

Fig 1.12: Sketching a template to record measurement

Fig 1.13: Using measuring tape to determine the run of a staircase

Fig 1.14: 30m measuring tape for medium length measurement

Fig 1.15: Laser measurement tool for inaccessible locations or distance

Fig 1.16: Tripod stand for DSLR camera

Fig 1.17: Level ruler used with laser measurement tool to determine angle

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LIST OF FIGURESCHAPTER 1

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Fig 1.18: 8m aluminium CAT ladder to climb up inaccessible height

Fig 1.19: Ruler for measurement of small details

Fig 1.20: DSLR camera to capture video footage and photo

Fig 1.21: Powerful laptop with Autocad for instance CADing on site

Fig 1.22: Reference materials including books, pamphlets and special publications

Fig 1.23: School boys and girls waiting in line to enter the old museum (c.1971)

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CHAPTER 2Figures

Fig 2.01: Masjid Zahir and Dataran Alor Setar

Fig 2.02: Menara Alor Setar in city centre

Fig 2.03: Kedah traditional attires; Baju Melayu Cekak Musang and Baju Kurung Kedah 24

Fig 2.04: Performers performing Cinta Sayang dance for an event

Fig 2.05: Depiction of the game Sepak Bulu Ayam

Fig 2.06: Logo of the Malaysian Historical Society

Fig 2.07: Balai Besar in Alor Setar

Fig 2.08: The late Tan Sri Mubin Sheppard

Fig 2.09: School excursion at the old museum

Fig 2.10: The new building of Kedah State Museum

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CHAPTER 3Figures

Fig 3.01: Location plan of Kedah State Museum Complex

Fig 3.02: Site plan with landmarks

Fig 3.03: Entrance to Wat Siam Bakar Bata Buddhist

Fig 3.04: Façade of Persatuan Leong Say Tong Kedah/Perlis

Fig 3.05: Stadium Darul Aman

Fig 3.06: Buildings within the museum complex

Fig 3.07: Entrance to the new museum

Fig 3.08: Old museum building, now museum and administrative office

Fig 3.09: Headquarters for the Kedah Historical Society

Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the old museum

Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim

Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah

Fig 3.13: Drainage system around the complex

Fig 3.14: Concrete paves used on site

Fig 3.15: Planter boxes as part of landscaping

Fig 3.16: Blue and pink mosaic tiles at the corridor

Fig 3.17: Wodyetia Bifurcata

Fig 3.18: Ficus Benjamina

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Fig 3.19: The National flower, Hibiscus

Fig 3.20: Ravenala Madagascariensi

Fig 3.21: Ixora

Fig 3.22: Fruit trees on site

Fig 3.23: Comparison of the old museum with the design of a Malay traditional house

Fig 3.24: Large roof overhangs define the vernacular Malay house

Fig 3.25: The grand entrance to the old museum

Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom)

Fig 3.27: List of timber according to construction parts

Fig 3.28: Comparison of decoration openings between traditional Malay house and the old museum

Fig 3.29: Comparison between building layout of traditional Malay house and the old museum 48

Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia 49

Fig 3.31: Influence of colonial styled architecture on the arches shading devices 49

Fig 3.32: Open floor plan for the interior space, segmented by movable partitions

Fig 3.33: Example of open plan floor, Villa Savoye by Le Corbusier

Fig 3.34: Pilotis at the corridor

Fig 3.35: The free façade

Fig 3.36: Modernist motifs at the windows and entrance of the old museum

Fig 3.37: Roof overhang ornamentations in Thai architecture

Fig 3.38: Wooden overhang ornamentation on the roof of the old museum

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Fig 3.39: The old museum in its heyday

Fig 3.40: The old museum today

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CHAPTER 4Figures

Fig 4.01: The team arriving at measurement site old building of Kedah State Museum 55

Fig 4.02: Example of ‘Gajah Menyusu’ house

Fig 4.03: Adaptation of Malay vernacular roof by the old museum building

Fig 4.04: Front portico of the old museum

Fig 4.05: East elevation showing evidence of symmetry

Fig 4.06: Building columns being repeated along the corridor

Fig 4.07: North elevation showing repetition elements in the building

Fig 4.08: Contrast in materiality between the ground floor and the first floor

Fig 4.09: The scale of the front portico evokes a sense of grandeur

Fig 4.10: The double staircase at the entrance of Balai Besar

Fig 4.11: The double staircase at the entrance of the old museum

Fig 4.12: The linear open plan for both ground floor (top) and first floor (bottom) of the old museum

Fig 4.13: The museum’s application of pitched roof to combat local weather

Fig 4.14: Diagram demonstrating stack ventilation inside the building

Fig 4.15: Ornamentation at the front portico

Fig 4.16: Inverted ‘S’ motifs around the building

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CHAPTER 5Figures

Fig 5.01: Conditions of columns around the building

Fig 5.02: Entrance to the first floor, accessible via the grand double staircase

Fig 5.03: Entrance to the office at the ground floor

Fig 5.04: Close up of door handle

Fig 5.05: Louvered ‘Jalousie’ windows around the facade

Fig 5.06: Wooden louvered windows on the ground floor contrast the glass louvered windows on the first floor

Fig 5.07: First floor interior fenestration via glass louvered windows

Fig 5.08: Ground floor windows are now sealed from inside.

Fig 5.09: Tinted casement windows replacing the original louvered windows

Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building

Fig 5.11: As wood carvings are common in Malay traditional architecture, they are used abundantly in the design of this building. They can be

found below the windows and roof

Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outwards from the middle to create a star-like shape

Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar inverted ‘S’ pattern as seen in the picture are repeated

throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the

Fig 5.14: Bronze metal artwork on the first floor

Fig 5.15: Close up of bronze metal art work

Fig 5.16: Rubber tappers collecting latex

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Fig 5.17: Farmers harvesting on paddy field

Fig 5.18: Farmer ploughing the land with a bull

Fig 5.19: Locals pounding rice the traditional way

Fig 5.20: Multiculturalism in Malaysia

Fig 5.21: Traditional activities of the locals

Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico

Fig 5.23: Application of the ornamentation on a triangular window

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CHAPTER 6Figures

Fig 6.01: Building elements made out of chengal at the front portico

Fig 6.02: Reinforced concrete column and footing

Fig 6.03: View of reinforced concrete columns from the corridor

Fig 6.04: Bricks wall on the ground floor

Fig 6.05: Museum display cases made of clear glass

Fig 6.06: Office partition walls made of clear glass

Fig 6.07: East elevation tinted glass door

Fig 6.08: East elevation tinted glass casement windows

Fig6.09: Tinted glass office partition wall

Fig 6.10: Texture of frosted glass

Fig 6.11: Application of frosted glass

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Fig 6.12: First floor louvered windows made of frosted glass

Fig 6.13: Timber door and timber partition wall at the interior

Fig 6.14: Nyatoh and meranti building elements at the front portico

Fig 6.15: Iron work ornamentation at the portico

Fig 6.16: Close up of iron work ornamentation

Fig 6.17: Application on the window grille

Fig 6.18: Staircase baluster made out of iron

Fig 6.19: Barrel lock made out of iron

Fig 6.20: Tinted windows with aluminium frame

Fig 6.21: Close up photos of frosted glass window with aluminium mullion

Fig 6.22: A row of bronze metal artworks in the first floor as part of interior decoration 86

Fig 6.23: Reinforced concrete double staircase

Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer 87

Fig 6.25: Concrete flooring with mosaic tiles

Fig 6.26: Concrete drainage

Fig 6.27: Unglazed ceramic mosaic tiles

Fig 6.28: Ground floor plan shows the usage of unglazed ceramic mosaic tiles

Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridor

Fig 6.30: Layers of paint coating accumulated over the years

Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions

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Fig 6.32: Roof coverings made of clay roof tiles

Fig 6.33: Texture of clay roof tiles

Fig 6.34: Ground floor plan shows the usage of unglazed ceramic mosaic tiles

Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles

Fig 6.36: First floor plan showing areas covered by carpet

Fig 6.37: First floor interior carpet flooring

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CHAPTER 7Figures

Fig 7.01: Ground floor plan showing the location of timber colonnades

Fig 7.02: Timber colonnades at the corridor

Fig 7.03: Axonometric detail of the roof construction

Fig 7.04: East elevation

Fig 7.05: Section showing construction details

Fig 7.06: Tenon and mortise joint

Fig 7.07: Bird’s mouth joint

Fig 7.08: Timber roof trusses

Fig 7.09: Image shows the steel straps connectors

Fig 7.10: Connection of clay roof tiles

Fig 7.11: Sketch drawing of construction of clay roof tiles

Fig 7.12: Timber fascia boards at the roof edge

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Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection

Fig 7.14: South elevation shows the location of aluminium-framed louvered windows

Fig 7.15: Details of louvered windows with aluminium frame

Fig 7.16: South elevation shows the location of casement windows with aluminium frame

Fig 7.17: Details casement windows with aluminium frame

Fig 7.18: Casement windows with aluminium frame

Fig 7.19: South elevation showing the location of traditional timber louvered windows

Fig 7.20: Perspective view of the windows

Fig 7.21: Details of traditional timber louvered windows

Fig 7.22: North elevation shows the location of timber door with glass panels

Fig 7.23: Details of timber door with glass panels

Fig 7.24: Mortise locks at the exterior of the timber door

Fig 7.25: Barrel bolt and door closers at the interior of the timber door

Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase

Fig 7.27: Connection of different parts of staircase

Fig 7.28: Sectional drawing of reinforced concrete staircase

Fig 7.29: Handrails and iron balusters of staircase

Fig 7.30: First floor plan showing the location of interior open stringer timber steps

Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge

Fig 7.32: Axonometric drawings of exterior ornamentations

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Fig 7.33: Inverted ‘S’ shape ornamentation

Fig 7.34: Close up of the architrave

Fig 7.35: Bronze metal artwork in the first floor

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CHAPTER 8Figures

Fig 8.01: Dignitaries visiting the old museum

Fig 8.02: Condition of the first floor today

Fig8.03: Original colour of the old museum

Fig 8.04: Colour of the old museum today

Fig 8.05: Changes of the roof colour over time

Fig 8.06: Deterioration of column base

Fig 8.07: Ageing of timber column

Fig 8.08: Changes in the windows

Fig 8.09: Addition of tinted glass sliding door to the main entrance

Fig 8.10: Degradation of wood panelling for the exterior shading device

Fig 8.11: Some parts of the exterior ornamentation have fallen off from the wall

Fig 8.12: Minor oxidation of the metal ornamentation

Fig 8.13: The first floor is now completely covered by carpet

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Chapter 1

Introduction

Chapter 1: Introduction

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1.1 THE OLD STATE MUSEUM OF KEDAHThe old State Museum building, located in Bakar Bata, Alor Setar was

Kedah’s first ever state museum, set up by the newly formed Kedah

Historical Society in 1961. The building took over the role of exhibiting and

safekeeping the state’s most highly prized historical treasures from Balai

Besar, which was a temporary museum to house pre-historic artifacts found

in Bujang Valley. The old museum was originally set up to be a shared

building between the state museum and the city library. However, as

the number of collections and exhibitions grew, the museum space was

expanded to occupy the entire building.

The design of the building was heavily inspired by the design of the Balai

Besar in central Alor Setar, albeit with simplified ornamentations and the

incorporation of modernist elements. The idea for the design was proposed

by the late Mubin Sheppard, a well known historian at the time who was

actively involved with the setting up of the Kedah State Museum. Its

design was finalised and approved by Jabatan Kerja Raya (JKR) Kedah

and constructed with financing from the federal government. The design

incorporates mainly traditional Malay motifs commonly found in the design

of vernacular Malay house, more specifically of the ‘Gajah Menyusu’ type

commonly found in Northern states.

With the completion of a new museum building adjacent to the original, the

old building has been transformed to become the administration office for

the state museum and the headquarters for the Kedah Historical Society.

Fig 1.01: Photo of the building as a museum


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1.2.1 AIM

The aim of this project is to produce a set of measured drawings and historical

documentation for the old State Museum of Kedah in Alor Setar, as a means

to develop an understanding on the principles of heritage preservation.

The process involves a number of components, beginning with the study

of the site, which includes surrounding buildings, geography, culture and

demographics. This was then followed by the detailed measurement of

the structure concurrent to conducting research via interview and literature

reviews. The outcome of these components are then to be documented

and presented via the production of full architectural drawings as well as

a complete publication comprising of both visual and literary components.

1.2 OBJECTIVES AND AIM


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1.2.2 OBJECTIVES

The main objective of this exercise is to develop an understanding and

appreciation of the architectural typology in Kedah, more specifically

pertaining to the historical evolution of the structure for the Old State

Museum of Kedah, within the context of the era it was built, as well as its

location and the original purpose of the structure. These understanding,

coupled with an in depth study of the technical and architectural details are

expected to aid in the preservation effort of heritage buildings in Malaysia,

which includes the Old State Museum structure. On the flipside, the process

of measuring and documenting is expected to assist in the development of

students’ skills in producing high quality measured drawings and research

publications. These activities provide first-hand experience for students in

terms of working on a large scale project in a team, an experience which

can be useful in professional practice in the future.


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1.3 GROUP STRUCTURE AND ORGANISATIONThe group is structured dynamically to be able to adapt to the changing demands of

different project requirements. The group structure evolves accordingly, before the

site visit, during the site visit and post-site visit in terms of allocation of personnels

in sub-teams that focus on a specific task. The benefit of this dynamic structure

is the ability for the sub-teams to specialise on a single component of the project

at a time, which would benefit the larger group in managing deadlines efficiently.

Another advantage of the shuffling of sub-teams is the opportunity for members to

experience different aspects of the project, thus maximising the experience gained

from the group work.

Pre-Site Visit

Before the site visit in Alor Setar, the group focused on compiling as much information

about the building and context as part of the two-week preliminary research period.

All team members participated in this stage. The building studied during this period

was the original building assigned to the group, the Balai Besar. Due to unforeseen

circumstances, the group had to be re-assigned to study and measure the Old

State Museum of Kedah instead. The preliminary research however did not go to

waste, as the Old State Museum was designed based on the Balai Besar. Hence,

a significant amount of data collected from the preliminary research is still relevant

in the study of the Old State Museum.

