History report final [updated]

PROJECT: ARCHITECTURE HERITAGE BUILDING

ANALYSIS

Architecture Culture and History 2 [ ARC 1323 ]

SULTAN ABDUL AZIZ ROYAL GALLERY

Surayyn Selvan | 0309818 Sharifah Diyana | 1006AH78373

Soh You Shing | 0308010 Meera Nazreen | 0309630

Sultan Abdul Aziz Royal Gallery, Klang | ARC 1323 | i !

CONTENT PAGE

1.0 INTRODUCTION pg 1

2.0 CONTEXTUAL CONDITION pg 9

3.0 BUILDING INVENTORY pg 17

4.0 CONCLUSION

pg 24

5.0 REFERENCE LIST pg 25

Sultan Abdul Aziz Royal Gallery, Klang | ARC 1323 | 1!

1.0 INTRODUCTION 1.1 KLANG!

Some of the important buildings located near The Royal Gallery.

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3

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5 6

1. The Royal Gallery, Klang

2. Klang Railway Station

Year of construction: 1909 Function: - Initially a British Administration office

- Later used as a Japanese Military Headquarters - Was used a the Royal Malaysian Police Contingent - Now functions as Sultan Abdul Aziz’s Royal Gallery

Year of construction: 1890 Function: - Built to replace the Bukit Kuda train

station - Functions as a stop for the Kuala Lumpur commuter lines (KTM)

Sultan Abdul Aziz Royal Gallery, Klang | ARC 1323 | 2 !

1.0 INTRODUCTION 1.1 KLANG!

3. Klang Fire Station

4. Indian Muslim Mosque

5. Little India Klang

Year of construction: 1890 Function: - Protects the town from sudden fires

- Underwent renovation to keep up with the modern times whilst maintaining its original look

Year of construction: 1910 Function: - Place of worship for the Indian Muslim

population which is one of the major communities in Klang

Year of construction: - Function: - Hosts an abundant number of textile

shops, Indian cuisine restaurants and goldsmiths


1.0 INTRODUCTION 1.2 BUILDING DESCRIPTION!

Klang is known to be the Royal town of Selangor, filled with historical buildings and

streets. Recently, a project known as Klang’s Heritage Walk was implemented to conserve

the historical buildings. One of these building’s and one of Klang’s top attractions is the

Sultan Abdul Aziz Royal Gallery that is located nearby Klang Railway Station and beside

Little India.

i) A.B. Hubback

The Royal Gallery is located in the Sultan

Suleiman Building, which was beautifully designed by a

well-known architect back then, Arthur B. Hubback in the

year 1909 during the British colonization (Malaysia

Traveller, 2011). He worked alongside Public Works

Department of the Federated Malay States on designing

the Sultan Suleiman Building (Oxford Dictionary of

National Biography, 2004). He is also recognized in

designing some of his previous works such as the Kuala

Lumpur Railway Station, Masjid Jamek Mosque and

Carcosa City Hall with a Neo-classical essence (Muthiah,

2012).

The building itself had gone through multiple changes of function since it was

completed. It was firstly used as a British Administration Centre, and then as a Japanese

Military Headquarters during the Japanese occupation (Malaysia Traveller, 2011). After the

war had subsided, the building was passed on over to the Klang District Office which dealt

mostly with land matters of the area. From 1973 onwards, it was known to be the Royal

Malaysian Police Contingent. The Klang Municipal Council then made it their office. Few

years later, Sultan Sharafuddin Idris Shah decided to house the Royal Gallery to

commemorate his father’s legacy Sultan Salahuddin Abdul Aziz Shah, and hence the

gallery was named after him (Zureuel, 2008). The gallery provides a fascinating glimpse

into the history of the Selangor sultanate and the life of the eighth Sultan ( Zureuel, 2008).



Roof plan of the site

West elevation



North Elevation

North Elevation

South Elevation



Ground Floor Plan

First Floor Plan


1.0 INTRODUCTION 1.3 BUILDING CONCEPT!

Upon further research, it can be seen that Sultan Abdul Aziz’s great grandfather,

Sultan Alauddin Shah’s Palace in Banting had a similar concept resembling the western

architectural style (Ismail, 2003). It has the same building elements in terms of the

principles of design as well as the characteristics Neo classical architecture has.

ii) Sultan Alauddin’s Palace in Banting

The Sultan Abdul Aziz Royal Gallery

was also called the ‘White House’ by the local

people (Muthiah, 2012). This was generally

due to the exterior colonial white facade of the

building which is relatively similar to the White

House in United States (Zureuel, 2008). The

building was designed by Arthur B. Hubback

with the design concept of a hybrid Neo-

classical and British Colonial architecture.

