Bachelor of Science (Honours) in Architecture / (Architecture)

METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305/ARC2323/ARC1215)

Former Istana Negara, Balairung Seri Annex Building Report

LECTURER: AR CHIN & MS ALIA

i

Abstract This document reports on the historically and

architecturally significant data and information collected

during the 5 days of onsite fieldwork for the module

METHODS OF DOCUMENTATION & MEASURED

DRAWINGS (ARC60305/ARC2323/ARC1215) in the Old

Palace, Istana Negara Lama. Originally a doubled storey

mansion of a Chinese millionaire, later the official

resident for His Majesty and Her Majesty, this building

functions as The Royal Museum now.

Influential past of the country can be seen through the

approach of design on the premise and the main

building, internally and externally. Once colonized by the

British, the main building, as a canvas painted with

abundance and welfare, shows the devotion one country

has to achieve the style of living of the British.

The building annex, in lieu, shows the incorporation of

both styles of the British as well as Malaysias own.

As the main building of Istana Negara was documented

in 2015, this report focuses on the annex building

constructed in 1980, under supervision of Captain David

Wee, mainly to accommodate the grand Balairung Seri

(the Throne Hall) for official and customary functions.

Documentations are done in the form of measured

drawings, written and photographic documentation for

the purpose of preserving accurate record of significant

historical properties. Analysis on the architecture and

status of the building as well as its potential to become a

tourist attraction are also well explained.

ii

Acknowledgement

The completion of this assignment could not have been

possible without the guidance of tutors and the co-

operation of all the teammates. Their effort and

contribution are sincerely and gratefully appreciated.

Therefore, team Istana Negara would like to express our

unending gratitude to everyone who had guided us,

particular to the following,

Hayati Binti Mohamad Zawawi, the Director of the Istana

Negara Museum, for providing us this opportunity to

measure and document the historically and

architecturally significance of the annex building in Istana

Neagra;

The staff, for being keen and accommodating in

providing related information;

The instructor, Dr. Nor Hayati Hussain, for giving us this

golden opportunity and experience to develop

understanding in methods of documentation and

measured drawing.

The tutors, Ar. Chin Tuck Heng and Nurul Alia Ahmad for

their constant support, guidance and persistence through

this journey.

Lastly the lovely team members, for the teamwork and

motivating team spirit through the entirety of this project.

iii

Declaration of Submission

We hereby certify all information and works done for the

submission of the course that we are taking, Methods of

Documentation and Measured Drawings

ARC60303/ARC2323/ARC1215, are original and does

not breach any law of copyrights. Written permission and

references have been granted by any copyright holders.

It is discerned that all works that are submitted for the

final assessment are covered by this declaration. It is

also asserted that all records and data were carried out

during the period of our site visit from January 25th 29th,

2016 in Istana Negara Jalan Istana.

Conclusively, we have disclosed the necessary

documentation related to this project.

Daniel Rosien Bryan Lum

(Leader of Team Istana) (Leader of Team Istana)

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Table of Contents i Abstract i

ii Acknowledgement ii

iii Declaration of Submission iii

iv Table of Contents iv-ix

vi List of Figures x-xix

1 Chapter 1: Introduction

1.1 Objectives and Aim 1

1.2 Methods of Measurement 2-3

1.3 Equipment Used 4

1.4 Literature Review 5

1.5 Significance of Study 6

1.6 Scope 7

1.7 Limitations 8

v

2 Chapter 2: Historical Background

2.1 Malaysia and Kuala Lumpur 9-12

2.2 Malaysia's Institute of Constitutional Monarchy and Parliamentary Democracy 13-14

2.3 Malaysia's Palaces and Balairung Seri 15-18

2.4 Balairung Seri Annex Building 19-21

3 Chapter 3: Architectural Development

3.1 Site Context 22-23

3.1.1 Surrounding Buildings 24-28

3.1.2 Existing Buildings in Site Compound 29-31

3.2 Landscape 32

3.2.1 Hardscape 33-35

3.2.2 Softscape 36

3.2.2.1 Water 37-40

3.2.2.2 Plants 41-46

3.2.2.3 Light 47

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3.3 Architectural Influences

3.3.1 Corbusian International Style 48-49

3.3.2 Machine Regionalism 50

3.3.3 Islamic Architecture 51-54

3.3.4 Victorian Style 55

4 Design Concept

4.1 Form 56-58

4.2 Space Planning 59

4.2.1 Entrance and Approach 60

4.2.2 Islamic Architecture in Space Planning 61

4.2.3 Connection between Main Building and Annex Building 62-67

4.3 Singgahsana 68-72

5 Materials

5.1 Structural

vii

5.1.1 Reinforced Concrete 73-76

5.1.2 Steel 77-78

5.1.3 Timber 79

5.2 Finishing 80-81

5.2.1 Exterior 83-83

5.2.2 Interior 84-88

6 Construction Details

6.1 Columns of Balairung Seri 89-92

.2 Roof 93-95

7 Ornamentations and Details

7.1 Columns 96-97

7.2 Pilasters 98

7.3 Doors 99-101

7.4 Windows 102-103

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7.5 Ceiling 104-105

7.6 Lighting 106-107

7.7 Wooden Carvings 108-110

8 Comparison Analysis of the Balairung Seri Building in former Istana Negara and current Istana Negara

8.1 Site context 111-112

8.2 Architectural Influences

8.2.1 Exterior 113-114

8.2.2 Interior 115-116

8.3 Details 117-121

9 Recent Condition of the building

9.1 Structural Observation and Recommendation

9.1.1 Roof 122-124

9.1.2 Wall 125-126

9.1.3 Columns 127

ix

9.2 Finishing Observation and Recommendation

9.2.1 Exterior 128-131

9.2.2 Interior 132-136

9.3 Historic Preservations and Conservations 137-139

9.4 Improvement Suggestions on Design 140-143

10 Conclusion

10.1 Architectural Role of Balairung Seri in search of National Identity 144-147

10.2 Aspiration for the building in future 148-152

Reference List 153-159

Glossary 160-163

Appendixes

A. Documents from National Archive 164-165

B. Documents from Badan Warisan 166-167

C. Photo Book 168-216

D 3D Model 217-221

E. Scaled Drawing 222-248

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List of Figures Figure 1.1Team Istana measuring the interior of balairung

(Lee, 2016)

Figure 1.2.Equipment used. (Foo, 2016)

Figure 2.1 Timeline of Malaysia History. (Lim, 2016)

Figure 2.2 Jalur Gemilang as our nation's emblem. (Lim,

2014)

Figure 2.3. Panaromic View of Kuala Lumpur in 1880

(Lim, 2009)

Figure 2.4. Bird Eye View of Developed Klang Valley.

(Rsmuthi, 2013)

Figure 2.5.The list of Seri Paduka Baginda Yang Di-PErtuan

Agong Malaysia. (Unknown, 2014)

Figure 2.6.Istana Sri Menanti. (Kariya, 2015)

Figure 2.7. Istana Jugra. (Wangsa Mahkota Selangor, 2010)

Figure.2.8.Istana Iskandariah. (Hashim, 1986)

Figure 2.9.Istana Alam. (Shafa, 2012)

Figure2.10.Balsirung Seri of IStana Syarqiyyah. (Bensley,

2015)

Figure 2.11Picture shows the temporary balairong built

at Istana Negara, Jalan Istana. (NSTP, 1957)

Figure2.12. The original colour of Cengal wood is exposed.

(BERNAMA, 1980)

Figure 2.13 Workers doing final touch for the preparation of

the Instalation Ceremony of His Majesty Yang di-Pertuan

Agong VII. (Bernama, 1980)

Figure2.14 The throne of His and Hers Majesty. (Department

of Information, 1980)

Figure 2.15 The throne located in the small throne hall.

(NSTP, 1966)

Figure 3.1 The former Istana Negara perched on a hilly

terrain. (Lim, 2016)

xi

Figure 3.2 Aerial view of the site surrounding. The former

Istana Negara was bypassed by two main highway, which are

the Jalan Istana and Jalan Syed Putra, with Klang River

flowing by at the North West. The site is peppered with

cultural buildings and government department headquarters.

(Google Maps, 2016)

Figure 3.3 Pejabat Penyimpanan Mohor Besar Raja-Raja).

(Google Maps, 2016)

Figure 3.4 Rumah Melaka at Jalan Bellamy. (Google Maps,

2016)

Figure 3.5 United Nations High Commissions for

Refugees.(Google Maps, 2016)

Figure 3.6 Jalur Gemilang at the former Istana Negara.

(Lim, 2016)

Figure 3.7 The management office. (Lim, 2016)

Figure 3.8 The shaded car porch.(Lim, 2016)

Figure 3. 9 The gymnasium. (Lim, 2016)

Figure 3.10 The tennis court. (Lim, 2016)

Figure 3.11 Police Station of the Former Istana Negara.