Tutor: Mr. Adib

Sub-Leader: Teo Kuo Chien

Modeling Team Reporting Team CAD Drawings

Sub-Leader: Loo Yee Pei

Group Leader: Nik Ahmad Munawwar

WEE SUE WENVINCENTIA MUTIARA KARTIKA

TG NABILAH DIYANA BINTI TG MOHD AMRANLOO YEE PEILOW CHI YIN

CHONG WEN BINLOONG BO LINMUHAMMAD ZAIM BIN AZMI

CHLOE TEH SHU-ERNSHUM LI SZEBENJAMIN TAN ZI HERN

NIK AHMAD MUNAWWAR BIN NIK DINCHANG MAY CHENCHIA KEH CHIAN

CHONG JIA YI

NAMETEO KUO CHIEN

Fig 1.02: Group structure

Fig 1.03: Group members


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Site Visit

During the site visit in Alor Setar, Kedah, the group was divided into

two main subgroups, the measuring team and the research team. The

measuring team was further divided into groups in charge of interior and

exterior measurements. The research team on the other hand was tasked

with researching the historical and architectural information from various

sources, photographing the structural details and process of measurement,

as well as shooting the video in preparation for the production of the

short documentary. Both teams would spend the day on site focused on

their specific tasks and regroup in the evening to compile and compare

notes to ensure the completeness of data. At this daily evening meeting,

the measuring team would CAD their measurements of the day, while the

research team would collate information, filter through and edit the photos

and video clips taken to determine the sufficiency of the footage collected. If

any insufficiencies are determined during the evening, the teams would then

itemise the required measurements, photo or video footage to be obtained

the next day.

Group Team Name

Measurement

Interior

Wee Sue WenChong Jia YiCharleene Low (Leader)Chia Keh ChianChang May ChenChong Wen Bin

Exterior

Loong Bo LinMuhammad ZaimBenjamin TanLoo Yee Pei (Leader)Shum Li SzeVincentia Mutiara

ResearchPhotos & Video

Nik Ahmad Munawwar Nik Din (Leader)Chloe Teh Shu-Ern

Interview & Observation

Teo Kuo ChienTengku Nabilah

Fig 1.04: Group members on site

Fig 1.05: List of subgroups and job distibution


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Post-Site Visit

After returning to Taylor’s University, the group started to compile each

component of the drawings to produce the final drawings for submission,

which include the floor plans, sections and elevations for the building, to

name a few. This process ran hand in hand with the research team’s effort

to produce the documentary video, photobook and report. To ensure an

equal learning experience for every person in the group, the members of the

research team were also required to produce CAD drawings for the detailed

ornamentation in the interior. With the drawings compiled, there was less

demand for individual CAD personnels in the measurement/drawing team.

Hence, some of the personnels were transferred to the research and

documentation team to assist with the production of the final report. On

top of that, a new team was also created to spearhead the model making

process, working closely with the measurement/drawing team. The model

making process began with the production of a digital model so to simplify

the process of deciding how the final physical model should be cut and

assembled.

Fig 1.06: Working in the laser cutting workshop


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Teams and Personnel

Measurement - Exterior & Interior Measurements and CAD Drawings

During the site visit, the exterior and interior teams were in charge of detailed

measurements, which include the floor plan, elevation, roof structure, doors

and windows, as well as exterior ornamentations. These measurements,

under the guidance of Loo Yee Pei were then used to produce the main grid

of the building which aids in the production of floor plans, building sections,

elevations and window schedules.

As part of the preparation to record the measurements, a rough sketch of

each component of the building were drawn out on butter paper as template.

The various measurements were then collated and compared to ensure that

they match, so that the floor plans, sections and elevations produced are

free of measurement discrepancies.

Fig 1.07: Measurement instruments on site

Fig 1.08: Measuring and recording data on site


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Research - Report, Interview, Video and Photobook

The research team’s main focus throughout the site visit and post-site visit was

the production of documentation, in either written or visual form to document

the building and the group’s progress. In preparing for the research, various

books relating to the architectural study were borrowed from the library,

in addition to the digital resources readily available online. Headed by the

group leader, Nik Ahmad Munawwar, the team was responsible in making

appointment for interviews with individuals knowledgeable about the history

and architectural details of the building, preparing the interview questionnaire

as well as conducting and recording the interview for research purposes.

The team was also tasked with recording footage and photos of the

building’s exterior and interior, coming up with a storyboard and script for

the production of the documentary and photobook.

The effort poured in by the team members culminated in the compilation

of a formal report which contains literary and photographic evidence of the

entire measurement and documentation process throughout the project

timeline. Fig 1.09: Conducting an interview with Chairman of Kedah Historical Society, Dato’ Wan Shamsuddin


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Modeling

The modeling team was formed after the interim review of drawings and

draft report. The team consists mainly of members previously working on

the report as well as members of the measurement team after submission

of their drawings for compilation. The research and measurement teams

were then downsized to allow the transfer of personnels into the model-

making team, spearheaded by Teo Kuo Chien.

The model-making process began with the production of a full 3D model of

the old museum in SketchUp, complete with construction details such as

the roof trusses and floor joists. The purpose of the 3D model was to ease

the process of deciding how the model should be built and sectioned to

maximise the visibility of architectural details. In the case of the old museum

model, the team decided to section out the East Elevation of the building

which holds the grand double-staircase and the entrance to the first floor.

The North Elevation will also be exploded, separated from the building to

expose interior spaces of the ground and first floor. Upon completion of the

design for the model, the measurement team then assisted in the production

of laser cutting templates to cut balsa wood and acrylic into building pieces

for the actual model. This was then followed with the assembly of the pieces

into a complete architectural model. Fig 1.10: Model making in progress


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1.4 TIMELINE

Fig 1.11: Gantt Chart


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1.5 METHODS OF MEASUREMENTOne of the key objectives of this project is to record measurements of the

Old State Museum down to the smallest detail. The biggest challenge in

recording the measurements is accuracy of the data recorded. Hence, a

general understanding was needed amongst team members on a standard

method of recording the readings, in order to avoid discrepancies in

measurement values when drafting in CAD later. Aside from a good set

of rules to adhere to during the measuring process, the accuracy of the

readings also rely on the instruments used. Precision equipments which

only allow a very small margin of error were used to get the best possible

measurement in the shortest period of time.

Various techniques of measurement were employed, including when

necessary, taking a picture of a structure with a ruler placed next to it for

scale so that the measurements can be recalibrated later in AutoCAD.

This method is particularly useful in measuring portions that are not easily

accessible with the equipments, commonly due to the lack of space.

Upon obtaining the measurements, the values were then recorded onto a

butter paper with a rough sketch of the portion of the building measured.

Each part takes up its own page as it contains detailed information specific

to the part, to avoid the measurements being mixed up with a different part

of the building.

Fig 1.12: Sketching a template to record measurements Fig 1.13: Using measuring tape to determine the run of a staircase


13

1.6 EQUIPMENTS USED

Fig 1.14: 30m measuring tape for medium length measurements

Fig 1.15: Laser measurement tool for inaccessible locations or distance

Fig 1.16: Tripod stand for DSLR camera

Fig 1.17: Level ruler used with laser measurement tool to determine angle


14

Fig 1.18: 8m Aluminium CAT Ladder to climb up inaccessible heights

Fig 1.19: Ruler for measurement of small details

Fig 1.20: DSLR camera to capturing video footage and photos

Fig 1.21: Powerful laptop with AutoCAD for instant CADding on site


15

1.7 METHODS OF RESEARCHThe research for the project began two weeks prior to the site visit, with preliminary research undertaken by all members of the group. The research

included mainly analysis done via online material and publications obtained from the university library. Research findings were compiled in a shared

document in the cloud, accessible by all group members for editing or referencing. Photos were compiled and sorted accordingly in a specific folder online

for ease of access.

Online Resources

Published online journals as well as recorded studies of the site and the

building were abundant. The research process also includes obtaining

information about the site and history of Kedah via videos online.

Print and Publications

Reference books and journals obtained from the University library as well as

the Museum’s library served as the primary source of information pertaining

to the history and architectural details of the building. One such instance is

the extraction of floor plans and elevations of the Old State Museum building

from an archived publication commemorating the museum’s anniversary in

2001. References obtained from the University library contributed in the

general study of buildings in the Northern states as well as an in depth

look into Alor Setar’s Balai Besar, which coincidentally provided the design

inspiration for the Old State Museum.

Fig 1.22: Reference materials including books, pamphlets and special publications


16

1.8 LITERATURE REVIEW

A book borrowed from the University library,

describes in detail the typical characteristics

of traditional houses in Penang and Northern

states.

Gifted by Dato’ Wan Samsudin, the chariman

of Persatuan Sejarah Kedah, the book contains

information on the history of Kedah, and the

customs and traditions of the people.

A gem found in the University library, the book

contains an in depth study of the architectural

details and a complete set of measured drawings

for Balai Besar, which formed the inspiration

for, and greatly influenced the design of the old

museum.


17

1.9 SIGNIFICANCE OF STUDY The objective of the module is to spark a sense of appreciation of the heritage

and diversity present in Malaysian architecture, which often times is a direct

reflection of the rich history and culture in Malaysia. Built on the foundation

of a multicultural society, the architecture in Malaysia benefits from the

blend of different styles, sometimes juxtaposing one another to produce

a captivating fabric of built environment, which is uniquely Malaysian. The

Old State Museum of Kedah is a prime example of this blend, blurring the

line between traditional vernacular architecture and the modernist design

language. This project is intended to scrutinise and dissect this fusion, in

order to create awareness and invoke interest in the study of local historical

buildings, with the intention to assist the preservation efforts of the Old

State Museum structure, as well as other historical buildings in Kedah and

Malaysia.


18

1.10 SCOPE The study focuses on the end-to-end measurement of the old building of

the Kedah State Museum, situated within the Kedah Museum Complex

along Lebuhraya Darul Aman in Alor Setar. Detailed measurement and

documentation of the structure were taken within the geographic and

historic context of Alor Setar, to ensure that the information collected

are substantiated by a solid understanding of its physical and historical

background. The Old State Museum building was the original home of

the Kedah State Museum, completed in 1961, when artifact collection and

preservation efforts began in Kedah in the mid-20th century. Prior to having

a purpose-built structure, the artifacts were housed at the Balai Besar, near

Dataran Alor Setar. The structure is today the administration office for the

Kedah State Museum. Due to the importance of the role it served during its

tenure as the home for the state museum, extreme care had to be taken

during the study and measurement process, as to not detriment the physical

aspects of the structure.

Fig 1.23: School boys and girls waiting in line to enter the old museum (c. 1971)


19

1.11 LIMITATIONSDistance

Distance was a major issue both during the site visit and after the site visit.

For example, out of 4 groups that were assigned to a location in Kedah,

two groups, including ours were assigned a building that was far from our

accommodation, requiring us to commute by bus every day. This was in

contrast to the other two groups who had the advantage of walking to their

site. The disadvantage of having to commute instead of walking is the time

limitation on site. We did not have the freedom to go early in the morning,

or stay back late on site to finish our measurements for the day. Instead, our

schedule was determined by the schedule of the bus.

Another way to define the issue with distance is the proximity of Alor Setar

from Kuala Lumpur. As compared to other groups who were assigned to go

to Melaka and Kuala Lumpur, we did not have the luxury of going back to

the site to take extra measurements or footages.

Roof Access

During our measurement process, we had trouble getting an accurate

measurement of the roof as we were not allowed to access or walk on

the tiles. The closest we were able to go was via a crane that limits our

movement to take accurate measurements.

Lack of Literature

Since the old museum building is currently not considered as a heritage

building, there is very little quality literature for us to research upon. Most

of the information compiled were either via word of mouth, or through old

photos and account statements. There was of course the museum library

which thankfully had very helpful staff. However, the reading material with

regards to the original building of the Kedah State Museum is still lacking.

Chapter 2

Historical Background

Chapter 2: Historical Background

21

2.1 MALAYSIA, KEDAH AND ALOR SETARSituated strategically in Southeast Asia, Malaysia benefits from its

geographical location in mediating global trade and becoming the melting

pot of various cultures. It is a multi-racial country, comprising of diverse

ethnic groups that live together in peace and harmony despite having

different customs and religions. This multiculturalism has made Malaysia

home to a colourful mix of art and architecture.

Kedah

The early history of Kedah can be derived from various sources, including

the prehistoric period from the archaeological site of Bujang Valley, the

early Maritime trade of India, Persia, Arabs from the written works of early

Chinese traders, as well as the Hikayat Merong Mahawangsa (known

as Kedah Annals) from Al-Tarikh Salasilah Negeri Kedah. The recorded

history of Kedah often begins with the Kingdom of Bujang Valley, located

in central Kedah. This maritime Kingdom was frequently visited by Indian,

Persian, Arabs and Chinese traders as far back as the 4th century CE / AD.

For many centuries, the Empires of Sri Vijaya, followed by the Cholas,

exerted their influence and dominance over this Kingdom. Kedah Peak

(Gunung Jerai), at 1217 metres, provided the navigational landmark for

ships in the Strait of Malacca. Bujang Valley was a centre of trade for the

Malay Peninsular and a transit trading post for ships awaiting the change of

currents and monsoon winds in the Indian Ocean. Traders soon propagated

Hinduism and their culture, building shrines and temples along the coastal

area, which is evident from artefacts found at the valley today.

The Kedah Annals tell an interesting tale of the first Kedah ruler, a Hindu

known as Merong Mahawangsa. He was the first Maharaja of Kedah.

Eight Hindu Maharajas were believed to have ruled Kedah before the ninth

maharaja, Phra Ong Mahawangsa, who converted to Islam in 1136. Upon

conversion, he subsequently ruled as Sultan Mudzafar Shah (1136 - 1179).

The Kedah Sultanate, the oldest monarchy in Malaysia, began with this

first sultan and has been hereditarily intact for more than eight centuries

until today. The Kedah Sultan is the constitutional head of state and

carries out his duties under the advice of the state government. The Kedah

government is headed by a Chief Minister (Menteri Besar), selected by the

State Assembly (Dewan Undangan Negeri). The State Assembly is formed

from representatives elected by the people of the state in their respective

constituencies.


22

Fig 2.01: Masjid Zahir at Dataran Alor Setar


23

Today, Kedah is still an agricultural-based economy, with a growing number of small scale

industries. The state is currently the largest rice producer in Malaysia. It also grows and

manufactures other agricultural products and related industries. Non-agricultural industries,

such as high tech manufacturing are mainly based in Kulim and Sungai Petani. The state

enjoys a diverse economy comprising mainly of agricultural, manufacturing and tourism.

Alor Setar

Alor Setar was founded in 1735 by the 19th Sultan of Kedah, Sultan Muhammad Jiwa

Zainal Adilin Mu’azzam Shah, and has been the state’s eighth administrative centre since

the establishment of the Kedah Sultanate in 1136. The earlier administrative centres were

located in Kota Bukit Meriam, Kota Sungai Emas, Kota Siputeh, Kota Naga, Kota Sena, Kota

Indera Kayangan and Kota Bukit Pinang.

