INSTITUTE OF CURRENT WORLD AFF2kIRS

23 Jalan AU5 C/3Lembah KeramatUlu Kelang, Selangorialaysia26 August 1982

BEB-9Building a Culture

r. Peter Bird MartinInstitute of Current World AffairsWheelock House

West Shelock StreetHanover, NH 03755

Dear Peter,lalaysia’s architects are in a position to be envied: the

nation’s cities are b,eing made over in a new image and they arethe sculptors. Since Independence, the Malaysian government hasexpended considerable effort refurbishing and rennovatiug domesticand commerical colonial-era buildings, replacing some and aug-menting them witch contemporary structures iu"a variety of architec-tural styles. The aim is the modernization and exoansion of thecities (particularly Kuala Lumpur) and a restructuring of theurban population in line with government policy, encouragingmalay immigration into these now heavily Chinese areas. Theresult has been a hunger for new buildings unequaled in SoutheastAsia. Even Singapore’ s much-vaunted appetite, though formidable,is limited by the island’s small size. Malaysia has over 127,000square miles on which to build; those areas not yet designated forpl&ntation schemes, forest reserves, parks, industrial developmentor new transportation infrastructure are rapidly filling with newhomes and commerical buildings. Though the global recession hasfinally cooled malaysia’s cheer.v economic fires somewhat,( urbandevelopment continues with gusto. ost Malaysian cities, and .not a,few towns) now strive for a few hundred acres of spanking new con-crete-and-tile tract homes, a scattering of skyscrapers and atleast one multi-story shopping complex. Kuala Lumpur is bristlingwith them. Better: many of the country’s potentially signif+/-cantnational structures have yet to be built. The National Theater,National Library and National Cemetary are on the drawing boards andthe National Museum is slated for extensive e?.nsion and. rennovation.There’s more than enough work to go around.

’ialaysia’s architects are also faced with a dilemma" thoughthe government wants new Edifices, new onuments.and new Symbolsthey cannot simply emulate international architectural trends.A recent government edict requires all new civic architecture to in some manner reflect V.alaysian culture, neglecting, how-ever to define the cultural parameters of this expectation. National

Bryn Barnard is an Institute Fellow studing visual communication inSoutheast Asia. His current interest is architecture.

polic is a catalyst" it isup to the individual architectsto sift through the nation’s

::,,o cultural melange for designssufficiently Malaysian to getthe official nod. Potentially,then, each individual architect:= could deviop an idiosyncratic"Malaysian" architectural style.

But from whence to choose?Each of ]alaysia’s componentethnic co,unities has well-established architectural tra-ditions. Too, regionhistori-cal influences have contributedto the nation’s built environ-

1 ent. Choices are no simple,eveD among the pliica _ntruners.

Malay architecture, officially favored as the basis for theNational Amalgam, is exceedingly regional" virtuall. every statehas an identifiable Malay architectural style, the result ofprovincial evolution, long term diffusion and direct importationfrom neighboring cultures. The "Kelantan-Trengganu" style, forinstance, noted for its eaborate "timber construction and carv-

ing, distinctive finials andclay-tile roofs, shares many fea-..:.. ... ".... ; tures with southern Thai archi-tecture of the Patani region....-..-.’ ._.""....../ The "Negeri Sembilan" style, onthe other hand, characterized by. . upward curved gables. d-ay@red or: .....:: .....-......--..... multiple-tierfromthe architecturerfs’haSof thateVelved" ...... " : state’s Sumateran Minangkabau im-migrants Minabauitself displays stylistic linswith

..-........... tke architecture -,. ef the neighboring.::: Sumateran Bataks Malacca, Selang-’; :: or, Perak-enang, edah-Perlis dJohore-Pahang each have. their

Islamic architecture, another of-ficial favorite, is characterized

2 by an even greater plethora ofregion as well as historic.al va_riatons/: Indian Moghul; Persianand Saui are but a few.