The exterior and interior design approach was mostly based on Roman architecture. One

of the visible Roman characteristics was the use of columns throughout the building. The

windows and doors are the typical British Colonial styles.

A sketch of the building before renovation


1.0 INTRODUCTION 1.3 BUILDING CONCEPT!

Before the Sultan Suleiman Building

housed the gallery, it was renovated with the

support of the State Government and opened

to the public with the building renamed, The

Sultan Abdul Aziz Royal Gallery (Zanna,

2008). The conservation and renovation

works on the building began in 2005 and

were completed late of 2007 (Zanna, 2008). A sketch of the building after renovation

iii) Architect Laurent Lim

The refurbishment and conversion

works were conducted by Architect Laurent

Lim, whom was personally approached by

the Sultan himself, to join a design

competition to renovate and refurbish the

building, in which he won. (Ar. Lim,

personal communication, 2013). Laurent

Lim and his team did an amazing job in

preserving and maintaining the building

design and concept to its original that was

done by Arthur B. Hubback. The entire

project valued around RM3, 000, 000

(Laurent Lim Architect, 2006).


2.0 CONTEXTUAL CONDITION 2.1 PHYSICAL CONDITION!

The Sultan Abdul Aziz Royal Gallery is a neo-classical building which was inspired

by the Western Classical style. Initially, the building consisted of three wings or sides,

connected to compose a ‘U’ shaped building. The north side of the building is situated on

the left side while the south side of the building is placed on the opposite of it. The western

part of the building is actually the largest front facing façade of the whole of the gallery.

Condition of the plastered ceiling before renovation

Since the building was constructed

beautifully, with its symmetrical Westen

derived elements,, it was agreed that it was

to be kept that way in order to not destroy

the pure beauty of it. However, the need to

maintain the building is a must. The age of

the building is the main reason maintenance

is crucial. Being from the early 1900’s, there

tend to be problems which affect the building

such as water seepage, leakage, damaged

floor tiles and rain water pipes, as well as

parts of the original ceiling soffit on certain

area of the verandah were exposed.

Apart from that, the broken and

chipped parts of the roof tiles were replaced

with those which are the identical to the

original piece. Besides the roof tiles, the roof

trusses were repaired too. This is because it

had rotted over the past years. In addition to

the damages mentioned earlier, parts of the

roofs which leaked have also been replaced

with a new and steady components.

In the process of doing so, some plants and roots that grew over the years on all parts of

the building had been removed to make the building look new and clean.

The chipped L-angled roof tiles



The walls of this building were also

reconditioned. The brick walls were

refurbished in order to give out a better

image for the gallery. As for the old plastered

walls, they were plastered again with lime-

based plaster. Some of the walls were

removed or added as partitions. This is to

supply heat resistance along the verandah

as well as the front of the building itself. The worn-out plastered walls of the building

In addition to that, there were

changes made to the doors and windows

too. Those that were not consisting of the

original designs had been removed. They

were then replaced by the ones that

corresponded with the original designs.

Besides the components which do not

have the original designs, doors and

windows which were damaged have been

restored, repainted or varnished.

The openings in the building before renovation

As for the glass windows, UV films were installed at the exhibition area. It was also

installed to the entrance door in order to avoid and decrease the heat and light exposure.

The cracked floor tiles in the building hallway

The floor tiles on the ground floor

were all removed as they proposed new floor

finishes which is more suitable for the interior

of the gallery. As for the first floor, only

restoration and certain replacements were

made to the wooden floor boards.



The cracks at the base of the columns

The last renovation component that

occurred to the building itself was the

changes that were made on the exterior

façade, which was the restoration of the

wooden louvres by replacing the woods and

also repainting them. The columns were

restored too. All of the cracks found on the

columns were restored to match the existing

design which we can see currently.

Although there were no any additions or demolition to any parts of the Royal

Gallery, there is one addition to the site of where the building is located. The old garage

situated on the east part of the site was demolished and was replaced by a new building

which functions as the Administrative Building (AR. Lim, 2007).

The garage at the back of the site was renovated into the gallery’s administrative block.