“Alor” or more correctly, “alur” is Malay for a groove, furrow or main stream of a channel.

In Tamil “alur” means drain. “Setar” is a tree with small, sour fruit (Bouea macrophylla) also

known as either “kundang” or “remia” in Malay. The city has been attacked twice, when

Kedah was attacked by the Bugis in 1770 and the Siamese in 1821. Alor Setar was officially

granted a city status – the ninth in Malaysia, on 21st December 2003, during which the

spelling of its name was temporarily changed from Alor Setar to Alor Star. The proclamation

ceremony to declare the Alor Setar a city was held at Dataran Tunku.

Fig 2.02: Menara Alor Setar in the city centre


24

2.2 LOCAL CULTURE AND HERITAGE

Traditional Clothes

The traditional garments of locals in Kedah have significant Thai influence

because of its proximity to Thailand. A prime example would be the ‘Baju

Kurung Kedah’ which resembles the simple short blouse often worn by

women in Thailand. It is noted for being shorter than the common ‘Baju

Kurung’ in other parts of Malaysia. It is normally worn with less accessories

to achieve a simple look and is considered demure when matched with ‘kain

sarong berlipat’. On the other hand, local Malay men would wear ‘Baju Melayu

Cekak Musang’ or the ‘Baju Sikap’. The ‘Baju Sikap’ has been worn since

1786, with buttons running down the front up to the waistline. It is paired with

pants containing patterns with Chinese-influence and a ‘samping’ - a piece of

ornamented cloth tied around the waist.

Fig 2.03: Kedah traditional attires, the Baju Melayu Cekak Musang and Baju Kurung Kedah

25


Traditional Dance

As one of the oldest civilisations in Malaysia, Kedah has over the years

developed its own traditional dance. Dances are usually performed at

festivals as entertainment.

Traditional Games

The Cinta Sayang dance was derived from an original dance called

‘Remembrance of Grace’. It is famous in the state of Kedah and is usually

danced historically by fishermen in the West Coast states of Malaysia. Cinta

Sayang is a representation of families of fishermen who wish them good

fortune at sail and return with big rewards. The fishermen also prayed that

their wives will be safe from harm during their absence. Now, the Cinta

Sayang dance is a tribute to a laid-back, fun lifestyle and is danced in pairs.

“Sepak Bulu Ayam” is a game consisting of a quill shuttlecock which at

a glance looks almost like a modern day shuttlecock. This game requires

a great amount of dexterity and balance in keeping the quill shuttlecock

in the air for as long as possible, with the objective being scoring

points. The player has to kick the quill using the inner edge of his heel

or toe. In certain situations, players are allowed to receive the quill with

their head, chest or knee but not by hand. The player will be forfeited if

the quill touches the hand. This game is usually played amongst men.

Fig 2.04: Performers performing the Cinta Sayang dance for an event

Fig 2.05: Depiction of the game “Sepak Bulu Ayam”

26

2.3 KEDAH HISTORICAL SOCIETYThe history of Kedah Historical Society began way back during the

establishment of the Malaysian Historical Society in 30th April 1953, 4

years before Malaysia achieved its Independence from the British. The

Kedah Historical Society was established as a branch of the Malaysia

Historical Society to keep records of historical events in Kedah. The then

Vice President of the society, Tunku Nong Tunku Mohd Jiwa suggested

the establishment of a historical museum for the state. His suggestion was

supported by Mubin Sheppard, the President of Malaysian Historical Society.

The Kedah Historical Museum was established on 3rd February 1957.

The museum, which was initially located at the ground floor open

space of Balai Besar in Alor Setar, was launched by Tan Sri Tunku

Ismail Bin Tunku Yahya, the Chief Minister of Kedah at that time.

Today, more than 50 years later, the museum has played a huge role in

maintaining the heritage and precious treasures of the history of Kedah. Fig 2.06: Logo of the Malaysian Historical Society



27

2.4 MUSEUM OF KEDAH DEVELOPMENT TIMELINE


28

2.5 PURPOSE AND HISTORY OF THE OLD MUSEUMIn the early stages of its establishment, a number of issues arose such

as the lack of money and space. This hindered the development of

museum activities. As the collection of artifacts grew over the years,

there were issues with space limitations for large exhibitions, and a

storage system that was not purpose-built for the safekeeping of artifacts.

This issue prompted the board of the Kedah Historical Museum to find

ways to increase the exhibition space. In 1958, a draft for a new structure

was submitted to the state government. The board proposed that a new

building was necessary. The state government finally agreed to build a

new museum on a piece of land owned by the government in Bakar Bata.

The design for the new building, which took some cues from the Balai Besar,

was put forward by Mr. Sheppard. He had a deep appreciation towards art

and history and wanted to pay tribute to the grandeur of Balai Besar in

the design of the new museum. Prof V. R. Galea, the architect at Jabatan

Kerja Raya Negeri designed according to Mr. Sheppard’s proposal. The

front elevation of the new building bears a great resemblance to Balai Besar,

with the double-arched staircase converging from both sides, and a lounge

verandah or ‘sesayap lelayang’ on both sides of the upper floor.

Fig 2.09: School excursion at the old museum (c. 1971)

Fig 2.07: Balai Besar in Alor Setar Fig 2.08: The late Tan Sri Mubin Sheppard


29

Kedah Historical Museum officially moved to the new building on December

30, 1961. His Majesty Tunku Sultan Haji Abdul Halim Mu’adzam Shah

officiated the exhibition in the new building. In July 1964, the museum

had its name changed to the Kedah State Museum. In 1983, under the

institution of the State Museum, two new branches were opened; the Kedah

Art Gallery and the Royal Museum, both located in the city. For over 50

years, the museum has possessed great heritage and a valuable treasure

in the land of Kedah.

With overwhelming response from the public and the growing scale of

exhibitions, the State Government agreed to build the present Kedah State

Museum building in 1997. The building houses exhibition halls, workshops,

a library and a mini theater. There are 10 permanent exhibition galleries in

the new museum, including dedicated galleries for Culture, History, Nature,

Figure, Transportation, Weapons, Manuscript, Textile, Crafts and Arts, as

well as Language and Literature. There are also outdoor exhibitions within

the museum compound such as the Traditional Houses and the Royal Ark. Fig 2.10: The new building for Kedah State Museum

Chapter 3

Architectural Development

Chapter 3: Architectural Development

31

3.1 SITE CONTEXT

Located in Bakar Bata, the Kedah State Museum

Complex is approximately 2km away from the town

centre. The museum is easily accessible as it sits

along Lebuhraya Darul Aman, a major street in Alor

Setar. Its location in Bakar Bata grants it a unique

setting, whereby it is convenient for the locals to

visit, without the hustle and bustle of city traffic. This

setting is also symbolic of how the museum functions

as the guardian of culture and history, keeping it away

from the pressures of modernisation.

The complex includes the new museum building,

as well as its original two-storey building which now

functions as the museum’s administration office and

the headquarters for the Kedah Historical Society.

Fig 3.01: Location plan of Kedah State Museum Complex


32

3.1.1 SURROUNDING BUILDINGS

Fig 3.02: Site plan with landmarks


33

Bangunan Persatuan Leong Say Tong Kedah/Perlis

Located behind the Malay houses, this building is owned by the Kedah/

Perlis Branch Persatuan Leong Say Tong. It is a function and event space

catered to the public. It most commonly hosts Chinese wedding events.

Wat Siam Bakar Bata

Due to its proximity to Thailand, there are many Thai Buddhist temples in

Kedah. However, Wat Siam Bakar Bata is the only temple in Alor Setar. It is

located by the Sungai Kedah riverbank, behind the Kedah State Museum. It

is also sometimes known as Wat Samosorn Rajanukpradit.Fig 3.03: Entrance to Wat Siam Bakar Bata

Fig 3.04: Facade of Bangunan Persatuan Leong Say Tong Kedah/Perlis


34

Stadium Darul Alam

Located along Lebuhraya Darul Aman, Stadium Darul Aman is the state stadium of Kedah and was officially opened by the Sultan of Kedah in 1962 during

Malaya’s 1-0 win against South Korea. The multi-purpose, all-seater stadium is currently used mostly for football matches. It can accommodate up to

40,000 spectators at one time after the expansion in 1997, and was chosen as one of the venues for the 1997 FIFA World Youth Championship. It is the

official stadium for the Kedah FA.

Fig 3.05: Stadium Darul Aman


35

3.1.2 EXISTING BUILDINGS IN THE SITE COMPOUND

All the buildings in the site boundary (Kedah State Museum complex)

have strong connections to each other. They all serve the single purpose

of preserving and showcasing the cultural heritage of the state to the

public.

Fig 3.06: Buildings within the museum complex


36

Kedah State Museum (New State Museum Building)

The new building of the Kedah State Museum is located next to the original

building. It houses a library, a mini theatre and a series of exhibition halls.

Similar to the old building, floor-to-roof high columns, ornamentations and

light pink paint are the definitive elements of the building.

Administrative Office (Old State Museum Building)

The building was built on December 30, 1961 at Lebuhraya Darul Aman,

Bakar Bata due to the increase in the number of artifact collections and lack

of exhibition and storage space at Balai Besar, where the Kedah Historical

Museum was previously located. In 1964, its name was changed to the

Kedah State Museum. It now functions as an administration office after the

museum moved to its present day location in the new building.

Fig 3.07: Entrance to the new museum

Fig 3.08: Old museum building, now museum’s administrative office


37

Pejabat Persatuan Sejarah Malaysia Cawangan Kedah

Located right next to the old museum, this building is the administrative

office of the Kedah Branch of Persatuan Sejarah Malaysia (also known

as the Kedah Historical Society). It is connected to the old museum by a

covered pedestrian walkway.

Boat Structure

Part of the museum exhibition is an outdoor structure which houses a boat

that was once used by a Sultan of Kedah.

Fig 3.09: Headquarters for the Kedah Historical Society

Fig 3.10: Replica of a boat that was used by a Kedah Sultan for the opening ceremony of the museum


38

Rumah Tradisional Kampung Sungai Ular, Kulim

This traditional Malay kampung house was owned by Encik Saman bin Saad

before it was gifted to the authority of the State Museum. It was preserved

and used as an exhibition space to display a collection of Kedah cultural

artifacts. The artifacts have now been moved into the new museum building,

and the house is no longer open for public visits, except for purpose of

research.

Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah

The construction of the house started in 1939 and was completed in 1941.

Initially, the house was owned by Haji Abdul Rahman Merbok. He was given

the title Dato Mursyid Diraja by KDYMM, Sultan Kedah for his expertise

in Islamic Affairs. He used the house as a venue to teach Al-Quran and

Islamic studies. The house was gifted to the authority of the Kedah State

Museum after the death of the owner. It now functions as a surau which is

open for public usage.

Fig 3.11: Rumah Tradisional Kampung Sungai Ular, Kulim`

Fig 3.12: Rumah Dato Mursyid Diraja Haji Abdul Rahman Bin Abdullah


39

3.2 LANDSCAPE

The landscaping within the Kedah State Museum is well designed and maintained. The hardscape elements provide a foundation for the vegetation

whilst reducing hazards on site. The softscape elements provide shade and aid in directing breeze to the site, yielding a pleasant and natural

experience. Landscaping unites both man-made structures and plants, to create a comfortable and visually-appealing space not just for the visitors,

but also for the museum staff and students measuring the Kedah State Museum.


40

3.2.1 HARDSCAPEDrainage

Drainage systems hold an important role in flood control as Malaysia has

tropical rainforest climate with high humidity, especially for the Kedah

Museum complex which is located next to a river. Different types of

drainage can be found within the site boundary, varying from open drain to

partially covered drain. The covers are removable for easier maintenance

and cleaning.

Concrete Pavers

Concrete pavers are used in certain parts of the compound to highlight an

area that contains a significant structure, and provide an overall pleasing

aesthetic to the area. Concrete pavers can be seen applied at the elevated

platform facing the old museum’s North elevation which holds a historical

war tank.

Fig 3.13: Drainage system around the complex

Fig 3.14: Concrete pavers used on site


41

Planter box/retaining walls

Planter boxes and retaining walls can be seen widely employed within

the site compound to house and sculpt vegetation, providing a pleasant

atmosphere for workers and visitors alike. The common material used for

the planters is concrete as it is durable and resistant to weathering. Plus, it

is impermeable and requires minimum maintenance.

Paved walkway

The walkway at the corridor of the old museum is covered with textured

glazed mosaic tiles arranged in a homogenous pattern. The paved walkway

prevents possible hazards such as slipping that might occur due to mud and

dust, apart from providing a smooth surface for users to walk on. The colour

of the tiles blend in with the aesthetics of the building.

Fig 3.15: Planter boxes as part of landscaping

Fig 3.16: Blue and pink mosaic tiles at the corridor


42

3.2.2 SOFTSCAPEWodyetia Bifurcata

The most common plant on the site compound. Commonly known as foxtail

palm, the wodyetia bifurcata plant has one of the most spectacular foliage

displays of all palms. The pale green arching fronds have leaflets that

radiate out at all angles from the leaf stem, thus appearing like a bottlebrush

or the tail of a fox. The plant is extremely easy to grow, even small plants

and seedlings can tolerate hot, full sun from an early age. It grows rapidly in

sunny condition, when water and fertilizer is supplied regularly.

Ficus Benjamina

This broadleaf evergreen plant is commonly known as the weeping fig. It

is native to regions between India and northern Australia, usually seen in

round, droopy form with shiny leaves. Weeping fig is a popular plant used

for landscaping because of its attractive shape and tolerance to a variety

of conditions, from very bright to considerably shady conditions. This plant

can be seen everywhere within the site boundary as it is easily grown in

Malaysia’s tropical climate and requires very low maintenance.

Fig 3.17: Wodyetia Bifurcata

Fig 3.18: Ficus Benjamina


43

Hibiscus

The hibiscus is widely grown around the perimeter of the new building of

Kedah State Museum as it is the national flower of Malaysia. It is commonly

known as the “celebratory flower” in Malay. Also known as Chinese hibiscus

or shoe plant, the flowers are large, firm and generally red in its original

variant. The color red symbolizes the courage, life, and rapid growth of the

nation, and the five petals represent the five Rukun Negara of Malaysia.

Ravenala Madagascariensi

Commonly planted in an urban setting. Its long stem and deep green leaves

resemble banana leaves and extend out from the trunk like the slat pieces of

a giant hand fan. Small plants need to be grown in partly shady areas before

it can tolerate full sun condition. A mature plant blooms all year round and

produces brown fruits that contain light blue seeds.