Chinese "architecture is froed upon as a basis for nationalstructures, though classically-styled Chinese temples and shop-

-.houseo are a major component of Malaysia’s cities, Indian temple.. archlteeture, imported wholesale from the sub-continent, fares no..Better in official buildings. Locally-assimilated styles, li

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. Chinese (as oppgsed to China-

!. are more acceptable. Thai

British colonial architectureis considerd historically ira-

" iiiii:i" I" portant, lendingMalaysia’s’ urban environment much ofits

.; %o examples, particularl those

in the North Indian Islamic

Thgamedby rchitects for its climatic practi-cality d often functional elegance, British colonial architec-ture is not favored as a basis for a national syle orven as acondiment. Things British aredeclasse these days, as theadministration "Looks East"(to Japan and South Korea)for inspiration.

The issues at Stake inMalaysia’s architectural con-troversy, tradition versusmodernity, internatienalversus indigeneus, Malay versue non-Malay and Malaysian,challenge all the arts, butin architecture are particu-larly charged with politicaland emotional significance.Architecture is, after all,a created environment in which--people must liW@ and work, regardless of race or ideology. Whereasaance, music and art can incorpoate Or discard newtcnology orideological trends with relative fxability, architecture, is unique

i its. permanence and-=cle- Itcan awe, instruct or inspire,spurious or profound, it is with usfor a long time.

Thus far architects have hadonly irregular success with a Malay-sian tye. The concept of "Malay-sian ancaitecture" is, like "Malay-sian society," a post-Independencephenomenon. Foreign architects,primarily British, dominated civicarchitecture until the early 1960’s,designing such national structures

5 as tree Post Office, High Court andHouses of Parliament. Foreign-

trained alaysian architectsbegan to enter the fray in the!aCe 1950’s but accreditedlocal architectural trainingdid not get underway until1980. Stabs at a "def+/-natiealaysian style" were sporadicand ill-coordinated. Thehard-edged concrete parasolrooZ and minaret of the Nati-onal Fiosque and the qationaliuseum with its hybrid Kedah-Kelantan roo and Minangkabauplanning are significant ex-

6 ampl-es from this period.

In the late 1960’s the li.nangkabau roof emerged as the mostpopular "Ivlalaysianization" device, campioned by then llinistero Culture DatuK Abdul Samad Idris, himself o inangkabau an-cet.y.. Te distinctive curving gables were appended to eeryconoeirabe structure" custom-bu+/-It homes, signboards, lamppostsand trash containers are but a small sampling. Stripped o anyindi:.’emous cultural or s..vbolic signiicamce the Ivinangkabauroo was at the mercy of "a!aysiam designers. +/-ersonal wim anduse of naterials otmer than the traditional ipa-pal thatchforced the classical Miman.abau curve nto a variety of 7mnas-

tic contortions with .+/-ttle in com-on save an upward turn to te gableends. 12ime and perhaps overuse haseroded, the [’’inangkabau roo’s popular-ity outside o Negeri Sembiianrecent years. al!en fro gra,e:inankabau roof is the butt of. editor-al lambasts ron architects and the layoublic :.’...qd fuel for rundtable discus-sions and !.olitScL-seeches.

ter .route. towards cultural-Ly-.iregna.nt Malaysian architecture :avealso received scrutiny from the pro-fession, po!it+/-o+/-a.ms and the press.maallah A_kztek, the journal o.f PAF-(the i,aiaySiam rchit ectura! association)_’re,:.!uently-publishes articles on thelatest ,ala.sian arc!itecture, the merits

o particular arcl.q..qtect-2ral syles, the eaming o "Fialaysiam archi-tecture st.le.verss f.)nctiom ad related subjects._ n thenews.apers :articularl.?’ controvers.ial designs are the subject oZmedia diatribes, investigative exposes and occasional lettercampaigns. alaysians take their architecture seriously.