(Lim, 2016)

Figure 3.12 The main building. (Lim, 2016)

Figure 3.13 A combination of hardscape and softscape in

harmony. (Lim, 2016)

Figure 3.14 The homogenous tiles at the porch. (Lim, 2016)

Figure 3.15 The collonaded porch.(Lim, 2016)

Figure 3.16 Planter box with waterproof

membrane.(Balasingam, 2016)

Figure 3.17Drainage at the front portal. (Lim, 2016)

Figure 3.18 Lamp post in cast iron. (Lim, 2016)

Figure 3.19 Flag pole in front of the portal. (Lim, 2016)

Figure 3.20The royal garden of Muzium Diraja. (Chin, 2016)

Figure 3.21 Water is celebrated in most Islamic Architecture,

including the Old Istana

Negara. (Lim, 2016)

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Figure 3.22 Fountain. (Lim, 2016)

Figure 3.23 The pool with pergolas. (Chin, 2016)

Figure 3.24 Rivulet runs gracefully in the runnel. (Chin, 2016)

Figure 3.25 Lake surrounded by greeneries. (Chin, 2016)

Figure 3.26 The array of plants in the Old Istana Negara.

(Lim, 2016)

Figure 3.27 Iris in blossom. (Lim, 2016)

Figure 3.28 Hibiscus in the vicinity. (Lim, 2016)

Figure 3.29 Montgomery palms flanks the descending path

towards the field. (Lim, 2016)

Figure 3.30 Box clipped into hedges lines the border. (Lim,

2016)

Figure 3.31Yew. (Lim, 2016)

Figure 3.32 Hujan-hujan tree. (Lim, 2016)

Figure 3.33 Trimmed hedges. (Lim, 2016)

Figure 3.34 The garden adorned by fountain. (Lim, 2016)

Figure 3.35 The reflection of light casts a picture on the

granite floor.(Lim, 2016).

FIgure 3. 36 The exterior of Balairung Building. ( Tey, 2016)

Figure 3.37 The skybridge transverse across the building.

(Tey, 2016)

Figure 3.38 The rear elevation of the building. (Lim, 2016)

Figure 3.39 The pelmet on the Singgahsana depicting the

Quranic Verses.(LIm, 2016)

Figure 3.40 The bedroom is adorned with cottage flora. (Lim,

2016)

Figure 3.41The reception area of the apartment. (Lim, 2016)

Figure 3.42 The Singgahsana. (Lim, 2016)

Figure 3.43 His Majesty's bathroom. (Lim, 2016)

Figure 3.44 Hers Majesty bathroom. (Lim, 2016)

xiii

Figure 3.45 Rococo inspired mirror frame. (Lim, 2016)

Figure 3.46 Victorian style bedroom. (Lim, 2016)

Figure 4.1Exterior view of the annex building (Chin, 2016)

Figure 4.2Top view of the annex building (Lee, 2016)

Figure 4.3Perspective view of North Elevation (Foo, 2016)

Figure 4.4Ground Floor Plan of Balairung Seri(Tan, 2016)

Figure 4.5Photo showing press room cutting through double

volume throne hall (Lee, 2016)

Figure 4.6Palm tree lined driveway (Lim, 2016)

Figure 4.7Connectivity between the main building and the

annex building. ( Lim, 2016)

Figure 4.8The colonnade corridor. ( Foo, 2016)

Figure 4.9The Entrance of grand Balairung Seri. ( Tan, 2016)

Figure 4.10 Repetition of ogival window and floral motifs. (

Foo, 2016)

Figure 4.11The coffered ceiling. ( Lim, 2016)

Figure 4.12 Interior view of the sky bridge (Lim, 2016)

Figure 4.13Exterior view from the skybridge (Joshua, 2016)

Figure 4.14 Simplified Ground Floor Plan. (Foo, 2016)

Figure 4.15Chandelier and lighting effect in the atrium of

Balairong Seri (Foo, 2016)

Figure 4.16 Panaromic view of double volume Balairung Seri.

(Joshua, 2016)

Figure 4.17 Simplified first floor plan ( Foo, 2016)

Figure 4.19 Gender segregated washroom (Yeoh, 2016)

Figure 4.20 Victorian Style Interior (Yeoh, 2016)

Figure 4.21 Simplified Lower Ground Floor Plan. (Foo, 2016)

Figure 4.22Side view of the grand Singgahsana. (Foo, 2016)

Figure 4.23 The throne. (Foo, 2016)

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Figure 4.24 The Seat, known as takhta. (Leong, 2016)

Figure 4. 25 The pelmet with gilded inscription. (Leong, 2016)

Figure 4.26 and 4.27 The background carvings. (Leong,

2016)

Figure 4.27Closer shot on the carvings. (Leong, 2016)

Figure 5.1Exterior faade view of the Balairung Seri (Lee,

2016)

Figure 5.2Exterior wall (Lee, 2016)

Figure 5.3Roof slab (Lee, 2016)

Figure 5.4Interior ceiling and beams (Lee, 2016)

Figure 5.5Columns at the porch (Lee, 2016)

Figure 5.6Concrete Foundation (Lee, 2016)

Figure 5.8Walls spray painted to give a rough finishing

emphasizes the horizontal contrast between the smooth

surface(Tey, 2016)

Figure 5.9Diagram on concrete reinforced with steel rebar

(Lee, 2016)

Figure 5.10Arches made with the usage of reinforced

concrete(Lim, 2016)

Figure 5.11Steels are welded together (Lee, 2016)

Figure 5.12Steel trusses and timber are seen supporting the

structure (Lee, 2016)

Figure 5.13Rotten interior timber column and a badly

damaged wall at the edge of the meeting room (Lee, 2016)

Figure 5.14. Finishing diagram at Ground level. Most of the

finishing are focused on public area. (Lim, 2016)

Figure 5.15. Finishing diagram at First level. Most of the

finishing are focused on the suites (Lim, 2016)

Figure 5.16Rendered plaster on top of the concrete (Tey,

2016)

Figure 5.17 The steps (Lim, 2016)

xv

Figure 5.18 Floor of the colonnade (Lim, 2016)

Figure 5.19 Roof of the colonnade (Lim, 2016)

Figure 5.20 Old balairung in dark wood panelling (Lim, 2016)

Figure 5.21 Roof of the colonnade (Lee, 2016)

Figure 5.22 Private room (Tey, 2016)

Figure 5.23 Detailing on ceiling (Kong, 2016)

Figure 5.24The plasterboards inside of the throne

(Lim, 2016)

Figure 5.25 Plush carpet (Lim, 2016)

Figure 5.26 Parquet flooring in the sky brige (Lim, 2016)

Figure 5.27 Kings bathroom (Lim, 2016)

Figure 5.28 Mirror finished cabinet doors (Lim, 2016)

Figure 6.1 members in a column (Tey, 2016)

Figure 6.2 Difference between structural and decorative

column (Tey, 2016)

Figure 6.3 The Doric Columns supporting the porch. (Eng,

2016)

Figure 6.4 Engaged column exposed in faade. (Eng, 2016)

Figure 6.5 Column part terminologies. (Tey, 2016)

Figure 6.6 Parts of Tuscan column (Tey, 2016)

Figure 6.7Drawing showing relationship of structural and

decorative column in the throne (Neoh, 2016)

Figure 6.8 Bird eye view of annex building roof. (Lee, 2016)

Figure 6.9 Expanded metal walkway between two building.

(Lee, 2016)

Figure 6.10 Illustration showing concrete gutter section and

fixing on metal sheet (Foo, 2016)

Figure 6.11 Concrete gutter. (Foo, 2016)

Figure 6.12 Section of concrete tile roof.(Neoh, 2016)

Figure 6.13 Concrete tile roof & concrete gutter.(Lee, 2016)

xvi

Figure 7.1Single and double columns (Lee, 2016)

Figure 7.2 Placement of columns (Tey, 2016)

Figure 7.3Columns in Balairung(Lee, 2016)

Figure 7.4Throne area inside the Balairung (Lee, 2016)

Figure 7.5Pilaster in meeting room (Lim, 2016)

Figure 7.6Pilaster in Balairung Seri (Lim, 2016)

Figure 7.7 Entrance of to the King and Queens suite from the

skybridge (Lee, 2016)

Figure 7.8Entrance to the main Istana Negara building (Yeoh,

2016)

Figure 7.9 Entrance to the Holding room of the Balairung Seri

(Lee, 2016)

Figure 7.10Wooden carvings and floral motif which are

painted gold as ornamentation (Lee, 2016)

Figure 7.11Wooden double doors with floral carving, leading

to the Meeting Room (Tey, 2016)

Figure 7.12Simple wooden double doors, leading to the

Queens bedroom (Lee, 2016)

Figure 7.13Pointed arch window inside Balairong Seri (Lee,

2016)

Figure 7.14Floral ornamentation in Balairung Seri (Lee, 2016)

Figure 7.15 Coffered ceiling at Balairung Seri. (Lim, 2016)

Figure 7.16Covered skirting arranged in and orderly manner

(Lee, 2016)

Figure 7.17 Plasterboard ceiling with coving surrounding

(Lee, 2016)

Figure 7.18Chandelier of the Balairung Seri. (Lee, 2016)

Figure 7.19 Chandelier in the sky bridge (Lim, 2016

Figure 7.20 Chandelier at the bedroom with motifs of

blooming roses (Lim, 2016)

Figure 7.21 A panoramic view of the throne along with the

heavily adorned wall (Lee, 2016)

xvii

Figure 7.22A closed up image of the wooden carved panels

below the coffered windows (Lim, 2016)

Figure 7.23 Wooden patterns carving on the top of the

coffered windows (Lee, 2016)

Figure 8.1. Aerial View of Old Istana. (Google Maps, 2016)

Figure 8.2. Aerial View of New Istana.(Google Maps, 2016)

Figure 8.3. Aerial View of Old Istana. (Google Maps, 2016)

Figure 8.4. Aerial View of New Istana.(Google Maps, 2016)

Figure 8.5. Exterior of the main building with the East wing on

the right.(Lim, 2016)

Figure 8.6..Exterior of the New Istana Negara.( My Sumber,

n.d.)