Fig 3.19: Hibiscus

Fig 3.20: Ravanela Madagascariensi


44

Ixora

Ixora is a popular flowering shrub widely used in landscaping due to its

attractive rounded shape and glossy foliage. It is native to Southern India

and Sri Lanka. The plant can be seen everywhere within the site boundary

because of its striking appearance of green leaves and scattered red flowers.

Fruit Trees

Banana and mango trees can be seen around the two Malay traditional

houses, as it was planted to accurately recreate the “kampung” setting in

which the two houses were originally from.

Fig 3.21: Ixora

Fig 3.22: Fruit trees on site


45

3.3 ARCHITECTURAL INFLUENCES

Drawing inspiration from Malay traditional houses, the old museum is similar in terms of the building materials, roof style, ornamentations, openings and

layout.

3.3.1 MALAY VERNACULAR DESIGN

Fig 3.23: Comparison of the old museum with the design of a malay traditional house


46

Roof Style

As a tropical country, Malaysia receives a generous amount of sunlight and

rain all year round. The type of roof adapted by the administration office is

limas styled roofing, a common roofing structure used in malay vernacular

design. Ventilated roof space at the top cools the interior of the house while

the large overhangs provide efficient sun shading and reduce traces of

rainwater, allowing the windows to be opened for better air flow.

Fig 3.24: Large roof overhangs define the vernacular Malay house

Fig 3.25: The grand entrance to the old museum


47

Building Material

Typically, Malay traditional houses are built with local natural resources

such as timber and rattan. The old museum is mainly made of chengal

wood which has low heat absorption capacity to create a cooler interior

environment. Chengal wood is also environmentally friendly, durable and

can be easily sourced in Malaysia.

Ornamentations

Ornaments along the extended frame below the roof eaves are distinct in the old

museum building. Similar to vernacular Malay houses, ornamentations feature

floral patterns, geometric shapes and exaggerated curvatures. The butterfly

and inverted ‘S’ motifs can be seen in the form of filigree from the front and back

view of the building, underneath the roof. The decorations are made of steel

instead of wood, modified and simplified from the typical vernacular design.

Additionally, the facade features wooden panels carved with the inverted

letter ‘S’ and painted in light yellow. The letter ‘S’ is used for both wooden

and steel ornamentations as is a simple alphabet which offers the most

curvature.

Construction Parts Types of Wood

Structural Cengal, Merbau Damar Laut, Petaling

Non-Structural Meranti, Bamboo

Roof Nipah, Rumbia, Bertam, Kabong

Fig 3.26: The inverted ‘S’ ornamentation (top) and the iron filigree (bottom)

Fig 3.27: List of timber according to construction parts


48

Decorative Openings

Besides allowing ventilation into the interior spaces of the house, windows

also serve another purpose in Malay vernacular architecture. Some windows

in Malay houses have intricate wood ornamentations carved open at all

times for ventilation and decorative purposes. On the first floor of the office,

a series of metal artworks are displayed, showing the cultural activities of

the locals. Initially, they serve as natural ventilation openings but they have

since been sealed after the installation of air conditioning inside the building.

Building Layout

The open plan layout is common in Malay vernacular houses. Similar to the

dwellings, the open plan of the administration office promotes air movement

whilst creating an impression of spaciousness in the interior. The elongated

layout also eases the circulation within the building, as it was once used as

an exhibition space, which receives large numbers of visitors daily. Today,

the absence of walls or fixed partitions allow better communication between

office workers, creating a friendly workspace that could lead to an improved

working environment.

Fig 3.28: Comparison of decorative openings between traditional Malay house and the old museum

Fig 3.29: Comparison of building layout between traditional Malay house and the old museum


49

3.3.2 COLONIAL ARCHITECTURE

The old museum building was designed as an homage to Balai Besar,

which exhibits a fusion of colonial and traditional architecture. The colonial

influences in Balai Besar, in particular the ground floor level, was carried over

into the design of the old museum building, albeit with significant simplication.

The most obvious reference to colonial architecture is the arched wooden

panels which act as a shading device for the building. These panels are

installed along the collonade-corridor on the ground floor of the building,

which in itself is another influence from colonial-styled architecture.

Another notable element derived from colonialist architecture would be

the wooden louvered windows, which were the common window design in

colonial buildings in pre-Independent Malaya and Singapore.

Fig 3.30: Wooden windows inspired from old colonial shophouses in Singapore and Malaysia

Fig 3.31: Influence of colonial styled architecture on the arched shading devices


50

3.3.3 MODERNIST INFLUENCES

The old museum is a fusion of the Malay vernacular style with

modernist principles of architecture. On top of having design similarities

with Malay traditional houses, the design follows the 5 Principles

of Architecture as set out by Modernism pioneer Le Corbusier.

For example, the building has an open floor plan where interior spaces are

divided by movable partitions instead of structural walls. Although this design

choice relates more on the function of the interior space, it also validates

Corbusier’s first principle, the free plan, which is the absence of supporting

walls to allow the flexible usage of interior spaces. The principle liberates

the plan from construction restrictions.

Fig 3.32: Open floor plan for the interior space, segmented by movable partitions

Fig 3.33: Example of an open floor plan, Villa Savoye by Le Corbusier


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The design of the building also adheres to the other 3 points:

1. The use of pilotis to replace load-bearing walls via a grid of reinforced

columns that bear the structural load. According to Le Corbusier via his

prototype the Dom-Ino House, this is the basis of the new aesthetic.

2. The free facade. Walls are relieved off of their structural role, allowing

freedom in the design of spaces and a fluid transition between interior

and exterior spaces.

3. The horizontal “ribbon” window that runs the length of the facade, which

takes advantage of the second point mentioned above. This design

approach once again blurs the boundaries between interior and exterior,

apart from allowing better fenestration into the interior spaces.

Aside from than butterfly and the inverted ‘S’ patterns, simple geometrical

motifs are applied to the window and door grills, which is influenced by the

cleanliness and efficiency of Modernism.

Fig 3.34: Pilotis at the corridor Fig 3.35: The free facade

Fig 3.36: Modernist motifs at the windows and entrance of the old museum


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3.3.4 SIAMESE INFLUENCES

As the design of the Balai Besar was influenced, to a certain degree, by

Siamese architecture, these subtle influences were naturally passed down

to the design of the old museum building.

According to historical records, Sultan Muhammad Jiwa often took inspiration

from the building designs in Thailand (formerly the Kingdom of Siam) whilst

roaming the Malay Archipelago. These design ideas were translated, with

local flavour, into the designs of royal buildings such as the Balai Besar and

Balai Nobat. They were then carried on to newer buildings, and are today

widely regarded by locals as being part of the identity of Kedah.Fig 3.37: Roof overhang ornamentations in Thai architecture

Fig 3.38: Wooden overhang ornamentation on the roof of the old museum


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3.4 REFURBISHMENT INTO ADMINISTRATION OFFICE

The new museum building, situated next to the original, was completed

in 2001 to house the growing number of museum exhibits. The original

building was then transformed into the administration office for the museum,

necessitating minor refurbishment of the interior spaces.

A notable addition to the interior is the use of partitions to define working

spaces for officers. Two cubicles were built on the ground floor and one

on the first floor to accommodate the working spaces for higher-ranking

officers. The wooden exhibition panels which were installed originally to

display museum exhibits on the first floor were preserved and now act as a

divider between working spaces and the pantry. The windows on the ground

floor were sealed with plywood following the installation of air-conditioning

units.

Fig 3.39: The old museum in its heyday

Fig 3.40: The old museum today

Chapter 4

Design Concept

Chapter 4: Design Concept

55

4.1 FORM

The Old State Museum of Kedah is a double-storey museum with a simple

rectangular form constructed of mainly timber with a concrete base. The

design of the building projects an overall traditional feel, which jives well

with its function as a place for the safekeeping of the culture and history of

Kedah.

Linearity

The old museum’s open, rectangular form is a direct response to the

economics and practicality of fulfilling its original function as a museum.

A museum typically requires large open spaces for exhibition of artifacts

and a linear circulation for visual clarity. This is aside from the fact that the

rectangular form was the most economical, as it conserves space whilst

still providing a large floor area. The practical and economic approach of

dictating the form has a lot to do with the influence of modernist architecture

back in 1960s Malaya, a nation still in search of its true identity, free from

the influence of its colonial past.

Fig 4.01: The team arriving at the measurement site


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Vernacular Malay Architecture

The rectangular form was then developed further with the influence of

vernacular Malay architecture. The upper floor verandahs on both sides

of the building and the gabled roof “bumbung limas” design was a direct

infusion of the Malay traditional architecture, inspired by the roof of the

‘Gajah Menyusu’ house commonly found in the northern states of Malaysia.

These elements all adhere to three main design approaches, which are

symmetry, repetition and juxtaposition.Fig 4.02: Example of the ‘Gajah Menyusu’ house

Fig 4.03: Adaptation of the Malay vernacular roof by the old museum building


57

4.1.1 SYMMETRY

The building’s facade and plan is symmetrical, which yields a sense of balance that

creates harmony and order in an aesthetically pleasing design. The old museum was

built via symmetrical halves and is the most noticeable characteristic of the building.

By having a symmetrical form, the museum benefits from the predictability in terms of

spatial order and circulation, which is crucial in a building designed for the public.

Philosophically, the symmetrical design demonstrates dependability. This interpretation

relates to the function and responsibility of the museum, as a balanced and dependable

source of historical records and the guardian of the local culture and heritage.

Physically, the implementation of this characteristic can be seen in both wings, facade,

the number of columns on both sides, as well as the grand staircase, which is a double

staircase that converges at the landing in the middle. The corridor and the verandah

above, flanking the main rectangular space, exaggerates the symmetry to highlight the

idea of balance even more.

The only asymmetrical aspect of the building can be observed in the placement of

the ground floor entrance on the North elevation instead of at the centre of the front

portico.

Fig 4.04: Front portico of the old museum

Fig 4.05: East elevation showing evidence of symmetry


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4.1.2 REPETITION

Another obvious design technique implemented in the design development

of the old museum is repetition. Apart from having a symmetrical form,

repetitive elements in the building provide a harmonious rhythm that

communicates the idea of movement. This can be seen in the repetition

of columns along the corridor to promote exterior circulation around the

building.

Aside from the columns, other examples of repetitive elements include the

windows that run along both the North and South facade, the exterior wall

ornaments, and the floor tiles.

Repeated use of shape, colour and other artistic elements in the design of

a building can also help in unifying different parts of the building to form

a robust design. Minimal repetition is sufficient to create a visual echo to

highlight certain aspects the building.

Fig 4.06: Building columns being repeated along the corridor

Fig 4.07: North elevation showing repetition of elements in the building


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4.1.3 JUXTAPOSITION

The juxtaposition of opposing design elements can produce a striking visual

impact. Formally, juxtaposition describes the placing of two elements that

may or may not occur naturally together in close proximity. Juxtaposition

can be applied in terms of material, colour, shape or even spaces.

In the case of the old museum building, it can be observed that juxtaposition

occurs in the following:

1. Material change from concrete walls on the ground floor to timber walls

on the first floor.

2. A vernacular exterior with ornamentations on the walls, the roof overhang

and portico frieze contrasted by a bare and simple interior space,

especially the ground floor level, which is devoid of any ornamentations.

The above applications of juxtaposition help in defining different spaces in

the building, between interior and exterior as well as between the ground

floor and upper floor via the sudden change in materiality and the level of

ornateness of the spaces.Fig 4.08: Contrast in materiality between the ground floor and the first floor


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4.1.4 SCALE

The old museum welcomes visitors with a grand portico with a double

volume height that spans two floors. The ceiling is supported by 8 columns

and is a direct mimicry of Balai Besar’s main entrance.

The high ceiling tweaks the architectural scale of the building, by giving the

main entrance an impression of grandiosity. This implementation of scale

can be traced back to Greek and Roman architecture, which makes use of

solid columns to support a double volume grand portico.

It is widely acknowledged that the use of colonnades and grand porticos

of immense scale could represent trust and stability, which explains the

adaptation of columns and pediments in the design decision for government

buildings around the world. In the case of the old museum building, the

adaptation of scale sends the message of trust, as the museum is

responsible for the safekeeping of Kedah’s historical treasures.

Fig 4.09: The scale of the front portico evokes a sense of grandeur


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4.2 SPATIAL PLANNING

As with most public buildings built in the 60s, the old museum was built with an open, fluid floor plan to give it flexibility in terms of functionality. Similar

types of floor plan can be seen in government offices as they attempt to apply one of the tenets of modernism, which is the free designing of the floor plan,

unencumbered by the restrictions of load bearing walls. This elegant approach to designing spaces is both economical and practical, which is crucial for

a young nation like Malaya following its independence.


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4.2.1 ENTRANCE AND APPROACH

The old museum replicates the grand double-staircase of Balai Besar. The

grand staircase, coupled with the double volume portico emanate a warm

welcoming feeling to visitors as they approach the building. The landing

area that connects the double staircase adds a node in the movement of

visitors into the upper floor. This node allows visitors to pause and appreciate

the surrounding context prior to entering into an enclosed space inside the

museum.

In terms of entry and exit, the circulation of the building is unique whereby

the two floors are only connected via the grand staircase externally.

This internal disconnect between the two floors is most likely due to the

separation of functions originally, when the bottom floor functioned as an

exhibition space and the top floor functioned as a library when the building

was first opened.

Fig 4.10: The double staircase at the entrance of Balai Besar

Fig 4.11: The double staircase at the entrance of the old museum


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4.2.2 SPATIAL ORGANISATION

Extra focus was given to the spatial planning of the old museum building

for practical reasons. Built mainly as an exhibition space, the building must

be able to accommodate large number of exhibits that vary in their sizes,

whilst still allowing comfortable roaming and standing areas for museum

visitors. Its open rectangular form grants the ability to have a linear open

floor plan. An open plan allows the freedom to manouver the movement of

visitors to suit a specific type of exhibition that is being hosted, whilst a linear

circulation simplifies the organisation of exhibition space.

A linear organization consists essentially of a series of spaces or objects.

These spaces can be directly related to one another or linked through a

separate and distinct space. Spaces that are functionally or symbolically

important to the organization can occur anywhere along the linear sequence

and their importance articulated by size and form.

In the case of the old museum building, it’s spatial planning also benefited

its new tenants when it was converted into an office space, as setting up

working areas are as simple as installing partitions, permanent or temporary,

to define new boundaries within the large open floor plan. Fig 4.12: The linear open plan of both ground floor (top) and first floor (bottom) of the museum


64

4.2.3 RESPONSE TO CONTEXT

Given Malaysia’s hot and humid climate, certain aspects of the design had to respond

directly to the demands of the climatic characteristics of a tropical country. The original

design makes use of natural ventilation techniques such as having huge window

openings and the implementation of a pitched roof. A pitched roof, specifically the

“Bumbung Limas” type for the old museum helps in allowing stack ventilation inside

the building.

