0

Theories of Architecture and Urbanism [ARC 3233]

PROJECT: Analysing and Theorizing Architecture

Putrajaya International Convention Centre

NAME: NG YOU SHENG

STUDENT ID: 0309997

LECTURER: Ms. Ida Mazlan

SUBMISSION DATE: 22-06-2015

1

Table of Contents Page

1.0 Introduction …………………………………………………………………………………………………….. 2 – 3

2.0 Theory on Architecture ……………………………………………………………………………………………….. 4 – 5

3.0 External Contributing Factors

3.1 Geographical Factor ……………………………………………………………………………………….. 6 – 7

3.2 Climatic Factor ……………………………………………………………………………………………….. 8 – 9

4.0 Conclusion …………………………………………………………………………………………………………………… 10

5.0 References ………………………………………………………………………………………………………………….. 11

2

1.0 Introduction

Putrajaya International Convention Centre by Hijjas Kasturi Associates

Putrajaya is a Garden City and the federal administrative capital of Malaysia, located

20 km south of the country capital Kuala Lumpur. Around 40% of Putrajaya is natural,

the greenery and botanical gardens are located across the landscape along with

large wetlands and lakes.

The city was developed in 1995 referring to the theory of ‘The Three Magnets from

Garden Cities of To-Morrow by Howard Ebenezer’, coming with the advance

technology today, synchronizing with the natural environment, built environment and

the social community. The concept of Howard’s theory is to incorporate the

advantages of the traditional country side together with the advantages of the town.

A new kind of settlement called ‘Town-Country’ was proposed to settle down the

essence of town and country, an ideal place where the human society and the

beauty of nature can be enjoyed together.

Diagram 1.1 The Three Magnets

3

The Putrajaya International Convention Centre designed by Hijjas Kasturi Associates,

it is a significant building located along the central axis of Putrajaya, it is a mini

garden city that located in the big garden city since the concept of the building is to

preserve the original landscape of the site as public parks and garden while the

architecture footprint only takes up very little land area. The design of PICC allowing

the users to appreciate both the architecture and the nature, the spaces are

surrounded by greeneries and welcoming the natural elements to enhance the

spatial experience.

Hijjas Kasturi was born in Singapore in 1936, studied at the University of Adelaide

and the University of Melbourne (Bachelor of Architecture 1965, Graduate Diploma

of Town and Regional Planning 1966). Hijjas Kasturi then moved to Malaysia in 1967

where he founded the School of Art and Architecture at MARA Institute of

Technology. The practice of Hijjas Kasturi Associates was formed in 1997. Hijjas

involved in designing some well known buildings in Malaysia like Menara Maybank in

1989, Tabung Haji in 1986, Putrajaya International Convention Centre in 2003 and

etc.

Diagram 1.2 Portrait of Hijjas Kasturi

4

2.0 Theory on Architecture

Theory: Semiotics

The Putrajaya International Convention Centre (PICC) was designed to host the 10th

OIC summit, it is a convention centre located in Precinct 5 of the Federal

Administration Centre of Putrajaya. Multiple application of theory of semiotics in

architecture can be found in the building. The PICC is representing Putrajaya and

Malaysia as a sign that it is on the track of moving towards a developed country, by

showing the advance technology of engineering used in the building such a

complicated and high engineering skills required structure. Apart from that, being

able to complete such a complicated project within 22months and hand over on time

and on budget has also shown the capability of local contractors and engineers.

Other than the structures, PICC also installed some the of most advanced facilities

such as fibre optic communication systems, satellite video conferencing,

broadcasting & television studio, data centre, audio visual equipment and etc. It is

indirectly conveying a message to the users that Malaysia is a country that has the

advance technology while the users are utilizing the facilities available in the building.

The form of PICC is circular, representing the strongest form of symbolic unity.

Interprets a greater level of unity among the differing cultures in Malaysia. By

integrating the theory of semiotics, Hijjas’s wanted to express the circular form of

PICC in the centre of the site to mimic the shape of traditional Malay warrior belt

buckle, the building is sited in the middle of the buckle, representing the jewellery on

the belt. In South East Asia, jewellery is a symbolism of wealth. In other words, the

client intended to showcase the wealth of the country. Nevertheless it is in a low

profile kind of presentation because this can only be seen in the aerial view, plus not

all people know about the meaning behind a warrior belt buckle.

Diagram 2.1 The Malay Traditional Warrior Belt Buckle

5

However, the shape of PICC has another representation which is the shape of ‘WAU’,

a traditional Malay kite widely known in Malaysia. The semiotics of the building as a

signifier to WAU, reminds people of the rich culture in Malaysia, also reminds people

that the PICC is representing the country and the place as a landmark building, so

people will automatically think of Malaysia and Putrajaya when they see the building.

Other than that, the interior spaces of the conference rooms are decorated with the

flora and fauna of Malaysia. The walls and carpets are also implemented with the

patterns of local arts and crafts such as ‘songket’ and ‘mengkuang’ designs.

Diagram 2.1 Wau Bulan

Moreover, to make PICC a nationally significant architecture standing at the same

line with Petronas Twin Towers, Kuala Lumpur International Airport and etc. is the

aim of the client, by using the completion of this project as a symbol of successful

growing modern Islamic Nation. The PICC is also being marked as one key step

towards the vision 2020, the futuristic building technology is representing the era of

Malaysian professionals has come and It is projected as a building that symbolised

the combination of heritage, function, science and technology.

