Architecture Culture and History 2 ( ARC 60203 )

Architecture Culture and History 2 ( ARC 60203 )
Tutor :
Table of Contents
1.0 Introduction .............................................................................................. 1
3.0 History ...................................................................................................... 3-
3.3 Selecting A Site
3.4 Cost of Construction
3.5 Tenders For Construction
(By Kohei Watanabe)
7.2 Islamic architecture
8.0 Building Construction, Structure and Material Analysis ............................
8.1 The main Construction (By Vanessa Christy Goonting)
8.2 Building Materials
8.3 Materials Used
9.1 Main Roof (By Chen Lian Lian)
9.1.1 The Concept and Design
9.1.2 Symbol and Meaning Behind the Concept
9.1.3 Details of The Roof
9.2. The Courtyard (By Chen Lian Lian)
9.2.1 The Purpose of The Courtyard
9.2.2 The Concept and Design
9.2.3 Details of The Courtyard
9.3 The Veranda and Wall Screens (By Chen Lian Lian)
9.3.1 The Purpose of The Veranda and the Wall Screen
9.3.2 The Concept and Design
9.3.3 Details of The Veranda
9.4 The Main Prayer Hall (By Chen Lian Lian)
9.4.1 Design
9.4.2 Lighting
12.0 Appendices .........................................................................................
1.0 Introduction
Figure 1 : The view of the pleated roof from the position of the reflecting pool. (Lim, J., 2017)
The National Mosque, which was built in 1965, marked an important event in our nation’s
history as we had just gained Independence from the British a few years prior to the
completion of the mosque. It was and still carries a certain kind of symbol or identity of a
true “Malaysian” building - a building that was not solely built and donated by one
particular group of race in this country but by all races and religions that united together
to turn the idea of our nation’s forefathers to having a ‘national iconic building’ into reality.
As the National Mosque had just approached into it’s 52th year since its completion in
1965, the architecture styles and elements which it embodies are still as being perceived
as a timeless architectural beauty that speaks volumes for itself. Not only it is beautiful
in terms of its overall appearance and outlook of the building, but it also a building that
is truly functional from inside out, without losing its main identity and purpose as a
place of worship as it was intended to be designed where people from all races could
gather for social activities which helps to bind the community together as one.
With that being said, the National Mosque truly reflects that cultural and patriotic
values found in every race and religion in our nation, which is why in regardless of our
creed and colour, the National Mosque stand strong as a symbol of unity and inspiration
for all the citizens of Malaysia.
2.0 Fast Facts of The Building
*The symbol $ refers to the Malaya and British Borneo Dollar, the currency used in
Malaysia before 1967, when Malaysian Ringgit was only introduced thereafter.
Name of The Building National Mosque of Malaysia or
Masjid Negara
Kuala Lumpur, Wilayah
Architects Howard Ashley
Built-up Area 7,575 sq.m (81,536 sq. ft)
Architecture Style Modern Islamic
3.0 History
Figure 2: An archive photo of the National Mosque dated back in the 1980s before the refurbishment was carried out. (ATSA Architects, 2015)
Upon instigation by Tunku Abdul Rahman, who was the Prime Minister at that time and
also the one who provided the initial design brief, the National Mosque in Kuala Lumpur
was later built in 1965 as a symbol of unity of this multiracial country.
The Public Works Department which is currently known as Jabatan Kerja Raya (JKR) was
in-charged of the construction. A team of architects behind the design of the National
Mosque was led by Howard Ashley in the Public Works Department which included
Baharuddin Kasim and Hisham Albakri.
When Hisham was offered a scholarship to study tropical architecture in London, he left
the project just as construction started and Baharuddin Kassim carried on with the project
until its completion in August 1965. It took them 3 years to construct the National Mosque.
For Baharuddin, the design of the mosque was a continuation of his search for a modern
mosque form that had commenced with his final-year thesis design project at the
University of Manchester. A flat-roofed modernist “concrete cube” with the ceiling space
articulated as a pyramid was created in his exercise. With that being said, the National
Mosque design was primarily an abstraction of a traditional Malay house set within a
natural landscape. (Lim, T. N., 2010)
Later, as a partner of Jurubena Bertiga, Baharuddin Kassim was responsible for the
building extension in the late 1980s.
3.1 Symbol of The Mosque
The importance of the mosque was spelt out by the commemorative publication as
twofold: to serve as a symbol of the importance of the state religion, Islam; and as “a
permanent edifice to commemorate the achievement of Merdeka or independence on
August 31st, 1957”.