Stack ventilation begins with the creation of a buffer space in the roof for hot air to rise

up. The upward movement of hot air into the roof leaves a void below it, which naturally

pulls in cooler air and wind from the outside through the huge window openings. This

creates a passively ventilated interior that requires very little need for active ventilation.

In order to take advantage of passive ventilation, the roof was designed based on the

study of temperature, humidity, atmospheric pressure, wind rose, rainfall and other

elements that relate to the weather in Malaysia. The “Bumbung Limas”, by design,

already takes into account all aspects of Malaysian climate.

However, passive ventilation had been abandoned by the building, in favour of air

conditioning, when it was refurbished to become an office in 2001.

Fig 4.13: The museum’s application of a pitched roof to combat local weather

Fig 4.14: Diagram demonstrating stack ventilation inside the building


65

4.3 SYMBOLISMThe Old State Museum of Kedah was designed with influences of Malay

vernacular architecture. Naturally, it contains various symbolisms scattered

around the exterior and to a smaller degree, the interior. Symbolism is

embedded deep into the art and architecture of the locals, as evidenced by

the intricate wooden carvings in traditional Malay houses. The ornamental

carvings in traditional Malay houses commonly represent floral motifs and

geometrical shapes.

In the case of the old museum, symbolism is present in the metal friezes of the

portico, the walls of the verandah, as well as the ventilation openings inside

the building. Some of the symbols used include the wings of a butterly, as

well as the inverted S-shaped carving, which runs alongside both elevations.

The inverted ‘S’ motifs are made of steel are modified and simplified from the

typical vernacular design.

Similar ‘S’ motifs are used for both the wooden and steel ornamentation

at the building as it is simple and answers to both traditional and modern

architecture styles.

Fig 4.15: Ornamentation at the front portico

Fig 4.16: Inverted ‘S’ motifs around the building

Chapter 5

Details and Ornamentations

Chapter 5: Details and Ornamentations

67

5.1 COLUMNSA total of 24 columns surround the exterior of the building. There are 8

columns on each side of the building holding up the verandahs, while 8

taller columns are situated at the grand entrance of the building, supporting

the portico.

The columns, being simple and bare in design, portray the modernist

influence as mentioned. The shaft and base are cylindrical, with the base

being slightly larger in diameter as it forms a solid foundation to support the

columns that span two storeys. They sit firmly on a rectangular pedestal.

The columns are identical and repeat throughout the building, varying only

in height between the portico and the corridor.

Fig 5.01: Condition of columns around the old museum building


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5.2 DOORSThe building is accessible through three entrances - one on the first floor

and two on the ground floor.

The main entrance is located on the first floor at the front of the building.

It is protected by a glass sliding door and a sliding metal grille in front of it.

The metal grille consists of simple repetitive patterns, a significant modernist

phiolosophy. Similar subtle modernist characteristics can be seen at different

parts of the building such as the metal ornamentation on the edge of the

roof, signalling the infusion of modern and vernacular architecture.

The entrance to the office on the ground floor is located at the north elevation

of the building. It is less noticeable and less inviting compared to the main

entrance. The entrance consists of a double leaf wooden panel door with

8 panels on one side and four on the other. The top half of the panels are

replaced with tinted windows allowing users to look in, however still creating

a sense of privacy for the workers in the office.

The door is sealed with a two piece handle and an extra lock underneath it.

Fig 5.02: Entrance to the first floor, accessible via the grand double staircase

Fig 5.03: Entrance to the office on the ground floor

Fig 5.04: Close up of door handle


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5.3 WINDOWSRows of windows are decked along each elevation of the building. As

the usage of electricity was not common in the past, windows were used

abundantly to provide ample sunlight and ventilation.

The majority of windows used are louvered windows, with the windows on

the upper floor made of glass sheets and the windows on the ground floor

made of timber. However, the ground floor windows are now completely

sealed due to the installation of air-conditioning in the building, which has

also affected the amount of fenestration. Therefore the interiors are now lit

with artificial lighting.

Fig 5.05: Louvered ‘Jalousie’ windows along the facade

Fig 5.06: Wooden louvered windows on the ground floor contrasts the glass louvered windows on the first floor


70

The interior on the first floor is lit by glass louvered windows, also known

as “Jalousie Windows” on the upper half of the wall, though minimum. It is

generally dark with slight fenestration, hence artificial lighting is needed.

Some windows are merely an opening with steel ornamentation, but are

also now covered and sealed from the inside.

The windows of the area connecting the main building to the toilet building

are Casement Windows with Fixed Clerestory above it, a sudden change

from the other traditionally designed windows in the building. Fig 5.07: First floor fenestration via the glass louvered windows

Fig 5.08: Ground floor windows are now sealed from inside

Fig 5.09: Tinted casement windows replacing the original louvered windows


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5.4 CEILING

5.5 LIGHTING

Fig 5.10: The ceiling is made of asbestos ceiling tiles lined in a grid arrangement. It is the same in the interior and exterior of the building.

Fluorescent lights are used in the interiors of the building. There are more lights used in the ground floor than the first floor because windows are not

present on the ground floor. Rectangular two-pieced lights are used on the ground floor while tube lights are used on the first floor.


72

5.6 WOODEN CARVINGS

Fig 5.11: As wood carvings are common in traditional Malay architecture, they are used abundantly in the design of this building. They can be found below windows and roofs.

Fig 5.12: 12-pointed stars made from timber strips of different lengths extend outward from the middle to create a star-like shape

Fig 5.13: There is not much diversity in the designs of the wood carvings. Similar “inverted-S” patterns as seen in the picture are repeated throughout the building below the window sill. This creates a sense of simplicity and uniformity in design that is pleasing to the eye.


73

5.7 BRONZE METALWORKRows of ventilation openings are decked as clerestory below the roof on the

North and South elevations of the building. As usage of electricity was not

as common in the past, these open clerestories of bronze metalwork were

used abundantly to bring in cool air from the outside.

Fig 5.14: Bronze metal art work on the first floor

Fig 5.15: Close up of bronze metal art work


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Rubber tapping and agricultural activities are common ways the locals make a living in the past. These activities are represented in the bronze metalwork

ornamentations:

Fig 5.16: Rubber tappers collecting latex Fig 5.17: Farmers harvesting on paddy field

Fig 5.18: Farmers ploughing the land with a bull

Fig 5.20: Multiculturalism in Malaysia

Fig 5.19: Locals pounding rice the traditional way

Fig 5.21: Traditional activities of the locals


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5.8 PORTICO ORNAMENTATIONThese ornamentations can be seen below the roof of the portico. They are

intricate in design and are made of iron. These patterns, again, invokes a

modernist feel in terms of its abstraction.

The ornaments are portrayals of flora and fauna. The top and bottom rows

are made up of representations of a butterfly, whereas the middle row

represents a series of floral patterns.

These ornaments are painted to avoid corrosion to the iron as they are

placed outside the building, exposed to rain and moisture in the air.Fig 5.22: Iron butterfly-shaped ornamentations can be seen below the roof of the portico

Fig 5.23: Application of the ornamentation on a triangular window

Chapter 6

Materials

Chapter 6: Materials

77

6.1 STRUCTURAL MATERIALS6.1.1 CHENGAL TIMBER

The main structure of the building is constructed

of chengal hardwood timber. This species of

timber was used in the construction of the old

museum due to its strength and resistance

against termites. Native to the region, this

heavy duty tropical hardwood can withstand

the local climate and temperature, typically

unaffected by the volatile changes between

wet and dry seasons in the country.

This highly durable wood is painted for both

longevity and aesthetic purposes. The coat

of paint gives the building a traditional yet

welcoming look, embracing the essence of

the Malay traditional house. Other than that,

the gap between the timber joist floor on the

second floor and timber structure rafter acts as

a channel for natural air ventilation.

Fig 6.01: Building elements made out of Chengal at the front portico


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6.1.2 REINFORCED CONCRETE

The 460mm x 460mm reinforced concrete footing is made up of concrete

with steel mesh. Other than acting as a support for the columns and holding

up the foundation from any kinds of settlement, its main function is to

stabilise the whole structure as it is able to withstand the compressive load

from the verandah above.

The embedded columns for the ground floor are also made of reinforced

concrete. Its compressive strength allows it to hold up the floor above it, as

the vertical load is transferred from the upper floor beams to the columns

and down into the foundation of the building.

Reinforced concrete is also fire resistant and durable, resistant against

the changes in weather, which is suitable for use in a tropical climate. The

decision to use reinforced concrete for the construction of the ground floor

was possibly due to the design decision of emulating Balai Besar’s load-

bearing masonry base. However, it has served the construction well for

decades as it increases the load capacity of the upper floor, which now

houses dozens of heavy filing cabinets ever since the building was turned

into an office.

Fig 6.02: Reinforced concrete column and footing

Fig 6.03: View of reinforced concrete columns from the corridor


79

6.2 NON-STRUCTURAL MATERIALS6.2.1 BRICK WALL

Due to the skeletal construction of the building, the exterior wall of the

ground floor merely acts as a skin to separate interior and exterior spaces.

It does not bear any load, and is constructed of bricks that complement the

timber collonade and the reinforced concrete structural frame.

Bricks are fire resistant and does not rot. Therefore, maintenance costs has

been relatively low.

Another benefit of using bricks is its acoustic insulation quality, creating a

more quiet and comfortable space for the users inside the building.Fig 6.04: Brick walls on the ground floor


80

6.2.2 GLASS

Clear Glass

Clear glass is utilised as the material for interior partition windows and display

cases in the upper floor of the old museum due to its high transparency and

clarity.

The display wall with the clear glass encasement was previously used

as a wall exhibition space to allow visitors to have a more intimate visual

interaction with the exhibits. These exhibition panels are still preserved

today even after the space has been transformed into an office.

Clear glass is now used as as an element of the newly erected office partition

walls, placed approximately 1 metre above floor level to allow unobstructed

views inside the enclosed office cubicles.

Fig 6.05: Museum display cases made of clear glass

Fig 6.06: Office partition walls made of clear glass


81

Tinted Glass

Tinted glass is mostly used together with new replacement windows or doors

in the building, including the casement windows on the bridge connecting

the main building to the bathroom at the back of the old museum, and the

entrance to the offices.

A thin film lines the interior glass surface to partially restrict the penetration

of light. It blocks the blazing sun rays to regulate the temperature inside and

provides a comfortable working environment.Fig 6.07: East elevation tinted glass door

Fig 6.08: East elevation tinted glass casement windows

Fig 6.09: Tinted glass office partition wall


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Frosted Glass

Frosted glass is produced by acid etching or sandblasting a clear sheet glass. It is widely used in the building to allow controlled fenestration to the interior

spaces. The application of frosted glass in the building is to ensure visual privacy by blurring images with its textures while still allowing a limited amount

of light.

Fig 6.10: Texture of frosted glass Fig 6.11: Application of frosted glass Fig 6.12: First floor louvered windows made of frosted glass


83

6.2.3 WOOD

Nyatoh and Meranti

These variants are used in the partition walls, wooden doors and the ground

floor louvered windows of the building.

Nyatoh and Meranti are hardwood that are high in workability and are able to

withstand staining. Their reddish brown color and straight, shallowly interlocking

fine grain provide a pleasing aesthetic for the interior. Due to their low resistance

towards termite attack, they are to be periodically polished to improve its

durability and quality.Fig 6.13: Timber door and timber partition wall at the interior

Fig 6.14: Nyatoh and meranti building elements at the front portico


84

6.2.4 METAL

Iron

Iron is used for the ornamentations at the exterior of

the building and the handrail ornamentations on the

grand staircase.

It is composed of iron, silicon and a bit of carbon,

a corrosion prone element. Therefore, they are

painted to increase resistance towards corrosion and

improve the aesthetic quality.

The advantage of iron is significant in this building

as its high flexibility allows it to be bent for

ornamentations, creating smooth curves and organic

shapes for the iron work.

Fig 6.15: Iron work ornamentation at the portico

Fig 6.16: Close up of iron work ornamentation

Fig 6.17: Application on the window grille

Fig 6.18: Staircase balusters made out of iron Fig 6.19: Barrell lock made out of iron


85

Aluminium

Aluminium is used as window frames and mullions in the interior and the

exterior of the building. It is composed of copper, manganese, magnesium,

silicon, tin and zinc, which gives it its unique quality of being lightweight and

extremely durable at the same time.

It is waterproof and corrosion resistant. Hence, it is able to withstand heavy

rainfall and humidity.

Aluminium is also known for its quality of partially reflecting heat and light,

which complements the application of tinted glass to block the penetration

of the blazing afternoon heat and sun.

Fig 6.20: Tinted window with aluminium frame

Fig 6.21: Close up of frosted glass windows with aluminium mullion


86

Bronze

Bronze is used for the metal artwork ornamentation for the interior of

the building. Bronze is composed mainly of copper, aluminium, nickel,

zinc and manganese. The composition makes it a strong metal with

high durability and ductility properties, allowing it to be welded for the

production of the bronze artwork on the interior ventilation openings.

It is resistant to corrosion, thereby ensuring the longevity of the bronze

artwork in the building.

Fig 6.22: A row of bronze artworks in the first floor as part of interior decoration


87

6.2.5 CONCRETE

Concrete

The exterior flooring is made out of concrete. It has high

compressive strength and is durable against weathering. Instead

of being furnished with mosaic tiles, it is left bare to provide a

natural, slightly brutalist look for the exterior of the building,

exposing the concrete which juxtaposes the colored mosaic

tiles. The drainage of the building is also constructed of concrete,

mainly due to its high tolerance to dirt and durability.

The grand staircase is constructed of reinforced concrete to

withstand the weight of the users, especially when receiving large

number of visitors in its heyday as a museum. Its durability allows

the concrete staircase, which is placed outside the building, to

withstand extreme weather conditions.

Another advantage of reinforced concrete is its ability to be poured

and molded into virtually any form, allowing the construction of the

arched double-staircase.

Fig 6.23: Reinforced concrete double staircase

Fig 6.25: Concrete flooring with mosaic tiles

Fig 6.24: Reinforced concrete staircase and reinforced concrete arch-shaped stringer

Fig 6.26: Concrete drainage


88

6.2.6 PLASTER

Plaster is used as a protective and sometimes decorative layer on walls. It

is used exclusively in the interior of the building as it is highly sensitive to

moisture, and can easily warp should it not be properly protected.