So does te government" under the new guidelines, arcitec-ustrural desig_s that could, as one architect s.a.., "be found ,

anywhere Jn t.e world are considered nac..eptab.e. Slackers arerequired to redesig esub.,-+/-t and sometimes still meet the deadline

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Designs or both the Daya Bumi omplex and the NationalTheater, approved under previous administrations, were or-dered redesigned under the present regime. The ormer nowincorporates Islamic design elements whil the latter sportsa multi-layered arrangement oZ traditionally-inspired pichea/roofs.

Though the Malaysian government’s prodding has encouragedculturally-inspired architecture, much of today’s design seemsto be more cosmetic adornment, employing traditionally-Basedreoflines, finials and arches for effect rather than any funda-mental synthesis of traditional and modern design principles.Schooled in WeStern techniques and history, many Malaysn archi-tects seem to have little empathy for indigenous design or spa-tial concepts and thus tend to employ only the obvious or theiornamentai. -All the more reason to study the bomplexities ofthe nation’s architectural heritage before attempting a contem-porary design. .

Nik Malik bin Nik Zainol Abidin has done just that..Alecturer at Universiti Teknologi Malaysia, Nik has a Bachelorof Architecture degree from the Universiti of Western Australia,Perth, a Master’s in Landscap@ Architecture from Britain’sSheffield University and a tea.ching qualification from theUniversity of London. In 1975 he helped to initiate a programat UM forthe-dcumentation of historical Malaysian buildingsthat to date has recorded over 200 structures, primarily timber-frame homes, istanas (palaces) and mosques,as well as someChinese templ@s Future documentation plans include Indiantemples and British colonial structures.

I spoke to Nik on two occasions after his recent returnfrom a tour of American Gniversity landscape architectureprograms as a visiting critic. He feels the decumentation Ofhistorical Malaysian buildings is critical to the nation’sarchitectural future. Timber structures, primarily Malay, area top priority as they are more vulnerable to deteriorationthan bickor stone buildings. Some, over a century 61d andfallen into disrepair are little more than overgrown foundationswith perhaps a portion of wall or roof reming. UTM,’s archi-

tectural documentation will serve not only as a historicalrecord and a source for architects designing modern Malay-sian structures, but will facilitate the reconstruction afthese buildings in the future, down o the last wooden dowel.

Under the UT program, student teams offive to nine mem-bers each are sent into the field every year for the three-month term holidays to study historical buildings in variousparts of Penninsular ialaysia (thus far, no documentation hasbeen done in East alaysia). Buildings are chosen through acombination of historical significance and the particularinterests of the group members. For the duration of the project,students live, sleep and. eat in their chosen building, producingmeasured drawin.gs and potographic documentation andundetak-ing nterviews wih occunts, descendants of former occupantsand craftsmen. Nik and his assistants visit the various

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sites to give instructio.n, assistance and encouragement.

At the end of the year,dooumentation is submitted inbound folios, c0mprehensi-ve records that include elevationand site plan drawings, expl0ded-vieW construction plans, orn-ament plans and details, historical information and anthropol-ogical data on the ceremony and beliefs a.ssociated with con-struction. UTM is now preparing a compi.lation of all thedocumentation projects for publication next year.

h6h UTM as only one-of several documentation programs inMalaysia (meaSured drawing and- other documentation are alsopursued, by students at Institut Teknologi MARA and Univers+/-tiSains Malaysia) it has been judged the best- in a PAM measureddrawing competition in 1976, UTM took ’first, second and thirdprize, enough money to send the winners to Lake Toba Sumaterafor a look at Batak architecture.

Some of the students’ historical/anthropological documen-tation gives justification to Nik’s claim that, "to understandthe Ma..lay house you must know its spirit." Malay buildingconstruction, like other aspects of Malay culture, is permeatedwitha syncretic fusio of Hindu/animist and Islamic beliefs.Nik’s students have ostuit... that certain ornamental floralo,tifs may have developed from Hindu or Buddhist images, ab-

stracted to conform _to Islamic ;eligious prohibitions. Simi-a--y the-p-day "sen-layer’, constructi- (six visiblelsyers, ne--inVsi.l-d in some M.ala7 m0-sques may-actual+/-y

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PANDAN6AN BARAT0 2 5 8.