Figure 8.7. The grand gateway view. (Bretuk, n,d,)

Figure 8.8. Interior of the Balairong Seri at the Old Istana

Negara.(LIm, 2016)

Figure 8.9 Interior of the Balairung Seri at the New Istana

Negara (Bernama, 2012)

Figure 8.10 The coffered ceiling. (Lim, 2016)

Figure 8.11 The New Balairung Seri's ceiling. (Lim, 2016)

Figure 8.12 The carpet in the former Balairung Seri.

(StatcFlick, n.d.)

Figure 8.13 The minimalistic carpet in the New Balairung Seri.

(Fadzil, 2011)

gure 8.14 The chandelier in Former Balairung Seri. (Lim,

2016)

Figure 8.15 The obor-obor inspired chandelier. (JKR, 2011)

Figure 8.16 The bunga raya inspired panels. (Lim, 2016)

Figure 8.17 The tebuk tembus bersilat timber panel. (JKR,

2011)

Figure 8.18 The old Istana Negara Balairung Seri. (Bernama,

2012)

Figure 8.19 The former Singgahsana (Lim, 2016)

xviii

Figure 9.1 Growth of wild on the roof tiles. (Yeoh, 2016)

Figure 9.2 Rusted Roof could easily cause leakage. (Yeoh,

2016)

Figure 9.3 Damp patches (Yeoh, 2016)

Figure 9.4 Algae on the wall of sky bridge. (Yeoh,, 2016)

Figure 9.5 Algae on the ceiling of the porch (Yeoh, 2016)

Figure 9.6 The exterior wall with algae growth. ( Yeoh, 2016)

Figure 9.7 Column at the south elevation. (Yeoh, 2016)

Figure 9.8 Water leakage in ceiling. (Yeoh, 2016)

Figure 9.9 Damagedwindow frame. (Yeoh, 2016)

Figure 9.10 Exterior ceramic tiles. (Yeoh, 2016)

Figure 9.11 Peeling off paint. (Yeoh, 2016)

Figure 9.12 The interior of Balairung Seri with plush carpet.

(Yeoh, 2016)

Figure 9.13 The panels with embroidered fabric. (Yeoh, 2016)

Figure 9.14 Interior wall of Personal Dining Room in Queen

Suite (Yeoh, 2016)

Figure 9.15 Paint cracks at the suites. (Yeoh, 2016)

Figure 9.16 Queens bathroom (Yeoh, 2016)

Figure 9.17 Kings bathroom (Yeoh, 2016)

Figure 9.18 Wood decay (Yeoh, 2016)

Figure9.19Short section cut of Balairung Seri. (Neoh, 2016)

Figure 9.20Floor Plan of dressing room and water closet at

first floor. (Tan, 2016)

Figure9.21Gap between the staircase and the wall (Foo,

2016)

Figure9.22Grille staircase in the exterior. (Foo, 2016)

Figure.9.23The asymmetrical plan of the throne hall. (Lim,

2016)

Figure 10.1. Chandigarh Capitol by Le Corbusier. (Canadian

Centre of Architecture, 1956)

xix

Figure 10.2A map of Kuala Lumpurs major tourist attractions

(Mari mari, 2014)

Figure 10.3Picnic in Keningston Garden (Caroline, 2013)

Figure 10.4. Table of comparison among Royal Gardens.(

Rosien, 2016)

Figure 10.5Banquet set up in the garden (Debbie, 2015)

1

Objectives and Aims The objective of this study is to document the

significance of the building which is the Royal Museum

Balairung Seri Annex Building to analyze the relationship

between the architecture of the building as well as its

settlement.

A week of site inspection was given to our group in order

to carry out compilation of data that was to be

incorporated into drawings. These drawings which

consist of floor plans, sections, elevations and site plan

were then used as a reference for the scaled model of

the Royal Museum.

In addition to that, a report is also required to document

our findings. Thus, all important findings and data of the

building should be collocated. Pictures of the overall

building which includes the exterior and interior views are

also included in the report.

2

Methods of Measurement In order to complete the research and documentation of

the Royal Museum, various ways have been

implemented. Our team of 27 students were grouped into

four sub groups which were tasked to do several parts of

the building in order to progress quick and smoothly.

Each sub-group is handled by a team leader who is in

charge of leading and keeping their team up to date with

the progress.

There are several measuring methods used, one was a

hands on experience where we would measure on site

using several equipment. On the contrary, the second

method was to refer from previous reports on the

building which in our case, was to refer our seniors work.

Pictures were also taken for the purpose of references.

Measuring tapes were mainly used in measuring the

building as it is a common measuring tool. Its design

allows for a measure of great length and can be easily

carried in a pocket or toolkit. It is mostly used for

measuring the building floor plans, columns and details

while the digital laser device was used in measuring the

height of the building and ceilings as it is more

convenient to use in measuring longer distance of

measurement.

In order to obtain the plan of the roof, a drone was used.

The drone helps to capture a clear view of the roof and

also the surrounding as well as the elevations of the

building. As some of the walls were slanted and 90

degree angled, a spirit level was used.

3

Considering the ornaments were small and very detailed,

a profile gauge was used to measure the detailing part.

But due to the low accuracy and precise measurement,

we used a different method as it is presumed to be more

accurate. The method was to take a picture of the

specific detailed ornaments and trace it in Autocad. After

tracing the ornaments, the tracing part was later scaled

down to tally with the main measurements.

Figure 1.1Team Istana measuring the interior of balairung

(Lee, 2016)

4

Equipment Used

Figure 1.2. Equipment used. (Foo, 2016)

5

Literature Review Currently standing as the Royal Museum, Istana Lama

also known as the metaphor of time in Malaysia.

Originally a doubled storey mansion of a Chinese

millionaire Chan Wing, this building used as officers

mess during Japanese Occupation, and owned by British

Royale Air Force during the war. Later, it becomes the

temporary Palace for the Sultan of Selangor and lastly,

the official resident for His Majesty Seri Paduka Baginda

Yang Di-Pertuan Agong and Her Majesty Seri

PadukaBaginda Raja Permaisur iAgong.

Related data and information are collected mainly from

online material, National Archive, National Library,

pamphlet, Badan Warisan and some other related

architecture books. Basic drawings for main building,

architecture style, and cultural aspects are discussed.

However, information mainly focuses on the main

building and there is not much information that explains

about the annex building, renovated for the grand

Balairung Seri (the Throne Hall) for official and cultural

ceremony. Besides, we were unable to contact the

Public Works Department (Jabatan Kerja Raya) who had

carried out the construction, thus further research can be

done from there in the future.

6

Significance of Study

Other than understanding the architecturally important

quality from the Istana Lama (The Royal Museum), this

project also aims to preserve the historically significant

information of this building in relation to Malaysias

history. As a Malaysian, it is important to understand the

growth of our country and witness the development as

well as achievement of it.

By documenting this building in depth, it allows more

people to be exposed to the royal lifestyle in Malaysia,

from the daily lifestyle to the official and customary

functions. This project is documented in the form of

sketching, drawings, video, and reports, aiming to

uncover the stories behind the old palace, especially the

Islamic Culture in the Palace.

7

Scope

Focused on the building annex of the Royal Palace on

Jalan Istana, a study was carried out. Served once as a

palace for the royals, now a museum for the public to

view, the royal palace is a place where high values of

cultural and history can be seen and learnt.

The documents of the current state of the Royal Palace

Balairung Seri are not the only focuses in the study but

also the history of the function of the structure and the

development of the building within years.

Furthermore, a comparison was made with the latest

Royal Palace which is located at Jalan Duta, where the

Yang di-Pertua Agong now lives since the year 2011.

This is to show the contrast in development and changes

in architectural style.

The purpose of these observations was to document the

significance and the condition of the building and to allow

improvements and maintenance of the building.

8

Limitations The royal palace, now a royal museum has a wide range

of limitation to areas as it is a place for public visiting.

Although restricted to enter the certain areas, one can

only view the rooms behind rails. Therefore, it was an

upmost honor to be allowed access to areas that was

constricted to the visitors. Although we were reminded to

enter the areas carefully in order to avoid visitors

supervening our actions.

Documentation and media sources on the building annex

were quite limited as most of the information was about

the main building. Documenting the structure itself was a

difficult challenge as the verbal and non-verbal

information that we have gathered were mainly focusing

on the usage of the building (for example, the

coronations of the Sultans) rather than the architecture of

the structure.

Besides that, it was also very rare to find documents

regarding the Balairung Seri before it underwent

changes.

Lastly, the inspection for the documentation does not

include an assessment of geological, geotechnical, or

hydrological conditions, or environmental hazards. It also

does not include areas, which were inaccessible, not

readily accessible or obstructed at the time of inspection.