Its unique quality includes the ability to insulate sound. This makes it an

ideal material for use in the partition walls of the office to keep noise levels

at a minimum. It is also fire resistant, which indirectly increases the fire

safety in the interior spaces.


89

6.3 FLOOR COVERING & FINISHING6.3.1 EXTERIOR FINISHES

Unglazed Ceramic Mosaic Tiles ‘Pebble Washed’

Blue and pink mosaic tiles are used as the exterior floor finish around the

perimeter of the building. This type of mosaic tiling is suitable for outdoor

use as it is durable and could withstand exposure to intense sunlight and

the acidity in rain water. It provides texture and friction to the concrete floor

to prevent slips.

Mosaic tiles are easy to maintain, which makes it an economical material in

the long run. Fig 6.27: Unglazed ceramic mosaic tiles

Fig 6.29: Application of unglazed ceramic mosaic tiles at the corridorFig 6.28: Ground floor plan showing the usage of unglazed ceramic mosaic tiles


90

Paint

Paint is applied to act as a protective and decorative layer on the building to

protect the wall and other building components against harsh environmental

conditions. It prolongs the longevity of the construction materials that are

prone to deterioration via rotting or oxidisation such as timber and mild steel

in the building.

Mild steel is susceptible to oxidisation, whereas timber should be protected

from moisture and are vulnerable to termite attack. The application of paint

coating on these materials are therefore necessary.

Paint coating will gradually peel over the years and would require periodic

reapplication. The building has been repainted a number of times over the

years, and have received different colour treatments with each reapplication.

The present-day colour of the coating is cream as the base colour, with light

pink applied to certain parts of the building that need accentuation.

Fig 6.30: Layers of paint coating accumulated over the years

Fig 6.31: Application of paint on the exterior to protect the building from extreme weather conditions


91

Clay Roof Tiles

Clay roof tiles are used as the roofing material, well-known for its durability

and aesthetic value. Its high thermal capacity and reflective properties

complement the pitched roof structure to create an effective cooling system

via passive stack ventilation.

Clay roof tiles are strong enough to withstand extreme weather conditions,

protecting the internal timber rafters from exposure to the sun and rain. Clay

tiles are not susceptible to corrosion and does not expand or shrink under

extreme temperatures. Therefore, it is a long lasting material, suitable for

the humid Malaysian weather.

The vintage Hacienda clay tiles create a mix of rough and delicate textures,

emulating the roof style of vernacular Malay architecture.

Fig 6.32: Roof coverings made of clay roof tiles

Fig 6.33: Texture of clay roof tiles


92

6.3.2 INTERIOR FINISHES

Unglazed Ceramic Mosaic Tiles

Similar to the exterior floor finish, the interior floor is also

finished with unglazed ceramic mosaic tiles. However,

certain parts of the interior floor is finished with a darker tone

of blue that highlights the structural points of the building.

The colour variation in the tiling separates the interior

space into distinct areas, helping with circulation and spatial

organization. Fig 6.34: Ground floor plan showing the usage of unglazed ceramic mosaic tiles

Fig 6.35: Interior flooring made of unglazed ceramic mosaic tiles


93

Carpet

The upper floor is completely carpeted, covering the original timber flooring.

Carpets are effective in acoustic insulation and can be easily replaced

should the need arise. The carpet also hides the gaps in the timber flooring

planks, giving the floor a seamless appearance.

The timber flooring of the first floor was first covered with carpet to prevent the

leakage of cool air when the building was first installed with air-conditioning.

It is therefore not a permanent fixture to the flooring, making it easy to be

removed and cleaned.

Presently, the upper floor has a blue-coloured carpeting that spans the

entire floor, including within the office cubicles.

Fig 6.36: First floor plan showing areas covered by carpet

Fig 6.37: First floor interior caarpet flooring

Chapter 7

Construction Details

Chapter 7: Construction Details

95

7.1 TIMBER COLONNADEThe timber colonnade acts as the main supporting structure for the whole

building, distributing lateral and vertical loads from the timber roof rafters, as

well as live and dead loads from upper floor downwards into the foundation.

The construction of the collonades’ reinforced base and footing begins

with the creation of the formwork. Concrete mixture is then poured into the

formwork and vibrated to ensure the release of any air bubbles which may

cause defects to the concrete. This is then followed by the placement of

the 230mm diameter timber column which caps the base of the colonnade

and spans its length up across two floors. The base and footing act as a

supportive and protective layer to increase stability by anchoring the columns

to the ground. It also prevents the timber column from being placed directly

inside the ground which contains moisture and may affect the integrity of

the column.

Once construction is complete, plaster and paint is then applied to the

timber colonnade to create a sturdy look and improve its resistance against

termites and humidity.

Fig 7.01: Ground floor plan showing the location of timber colonnades

Fig 7.02: Timber colonnades at the corridor


96

7.2 ROOF TIMBER SKELETONThe gajah menyusu roof design

incorporates receding degrees of

slanted roof, going from a steep

pitch in the middle, to a flatter

decline on the sides all the way to

the overhang. The dual degree slant

design of the roof helps to regulate

rainwater runoff. The degree of the

slant varies accordingly in different

states in Malaysia. As for the old

museum building, the slant is

approximately 52 to 57 degrees.

50mm x 45mm sized batons with a

distance of 160mm in between each

are used in the construction.

Detail B

Detail A

ridge tiles

ridge boardcollar tie

100mm thick post

70mm thick rafter

50mm x 50mm thick batten

clay roof tiles to manuf's detail

rafter

50mm x 50mm thick batten

clay roof tiles to manus'f detail

metal connector

rafter tie

ceiling joist

beamfascia board

DRAWING NO.:

SHEET NO.:

E / 04

2017 / ARC1215 / MLNKEDAH

PROJECT TITLE :

ARC 1215 / METHODS OF DOCUMENTATION AND MEASURED DRAWING

MUZIUM NEGERI KEDAH,LEBUHRAYA DARUL AMAN, KAMPUNG LUBOKPERINGGI, 05150 ALOR SETAR,KEDAH, MALAYSIA.

DRAWING TITLE :

- ROOF DETAILSSTARTING DATECOMPLETED DATE

DRAWN BYCHECKED BYMEASURED BYRECORDED BY

SCALE

FACILITATOR

REMARK:

MR. MOHD ADIB

21.01.201704.03.2017AS SHOWNLOO YEE PEI (0329 148) , CHONG JIA YI (0320 869) , WEE SUE WEN (0322 633) , TEO KUO CHIEN (0320 195)LOO YEE PEI (0329 148)--

Roof Exploded Isometric View AE04 SCALE: 1:75

Roof Exploded Isometric View BE04 SCALE: 1:50

Roof Exploded Isometric View CE04 SCALE: 1:25

DETAIL AE04 SCALE: 1:10

DETAIL BE04 SCALE: 1:10

The axonometric drawings show that the roof is constructed of multiple layers that form a sturdy, rigid roof skeleton that is able to effectively transfer load

down to the foundation.

Fig 7.03: Axonometric details of the roof construction


97

Fig 7.04: East elevation


98

Fig 7.05: Section showing construction details


99

Construction of Timber Trusses

The construction of the roof begins with the installation of the timber trusses,

which are the fundemental structural component of the roof skeleton. The

roof trusses of the old museum is a variation of the Polynesian truss design.

The upper part of the skeleton is supported by a King post and truss webs

which are connected to a collar tie. The supporting structures are then

joined to the rafters, distributing the weight equally to the the chords, and

then to the roof joist. Metal plates and straps are used to strengthen the

joints and connection between components as to minimise the use of nails

in the construction.

Types of Joints

1. Tenon and mortise joint (king post to chords & king post with webs)

2. Bird’s mouth joint (rafter to eaves overhang)

3. Traditional heel joints (rafter to chords)

Types of Connectors

1. Steel straps connectors

2. Dowels / Bolt

Fig 7.06: Tenon and mortise joint Fig 7.07: Bird’s mouth joint

Fig 7.09: Image shows the steel straps connectors


100

Roof Coverings

Clay tiles are used as roof coverings and capped

with clay ridges at the hips of the roof.

Roof ornamentation

Timber decorative fascia board is installed as a

finishing touch to conceal the overhung rafters.

Fig 7.10: Connection of clay roof tiles

Fig 7.12: Timber fascia board at the edge of the roof

Fig 7.11: Sketch of clay roof tiles


101

7.3 TIMBER POST BEAM & FLOOR JOISTSThe building applies a mix of varying methods for joints, including the

traditional mortise and tenon method. Steel connectors are used to

strengthen the bond of the joints to improve stability of the post beam and

floor joists.

Joinery and connections

1) Post and Beam Joint Connection

2) Post to Floor Joist Connection

Fig 7.13: Sketch drawing of post beam connection and post to floor joist connection


102

7.4 WINDOWS & DOORS7.4.1 WINDOWS

Louvered “Jalousie Windows” with Aluminium Frames

There are 4 locations where louvered windows with aluminium frames are

used in the building:

1. Ground floor

2. First Floor

3. Clerestory

4. First Floor Bathroom

The main component of the jalousie window is the aluminium frame which

houses the mechanism for the opening and shutting of the glass louvers.

The window is placed at an opening in the wall, sitting on the window sill.

The window sill on the ground floor is made out of concrete as part of the

exterior wall, while the window sill on the first floor is made out of timber.

Aluminium mullions are then fixed to the window frames before attaching the

window jambs and handles. The handle can be used to adjust the opening

of the glass louvers to allow for the adjustment of interior fenestration. The

glass blades that form the louvers are arranged horizontally, with varying

numbers and width depending on the size of the window frame.

ELEVATION

Fig 7.14: South elevation showing the location of aluminium-framed louvered windows

Fig 7.15: Details of louvered windows with aluminium frame


103

Aluminium Casement Windows

Casement windows are one of the later additions to the design of the

old museum to either replace broken windows or as a means to insulate

the building for air-conditioning. An example of this window can be seen

installed at the bridge of connecting the main building with the bathroom and

utility block at the back of the old museum.

The size of the window opening must be decided before attaching the

aluminium window frame. This is then followed by the fixing of window

mullions and sills to the window frames. Casement windows with tinted

glasses are then attached to the structure, held by the hinges of the window.

Fig 7.16: South elevation showing the location of casement windows with aluminium frame

Fig 7.18: Casement windows with aluminium frameFig 7.17: Details of casement windows with aluminium frame


104

Traditional Wooden Louvered Shutters

The construction of the traditional wooden

louvered shutters begins with the installation of a

timber window frame. The window sash is then

constructed with four individual timber pieces

that are joined together. This is followed by the

connection of 23mm individual timber panels to

the window sash via the mortise and tenon wood

joint technique at an angle. Fig 7.19: South elevation showing the location of traditional timber louvered windows

Fig 7.21: Details of traditional timber louvered windowsFig 7.20: Perspective view of the windows


105

7.4.2 DOORS

After deciding on the size of the door opening, the timber door frame is set

in place. The timber door with glass panels is then constructed off-site and

brought over for installation onto the timber frame via three hinges on both

sides.

Finally, door accessories such as the barrel bolt, door closers and mortise

lock are fixed to the door with screws.

Fig 7.22: North elevation showing the location of timber door with glass panels

Fig 7.23: Details of timber door with glass panels Fig 7.24: Mortise locks at the exterior of the timber door

Fig 7.25: Barrel bolt and door closers at the interior of the timber door


106

7.5 STAIRCASEExterior Reinforced Concrete Staircase

The grand double-staircase housed at the entrance portico

consists of 40 risers (150mm high each), 37 treads (260mm

width each) and a landing in the middle. It sits on an arched

stringer that is supported by 2 square columns.

The staircase is made out of reinforced concrete finished with

mosaic tiles. The landing creates a lookout point and connects

the arched staircase to a series of steps that leads to the upper

floor.

The construction of the staircase begins with the creation of

a timber formwork in which reinforcement steel is laid into.

Concrete is then poured into the mould and vibrated to allow the

release of air bubbles, and is left for a few days to cure.

Fig 7.26: Plan view highlighting location of exterior reinforced concrete staircase

Fig 7.27: Connection of different parts of staircase Fig 7.28: Sectional drawing of reinforced concrete staircase


107

Once the concrete is completely cured, blue and pink coloured mosaic tiles

are laid on top, secured by a layer of mortar. White mosaic tiles are used to

line the edge of the staircase nosing to improve the visibility of the edge of

the steps for safety.

Iron balusters are then attached onto the concrete stringer capped with a

painted wooden handrail.

Fig 7.29: Handrail and iron balusters of the staircase


108

Interior Open Stringer Timber Steps

The main office space in the upper floor

is connected to the rear bridge via timber

steps that consist of 3 risers and 2 treads.

After deciding the number of treads and

risers based on the floor height, the framing

for the steps is constructed. Glue blocks

and wedges are used to hold the treads

and risers together. Extended nosings are

added to ensure safety.

Fig 7.30: First floor plan showing the location of interior open stringer timber steps

Fig 7.31: View of the interior open stringer timber steps from inside the rear bridge


109

7.6 OTHERS7.6.1 EXTERIOR ORNAMENTATIONExterior ornamentations are constructed over multiple layers to add depth to

the design of the decorative element.

Inverted ‘S’ Ornamentation

For the construction of inverted ‘S’ ornamentation:

1. 3 timber planks are joined together to form a wooden board.

2. The carved ornamentations and frames are then nailed to the timber

board and painted accordingly.

Corridor Shading Devices

There are 18 sets of shading devices installed along the corridors and

portico of the building, constructed in the following method:

1. Three wooden strips, forming a frame, are connected to the timber

column via the tenon and mortise joint technique.

2. Wooden planks of varying lengths are then nailed to the wooden strips.

3. The number of nails used depends on the length of the wooden planks.

4. The different lengths form an arch-shaped shading device for the

corridor.

5. White paint is then applied to the structure.

Fig 7.32: Axonometric drawings of exterior ornamentations

Fig 7.33: Inverted ‘S’ shape ornamentation


110

7.6.2 INTERIOR ORNAMENTATIONBronze Metal Artwork

The bronze metal artwork, which originally acted as ventilation openings for

the upper floor consists of separate bronze rods that are bent and welded

to form intricate shapes.

The rods, with thickness of approximately 10mm are bent to desired shapes

and welded to form compositions of abstract art. The compositions are

then left to solidify before they are cleaned, painted and installed onto the

ventilation openings on the wall.

Architrave

The architrave, which sits below the inverted ‘S’ ornament is made up of two

separate horizontal pieces:

1. The top piece was cut to make up the top half of the diamond shape.

2. The bottom piece makes up the bottom half of the diamond, and was

cut into a board with a series of triangular-shaped fringe.