UKUR

be a continuation of a preexisting Hindu temple form. Sometraditions of non-lslamic origin continue to be observed-the .t.i.a..n.6._seri, first supporting pillar in the home or palace,:i erected with" great ceremony. ’Jibe capital is typicallydecorated with layers of colored cloth, infused, of course,with approprJate spells. Under the pillar are placed goldscrappings, :old coins o’ a scoop of auspicious earth to bringluck and wealth. This practice is reputed to have some ratherbizarre variations" !eend has it that one of Kelantan’searly sultans had warriors, not coins, buried under each ofthe supporting in the audience hall of the IstanaBa+/-ai Besar J..n :,oa ba.r. In tis same palaoe, students

KLRATAN MELINTNU s, /e’:RUIVlAH IBU KELOHG

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chanced upon a locked room, the Istana Dalam (inner pal-ace) that has remained unopened ’since ’tha’t- sultan’s dearth.The contents of the chamber remain a mystery.

Islam also plays an influential role in the design anddecoration of traditional Malay buildings. Oriented withone wall facing Mecca (the kiblat), homes were typicallydecorated with extensive wood carving and latticework, employ-ing floral motifs and Arabic script, the latter usuallyKoranic phrases chosen for their protective power. Thisrbtective writin is particula!y prev.alent above doors andwindows where as latticework carving it not only provides.sDiritual protection from intruders and other evil-doers,but also doubles as ventilation screens. For some Ma]ays,however, such protection was apparently not sufficient. SaysNik:

"I know of one home where every day after subuh, thedawn prayer, the owher would walk around the house seventimes, with prayers and so on. People who wanted to stealor who had other evil intentions entered this house and wereunable to find their Way out. This has been documented. Hischildren and grandchildren remember this man and venerate him."

Floral motifs, though not obviously protective in the nannerof the Arabic script, are not simply decorative. Nik’s stu-dents found some leaf, flower and vine patterns to be rathersophisticated religious statenents

"There are two aspects to the quality of God," explainsNik. "The one is visible, but in terms of words, like theKufic writing [one of the many styles of Arabic Script]. Thenthere are symbols, such as floral decoration. The other qualityis invisible, represented by empty space, an oval void withno beginning and no end. From the edge of this void springthe tendrils of a bean, which does have a beginning and an end.And from this-come the flowers and leaves. Thus the visible andinvisible are combined. At first when we found these emptywall spaces, surrounded by ornament, we. thought they must haveonce been filled with mirrors. But no, we were told. They weresupposed to be that way. Though kamDung village people don’tknow what these mean, the muftis [religious advisors]and the imamseligious leaders] know. The wood carvers know."

Nik considers himself anarchitectural purist. His stu-dy of traditional Malaysianarchitectural styles has en-gsndered a rather severe ideo-logical approach to the currentMalaysian architectural .debate

"Should we choo Indian,Malay or Chinese?’ I don’t likecombining and I think the un-derstanding of iialaysian andcombination is not quite right.

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This is a political, not an aesthetic or visual situation.We’re creating buildings that reflect the current politicalideology, not the underlying aesthetics. Aesthetics must beabove ideology and it st have a functional implication. Idon’t think we should muck about with symbols just for thesake of symbols. "

But sould architecture be alay-ased?"For civic architecture, yes. Because architecture has

its place. alay architecture .belongs here. The Chinesearchitecture has its base in China. I would like to go thereand see Chinese architecture reflecting the indigenous chl-ture. I don’t think a Chinese temple here should look like aalay house ether. It must have its own character. Nationalbuildings, however, must have their place berne. If I migratedto Australia, would I build my traditional Malay house? Perhaps.But that’s private, not national."