New west elevation of the building with the wooden louvers


2.0 CONTEXTUAL CONDITION 2.2 SOCIAL & CULTURAL CONTEXT!

No Name of business Type of Business

1 Klinik Shape Clinic

2 FAMISTA Trading Furniture Shop

3 Kedai Emas Hongke Goldsmith

4 Kopitiam Chong Kok Coffee Shop

5 Kedai Emas Win Sen Goldsmith

6 Kedai Jam Hwa Sing Clock Shop

7 Syarikat Adik Beradik Wah Seng Clock Shop

8 Pusat Timbang dan Sukat Wing Lee Seong

Weights and Scales Trading

9 Kedai Emas Kee Cheong Goldsmith

10 Syarikat Yen Woh Chinese Herbal Shop

1

2

3

4

5 6 7 8 9 10



In order to identify the social and cultural context of The Royal Gallery, a survey

was carried out in the area to understand which business contributes the most to the

gallery. Through the information gathered we can understand the importance of the

building, socially and culturally.

1. KLINIK SHAPE The nurses working in the clinic were available at the time and they had stated that they

are aware of the function of the gallery but they’ve never been inside. When asked why,

they responded by saying that they haven’t had the time.

2. FAMISTA TRADING The worker in the shop was unaware of the building’s presence as well as it’s function.

The shop has had no relationship with the building whatsoever.

3. KEDAI EMAS HONGKE

The owners of the shops were aware of the building but like many of the people, they saw

no reason to visit the gallery. When asked if they had any relationship with the gallery,

they said none whatsoever.

4. KOPITIAM CHONG KOK

The owner of the shop was aware of the gallery’s function and the owner has only been in

the building a few times back when it was the Klang Municipal Council building. The

business has had no relationship with the gallery.

5. KEDAI EMAS WIN SEN The owners of the shop were aware of the building but have never been inside. Much like

the previous businesses, the shop has no relationship with the gallery.



6. KEDAI JAM HWA SING The owners were very well informed of the building. However when asked if they have

been inside the building, they said that they haven’t had the time to visit the gallery. The

business is also unrelated to the gallery.

7. SYARIKAT ADIK BERADIK WAH SENG The owner was very well informed of the building as he has been offering his services to

the gallery. He helps to maintain the Sultan’s collection of watches and clocks. This was

the most relevant shop in response to the gallery.

8. PUSAT TIMBANG DAN SUKAT WING LEE SEONG The owner was unaware of the building as well as its function.

9. KEDAI EMAS KEE CHEONG

The owners were aware of the building but are unaware of its function. Thus, they have

never been inside the gallery.

10. SYARIKAT YEN WHO

The owners were unaware of the building as well as its function.



The construction of this gallery has had many different views and perspective by

the society in Klang. In the early years, the residents of Klang have a highly positive view

on it. They very much appreciate the building whether it was the physical look itself as well

as the purpose of why the building was being built in the first place. However those

opinions changed over the years especially in this modern world where people under

appreciate the significance of such historical buildings.

Some of the locals do not even know that such beautiful building exist in their

hometown while only a few know about the building’s history and the purpose of its

existence. This can be seen through the brief survey that was carried out. Despite all that,

there are locals who do know and still do appreciate the beauty of this building. Mostly the

watch and clock shop business owners. This is because the Sultan had a wide collected

of clocks and watched in the gallery that all need intricate maintainence work and what

better way to seek for help then from the locals themselves. It makes them proud to have

a meaningful and historical structure still strongly erected in the centre of their hometown

and it gives them a sense of accomplishment to contribute to such a historical building.

Ocassionally, The building brings in tourists from all over the place such as sailors who

dock at Port Klang.


2.0 CONTEXTUAL CONDITION 2.3 POLITICAL CONTEXT!

The current building of Sultan Abdul Aziz Royal Gallery was initially used as the

British administrative centre when it was first built in 1909. However, during the World War 2

when the Japanese invaded our land, this particular building acted as the Japanese army

base. Soon after the war ended, the army base was used as an office. It was to attend to the

land administration matters in Klang. During 1973 up until 1985, the building was being

occupied by the Royal Malaysian Police Contingent of Selangor. The changes occurred right

after the previous office was relocated to Jalan Kota. Two years later, Klang Municipal

Council had decided to use the building as their office until the year 2002. Unfortunately, the

building was abandoned for several years later due to the relocation of the council. That was

until his Royal Highness, Sultan Sharafuddin Idris Shah Alhaj, turned it into a gallery to

commemorate his late father. Currently, the building functions as a galerry named after the

late sultan, Sultan Abdul Aziz.