9

2.1 Malaysia and Kuala Lumpur

Figure 2.1 Timeline of Malaysia History. (Lim, 2016)

10

Today, celebrating our nation's 59 years of

independence, we as Malaysians would like to pose a

question to ourselves: Have we found the national

identity that our forefathers had been searching for, and

if so, do we behold and cherish that very special identity

of being Malaysian? From an architectural perspective,

we would like to start this journey from the old Istana

Negara, the old National Palace, the symbol of

sovereignty and dignity of this land to find the answer.

Figure 2.2 Jalur Gemilang as our nation's emblem.

(Lim, 2014)

11

Kuala Lumpur & Riches

Formerly as a tin mining valley, it soon became the lure

of the mid-19th century, hence captured the attention of a

group of miners to migrate to the valley in between 2

rivers which is Klang River and Gombak River. The city

covers an area of 243 km2 (94 sq mile).

In the 19th century, Klang Valley was threatened and

devastated with diseases, epidemics, fires and floods.

Later on, this situation came to an end when Malaysia

was colonized by the British. Yap Ah Loy stayed through

this situation and helped out in the renovation as well as

improvement of Klang Valley. In 12-month time, the

population of Klang Valley has vigorously increased by

30%. In March 1880, Klang Valley was then renamed as

Kuala Lumpur. The meaning of Kuala Lumpur is muddy

confluence. Since then, the tie between tin and the land

can never be untangled, as undeniably, it is this humble

mineral that became

the soul which brought vibrancy and life to this sleeping

land of riches.

Figure 2.3. Panoramic View of Kuala Lumpur in 1880 (Lim, 2009)

12

In this era, a foresighted Chinese teenager, Chan Wing

fled Canton and arrived in Kuala Lumpur, started his

quest for a better living. He ventured in bank and tin

mining industry and successfully earned buckets of gold

from his mining company, Hong Fatt Tin Mine. As any

millionaire, he sought for recognition of wealth, most

significantly and easily through the language of

architecture, by building a mansion fit for a king. When

Kuala Lumpur proved no longer a secure place for him

during World War II, he fled, left his mansion occupied by

the Japanese and the British.

Finally, the mansion was revived after Malaysia obtained

independence in 1957, being converted to the Palace for

the Yang di-Pertuan Agong of Malaya, truly a mansion,

fit for a king. Nowadays, the land is situated at the heart

of Kuala Lumpur, the capital of Federation of Malaya, a

fast-paced developing city which has 1.6 million people

lived in. Silently, this plot of land observed and recorded

the history, waiting to be discovered.

Figure 2.4. Bird Eye View of Developed Klang Valley. (Rsmuthi,

2013)

13

2.2 Malaysia's Institute of Constitutional Monarchy and Parliamentary Democracy

Our nation's Institute of Constitutional Monarchy and

Parliamentary Democracy is one of its kind among other

nations. To preserve the Sultanate Monarchy which had

lasted since the Malacca Sultanate in the 1400s under

the reign of Parameswara, also known as Sultan

Iskandar Shah and strike a balance among the people's

rights in political affairs, this distinct system is being

employed.

Constitutional Monarchy (Raja Berpelembagaaan)

A constitutional monarchy is a system in which the

monarchs power is limited by the constitution of the

state. In other words, the monarch wields only the power

as granted by the law, and does not hold absolute

power.

On the federal level, the head of state, the Yang di-

Pertuan Agong, sits at the apex of the Malaysian society.

He is a symbolic representation of a nations authority.

Based on the Westminster parliamentary system, the

Malaysian political system does grant the Yang di-

Pertuan Agong some limited powers, including the power

to grant or refuse a dissolution of the parliament, and

appointing a prime minister.

Besides, His symbolic roles include being the

Commander-in-Chief of the Malaysian Armed Forces

and carrying out diplomatic exchanges with other states.

Just like it was during the British colonial period, the

Yang di-Pertuan Agong is also the head of Islam in his

own state as well as the four monarch-less states of

Penang, Malacca, Sabah and Sarawak as well as the

Federal Territories.

14

The Yang di-Pertuan Agong

The Yang di-Pertuan Agong is elected to a five year term

from among the 9 Malay state rulers. After the Yang di-

Pertuan Agongs term of office, the conference of rulers

will then elect another to replace him. The position of

Yang di-Pertuan Agong is rotated among the 9 rulers,

with a cycle that begins with the election of the Yamtuan

Besar of Negeri Sembilan (Negeri Sembilan does not

have a Sultan) to the office of the Yang di-Pertuan

Agong, followed by:

1. The Sultan of Selangor ,

2. The Raja of Perlis,

3. The Sultan of Terengganu,

4. The Sultan of Kedah,

5. The Sultan of Kelantan,

6. The Sultan of Pahang,

7. The Sultan of Johor before ending at

8. The Sultan of Perak,

Figure 2.5.The list of Seri Paduka Baginda Yang Di-PErtuan Agong

Malaysia. (Unknown, 2014)

15

2.3 Malaysia's Palaces &

Balairung Seri

Since the reign of Malacca Sultanate in Malaya, palaces

had been built for the royal families of various

architectural influences based on the preference of the

Sultan of every state. Palace is the emblem of

sovereignty and authority, where the nation's pride lies.

Balairung Seri generally serves as the heart of the

palace, where the Singgahsana, the throne is located. It

serves as a royal sanctum for official and customary

occasions, such as the ceremonial affairs for the taking

of the Royal Pledge during the Installation of the Yang

Di-Pertuan Agong, the taking of oath by Ministers, the

presentation of Federal Orders, Decorations and Medals

during the Investiture ceremony, dinners for Conference

of Rulers, taking of oath of Secrecy by the Prime Minister

and his Deputy, the royal birthday celebrations and State

banquets. (Biannual, 1999)

From the following comparison, we can see the gradual

transformation of the architectural language depicted by

the Istana and Balairung Seri, largely influenced by the

epoch, from the traditional Minangkabau vernacular, to

an influence of Moghul and Romanesque, to the

integration of colonial and Saracenic, largely influenced

by the Western palaces with manicured gardens, lastly a

revivalism back to the roots of Islamic architecture in a

modernist approach.

16

Figure 2.6. Istana Sri Menanti. (Kariya, 2015)

Istana Sri Menanti

Built in 1902, palace is an emblem of Minangkabau

architecture, that emphasize family, nature and arts,

Constructed entirely using vernacular tenon and mortise

joints of hardwood with 99 structural columns of

hardwood symbolized the 99 hulubalangs that served the

state (Arkib Negara, n.d.). Unlike other Singgahsana that

show grandness and overpowering, this design revealed

an intimately poise and pensive nature.

Istana Jugra

Built in 1905, western influences started to assimilate

with the local architecture, colonial inspirations are

clearly exhibited. The expression of Roman and Moghul

elements can be seen. In space planning, the Balairung

Seri is located at the south east end of the building,

receiving its honoured guests in a symmetrical square

plan, depicting order and balance for a state's ruler,

drawing inspiration from the west.

Figure 2.7. Istana Jugra. (Wangsa Mahkota Selangor, 2010)

17

Figure 2.8.Istana Iskandariah. (Hashim, 1986)

Istana Iskandariah

Completed in 1933, the palace is the emblem of Indo-

Saracenic architecture, which is the amalgam of Islamic

architecture and Indian materials developed by British

architects in India during the colonial era. (Jeyaraj, n.d.)

Facing the East with pointed arched and onion-shaped

domes, the symmetrical complex accommodates a Balai

Nobat, Balairung Seri and Singgahsana in a linear

percussion.

Figure 2.9.Istana Alam. (Shafa, 2012)

Istana Alam Shah

Rebuilt in 1950s, the central golden onion dome

dominates the palace with two high pitched, blue tiled

wings. Similar as the old Istana Negara, a Balairong Seri

lined with red carpet can accommodate 1000 people was

built for coronation and other important ceremonies. The

Istana has a renovated Balai Santapan Diraja with a

capacity of 1000 patrons. As the Old Istana Negara, the

vicinity is a man-made garden of French Renaissance.

18

Figure2.10.Balsirung Seri of IStana Syarqiyyah. (Bensley, 2015)

Istana Syarqiyyah

Adorned as "Jewel of the East", the design of the palace

is of a blend of Islamic and vernacular revivalism,

inspired by the Alhambra in Spain, embodied in this

palace of castellated traditional timber structure,

evocative of Babylon's Hanging Garden. The Balairung

in this palace is greatly influenced by Moorish

architecture with arched blue marble colonnades

whereby the gilded Singgahsana stands out prominently,

with a skylight dome directly illuminating the

Singgahsana from above. Unlike the Old Istana's

Balairung, with a grand percussion, straight towards the

Singgahsana, the Balairung in Istana Syarqiyyah's

percussion can be truncated into three quadrants using

movable partition panels, for holding different occasions,

a distinct hierarchy symbolization.

19

2.4 Balairung Seri Annex Building A temporary Balairong was built in the year of 1957 after

the mansion was made into the palace to hold the

coronation of SPB Yang di-Pertuan Agong Tunku Abdul

Rahman. The construction of the temporary throne hall

cost RM170000 and it was later demolished at the end of

the same year.