Though Nik’s reasoning may be based on asthetics, even headmits his ideas have profound political implications; inalaysia even the loftjiest ideals manage to become entangledin ethnic politics. Where there is culture there controversyand insistg on the necessity of alay-only Malaysian architec-ture is certain to cause resentment in other ethnic quarters.Nik, however, insists on the same cultural purity within Malay ar-chitecture

"Wegional architecture should stay regional and retain itsintegrity. Let’s not take a little bit here and a little bitthere..

"Now recently, I was talking with a landscape architect, acolleague of mine, who wants to build a Kelantanese wk., ashelter in Kuala Lumpur. He says this is the capital city anda melting pot for the representatives of various parts of Malaysia.That is one argument perhaps I c accept. But l’m still ada-mant that states should retain their o architecture. We should-n’t build a Mioangkabau building in Kedah or Johore."

"If architects are going to look for a ’Malaysian’ style, theyshould look at this regional architecture. Instead, I feel that

them are trained over-

::::::::::::::::::.......::::::::::........ ::::::::::::::::::::, one building [the new::::::::::::::::::: :::: =============================== ’alayan Banking Head-

%. :: ::::: quarters by Hi j j as Kas-:::: turi As s o c iat e s Sendirian]

that is said to representa ris [a Malay rtualknifnd another Lthe

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Kumpulan Arkitek]that isbased on a tengkolok[Malayceremonial headdrss Theproblem here is that theseartifacts represent so manythings to so many people.The keris Ls a symbol of wealth.Yes. Fitting for a bank. Butit also kills. It is a symbolof suffering, a symbol of chaos,The tsngkolok, though it goeson the head, representsstatus and power, not knowl-edge. As an educationalistI would say you are teachingpeople the wrong things. Youare adulterating the meaningfor the next generations. Ifind it a rather lame excusemyself, an attempt to convincethe client. "

Nik’s opinions are not ere-ly the untested dogma of a secureacademic. e has had the op-portunity to test his beliefsas an architectural consultanton such projects as the PusaraNegara (National Cemetar’), teD-state agricultural agencyeadquarters in Kedah and theBank Bumiputra headquarters inKuala Lumpur.

Nik is critical of the newBank Bumiputra headquarters, butfeels it is more on the righttrack than keris andtegoloks. Combinmi an enlargedreprodtion of Istana Seri Akar(a ruined Kelante’Se aiacedocumented by UTM students) witha modern tower block, BankBumiputera is one of KualaLumpur’ s most controversialbuildings, exciting the wrathof most architects but fairlywell received by the public.

"I think its a bit vulgar,"says Nik," and has no scale. Butit is a model for others to buildon." In fact the Bank Bumiputrade.s%gn has inspired other tra-ditional-modern combinations,notably the new eodalan N__a-

s__ional (national finance com-pan.y J--he adquart e rs.

Nik’s purist idealshave taken on special sig-nificance in his designconsultation for the nati-onal hero’s cemetary, thePusara Negara ere, sepration of tradition is essen-tial. a!aysian or no,Buddhists, Hindus,and rstisns in_s% onburial wi%b members of theirown faith. Some even ob-ject to sharing the sameroad for the cortege. Luck-ily, the parcel of landalloted for the Busara Ne-gara is hilly, allowing onehill per religion, seperateroads leading to each froma common plaza. Dhough theseperate burial grounds willconform to the requirementsof each religion (Nik haseven researched tobstonedesigns )the central plazawill most likely have aNational/lalay flavor. Nkhas su6ested entrance gatesdisplaying the empty-void-with-bean-tendrils from elan-tanese tradition and ap!aza floor in granite ehibiting the tapak(tiger footprint]- -ptterni’ro the(the Malwould alstructur

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woven tikar mat tradition, this symbolizing both the Stateaysian tiger) and the fallen heros (the footprint). N-so like to see a pitched roof on the cemetary’s entrancee, alluding to Peninsular house design.