iv) Sultan Sharaffudin Idris Shah v) Sultan Abdul Aziz Shah


3.0 BUILDING INVENTORY 3.1 FAÇADE!

DETAILS

-  Masonry wall coated in plaster, finished in Kansai Pure White 001 -  Main lobby flooring consists of white Ipoh marble and Nero Galaxy

marble to give a regal appearance -  Wings extending towards the side porticos are made of pebble

wash finish with groove lines at 1200mm2

-  Lined with colonnades of the Roman Classical Order -  Openings are intersected with wooden louvers for shading and

weather protection

DESCRIPTION

Due to it being constructed by the British, the building was based off neoclassical architecture. Much like most Neo-classical architecture, the façade of this building is symmetrical in it’s design. The central portico is the main focus of the building with it being the tallest of the porticos and functions as the Grand Entrance to the space inside. The building is painted white to resemble the white washed brick walls that are common in neoclassical architecture.


3.0 BUILDING INVENTORY 3.2 PEDIMENT AND ENTABLATURE!

DETAILS

-  Constructed out of bricks and coated in plaster and finished in Kansai Pure White 001 paint

-  Contains triangular shaped and a rectangular shaped wooden louvers to allow ventilation into the building

DESCRIPTION

Based off Roman temples, the pediment is a triangular shaped gable on a horizontal cornice that is support by colonnades. The pediment is extruded from the main building to further enhance it’s focus. There are no major ornamentations on the tympanum of the pediment as neoclassical architecture buildings do not have exaggerated ornaments.

Pediment

Entablature

Columns

Base


3.0 BUILDING INVENTORY 3.3 COLUMNS!

DETAILS

-  Columns are made out of precast concrete in the High Colonial Indian Order also known as the Roman Tuscan Doric Order

-  Coated in the same Kansai Pure White 001 paint -  The capitals of the columns are ornamented in repeated circular

patterns -  The shafts of the columns, like the Roman Tuscan, are bare and

plain -  The columns are rested on simple cuboidal shaped bases

DESCRIPTION

The columns used in the main building are used as structural support as well as to enhance the aesthetic view of the building. The repetition of columns give the building a sense of order and balance. Similar to Greek temples, “entasis” was used in visually correcting the appearance of the columns. The corners of the porticos were visually strengthened by groups of three columns. In contrast to the main building, the administration building used the columns as ornamentation instead of structural support much like in Michelangelo’s Laurentian Library.


3.0 BUILDING INVENTORY 3.3 COLUMNS!

COLUMN DETAILS

The columns used in the building were of a Roman Tuscan and Roman Doric combination. The shaft of the column is based of the Roman Tuscan whilst the capital of the column is based of an Ornamental Roman Doric column (“Roman Column”, n.d.).

ENTASIS

According to Penrose (1888, p. 39), it is the ‘swelling given to a column in the middle parts of the shaft for the purpose of correcting a disagreeable optical illusion, which is found to give an attenuated appearance to columns formed with straight sides, and to cause their outlines to seem concave instead of straight’.


3.0 BUILDING INVENTORY 3.4 COURTYARD!

DETAILS

-  The pathway consist of gravel laid on a concrete layer -  Carpet grass was used to add greenery to the landscape -  2 Imperial Guardian Lions made out of marble face the back of the

main building -  Low leveled shrubs and minimal trees were used as part of the

landscape -  The water feature lining the main building contains pots filled with

water and lotus plants

DESCRIPTION

The courtyard was added to enhance the design of the building. Like most British architecture, the landscaping played a huge influence in the design of a building. Very minimal foliage and plants were used so that the building would not be overwhelmed by greenery and will be appreciated for it’s aesthetics. The garden contained eastern influences such as the guardian lions to add an Asian essence to the space. The combination of the gravel, grass and water feature created a tranquil space as a sense of repose from exploring the gallery.


3.0 BUILDING INVENTORY 3.5 CENTRAL LOBBY!

DETAILS

-  Accessed through an arch made out of precast concrete and finished in the same Kansai Pure White 001 paint

-  Double Quarter Landing staircase made out of Ipoh white marble and Nero Galaxy

-  Balustrades are made out of precast concrete and finished in white paint

-  A glass chandelier hangs over the space -  An elevator for the handicapped is fitted near the staircase

DESCRIPTION

The usage of marble and white paint gives a sense of grandeur to the space. Because it it the first space you enter, the intention was to impress the user. The reflection of the staircase and walls on the marble makes the space looks bigger than it is.