Later in the year of 1980, a massive renovation was

carried out at the palace to add in an annex building

which is the current existing throne hall and the

construction was led by senior architect, Kapten David

Wee from the Public Work Department with the purpose

of holding the coronations of Agong and official and

customary ceremonies. Local designers as well as

designers from France were hired to design the interior

of the building. The ground floor accommodates the

double volume Balairong Seri (Throne Hall), waiting halls

and meeting rooms, whereas the first floor contains Their

Majesty's suite.

One of the most astonishing feats undertaken by the

renovation team was the completion of works and

intricate carvings for the Throne Room. It took seven

months to complete the work, including the carvings

which would normally have taken three years, according

to Captain David Wee. All carvings was carried out by

expert craftsmen from Kota Bahru, Kelantan, by 60

Figure 2.11Picture shows the temporary balairong built at Istana Negara, Jalan Istana. (NSTP, 1957)

20

workers led by Mr Abdul Latif. Inspired by the national

flower, the Hibiscus, all panels are hand crafted to meet

the highest standard of Malay traditional carvings. All the

gilded panels lined the grand percussion of the Throne

Hall, heightening the grandiose of the building. The

beauty of the Throne Room is enlightened with the 17

crystalline chandeliers imported from Austria.

(Masterpiece, 1999)

From the old photos exhibited at the throne hall, it can be

seen that the original color of the interior walls was

actually dark brown while the wall patterns can be seen

in grid design, further renovations which involved

repainting the walls and discarding the grid design was

estimated to be around the year of 2002-2007, the exact

dates and years of the renovation remain unknown at

this moment.

The reason of using white, yellow and gold in the latter

was to emphasize and strengthen the majesty of the

royal family. Coronation of 13 Agongs had been held in

this hall before it was made a museum by the local

government, the last coronation held here was in 2007.

Figure2.12. The original colour of Cengal wood is exposed.

(BERNAMA, 1980)

21

Clockwise:

Figure 2.13. Workers doing final touch for the preparation

of the Installation Ceremony of His Majesty Yang di-

Pertuan Agong VII. (Bernama, 1980)

Figure2.14. The throne of His and Hers Majesty.

(Department of Information, 1980)

Figure 2.15. The throne located in the small throne hall.

(NSTP, 1966)

22

3.1 Site Context

Located at Jalan Istana, the heart of Kuala Lumpur, with

a coverage of 11.34 hectars, the Old Istana Negara

perched on Bukit Petaling surrounded with towering

trees, overlooking the iconic buildings of Kuala Lumpur

(figure 3.1). The hustle and bustle of the city is soon

muted by the natural buffer of lush flora and foliage.

Figure 3.1. The former Istana Negara perched on a hilly terrain.

(Lim, 2016)

23

Figure 3.2. Aerial view of the site surrounding. The former Istana Negara was bypassed by two main highway, which are the Jalan Istana

and Jalan Syed Putra, with Klang River flowing by at the North West. The site is peppered with cultural buildings and government

department headquarters. (Google Maps, 2016)

24

3.1.1Surrounding Buildings

Keepers of the Ruler's Seal Office (Pejabat

Penyimpanan Mohor Besar Raja-Raja)

Established in 1948 according to the summon of

Perjanjian Persekutuan Tanah Melayu towards the

independence of Malaya, the office takes the role of

managing all official and customary affairs of the Sultans

and Yang di-Pertua Agong, such as convening the

Conference of the Rulers, management and declaration

of annual Ramadhan, Hari Raya Puasa and Hari Raya

Qurban, arrangement for the Rulers' transportations to

meetings and conferences and holding of the Ruler's

Seal (Majlis Raja-Raja, 2010), which is the symbol of

sovereignty of the Conference of the Rulers.

Figure 3.3. Pejabat Penyimpanan Mohor Besar Raja-Raja). (Google

Maps, 2016)

25

Public Works Department Bukit Petaling (Jabatan

Kerja Raya Bukit Petaling)

Bearing the responsibility of planning, design and

construction of public and government endorsed works,

including the construction and renovations of the former

Istana Negara Balairung building, the branch of public

works department is situated at Jalan Bukit Petaling.

Rumah Melaka

A British colonial house once used as a guest house for

honored guests from the Royals.

Figure 3.4. Rumah Melaka at Jalan Bellamy. (Google Maps, 2016)

26

United Nations High Commissions for Refugees

As part of the United Nations, Malaysia joined the forces

of the international partnership in protecting, aiding and

facilitating refugees that seek asylum in our country in

terms of healthcare, educational and financial welfare.

The operations started in Malaysia in 1975, when

Vietnamese refugees fled their home to Malaysia, and

since, with the cooperation with other nations, had

helped 240,000 of them to relocate to other developed

countries. (UNHCR, 2011) Today, the organization still

functions as a beacon, lending a hand to the refugees

and hope to make a difference in their life.

Red Crescent Malaysia National Headquarters (Bulan

Sabit Merah Malaysia)

Since 1950s, the organization had carried out voluntary,

humanitarian philanthropic works for the people of

Malaysia. The national headquarters is located at the

North East of former Istana Negara.

Figure 3.5. United Nations High Commissions for Refugees.

(Google Maps, 2016)

27

Kuen Cheng High School

Established since 1908, the Chinese Independent High

School stood as a testimony of the Chinese to uphold

their integrity in education and the inheritance of Chinese

heritage through years of grappling with wars, legislative

obstacles and financial problems. Originally as a girls'

school, it was located at No.31 Kampung Attap and was

forced to close down during World War II. In 1956, it was

relocated to the current site and insisted in Kuen

Cheng's "Independent Chinese Education" that had

stood the test of time for more than half a century,

nurturing elites in various fields. In 2008, the school

reorganized to become a co-ex school. (Kuen Cheng,

n.d.)

Alice Smith International School

In year 1946 at the end of World War II, British Mrs. Alice

Smith started her very first school at her home in Kuala

Lumpur, with the vision to "ensure that expatriate

children returning to education in their home country or

moving to a school in another country could do so as

seamlessly as possible." In 1950, Mrs. Smith left Malaya

for Australia and in 1952, the school relocated to Jalan

Bellamy. With the same passion as Mrs. Smith

possessed, the school had been operating for over 60

years, inspiring and nurturing the young in Kuala

Lumpur. (Alice Smith School, n.d.)

.

28

Surrounding Buildings in relation to the Former

Istana Negara

It short, the surrounding buildings can be classified into

three attributes, cultural, educational and humanitarian.

The Keeper's of the Seal Office, Rumah Melaka and the

Public Works Department branch carries significant roles

in our country's monarchy culture. The United Nations

High Commissions for Refugees and Red Crescent

Malaysia National Headquarter holds pivotal role in

humanitarian works. Whereas Kuen Cheng High School

and Alice Smith International School are the pioneers in

our country's educational system. When these attributes

are placed side by side, we can conclude that the vicinity

tells a discreet message in our nationhood, whereby the

heart of the nation, which is symbolized by the Istana

Negara, is centered around these very essentials in

establishing a holistic country, which are education for

the people, preservation of cultural heritage and the

contribution towards the society.

Figure 3.6. Towering buildings surrounding former Istana Negara. (Lim, 2016)

29

3.1.2 Buildings in Site

Compound

Management Office

Housing the administrative office for the Museum curator

and staff. The building speaks of a similar architectural

style as the Balairung Seri, with arch louvered windows

and Brutalist massing in a reduced geometry, painted in

cream.

Car Porch

With 102 shaded bays for the staff, the car porch is

surrounded by vegetations.

Figure 3.7. The management office. (Lim, 2016)

Figure 3.8. The shaded car porch. (Lim, 2016)

30

Gymnasium

Located behind the tennis court, equipped for games,

exercises and sports activities. Built with a corrugated

zinc roof, the gymnasium offers a conducive environment

for exercise, shaded from the hot sun.

Tennis Court

A standard tennis court is located behind the car porch.

The court is guarded with wire fences and with lamp

posts illuminating the court at night.

Figure 3. 9. The gymnasium. (Lim, 2016)

Figure 3.10. The tennis court. (Lim, 2016)

31

Police Station

Located at the south of the Balairung Seri Annex

Building, it provides all time protection for the royalties

against threats, with in-house constables, officers and

policemen.

Main Building

Influenced by the Palladian and British Colonial style, the

symmetrical main building houses the apartments for the

royal family, banquet rooms, minister rooms, family

rooms, small throne room, dentist clinic, guest rooms etc.

Originally a mansion for Chinese millionaire, Mr Chan

Wing it was eventually converted into a military mass for

the Japanese Army during World War II, followed by an

air force control base for the British Military

Administration. Thereafter, the mansion was finally

transformed as the first National Palace for the Yang di-

Pertua Agong of Malaysia.

Figure 3.11. Police Station of the Former Istana Negara. (Lim,

2016)

Figure 3.12. The main building. (Lim, 2016)

32

3.2 Landscape

The landscape of the former National Palace consists of

Hardscape and Softscape. Hardscapes are the man-

made structure, whereas softscapes are natural

elements.

Figure 3.13 A combination of hardscape and softscape in

harmony. (Lim, 2016)

33

3.2.1 Hardscape

Walkway (paved road)

The walkway leading to the entrance of the Balairung

Seri and around the building consists of square porcelain

tiles in earth gray tone. The tiles of the walkway are

arranged in a geometric pattern at the gateway and the

main porch, whereas those in front of the Balairung Seri

are homogenous.