Fig 7.34: Close-up of the architrave

Fig 7.35: Bronze metal artwork in the first floor

Chapter 8

Recent Condition

Chapter 8: Recent Condition

112

8.1 OPERATION AND FUNCTIONALITY OF THE BUILDING

Throughout most of its existance, the original building of the Kedah State Museum has served the community well. It began its life as Kedah’s first

purpose-built museum and was built at a time when Malaya was a new nation with a fledgeling economy. Therefore, the design of the building was kept

as simple as possible, whilst still incorporating elements that reflect the tradition and history of the locals. Similarly, the scale and floor space was kept

at a bare minimum as the country and the state were both very careful of their finances. The building was originally shared between the state museum

and the city library. It was not long before the museum exhibition space was expanded to take up all the spaces inside the building.


113

8.1.1 SPACES

With the conversion of the old museum into an office, the spaces inside

the museum received minor refurbishment. A notable change would be

the addition of partition walls to define working areas. The partitioning is

either partial or full, depending on the level of privacy needed by a specific

department. The refurbishment benefited greatly from the open floor plan

of the museum, which was originally designed to maximise exhibition

space. With the open floor plan, tables, working areas and partitions can be

arranged freely without the constraints that come with having fixed interior

walls.

However, as the years passed, and the country witnessed significant growth,

a new building was constructed adjacent to the original, to house the ever

growing number of museum exhibits. The old museum was then repurposed

as the administration office of the state museum and the headquarters for

the Kedah Historical Society.

Fig 8.02: Condition of the first floor today

Fig 8.01: Dignitaries visiting the museum (c. 1975)


114

8.1.2 APPEARANCE

As the building is primarily built out of timber, paint is applied as a protective

layer to shield the wood from weathering as it is constantly exposed to

extreme heat and humidity. The building is repainted every few years as the

coating would begin to peel after a significant period of time. With regular

reapplication of paint, it is inevitable that the colour of the building changes

with every new coat of paint applied.

The original colour of the building, as a museum, was cream with deep

yellow highlights on the columns, ornamentations and fascia board as it was

mirroring the colour of Balai Besar. Today the building still retains the cream

base, but repainted the deep yellow with light pink to match the colour of the

new museum building.

Fig 8.04: Colour of the old museum today

Fig 8.03: Original colour of the old museum


115

8.2 EXTERIORThe main components of the museum’s exterior are the roof, colonnade, exterior doors, windows, and the exterior walls. Additionally, the exterior also

houses ornamentations and the shading device. These elements act as the first line of defence against Malaysia’s hot and humid climate. They have

therefore over the years experienced a certain level of ageing and weathering.

8.2.1 ROOF

The roof is still intact and functions perfectly to protect the interior spaces of the museum.

However, the exposure to direct UV rays have affected its colour, changing it from its

original bright red to the present day dark, brownish hue.

The change in colour is due to photodegradation, whereby chemical bonds in the

composition of the clay roof gets broken down by UV rays, causing the change in

material colour. This phenomenon does not only occur to the clay tiles on the roof, but

also affects the exterior paint of the museum, causing them to fade over time.

Fig 8.05: Changes in roof colour over time


116

8.2.2 COLUMNS

The timber columns were constructed on a concrete base and are covered in

plaster and paint to reduce its exposure to moisture, both in the ground and

in the air. However, the coat of paint has started to deteriorate and peel due

to the volatile weather changes in Malaysia, which alternates between wet

and sunny conditions regularly. The deterioration begins with the formation

of a blister in the coating, which allows moisture and air to enter and form

bubbles or air pockets. The bubbles would continue to expand under high

temperatures, eventually causing the peeling of the coating. The exposed

area of the timber column would then be exposed to moisture which will

affect the structural integrity of the building.Fig 8.06: Deterioration of column base

Fig 8.07: Ageing of timber columns


117

8.2.3 WINDOWS AND DOORS

Windows

Not much has changed to the design of the windows, aside from the

replacement of some jalousie windows with new tinted aluminium casement

windows on the bridge connecting the main building to the bathroom and

services block at the rear end of the building. The same treatment can

be seen applied to the wooden louvered windows on the left side of the

ground floor under the entrance portico. The most notable change however,

is the boarding up of all ground floor windows due to the installation of air

conditioning after the building was converted into an office.

Doors

The main entrance, located on the first floor was originally a simple opening

with metal grilles. A tinted glass sliding door was later installed in addition to

the grilles, again, due to the installation of air conditioning inside.

These changes, especially concerning the addition of tinted glass windows

and doors, as well as the shutting of all ground floor windows have greatly

reduced the level of fenestration inside the building. Hence, artificial lighting

is now necessary to light up interior spaces regardless of the time of the day.

Fig 8.08: Changes in the windows

Fig 8.09: Addition of tinted glass sliding door to the main entrance


118

8.2.4 SHADING DEVICE

The shading devices along the exterior corridor on both sides of the building is made up of separate timber boards that are joined together into a solid

piece. This construction may have been ideal at the time the building was constructed. Over the years however, with constant exposure to changes in

weather, these individual pieces began to degrade at varying rates. This has left some shading devices with either broken, or incomplete number of boards,

which can be an eyesore to visitors.

Fig 8.10: Degradation of wood paneling for the exterior shading device


119

8.2.5 ORNAMENTATION

The ornamentations were inspired by vernacular Malay architecture, which

incorporates wooden carvings on the frieze and clerestory of the house.

The traditional carvings are incorporated into the design of the old museum

building, with a slight twist; as they are made of metal rather than wood.

Other ornamentations such as the inverted ‘S’ pattern on the building still

retain the spirit of traditional local architecture, being made out of wood.

Timber Ornamentations

Wooden ornamentations are more susceptible to decay in the country’s

humid weather as it causes rapid expansion and contraction of the wooden

ornamentations. It can be observed that most wooden ornaments have

either fallen off the wall, or are slowly deteriorating as they have not been

properly maintained.

Metal Ornamentation

Iron ornaments, such as the one on the frieze of the portico are susceptible

to oxidisation. However, they have been well maintained, with the periodic

reapplication of paint. The interior metal carving is easy to maintain as bronze

does not corrode. However, they are still painted for aesthetic purposes.

Fig 8.11: Some parts of the exterior ornamentations have fallen off from the wall

Fig 8.12: Minor oxidation on metal ornamentations


120

8.2.6 FINISHING

A notable change in the finishing is the installation of carpets in the interior

spaces on the upper floor. The floor was previously left exposed showing

the bare timber flooring. The carpets, although relatively new, seem to be

poorly maintained.

The tiles in the rear bathroom and utilities block have been changed as the

structure did not originally house toilets. When the building was redesignated

as an office, there was a need for the building to have its own toilet. Bathroom

tiles were added to the newly built toilets during the refurbishment to turn the

building into an office.Fig 8.13: The first floor is now completely covered with carpet


121

8.3 IMPROVEMENT SUGGESTIONS ON DESIGNAlthough it now functions as an office building, the old building of the state museum has, throughout its existence, contributed immensely to the development

and preservation of the culture and history of Kedah. Therefore, the structure deserves to be properly maintained and preserved for the benefit of future

generations.

To revive the spirit it once held, the building can be treated with a fresh coat of paint, which would not only improve its aesthetics, but also protect the metal

and timber elements from further deterioration. The building can be repainted with its original dark yellow colour, as it deserves the right to be true to its

history, especially in conjunction with Alor Setar’s 250th anniversary.

Another aspect that can be improved is the fenestration in the interior spaces of the building, especially pertaining to the ground floor. As mentioned earlier,

the ground floor now depends solely on artificial lighting after the side windows were sealed shut when it was repurposed as an office. Natural lighting

could improve the overall quality of the space and provide an improved working environment for the officers. This can be achieved with the replacement

of the plywood panels blocking the louvered windows with a glass panel that allows natural light in.

Finally, the wooden shading devices along the corridor can be replaced with new ones that look exactly as the original, as the wooden panels has over

the years been poorly maintained.

Conclusion

Conclusion

123

The Old Museum Building

Even though the museum has been moved to its present home in the new

building, the old museum structure should be preserved as a testament to

the passion locals have in preserving the rich history and culture of Kedah.

The building also presents a prime example of a blend between vernacular

and modern architecture, a characteristic unique to the young and fledgeling

Malaya in the early years after Merdeka.

The old museum structure will for generations to come, be a stark reminder

on the importance of preserving the local culture and history in the

pursuit of nation building. Its architectural elements should be studied and

documented, as it represents the ingenuity of the builders of the past in

incorporating traditional elements to help with the creation of an efficient

and functional public space.

In fact, the old museum would for a very long time stand as a physical

representation of the culture and lifestyle of the locals in Kedah.

Conclusion

124

The Team

As for the team of researchers, each member has had their own unique

perspective on the experience of completing the project. The learning curve

was steep at the beginning, with some just beginning to acquire the knowledge

to transfer collected data into proper architectural drawings. However, the

team has grown throughout the duration of the project, acquiring new skills

with each new task, which will greatly benefit the members in the upcoming

semesters particularly in the fields of producing quality CAD drawings as

well as architectural concept development and abstraction.

The experience of working in a team of dedicated students will be beneficial

in the future as the students move a step closer into entering the real world

in the labor market, where the environment is competetive and challenging.

Glossary

125

AArtifact

An object made by a human being, typically an item of cultural or historical

interest

Asbestos

A heat-resistant fibrous silicate mineral that can be woven into fabrics, and

is used in fire-resistant and insulating materials such as brake linings

Accentuation

the action of emphasizing something.

B

Baluster

A short pillar or column, typically decorative in design, in a series

supporting a rail or coping

Brutalist

A style of architecture or art characterized by a deliberate plainness,

crudity, or violence of imagery. The term was first applied to functionalist

buildings of the 1950s and 1960s that made much use of steel and

concrete in starkly massive blocks

C

Casement

A window or part of a window set on a hinge so that it opens like a door.

Ceramic

Made of clay and hardened by heat

Circulation

Movement to and fro or around something, especially that of fluid in a

closed system

Column

An upright pillar, typically cylindrical and made of stone or concrete,

supporting an entablature, arch, or other structure or standing alone as a

monument

GLOSSARY

Glossary

126

Colonnade

A row of columns supporting a roof, an entablature, or arcade

Clerestory

The upper part of the nave, choir, and transepts of a large church,

containing a series of windows. It is clear of the roofs of the aisles and

admits light to the central parts of the building.

Concrete

A heavy, rough building material made from a mixture of broken stone or

gravel, sand, cement, and water, that can be spread or poured into molds

and that forms a stonelike mass on hardening.

Corridor

A long passage in a building from which doors lead into rooms

Curvature

The fact of being curved or the degree to which something is curved

D

Dowel

A peg of wood, metal, or plastic without a distinct head, used for holding

together components of a structure.

E

Eaves

The part of a roof that meets or overhangs the walls of a building

Etching

The act of process of making designs or pictures on a metal plate, glass,

etc. by the corrosive action of an acid instead of by a burn

Elevation

A particular side of a building.

Exterior

Forming, situated on, or relating to the outside of something.

Glossary

127

F

Facade

The face of a building, especially the principal front that looks onto a street

or open space.

Fascia

A wooden board or other flat piece of material such as that covering the

ends of rafters

Fenestration

The arrangement of windows and doors on the elevations of a building.

Flank

Be situated on each side of or on one side of

Filigree

Ornamental work of fine (typically gold or silver) wire formed into delicate

tracery.

Foundation

The lowest load-bearing part of a building, typically below ground level

Frieze

A broad horizontal band of sculpted or painted decoration, especially on a

wall near the ceiling

G

Geometrical

The branch of mathematics concerned with the properties and relations of

points, lines, surfaces, solids, and higher dimensional analogs.

Grille

A grating or screen of metal bars or wires, placed in front of something as

protection or to allow ventilation or discreet observation.

H

Hardwood

The wood from a broadleaved tree (such as oak, ash, or beech) as

distinguished from that of conifers.

Hinges

A movable joint or mechanism on which a door, gate, or lid swings as it

opens and closes, or that connects linked objects.

Glossary

128

Homogeneous

Of the same kind, alike

I

Interior

Situated within or inside; relating to the inside; inner.

J

Joist

A length of timber or steel supporting part of the structure of a building,

typically arranged in parallel series to support a floor or ceiling.

Juxtaposition

The fact of two things being seen or placed close together with contrasting

effect

Jalousie

A blind or shutter made of a row of angled slats

L

Lateral

Of, at, toward, or from the side or sides.

Louvers

Each of a set of angled slats or flat strips fixed or hung at regular intervals

in a door, shutter, or screen to allow air or light to pass through.

M

Mullion

A vertical bar between the panes of glass in a window.

Modernism

A style or movement in the arts that aims to break with classical and

traditional forms.

Mortar

A mixture of lime with cement, sand, and water, used in building to bond

bricks or stones

Glossary

129

Mortise

A hole or recess cut into a part, designed to receive a corresponding

projection (a tenon) on another part so as to join or lock the parts together.

Mosaic

A picture or pattern produced by arranging together small colored pieces

of hard material, such as stone, tile, or glass.

Motif

A distinctive feature or dominant idea in an artistic or literary composition

N

Nosing

A rounded edge of a step or molding

O

Ornamentation

The branch of mathematics concerned with the properties and relations of

points, lines, surfaces, solids, and higher dimensional analogs.

Oxidize

A picture or pattern produced by arranging together small colored pieces

of hard material, such as stone, tile, or glass.

P

Partition

A structure dividing a space into two parts, especially a light interior wall

Photodegradation

Decomposed by the action of light, especially sunlight

Pediment

the triangular upper part of the front of a building in classical style, typically

surmounting a portico of columns.

Pedestal

The base or support on which a statue, obelisk, or column is mounted

Plaster

A soft mixture of lime with sand or cement and water for spreading on walls,

ceilings, or other structures to form a smooth hard surface when dried.

Glossary

130

Portico

A structure consisting of a roof supported by columns at regular intervals,

typically attached as a porch to a building.

R

Rafter

One of several internal beams extending from the eaves to the peak of a

roof and constituting its framework.

Rattan

The thin pliable stems of a palm, used to make furniture.

Riser

A vertical section between the treads of a staircase

S

Stringer

A side of a staircase, which supports the treads and risers

Symmetry

The quality of being made up of exactly similar parts facing each other or

around an axis.

T

Tenon

A projecting piece of wood made for insertion into a mortise in another

piece

Timber

Wood prepared for use in building and carpentry

Tread

The top surface of a step or stair

Truss

A framework, typically consisting of rafters, posts, and struts, supporting a

roof, bridge, or other structure.