3.0 BUILDING INVENTORY 3.6 ARCHED WINDOWS!

DETAILS

-  Wooden frames treated with anti-fungal -  Frames are coated in weather resistant white paint -  Glass panels are tinted to prevent UV light from entering the

building and also to prevent visibility from the outside

DESCRIPTION

The interior spaces are very somber and regal thus coming off as very dark. These windows were located near the stair well accessing the upper floors. Whilst allowing light to enter the space, it gives a sense of enlightenment upon the users. The windows are arranged in an organized manner when viewed from the exterior of the building.


4.0 CONCLUSION The Royal Klang Gallery is, without a doubt, one of the most symbolic buildings in

Klang. First constructed and designed by the British, architecturally, it symbolizes our

diverse and beautiful nation. The British were one of the many reasons Malaysia has one

of the most colourful cultures in the world. Having undergone several function changes,

this also proves that the building is able to cope with the changing of the times. Politically,

the building is a royal symbol to Sultan Abdul Aziz as well as Sultan Sharaffudin Shah.

This is because the building functions as a time capsule for the late Sultan Abdul Aziz’s

life, preserving his past.

The effort taken to refurbish the building proves initiatives were taken to ensure

that historical buildings are in their top form for our future generation. During the

refurbishment, the gallery helped form a close bond between the architect, Ar. Laurent

Lim, and Sultan Sharaffudin Shah. The architect had to dwell into the Sultan’s late father’s

life and this opened a door in his heart for the Royal family.

However, despite all these efforts to preserve our culture and history the building

will remain just a building if no effort is taken from a citizen’s point of view. Through the

survey, it can be seen that very little awareness is known about the building. The fact that

some of the residents are unaware of the gallery is unfortunate. All these initiatives and

efforts taken would all be in vain if we do not change our mindset. We should embrace

buidling’s like this as they hold many keys to unlocking our nations culture. Hopefully, the

Royal Klang Gallery will be loved for it’s architecture and symbolism somewhere in the

near future.


5.0 REFERENCE LIST INFORMATION

AR. A. G. Lim, L. (2007). The making of galeri diraja sultan abdul aziz (Powerpoint slides). Ismail, A. S., & Tajuddin Mohd Rasdi, P. M. (2003). Traditional Muslim Architecture in

Malaysia (Volume 2 ed.). Kuala Lumpur: Pusat Kaji Alam Bina Dunia Melayu. Laurent Lim Architect. (2006). Ar. Laurent A. G. Lim. Retrieved from http://

www.llarchitect.com.my/profileLaurent.html Malaysia Traveller. (2011). Klang Walking Tour. Retrieved from

http://www.malaysia-traveller.com/klang-walking-tour.html Muthiah, W. (2012). Steeped in history. The Star Oxford Dictionary of National Biography. (2004). Hubback, Arthur Benison. Retrieved from

http://www.oxforddnb.com/templates/article.jsp?articleid=96296&back= Palmer, A. L. (2011). Historical Dictionary of Neoclassical Art and Architecture. United

Kingdom: Scarecrow Press, Inc. Penrose, F. C. (1888). An Investigation of the Principles of Athenian Architecture; or, The

Results of a Survey Conducted Chiefly with Reference to the Optical Refinements Exhibited in the Construction of the Ancient Buildings at Athens. Macmillan, London, UK.

Roman Columns. (n.d.). Roman Columns. Retrieved October 29, 2013, from http://

www.tribunesandtriumphs.org/roman-architecture/roman-columns.htm Zanna, E. S. (2008). A Royal Life Remembered. New Straits Times Zureuel. (2008). Sultan Abdul Aziz Royal Gallery. Retrieved from

http://zureuel.blogspot.com/2008/04/sultan-abdul-aziz-royal-gallery.html

PICTURES

i) http://www.oxforddnb.com/templates/article.jsp?articleid=96296&back= ii) Traditional Muslim Architecture in Malaysia (Volume 2 ed.). iii) http://www.llarchitect.com.my/profileLaurent.html iv) http://www.mdhs.gov.my/image/ v) http://upload.wikimedia.org/wikipedia/en/1/1a/Sultan_Salahuddin_of_Selangor.JPG