The Prime Minister justified the mosque as a national project in the following way; “To
me Masjid Negara stands for the unity of all the people of Malaysia, for it has been built
not only with donations from Muslims alone but from non-Muslims as well, who are
imbued with the spirit of co-orperation and owe undivided loyalty to this country. This is
one of the special characteristics of our country.” (Lai, C. K., 2007)
At other occasions, the mosque was described as multi-racial and inclusive because
diffferent races were also involved in its construction. The brochure continued with this
description that it was “...designed by a Malay, constructed by Chinese and Indians and
financed by contributions from Buddhists, Hindus, Christians and Muslims.” (Lai, C. K.,
2007)
3.2 Name of The Mosque
The Federal Executive Council in charge of developing the capital city decided that a
mosque be built and named after the Prime Minister. After Merdeka celebrations, the
Conference of Rulers gave its blessing and a central organising committee was appointed,
led by the Deputy Prime Minister, Tun Abdul Razak. Declining the offer to have the
mosque so named, the Prime Minister ecided it should instead be designated Masjid
Negara (National Mosque). (Lai, C. K., 2007)
3.3 Selecting A Site
Figure 3: The former site of the National Mosque on Valley Road, where the Galloway
Club and a school once stood before being relocated to another premise.
Figure 4: The site of the National Mosque where the ongoing land clearing activity was carried out while the construction of the Kinabalu flyover bridge could be notice on the right side of the photo. (ATSA Architects, 2015)
The Prime Minister insisted on another site he had chosen: a valley adjacent to the
Railway Station and the Railway Administration Offices. The main reasons cited for this
particular area was the site’s proximity to key transport infrastructure which would be
highly convenient for Muslims across the country to visit the mosque. The decision
made by Tunku was later prevailed. (Lai, C. K., 2007)
3.4 Cost of Construction
The original estimated cost of 5 million was raised to 8.5 around April 1962 and then to
its eventual figure of 10 million in November the same year. The Cabinet contributed
4.5 million dollars in January 1959 to its building fund. A further 2.5 million was raised
from other state governments and 3 million from public donations.
Apart frm Shaw Foundation’s $26,000 contribution, the Bruneian government donated
$25,000. The Chinese community as represented by the Malayan Chinese Association
raised $59,265, and the South Indian Muslim Mosque committee donated $18,716. (Aziz,
A., 2015)
3.5 Tenders For Construction
Several tenders were received by 13th August 1962. The tenders were called only after
the site has been prepared and the qibla fixed. (Aziz, A., 2015) When the quotations
were received, it was found to be too high and hence, the building specifications had to
be changed in order to reduce as much as two million from the actual cost. The mosque
finally accepted the tender submitted by Messrs. Lim Chong Construction Company Ltd.
4.0 The Architect
Figure 5: Baharuddin Kassim along with Tunku Abdul Rahman as well as other ministers
at the time of the construction period during a site inspection. (ATSA Architects, 2015)
Born on the 1st October 1929, Baharuddin Kassim had not only lived through the period
of British colonial and Malaysia’s Independence, but also through the eras of all of the
country’s six Prime Ministers to-date.
Figure 6: Baharuddin Kassim
completed National
2015)
In addition to that, his professional repertoire has spanned that entire time and his
architectural works have been testaments to the changing face and development of the
nation. He has since met and worked with those Prime Ministers and other governmental
leaders from from the British era officials to the both state and national leader throughout
his significant works which he had the opportunity to be involved in. (Lim, T. N., 2010)
Before becoming an architect, he obtained a scholarship to further his studies in
architecture at the University of Manchester in England before returning to the country
for a stint and worked in the Public Works Department. He then went on to obtain
another scholarship, but this time around in town planning for a couple of years, an
expertise in which he thought was what the country needed at that time.
Upon his return from his additional two years of studies in the United Kingdom, which
coincide with the period where it was time for the country to bravely seek its own identity
- architecturally as well as all other respects soon after the country gained independence
from the British occupation. (Lim, T. N., 2010)
Whilst settling down in Public Works Department, he was then assigned to design the
National Mosque alongside Hisham Albakri, headed by Howard Ashley- not knowing that
this design of his would one day end up as one of the most prominent and unique national
icon of Malaysia.
Baharuddin Kassim
at the background.