Colonnade Porch

A shaded roof structure supported by rows of mirrored

Doric columns, fluted and devoid of ornamentations.

Arches are deployed to distribute the load equally

through the structural columns from the capital to the

base.

Figure 3.14. The homogenous tiles at the porch. (Lim, 2016)

Figure 3.15. The colonnaded porch. (Lim, 2016)

34

Planter Box

The planter box is affixed outside the Balairung Seri to

portray local grown flowers and plants. The placement of

these planter boxes are convenient for cleaning

purposes and are able to receive efficient sunlight

although being affixed near to the walkways roof shade.

A waterproof membrane is implemented behind the

planter box that connects to the Balairung Seri to avoid

any leakage inside the building.

Drainage

Drainage by definition is an artificial man-made passage

for excess water to flow. The drainage of the Balairung

Seri can be seen around the building itself making

drainage during rainy days easier as it prevents the

occurrence of flooding. The drainage found along the

Balairung Seri varies from closed drains to partially

covered drains.

Figure 3.16. Planter box with waterproof membrane. (Balasingam,

2016)

Figure 3.17 Drainage at the front portal. (Lim, 2016)

35

Lamp Post

Gilded cast iron lamp posts peppered around the vicinity

of the palace to illuminate the night gracefully.

Flag Pole

Located at the front of the central axis of the main

building, our nation's Jalur Gemilang billows in pride on

the 12m flagpole, a constant reminder of the sovereignty

of the country.

Figure 3.18 Lamp post in cast iron. (Lim, 2016)

Figure 3.19 Flag pole in front of the portal. (Lim, 2016)

36

3.2.2 Softscape

As a palace for our country, Islamic Architecture values

are integrated. The building was designed to be situated

amidst a garden, emblematic of the Paradise in Islamic

cultures. In Islam, the spiritual and physical experience

of garden with life is inseparable. The symbolism of an

Islamic garden represents a universal theme - that of the

understanding of nature and the universe (Roche, 2015),

which is clearly integrated in an ecological outlook of the

built environment, whereby nature and man correlates

harmoniously. Here, man coexists with the environment,

giving away and receiving in return. From this

partnership, man is bound to attain peace, while floral

and foliages thrives and flourishes, unbridled and

verdant.

Figure 3.20 The royal garden of Muzium Diraja. (Chin, 2016)

37

3.2.2.1 Water

In Islam, water is seen as life-giving, sustaining, and

purifying as the Qu'ran states, "From water every living

creature was created." (James, 2009). It represents the

gracious gift of Allah to mankind, which comes in the

number of 4, representing the 4 earthly rivers: the Nile,

Euphrates, Sayhan and Jayhan, the streams from the

Garden of Eden, which is paradise. According to Prophet

Muhammad's recordings of his miraculous journey to the

heaven, he mentioned four rivers flowing with milk,

honey, wine and water. (Hilmi, 2014). From these

accounts we can conclude that the number four has the

inherent symbolism reflecting the natural world and water

is also a symbol of life and prosperity, as without water,

man's existence would be a short-lived affair. Thus,

water is cherished, honored and channeled as a

language of architecture in the garden and there is a

total of four types of water features introduced here. In

architectural context, water gracefully depicts reflection,

refraction and transformation of light throughout the day

(Hilmi 2014), which enriches the building's visual

experience. This draws people closer to God through

quiet meditation and to echo the Qur'anic phrase of

"gardens underneath which rivers flow". (Hilmi, 2014).

Figure 3.21 Water is celebrated in most Islamic Architecture,

including the Old Istana Negara. (Lim, 2016)

38

Fountain

Two identical Arabesque fountains welcome the patrons

with cascades of pristine water, whereby the soothing

gushes of water calms the spirit and the sprinkles of

water freshens the air. It cleanses the souls of patrons

before entering the complex.

Pool

A swimming pool offers splashes of cool refreshing water

for the royal family during a hot summer. The pool is

lined with pergolas to achieve the Islamic teaching of

Haya, which means modesty, whereby it acts as a filter

to provide certain degree of privacy for the royals without

obstructing the views towards the surrounding.

Figure 3.22 Fountain. (Lim, 2016)

Figure 3.23 The pool with pergolas. (Chin, 2016)

39

Runnel

Run alongside the stairway towards the pool, water

trickles down the runnel, symbolizing the longevity of life.

The water runnel is aligned to the Qibla line, facing the

holy land of Mecca, as the Balairung Seri, the throne

hall.

Figure 3.24 Rivulet runs gracefully in the runnel. (Chin, 2016)

40

Lake

Embraced by lush floral and foliage, an oasis among the

heart of the city of Kuala Lumpur, the lake is a sanctuary

for the Royal Family. The towering trees surrounding the

lake are the natural sunshades that cast delicate

shadows of the foliage in this hot tropical climate while

the royalties can enjoy the serenity of the place. During

early days, Koi and carps were rared in the lake. Koi is a

symbol of auspicious in Chinese belief, so it is evident

that due to the multiracial background of our country,

cultural assimilation seeps deep in the root of our people.

Figure 3.25 Lake surrounded by greeneries. (Chin, 2016)

41

3.2.2.2Plants

Muslims appreciate nature as a source of joy, inspiration

and enlightenment. Tree is a symbol of wisdom, roots in

meditation and bears fruit of spirit. "Tree of life" is seen

as the connecting link between the three world levels of

ancient Orient: The Paradise (sky), World of human

(earth) and the World Below (underworld), (Munday,

2004) with its branches and foliage soaring towards the

sky, trunk on the ground and roots deeply engraved in

the soil. Wide arrays of tropical flora lght up the garden

with vibrant colours and wafts of fragrance which give a

sense of serenity amidst the hot weather. Also a tradition

in Islamic garden, whereby most Islamic Arabic countries

situated in hot arid desert zone, blooms offer a refreshing

ambient of hope and life. In this context, the vegetation

serves as a screen that buffers the hustle and bustle of

the city against the serenity of the region, as a home for

the King, a Garden of Eden amidst the throbbing city of

Kuala Lumpur.

Figure 3.26 The array of plants in the Old Istana Negara. (Lim, 2016)

42

Iris

A perennial flora, elegant and vibrant in its tinge of

saffron. It is perhaps the most favored flower after roses

and tulips. Originated from the humble foothill of Turkey,

it reached the hands of the most powerful man of the

vicinity, the King and later the love for Iris spread across

the European continents and throughout the world. In the

Ottomans era, Iris is a crowned jewel, admired by the

royalties, as a symbol of supremacy and status. In

Turkish Islamic Culture, Irises are usually associated

with funeral tradition. Muslims plant white Irises at the

grave of the deceased as a symbol of remembrance and

love. Besides, It is also a royal emblem of power and

position of the Bourbon Kings of France, including Louis

XIV. (Allen, n.d.). In art, Irises appear in many instances,

such as paintings by the impressionist such as Cezanne,

Claude Monet and Van Gogh.

Hibiscus

The national flower of Malaysia, a symbol of

independence and nationhood. Its influences can be

seen at the carvings of the throne and the gilded panels

of the Balairung Seri. In Hindu religion, it is used as an

offering to Lord Ganesha and the Goddess Kali

(Unknown, 2015). Here, it was trimmed into spherical

bobs, a subtle shift from the strong emancipation of

human control over nature, into gentler nuance of

guidance and care

43

Figure 3.27. Iris in blossom. (Lim, 2016)

Figure 3.28 Hibiscus in the vicinity. (Lim, 2016)

44

Montgomery Palm

Honored with its slender upright nature, the species is

widely planted in the vicinity, coherent with the verticality

of the Former Istana Building. Unlike other palms

species such as the traveler's palm and the royal palm

with large bushy, feathery leaves, its leaves are

considerably small, tapered gently as it reaches the tip,

evocative of the elegance of austerity that Islamic

teaching urges.

Box hedge

The box is a stalwart in Western garden, due to its

versatile nature of pruning into various forms. Especially

in a Renaissance garden where order, symmetry and

structure are emphasized. Delicately clipped into

hedges, the uniformity of the hedges is not of oppression

or dominion, but of order, formality and calmness

Figure 3.29 Montgomery palms flanks the descending path

towards the field. (Lim, 2016)

Figure 3.30 Box clipped into hedges lines the border. (Lim, 2016)

45

Yew

A symbol of hope, as the tree constantly and faithfully

points towards the heaven. Due to its long life, it is often

referred to longevity. (Peters, 2011)

Hujan-hujan (Samania Saman Leguminosae)

A lush foliated tree, reached up to stories high, provides

ample sunshades for the vicinity.

.