Glossary

131

V

Ventilation

The provision of fresh air to a room, building, etc

Verandah

A roofed platform along the outside of a house, level with the ground floor

Vernacular

Architecture concerned with domestic and functional rather than

monumental buildings

Vertical

At right angles to a horizontal plane; in a direction, or having an alignment,

such that the top is directly above the bottom

W

Wedge

A piece of wood, metal, or some other material having one thick end and

tapering to a thin edge, that is driven between two objects or parts of an

object to secure or separate them.

APPENDIX

Appendix

133

INTERVIEW WITH DATO WAN SHAMSUDDIN, CHAIRMAN OF KEDAH HISTORICAL SOCIETY(Interview was conducted in Malay)

Q: Terangkan sedikit sejarah ringkas mengenai Muzium Negeri Kedah dan bangunan lama muzium.

A: Persatuan sejarah Malaysia cawangan Kedah ditubuhkan pada tahun 28 julai 1956. Mula sekali di Balai besar yang terletak menghadap masjid

negeri di dataran budaya. Pejabat kami pada asalnya diatas sana. Masa itu belum merdeka lagi. Kalau di Kuala Lumpur persatuan Sejarah

Malaysia. Orang yang bagi semangat kepada kami untuk menubuhkan persatuan sejarah ini ialah Sir Gerald Templer masa darurat. Daripada

situ, kita menubuhkan cawangan untuk setiap negeri dan cawangan Kedah antara yang terawal ditubuhkan iaitu pada 28 Julai 1956. Pada masa

itu juga, pengerusi pertama cawangan Kedah dilantik iaitu Tunku Nong Jiwa. Kalau diikutkan, sejarah daripada Lembah Bujang (Bujang Valley)

sebelum dan selepas perang memang sangat banyak artifak-artifak dan peninggalan sejarah di Lembah Bujang itu. Jadi kerajaan Kedah yang

telah menjumpai kesemua artifak-artifak itu meminta kami (persatuan sejarah Kedah) untuk memelihara tinggalan sejarah itu dan kami kumpulkan

semuanya di Balai Besar pada masa itu. Oleh itu, presiden kami menubuhkan sebuah galeri di bahagian bawah Balai Besar untuk mempamerkan

arca-arca seni, patung-patung Buddha dan patung-patung Hindu memang banyaklah. Selepas itu, pengerusi kami juga dilantik sebagai pengerusi

pertama bagi muzium pertama di negeri Kedah tapi beliau tetap dipanggil sebagai Pengerusi Sejarah. Ahli-ahli persatuan sejarah termasuklah

saya juga antara orang yang terawal pada masa itu bersama pengerusi kami meminta kepada kerajaan negeri Kedah untuk membina bangunan

sebagai muzium negeri yang pertama.

Q: Apakah perubahan-perubahan ketara yang pernah berlaku kepada rekabentuk atau binaan bangunan lama muzium?

A: Tak banyak perubahan. Semuanya dalah struktur yang asal yang mana kita boleh lihat bahagian kiri dan kanannya dalah sama (iaitu symmetrical).

Bilik di bahagian belakang juga masih dikekaklkan walaupun berubah fungsi. Sebelum itu, dahulunya bahagian bawah ini dijadikan Perpustakaan

Negeri sebelum diwujudkan satu bangunan sendiri yang dikenali Perbadanan Perpustakaan Awam Negeri Kedah.

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134

Q: Bilakah kali terakhir lawatan/majlis bersejarah berlangsung di bangunan ini?

A: Kebiasaannya duta-duta Negara yang datang melawat kerana mereka juga hendak tengok tentang sejarah kita, dan bagaimana kita peliharanya.

Semuanya duta Negara luar biasanya.

Q: Mengapakah fungsi bangunan ini dipindahkan kepada bangunan baru yang terletak bersebelahan, dan tidak hanya dibesarkan muzium lama?

A: Jadi saya kira kerana tanah sekitar kawasan muzium ini memang luas dn lapang sebab itulah mereka nak buat bangunan baru, bukan sekadar

menambah ruang bagi bangunan sedia ada (extension). Kalau tanah yang sebelah kanan muzium ini, yang ini memang tanah yang baru kita beli,

tetapi tapak bangunan baru itu memang tanah yang sedia ada. Kerana yang pertama jika kita buat penambahan pada bangunan lama, ia juga

menambah kos kerana perlu banyak penambaikkan kerana ia adalah bangunan lama danyang keduanya adalah kerana kita memang mempunyai

tanah lapang.

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INTERVIEW WITH EN FAUZI, MANAGER OF KEDAH STATE MUSEUM(Interview was conducted in Malay)

Q: Terangkan sedikit sejarah ringkas mengenai Muzium Negeri Kedah dan bangunan lama muzium.

A: Asalnya terletak di balai besar di Dataran Budaya. Balai besar mempunyai dua tingkat yang mana ditingkat bawah dijadikan muzium pertama

negeri kedah yang asal dikenali sebagai Muzium Sejarah Negeri Kedah. Peningkatan pengumpulan artifak dan bahan pameran, menyebabkan

muzium itu dipindahkan ke bangunan sendiri iaitu bangunan lama Muzium Negeri Kedah pada tahun 1980-an. Bangunan ini mempunyai ruang

yang luas yang membolehkan lebih banyak artifak-artifak dikumpul dan dipamerkan. Itulah serba sedikit sejarah asal bagaimana kewujudan

bangunan lama Muzium Negeri Kedah ini.

Q: Apakah yang membezakan Muzium lama negeri berbanding bangunan-bangunan lain yang dibangunkan pada era yang sama?

A: Pada masa itu, tidak banyak lagi bangunan yang berkonsepkan begini yang mana bangunan ini mempunyai konsep yang sama dengan Balai

Besar. Arkitek yang membina bangunan ini sememangnya mengambil pengaruh daripada Balai Besar. Kalau ditengokkan, rumah-rumah kedai

yang dibina pada masa itu juga tidak ada yang mempunyai konsep seperti ini yang mengambil ciri traditional daripada Balai Besar. Manakala,

bumbung ini mengambil ciri bumbung traditional Kedah iaitu bumbung lima. Jadi, pengaruh luar masib belum lagi kelihatan dalam reka bentuk

bangunan-bangunan yang ada di Kedah ketika itu.

Q: Apakah perubahan-perubahan ketara yang pernah berlaku kepada rekabentuk atau binaan bangunan lama muzium?

A: Beranda, yang mana asalnya adalah ruang terbuka. Namun apabila terlalu banyak barang-barang artifak yang kita simpan, jadi untuk keselamatan

barang-barang tersebut, kita menambah tingkap nako di ruang tersebut. Kecuali di ruang belakang yang mana pada asalnya juga merupakan

tingkap nako dan digantikan dengan tingkap kerana terdapat penggunaan aircond yang mana fungsinya adalah untuk keselesaan bilik pejabat.

Dari segi struktur memang tiada perubahan, ia adalah struktur yang asal.

Appendix

136

Q: Apakah fungsi utama bangunan ini sekarang?

A: Fungsi asal bangunan ini adalah sebagai muzium dan library(perpustakaan) sebelum dijadikan pejabat. Ditingkat bawah adalah muzium dan

tingkat atas dijadikann library. Namun apabila koleksi semakin bertambah, tingkat atas juga dijadikan muzium dan sebahagian lagi ruang

dijadikan library. Apabila koleksi semakin bertambah dan ruang library juga semakin kecil maka sebuah lagi bangunan baru khas dibina untuk

menempatkan kesemua koleksi barangan bersejarah untuk simpanan Muzium Negeri Kedah. Manakala bangunan asal ini pula dijadikan pejabat

pentadbiran dimana ditingkat bawah terdapat unit pentadbiran dan ditingkat atas terdapat unit fotografi dan unit teknikal. Pejabat ini juga dijadikan

headquarters untuk pentadbiran Muzium Negeri Kedah dimana kita ada 5 cawangan lagi keseluruhannya. Antaranya Muzium Diraja, Balai Seni,

Muzium Padi, Memorial Tunku Abdul Rahman dan juga dua buah tradisional iaitu Rumah Toksu dan Rumah Seri Banai.

Q: Bilakah kali terakhir lawatan/majlis bersejarah berlangsung di bangunan ini?

A: Apabila dijadikan pejabat, kita sentiasa dilawati oleh orang ramai. Apabila bangunan baru telah dibina, masih ada lagi orang-orang lama yang

datang ke bangunan lama untuk melihat pameran kerana menyangka muzium masih lagi ditempatkan di bangunan ini. Mereka tidak tahu bahawa

sudah ada bangunan baru untuk muzium. Jadi untuk bangunan ini, kita tidak buka untuk lawatan kerana fungsinya lebih kepada pejabat kecuali

ianya untuk urusan yang melibatkan hal ehwal pentadbiran seperti mesyuarat dan sebagainya.

Q: Bagaimanakah bangunan ini berfungsi sebagai lambang kebudayaan dan nilai-nilai masyarakat tempatan.

A: Orang muda tidak tahu sejarahnya tetapi orang lama mungkin tahu tetapi pada masa itu tidak banyak bangunan-bangunan yang dibina berasaskan

konsep tradisional kecuali rumah traditional mungkin banyak tetapi tidak untuk bangunan-bangunan besar seperti ini. Bangunan ini pun dibina

untuk menyimpan kebudayaan dan kesenian jadi ianya sesuai dengan konsep bangunan dan juga muzium kerana muzium yang dibina adalah

sebagai organisasi yang ditubuhkan untuk memelihara, membaikpulih konservasi khazanah-khazanah yang ada di Kedah.

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137

Q: Apakah peristiwa-peristiwa menarik yang pernah terjadi yang melibatkan bangunan muzium lama ini (cth: mitos, dongeng, tragedi dsb.)

A: Orang ramai biasanya akan kaitkan muzium dengan peristiwa paranormal atau mistik. Cerita dongeng atau mitos biasanya tiada. Kalau tragedi,

kita pernah dilanda banjir pada tahu 2010 yang mana bahagian bawah memang dimasuki air sedalam 2 kaki. Kalau peristiwa mistik itu, tidak

semua dapat merasainya, mungkin hanya sesetengah orang itu rezeki dia.

Q: Apakah konsep rekabentuk bangunan ini, dan siapakah jurubinanya?

A: Staff daripada JKR. Soal nama tu, daripada layout plan yang kami terima tidak tercatat nama arkiteknya dan apabila kami tanya kepada pihak

JKR sendiri tidak pasti siapa yang melukis layout plan itu. Jadi kami sudah banyak kali ditanya, dan kami pun tiada maklumat dan info daripada

JKR jadi kami pun tak tahu siapa jurulukis asalnya.

Q: Apakah elemen-elemen yang menarik yang terdapat pada struktur bangunan ini?

A: Elemen menarik pada saya, satu konsepnya seperti balai besar. Kemudian bumbungnya juga bercirikan rumah tradisional Kedah atau bumbung

lima dan juga ukiran-ukiran yang terdapat di bumbung juga apa namanya orang panggil? Yang lain adalah biasa cuma didalam memang tidak

ada yang special cuma yang diluar itulah ukiran S.

Q: Mengapakah lukisan di bahagian atas menggunakan besi sebagai medium seni dan bukannya kanvas?

A: Saya rasalah sebab saya pun tidak pernah study lagi pasal ini. Mungkinlah pada saya,mungkin pada tahun lukisan itu dibuat kanvas atau material

lain masih lagi belum popular, lukisan kanvas mungkin tidak sepopular sekarang jika dibandingkan pada masa itu. Seingat saya lukisan itu adalah

salah satu daripada lukisan arkiteknya sendiri atau penambahan selepas selesai muzium dibina yang memang dibuat daripada material ini sendiri

bukan material lain. Yang itu pun saya tidak berapa pasti.

Appendix

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Q: Apakah jenis bahan yang digunakan dalam pembinaan struktur bangunan ini termasuklah bumbung dan struktur asasnya?

A: Binaannya lebih kurang sama dengan balai besar. Bawahnya adalah batu dan atasnya adalah kayu. Tiang juga bahagian bawahnya 3 atau 4 kaki

adalah menggunakan simen/batu dan selebihnya kayu. Mungkin konsep pada zaman itu memang mengambil ilham asal daripada Balai Besar.

Jadi cara pembinaan dan material sama. Office yang diatas juga semua menggunakan kayu dan yang dibawah adalah terdiri daripada simen atau

bata. Selebihnya yang diatas adalah kayu sehinggalah ke bumbung di mana atas bumbung adalah mengguna roof tile. Kebanyakkannya adalah

campuran daripada dua material inilah iaitu 80 percent kayu dan 20 percent adalah batu bata/simen.

Q: Kenapa binaan tiang yang terdapat pada bangunan ini menggunakan dua bahan yang berbeza iaitu simen bagi tapak asasnya dan kayu sebagai

tiangnya?

A: Mungkin secara logiknya kita fikir, bangunan ini dibina untuk kegunaan muzium dan library dan diatas adalah tempat untuk library jadi mungkinlah

ialah untuk menampung bebanan yang berat. Tetapi secara dasarnya memang kita tidak tahu kenapa tiangnya dibina sedemikan tetapi itulah

secara logiknya adalah untuk menampung berat buku dan almari yang digunakan di library.

Q: Adakah ruangan tandas yang terletak di bahagian belakang bangunan merupakan struktur tambahan atau ia adalah struktur asli?

A: Bilik kecil dibelakang adalah part of bangunan asal yang mana ianya dijadikan stor dengan dua pintu. Apabila bangunan ini confirm menjadi office

dan tandas tiada jadi disebabkan itulah bilik belakang ditingkat bawah dijadikan tandas. Pada asalnya itu adalah memang bilik stor. Disebakan

tandas jauh, jadi bilik itu dijadikan tandas.

Q: Bagaimanakah sambutan penduduk tempatan terhadap penubuhan bangunan lama muzium ini sewaktu ianya dibuka?

A: Macam saya ialah orang baru di muzium ini, jadi saya pun tak pasti macam mana sambutan itu. Kalau difikirkan pada asalnya muzium itu kecil

sahaja, daripada asal yang dikenali sebagai Muzium Sejarah Kedah dan kini dikenali sebagai Muzium Negeri Kedah. Jadi sambutannya saya pasti

agak baik dan menggalakkan disebabkan kalau dilihat sumbangan orang ramai yang mendermakan barang-barang lama mereka yang bernilai

dan peningkatan artifak yang dikumpul juga menyebabkan bangunan baru muzium dibina.

139

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report final old state museum of kedah

Education