(ATSA Architects, 2015)
The success of this National Mosque had since become a springboard for his illustrious
personal career. This work of his still holds a special place in his heart.
5.0 Site Context Analysis
Figure 8: Top-view from satellite images of the site location
5.1 Site Location
The National Mosque of Malaysia is strategically located at the West of Central Kuala
Lumpur, Malaysia. (Figure 1.1) There are couple of significant buildings surrounding the
location, buildings can be found are: Islamic Art Museum, Dayabumi Complex, and Old
Railway Station Kuala Lumpur.
Figure 9: Aerial view of the National Mosque of Malaysia
A few building openness choices can be seen on the working of National Mosque of
Malaysia are in a piece of the administration organization enclave in Kuala Lumpur,
Malaysia. It stands slantingly inverse the focal railroad station on 13 Acres of stream, level
land along Sultan Hishamuddin Road at the East, youthful street at the North and Lembah
Venning street at the South Boundary. There is an underground walkway that interfaces
the mosque to the railroad station, giving simple access to and from anywhere in the city.
The mosque faces the primary street where open offices like schools and other noticeable
structures, for example, the General Post Office headquarters.
Figure 10: Islamic Arts Museum Entrance
5.2.1 Islamic Arts Museum
Finished in 1998 and composed by Kumpulan Arkitek Sdn. Bhd. It is situated inside the
Perdana Lake Gardens and inverse the National Mosque. It was worked to house and
show relics, craftsmanship’s, specialties, original copies and accumulations from the
Islamic world. The building likewise contains a hall and two libraries other than having 12
displays.
The building was worked in a post-current style the combination of steel and glass and in
addition Islamic themes, for example, covering geometry and vaults. The most noticeable
element of the historical center are the vaults designed with Islamic geometry and themes,
every one of them splendidly lit inside with shifting tones of hues.
The historical center inside is intended to enable light to surge in from the focal patio
towards the most profound parts of the gallery, making a feeling of significance where
God is the light of universe, as indicated by the Islamic Arts Museum Malaysia Curatorial
Affairs Department Head Dr Heba Nayel Barakat. The historical center is mainstream with
travelers and frequently held unique presentations consistently.
Figure 11: View of the Old Railway Station from the KTM Headquarters
5.2.3 The Old Railway Station
Begun work in 1906 and finished 4 years after the fact, this station is utilized as a principle
end for intercity trains. It was planned by Arthur Bennison Hubback, whom was the
colleague to the executive of Architecture Department of Public Works. The station
contains four tracks when it was first form and includes a lodging inside the station itself,
in which it has shut in 2011. The station embraced a Mughal design style, which is a typical
engineering style amid the period. The bulbous arch sits on the thin minarets with vaults
which are situated on each side of the building. Curved and domed windows, regularly
observed in Mughal engineering designs the veneer of the building. The Mughal veneer
conceals the cast-iron and glass edge of the station itself. The rooftop was intended to
withstand around six feet of snow, which is somewhat amusing considering that Malaysia
never encountered a solitary snowflake because of its area near the Equator
The station encountered various redesign amid its lifetime and the station has been
extended toward the north to build its ability before the intercity administrations moved
to KL Sentral in Brickfields. Today, the station is in a broken-down state with the majority
of its offices decommissioned including the historical center and the inn. The station is
still served by the KTM Komuter line utilizing the focal stage while the external stages are
utilized by the new electric intercity line (ETS).
Figure 12: The Railway Administration Building Entrance
5.2.4 KTMB Headquarters (Railway Administration Building)
Intended to supplement the railroad station which has the same compositional style, the
organization building has confronted a few postponements amid development because
of World War I and the terrible economy and was just finished in 1917. Finished seven
years after the consummation of the railroad station crosswise over it, it was worked as
an organization working for the rail route organization. It was outlined by a similar
engineer that fabricated the railroad station and has the same Mughal design style, with
the expansion of a vast bulbous arch at the center of the building, unmistakable from the
front of the building.
The building was more like a Moorish engineering where the building reflects both the
mix of Ottoman and Mughal styles with impacts from Greek and Gothic design. This half
and half Islamic design style was traded from India to British Malaya through British
specialists and draftsmen propelled by Indo-Saracenic styles from India. The high and
wide verandas encompassing the building makes a cooling impact as tropical atmosphere
temperatures are regularly high throughout the entire year. Today, it is utilized as the
principle base camp for KTMB Malaysia, the railroad organization that oversees most rail
lines in West Malaysia, yet filling its fundamental need as a rail line organization working
right up 'til the present time. An underground path associates the base camp and the
railroad station together.