Figure 3.31 Yew. (Lim, 2016)

46

Figure 3.32. Hujan-hujan tree. (Lim, 2016) Top: Figure 3.33. Trimmed hedges. (Lim, 2016)

Bottom: Figure 3.34. The garden adorned by fountain. (Lim, 2016)

47

3.2.2.3 Light

In Islam, light represents the presence of God, thus is

always honored and revered. The Qur'an states "God is

the light of the heavens and the earth." Form, space and

order can only be defined when light is present, just as

life can only be enlightened when God is present. In

modern architecture, light is always celebrated. I.M. Pei

once stated "In order to make space and form come

alive, you need light." Corbusier also manifested that

"Architecture is the learned game, correct and

magnificent, of forms assembled in the light." (James,

2009). In this hot tropical climate with year long summer,

light is carefully portrayed. Natural daylight casts a clear

definition of the building's mass and form, of an upright

structure, austere and poised, fit for regalia. With the

presence of daylight, water features such as lake and

fountains cast ever changing reflections of light which

brings out the silent beauty of water. In order to filter out

the strong direct beams of daylight harnessed to light up

the interior of the King's suite, awnings and louvers are

installed. From this practice, we can conclude that

instead of opposing what nature casts upon, vernacular

architecture works within their boundaries and get the

most out of it. The result is a beautiful scenery,

shimmering in hues of cream and gold under the

choreography of light.

Figure 3.35. The reflection of light casts a picture on the granite

floor. (Lim, 2016).

48

3.3 Architectural Influences

3.3.1 Corbusian International Style The last and most recent architectural style that has

influenced the Istana Negara is Modernism. Over the

years as Malaysia moves into the 21st century, our

architecture has been shaped to follow the advancement

of technology, and like many historical sites of Malaysia,

additions and extensions have been made to the

historical sites, adopting a more modern approach

compared to traditional. Whether this is due to

convenience or intentional it is unclear, but it does show

us the changes made over time. Modernism is a style

that revolutionalized the architectural world. The

masters, such as Le Corbusier, impacted the era greatly

as it opened a whole new door to the industry. The style

is significantly different from any other as it is much more

simplified, less physically decorated and pure in

geometrical language. The main palace wing of the

Istana Negara stays true to Palladian and British

Colonial, but as it progresses to the Balairung Seri wing,

there is a strong sense of Modernism applied. The

difference between the styles is starkly obvious and the

architectural elements between the two historical styles

and the modern one is vast. From the Sky bridge to the

entire wing of the Balairung Seri, the exterior faade is of

modernistic influence with just a hint of British Colonial in

the use of verandas and interior spaces. The external

walls also do not have any decorative elements like the

main palace wing and majority of the windows remain

flush against the walls, creating crisp shapes and giving

the Balairung Seri wing a very simple, clean look with

minimal decorations.

The floor plan itself has a very simple, geometrically pure

shape, a feature which is key in Modern architecture.

Though the interior spaces cant be considered

modernistic because of its lavishly decorated space, the

geometrical form of the plan itself is quite linear, and

49

mainly consists of a combination of rectangles and

squares, keeping the room shape functional.

FIgure 3. 36 The exterior of Balairung Building. ( Tey, 2016)

Figure 3.37 The skybridge transverse across the building. (Tey,

2016)

50

3.3.2 Machine Regionalism

A branch of development from the international style, as

Malaysian Architecture Critic, Mr. Rashid put with, this

language can be depicted as the regional response

towards climatic issue, just as the way a machine adapts

itself smartly for the user. In the Balairung Seri building,

this signature is clearly shown by the usage of arched

overhanging louvers around the perimeter of the

fenestration, to allow daylight penetration while reducing

heat gain. Besides, the use of "egg-crate" louvers filters

the glare of direct sunlight while allowing the

choreography of light to take stage at the considerably

plain exterior according to the shifting time.

Figure 3.38 The rear elevation of the building. (Lim, 2016)

51

3.3.3 Islamic Architecture

Dikr

Which means remembrance, instill the user to constantly

contemplate the words of Allah. The incorporation of

Quranic verses in Arabic into the designs as shown in

Fig.3.39, is something quite noticeable in the throne

rooms of both palaces. In Islam, it is believed that

calligraphy is the highest form of art as it is the writing of

the divine script and is considered the purest form of

religious expression (Hilmi, 2014). As God is given first

place in Islam, Islamic architecture should portray the

remembrance of Allah. Therefore this remembrance of

God is achieved through the repetition of Islamic

elements as a constant reminder of God's presence and

teachings. Through this, a sense of unity is created in

these rhythmic elements revealing the eternal and infinite

nature of Gods essence. An example of this as seen on

the interior elevations of the throne room at the old

palace, where the pointed arch on the windows is

repeated all around. The ceiling of the room also has

repetitive elements such as the domes which is also an

example of Islamic architecture.

Figure 3.39 The pelmet on the Singgahsana depicting the Quranic

Verses. (LIm, 2016)

52

Ikhlas

Bears the message of looking towards the heaven as an

expression of submission and conformity to God. The

complex is devoid of human and animal motifs as the

teaching of Quran in order to avoid idolatry. The

Balairung Seri is adorned with Bunga Raya, the national

flower of our country. Their Majesty's suites are

ornamented with frescos, plasters and paintings of roses,

irises, grapes, flora of all kinds. The appreciation towards

mother nature is a praised ettique in Quran, as this

signifies the humility of mankind under the awe divinity of

the Creator. Besides, the design of the garden,

resembling the idea of paradise is also inspired by the

teaching. With foliages and flora of wide array, vibrantly

reminds the family of the grace of Allah that bestowed

upon us, gracefully and abundantly.

Figure 3.40 The bedroom is adorned with cottage flora. (Lim, 2016)

Figure 3.41 The reception area of the apartment. (Lim, 2016)

53

Haya

Which is the concept of humility, descency and modesty

is also highlighted in the building. For instance, the

exterior design and the main entrance is not in a

frivolously grand scale. The Balairung Seri has a

mezzanine that transverse across the double volume hall,

which somehow truncated the grand percussion. But as

we entered the atrium, the procession slowly unraveled

in crescendo, which peaks at the Singgahsana after

reaching the inner sanctum. This reflects the concept of

Haya, which grandiose is not in par with the phenomenal

richness, but lies within the soul of the place.

In Haya, privacy of occupants should be protected via

creating indirect visual access between guests and

family area, by having a transition or double circulation

between the public and private zone. This is clearly

shown in the Balairung Seri's circulation, whereby the

royalty can access the hall through the curtained corridor

whereas the only access for the guests is the main

entrance door.

Figure 3.42 The Singgahsana. (Lim, 2016)

Also, Their Majesty's apartment is also in a modest scale,

well planned and organized according to the concept of

"dual-compartmentalisation," whereby the segregation

between male and female is highlighted for a specific

lifestyle. For instance, the washroom of His Majesty is

separated from Her Majesty's bathroom in concern of the

aurah preservation.

54

Figure 3.43 His Majesty's bathroom. (Lim, 2016)

Figure 3.44 Hers Majesty bathroom. (Lim, 2016)

55

3.3.4 Victorian Style

An eclectic play of opulence and ornamentations, the

style celebrates the mix and match between architectural

influences from several eras, such as the Romanesque,

the Byzantine, the Renaissance and the Arts and Crafts

movement . This style is adopted at their Majesty's suite.

with plastered ceilings of Classical Revival, Rococo

inspired whiplash adorned mirror frames, Arts and Crafts

influenced wallpaper and furniture. It is believed that the

style is always regarded as the status quo of the rich.

Figure 3.45 Rococo inspired mirror frame. (Lim, 2016) Figure 3.46 Victorian style bedroom. (Lim, 2016)

56

4.1 Form

The annex building of Istana Negara is a tripled-storey

building connected to the main building, Muzium Diraja

(the Royal Museum). Constructed by reinforced concrete

as a primary structure, the building has a relatively

simple and solid massing as compared to the main

building. The combination of the Islamic architecture and

the modernistic expressionism expressed in the building

reveal the urge of our nation to catch up the pace with

other well developed countries.According to the Islamic

architecture, the most striking feature of all Islamic

architecture is the focus on the interior space as

opposed to the outside or faade. (Imam Reza, 2016)

Figure 4.1Exterior view of the annex building (Chin, 2016)

57

Exterior

From the bird's eye view, this building stands as a

combination of two simple rectangular massing with a flat

roof, orientated with its main entrance facing the east,

towards the west wing of the main building. As Islamic

architecture promotes simplicity in exterior, only

repetitive arched windows and arched colonnades are

used. Arches inherited from Roman and Byzantine

architecture is very common in Islamic architecture and

widely used in religious buildings. Structurally the arch

responds to the horizontal and vertical thrust perfectly

highlighting the importance of balance in Islamic culture.

(Muslim Heritage, n.d) However, the arches in this

building are mainly for decorative purposes. In short, the

exterior of the building only reveals the International style

and Islamic influence but does not tell much of a story

behind the building; conversely, the interior of the annex

building reveals a more luxurious design approach.

Figure 4.2Top view of the annex building (Lee, 2016)

Figure 4.3Perspective view of North Elevation (Foo, 2016)

58

Interior

Islamic architecture concept has been proven once again

in the interior of the grand Balairung Seri (the Throne

Hall) which stressed on the highly decorated and

ornamented detailing, contributing on the aesthetic

impact. The lighting plays an important role in making the

interior extravagant and lavish as it is also a symbol of

divine unity.

In the interior, the press room divides the double volume

Balairung Seri into two parts, cutting off the grandiose

flow towards the center of the main throne hall. However,

unlike the main building, the annex building is not

symmetrical. From the plan view, although the throne

hall is accommodated in the middle of the annex

building, the northern and southern wings share a

different proportion. (Refer to fig 4.4)

Figure 4.4Ground Floor Plan of Balairung Seri(Tan,

2016)

Figure 4.5Photo showing press room cutting through double

volume throne hall (Lee, 2016)

59

4.2 Space Planning

Nestled on a hill in the capital city of Kuala Lumpur at

Jalan Istana, the palace complex includes the Royal

component, Formal component, and Administration

component, with an area coverage of 11.34 hectares.