ational Identity is an elusive thing, particularly in aplural society’s architecture, lik Malik has by no means discoveredthe only valid approach. He is, however, one of the few la!aysianarchitects I have met that enjoys such a solid background intraditional malaysian architectural design. In consequence, hiswork is singular in its aesthetic consistency and respect forcultural convention. <rking as a consultant he has has less im-mediate impact on contemporary Malaysian architecture than hisfull-time colleagues; perhaps his students, similarly schooled,will imbue their own work with some of Nik’s traditionalist ideals.

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Other Malaysian architects might do well to take advan-tage of the documentation efforts of UTM and other Malaysianarchitectural institutions, educating themselves not only ontraditional styles, but on the practical climatic and struc-tural aspects of indigenous Malaysian buildings as well. Witha firm foundation in the cumulative nowledge of the past,Malaysian architects cannot help but more intelligently plan thefuture.

Sinc e re ly,

arnard

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List of Illustrations

I. }ap of alaysia,as described by

showing ala .architectural regionsNik ialik; L. Newell.

Sketch; roof section of Istana Balai Besar; Kota Baru,Kelantan; ink and charcoal dust on canson paper; BEB.Drawing; minangkabau-style modern home near thepur-Seremban Highway, Negeri Sembilan; charcoalboard BEB

Kuala Lum-on bistol

i0. Drawing;M.

ii. Drawing;UTM.

12 .Drawing;

Photograph; National Museum with hybrid Kedah-aelantan roof,and silag gutg (crossed scissors) finials. Overall Minang-ka0au design; uala Lumpur; postcard photograph.

Photograph; National mosque with open parasol roof, closedparasol inaret and geometrically patterned walls; KualaLumpur; postcard photograph.

Photograph/drawing; two designs for National Theater, byarchitect Nik Mohamed ahmood, Kumpulan Senireka. Originaldesign, in sculptured concrete, was said to draw inspirationfrom the traditional +/-alay competitive tops or gasi.ng. Finaldesign employs an arrangement of traditionally-styled pitchedroofs. Curved gables a la iiinangkabau were considered andre jecte. End-product does not relate specifically to any oneala cultural group; Kuala Lumpur; newspaper photographs,New Straits Times.

Drawing; side elevation and interior section of Chinese templeby UTM students under supervision of Nik Mohamed; Pnang inkon vellum; UTM.

floor plan, Chinese temple; Penang; ink on vellum;

sie elevation of 1alay house, Melaka; ink on vellum;

cross sectionshowing wall panel location, RumahIbu Kelong Kelantan; nk on vellum; UTM

Sketch; empty-void-and-tendrils floral decoration pattern;after a sketch by Nik ’alik; in on paper; BEBDrawing; exploded view of window and panel decoration detailRumah Ibu Kelong; Kelautan; ink on’ vellum; UTM.Drawing; wall decoration detail, Rumah Iu Kelong; Kelantan;ink on vellum; UT.Rendering;proposed National Library as stylized tengkolokwith mOsaic tile surface suiTgesting songk_t (brocade) pattern;Kuala Lumpur; watercolor; umpulan Arkitek.

Drawing; traditional Batak house near Lake Toba; northernSumatera; sepia ink on bristol board; BEB

Photograph; railway station (left) and railway administra-tion building (right, formerly government offices) designedby British colonial architects in north Indian Islamicstyle; Kuala Lumpur; postcard photograph

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17. Rendering; alayan Banking Headquarters, said to suggestalay kgris; Kuala Lumpur; watercolor; Hijjas Kasturi Assoc-iates Sendirian.

18. Sketch; keri____s and tengk01o; ink on paper; BEB

19. Phot0graoh: model of Bank Bumiputera Headquarters, employingtraditionally-styled banking building and modern tower block;Euala Lumpur; umpulan Arkitek

Received in Hanover 9/20/82