5.2.5 Dayabumi Complex
Finished in 1984 and outlined by MAA and BEP Architect, it was charged by the Urban
Development Authority (UDA) as a feature of its procedure to making joint endeavors
with the legislature and the private division and in addition to rebuild Bumiputra
enthusiasm for urban ranges. The whole complex comprised of a 35 story-tower, a
shopping complex and the general mail station.
The building is a noticeable historic point as it neglects pilgrim structures encompassing
the pinnacle and was worked to mirror the dedication of the legislature to secure the
privileges of the Bumiputera. The pinnacle design and outer exterior bears solid
association with Islamic engineering and a differentiation to the pioneer structures
encompassing the complex. The format of the pinnacle takes after a blend of covering
polygons and the Rub el Hizb, a 8-point star regularly observed in Islamic geometry.
Islamic images and geometric themes are likewise spoken to inside the metal sunshades
encompassing the building and pointed curves at the hall. Today, the shopping complex
has been decimated and the hall has been redesigned to incorporate another glass
entrance close to the current general mail station. It is associated with the LRT and the
Old Kuala Lumpur railroad station by means of walkways.
5.3 Response to Climate
The mosque's outline is reasonable for the Malaysian atmosphere. The principle rooftop
is reminiscent of an open umbrella. The collapsed plates of the solid principle rooftop are
an imaginative answer for accomplish the bigger traverses required in the primary social
affair corridor. Reflecting pools and establishments spread all through the compound, it
can give a diminishment in temperature of the environment. (as shown in Figure 2.1 &
2.2) These plans are appropriate for Malaysia's atmosphere which rain consistently and
have solid daylight.
Figure 14: Reflecting pools Figure 15: Open to natural ventilation
The open and expansive veranda surroundings the mosque and gives the building great
ventilation. (as shown in figure 2.3) Supplications and guests don't feel stuffy and hot in
the building even the toward the evening. Triangular openings between the folds of the
building's roof is used to capture wind, thus making it air intake that pushes hot air out
from various open-sections located inside the building. (as shown in Figure 2.4)
Furthermore, the divider screening around the building, it obstructs the cruel daylight
from entering the building yet does not hinder the ventilation, keeping the working in an
acceptable temperature and maintaining constant flow of ventilation.
Figure 16: Open verandas Figure 17: Triangular openings
6.0 Architectural layout of building
Diagram 1: Axonometric from southwest
In terms of architectural, architectural plans serve design and planning for a building. It
contains architectural drawings, accurate calculation, specification of design, dimensions
and many more.
The term “Architecture plan” provides further understandings of the building such as
concepts and usage of the building, communication ideas, to enable a building contractor
to construct it and symmetric and asymmetric of the building.
MainPlayer all
Diagram 2: Floor Plan
Diagram 3: Side Elevation
6.2 Plan to element analysis
In terms of architectural plan, The National Mosque consists of two main buildings; the
Player hall and the Mausoleum .Those two parts of the mosque are divided by the Water
feature and connected by the Open walkways, Just like bridges on the river.
Since this building is a mosque, the building is directed at Mecca. Thus, there is a lean of
67.5° from North. The projection of the Player Hall shows the direction of Mecca.
6.3 Architectural layout of building
Diagram 4: Layout of National mosque.
The diagram and the legend below shows the areas in the National Mosque:
6. 4 Architectural layouts of building
6.4.1 Circulation to use-space
Diagram 5: Circulation of Prayers
The diagram above shows the circulation of prayers. The Ablutions Fountain is located
under the Verandah. Thus, players don’t pass the Entrance and the Open Walkway. Just
walk grand floor to ablution area, and use stairs in front of the Prayers Hall. In order to
divide men’s and women’s traffic line, there are two stairs and two prayer halls (women
prayers use upper floor).
Diagram 6: Circulation of Non-Muslim Visitors
Since this mosque is one of the symbolic architectures of Malaysia, this mosque is opened
for visitors. Visitors have to register and take their shoes off at the Entrance before they
enter the mosque.
The bolder arrows are mainly where visitors would often walk by. Visitors are not allowed
to enter the Prayer Hall. However, there is an open area that visitors can see inside of the
hall and can take…