From the main entrance of this complex, a long palm tree

lined driveway made of square tiles will lead one to the

main part of the building, Royal Museum Gallery, and

later the annex building located in the west wing where

the grand Balairung Seri (the Throne Hall) is located.

There are two ways to entering the annex building, from

the colonnade corridor in the exterior, or from the sky

bridge in the first floor that connects the main building

together with the apartment of His Majesty and Her

Majesty.

Figure 4.6Palm tree lined driveway (Lim, 2016)

Figure 4.7Connectivity between the main building and the

annex building. ( Lim, 2016)

60

4.2.1 Entrance & Approach

Prior to passing into the interior of the annex building, an

oblique approach applied to enhance the effect of

perspective on the front faade. Rows of columns act as

the metaphor of imperial guardian welcoming the patron.

The transition of space is enhanced by the visual

contrast between the sheltered colonnade corridor with

ornate ceiling and the grandiose throne hall.

Upon reaching the entrance, the axis focuses on the

Singgahsana (the throne), giving an unobstructed view

towards it to emphasize its prominence. With special

royal yellow curtains as a backdrop - symbol of

beholding the supremacy, the majestic of royal family is

strengthened, enthralling one while entering.

Figure 4.9The Entrance of grand Balairung Seri. (Tan,

2016)

Figure 4.8The colonnade corridor. (Foo, 2016)

61

4.2 Islamic Architecture in Space Planning

Essence of Islamic architecture is an achievement of

delicate balance between functional and spiritual

elements (Hilmi, 2014).The grid organization allows the

orderly rows of columns to punctuate the spatial volume

and allow a measurable rhythm to be established. The

throne hall is the core of this annex building. Columns in

this enclosed system divide the 5 rows of ceiling into a

coffered pattern, creating a sense of harmony. This

expresses a characteristic of Architecture for Iqtisad,

Notion of Heart, Harmony. Islamic Teachings also

emphasize the remembrance of God (Allah) through

rhythmic precision of Islamic Motifs. In addition to that,

the concept of Architecture for Dikr is expressed through

the repetitive units of windows with pointed arches as

well as the motifs below, which is inspired by the national

flower of Malaysia, the Hibiscus.

Figure 4.10Repetition of ogival window and floral

motifs. (Foo, 2016)

Figure 4.11The coffered ceiling. ( Lim, 2016)

Figure 4.11The coffered ceiling. (Lim, 2016)

62

4.3 Connection between Main Building and Annex

Building

Although the staircase next to the waiting hall could lead

one up to the Kings and Queens suite, the sky bridge

still serves a very crucial function in which it connects the

annex building to the main building, offering a perfect

view towards the surrounding landscape. In the first floor,

it shows the Pass-Through-Space path space

relationships. The rooms on the first floor are divided by

a series of corridors leading into the pantry, Dining Room

of His Majesty and Her Majesty, mirrored finished

laundry room, Queens Powder room, Study and Family

Room, and finally the Queens Bedroom.

Figure 4.13Exterior view from the skybridge (Joshua, 2016)

Figure 4.12 Interior view of the sky bridge (Lim, 2016)

63

Ground Floor

In the ground floor, to accommodate multiple functions

and relationship with the user, the spaces are linked by a

dominant room, the grand Balairung Seri (the Throne

Hall). The throne hall is defined by quality of light as well

as changes in ceiling height rather than only wall panels.

In Malay culture, light marks the presence of God and

symbolize goodness, while yellow symbolizes royalty,

accomplishment and virtue. Ornate ceiling pelmets with

hues of gold hung above the double volume

Singgahsana are decorated with chandeliers imported

from Austria, creating a divine unity, giving a more royal

self-experience.

Figure 4.14 Simplified Ground Floor Plan. (Foo, 2016)

64

On the north wing adjacent to the dominant room are

meeting room, resting room of sultans and governors,

dressing room, living room, and toilet. Whereas the

service rooms such as mechanical & electrical room,

kitchen, storage room are concentrated on the north.

Figure 4.15Chandelier and lighting effect in the atrium of

Balairung Seri (Foo, 2016)

Figure 4.16 Panaromic view of double volume Balairung

Seri. (Joshua, 2016)

65

First Floor

Private spaces are mainly accommodated in the first

floor, the Kings and Queens suite, and semi-private

space such as press room and storage room.

When coronation or investiture of the honored being

hosted, the reporters of different radio station invited will

be assigned to different division along the corridor of the

press room which are separated by partition. This

corridor also direct the workers to the storage room,

toilet, as well as the kitchen in the ground floor, basically

all the service room in southern wing.

Figure 4.17 Simplified first floor plan ( Foo, 2016)

66

First Floor : King's and Queen's Suite

In response to the climate in Malaysia, the Queens

bedroom are located at north-west direction. In addition,

the west faade are well shaded by the canopy of tree,

thereby minimizing the solar heat gained. These rooms

are heavily influenced by Victorian style, representing the

luxurious and lavish royal lifestyle. Hung above the

ceiling in the Queens bedroom are the chandelier and

painting of floral and foliage as well as motifs devoid of

animals or human figure, showing the incorporation of

Victorian style with Islamic culture.

Islamic teaching emphasizes gender segregation in

sacred and private space. Thus, the bedroom as well as

washroom for the King and Queen are separated,

showing their respect to each other. In addition to that, to

address privacy, the orientation of door is refrained from

facing one another.

Figure 4.19 Gender segregated washroom (Yeoh, 2016)

Figure 4.20 Victorian style interior. (Yeoh, 2016)

67

Lower Ground Floor

Right below the Singgahsana there is the lower ground

floor that accommodate a utility room and restroom for

both gender. Looking towards the exterior of the building

are beautiful landscapes including lake and greeneries

that obey the Islamic teachings, creating a calming and

peaceful effect to the atmosphere. According to the

senior architect Captain David Wee, he thinks that the

residential and official areas must be linked rather than

knit together. (Masterpiece, 1999) Thereby, the space

planning of this building is a result to that, divided into

few section: south wing as machinery of the royal

household, the centre and north wing in the ground floor

as administrative and official areas, whereas north wing

in the first floor as residential area. The circulations

pattern in this building also designed in such a way that it

helps to define the privacy for different rooms, avoiding

access of public to the residential area of His Majesty

and Her Majesty. However, there is a wasted double

circulation at the press room and perhaps, that is the

only imperfection in this planning.

Figure 4.21 Simplified Lower Ground Floor Plan. (Foo, 2016)

68

4.3 Singgahsana

Singgahsana, the Throne is the symbol of supremacy

and of a Government where the king rules with honor

and sovereignty. It is elaborately designed to represent a

structure befitting the official use of His Majesty in

carrying out his royal duties. This is the fourth version of

the throne, renovated during the reign of Almarhum

Sultan Azlan Muhibbuddin Shah and used by the four

subsequent Yang di-Pertuan Agong. Singgahsana is

made up of 4 parts, the throne, Dais structure, roof and

background. In addition to that, the steps combined

together symbolizing the highest status of the National

Throne in the country. It is designed by the architect of

Jabatan Kerja Raya, Kapt. (L) David Wee and Encik

Shahar bin Karim after studying the design of other

Singgahsana in Malaysia. The throne is decorated with

carved motifs that combine the arabesque features and

sprinkled hibiscus motifs, filled with the stately charm of

sovereignty, replete with traditional amenities.

Figure 4.22Side view of the grand Singgahsana. (Foo, 2016)

Figure 4.23 The throne. (Foo, 2016)

69

Takhta

The Malaysian society looks upon the Singgahasana as

a symbol of royalty and honour because it is where Their

Majesty are seated. Lined with fine velvet and coated in

gold hued copper, it exemplified the status of regalia in

grandiose. The carvings embracing the cushion bears

the symbol of paddy stalks, which signifies abundance.

The backrest is embroidered with the coats of arms of

the nation, with another etched on the top, to signifies

the constant upholds of the nation's dignity.

Figure 4.24 The Seat, known as takhta. (Leong, 2016)

70

Pelmet

As a nation with multi-racial society, rich in cultural traits

and traditional Islamic handicraft, the motifs of siku

kelawar and hibiscus, originated from Peninsular

Malaysia, Sabah and Sarawak in Singgahsana

symbolize the inspiration of multi-racial people of the

country and our desire to achieve national unity, peace

and prosperity, are the result of the harmonious

acculturation from different states thereby highlighting

the national identity and projecting the prosperity,

harmony and rich multi-racial society.

The throne is covered with 2 pelmets (bumbung), the first

carries inscriptions of glorious names of Allah. The

second carries the inscription of a Quranic verse, which

means, " Allah who holds the power of sovereignty, it is

You who gives the power to govern to whom You wish

and its is You withdraw the power to govern from who

You wish." ~ Surah Ali-Imran verse 26. The verse is so

inscribed that

the words " the power to do govern" are placed right in

the middle and forms the center of whole verse. A

sentence of Al-Quran is carved on the top of the

Singgahsana to symbolize Islam as the national religion

in Malaysia