Despite the fact that the PICC has successfully become a landmark building in

Putrajaya by having such dominating form, the theory of semiotics used in PICC is

too difficult for the public to notice without having the explanation from the designers

or the client. For example, the semiotics of warrior belt buckle and WAU can only be

seen on the plan or aerial view of the building, which normally in human eye level

view is almost impossible to notice that.

6

3.0 External Contributing Factors

3.1 Geographical Factors

The PICC is situated on one of the highest points of Putrajaya, at one end along the

central axis of the boulevard across Gemilang Bridge over the lake, which 4.2km

away at the other end of the boulevard is where the Putra Perdana is located, the

prime minister’s office. It is one of the most eye catching location to land a significant

building as a symbolic venue to host national and international events. The

geographical location perfectly fits into the client’s brief which is to make PICC a

landmark building in Putrajaya. The building automatically becomes a focal point as

the site is higher than the surroundings located at the highest point along the axis.

The steep of the site is increasing from 26 meters above sea level at the lowest point

to 55 meters at the peak.

Diagram 3.1.1 Front Elevation

The architect smartly utilized the original context by submerging more than sixty

percent of the spaces into the hill. By doing this, the hill can be preserved and the

huge building is making very less footprint on the ground. The remainder space of

the site are being left as public park and garden. Hijjas’s idea of submerging spaces

into the hill has very similar effect with one of the Le Corbusier’s five points of

architecture, the ‘Pilotis’. Le Corbusier’s theory was to lift the structure from the

ground, making less impact on the ground floor to allow vehicle movement and

green continuity. Whereas Hijjas’s move is actually reversing the theory of Le

Corbusier by bringing the structure underneath the ground, at the same time allowing

the original ground floor for vehicle movement and public gardens, also the contour

height of the site remain unchanged. In the end, the PICC only takes up 3 acre foot

print from the 51 acres site while the remaining are for the public parks and gardens.

7

Diagram 3.1.2 Section showing the usage of spaces on the ground and underground

The circular form of the PICC was chosen for the integration into the site. The site

itself is an ellipse shape, while the architect decided to use the circle in the middle of

the site. However, by having a circular form is also a challenge for the architect to fit

in the spatial arrangements required into the shape, to create quality spaces is

always one of the main focus for architects. To save and fully utilize the spaces,

most of the facilities spaces have the flexibility to make changes and allow multiple

functions. There are three main halls located in the centre point of the circular form

including the Plenary Hall, Banquet Hall and the Head of States Hall, each of these

halls can house more than 3,000 users. Meanwhile the outer ring of the circular

consist of meeting rooms, suites, galleries and lounges.

8

3.2 Climatic Factors

Being in a site with tropical climate condition, Hijjas incorporated several passive

designs approach to utilize advantages of local climate. The architect brings the

excessive daylight into the spaces by having louvered façade over the huge glazing

to illuminate the spaces in the building, the louvers are used to filter and prevent too

much daylight from penetrating into the building, reducing the solar heat gain yet

gaining sufficient natural daylighting to lower down the electrical usage required to

maintain thermal comfort and illuminance. Besides that, the glass façade of PICC

that goes around 360o of the building is also slanted in an angle of 15° to prevent

direct solar gain, it also creates a contrast between the slope of the hill and the

building that makes the building stands out from the neighbouring context as an

iconic building. The architect also designed sunken internal courtyards on the east

and west wings to bring in lights for the galleries below ground level, at the same

time providing the users inside the gallery the feeling of surrounded by gardens.

Diagram 3.2.1 showing the Natural Daylighting

The contrast created from the raked façade extends to the form of the roof, two sides

of the roof are elevated, mimics the shape of soaring flight at the front view, whereas

viewing from the side elevations, it is more implicit expressed that the roof is

attached at the front and back of the building, covering the building like a protective

shelter. The extraordinary form of the roof has large overhangs that response to the

local climate condition, created large shaded area underneath the roof overhangs to

reduce the building heat gain. In material wise, the dynamic roof was made by a type

of membrane material that is able to fit into the uncommon roof form and it is solar

9

reflective and vapour permeable. Other than that, the roof was designed to have a

clerestory that allows the daylight to enter the building from above.

Diagram 3.2.2 showing the roof overhang and sunken courtyard

The greeneries and parks surrounding the building does not only function as

recreation and appreciation, it is also part of the contributor that controls the local

climate condition. A place with gardens and parks are quieter and cooler than the

surrounding urban areas. The natural vegetation nearby PICC is able to reduce the

energy usage of the building by cooling down the surrounding air and surfaces, at

the same time increasing the relative humidity in the air through providing more

shades to the surface and evaporative cooling that cools down the ambient

environment.

10

4.0 Conclusion

The Putrajaya International Convention Centre has implicated the theory of semiotics

in architecture throughout several different aspects in the building. Though it does

make sense that the relationship of the signifier and signified are logical, but some of

the semiotics are not really obvious. The semiotics in architecture nowadays has

gone too abstract that most of the time the public would not be able to sense the

original intention of the designers or the client, therefore the message of symbolism

can only be delivered with the aid of clarification. The original purpose of semiotics

should be able to easily convey the message to the public. Even though the

architect interpreted it this way, I think the priority factor that forms the shapes of

PICC today is the geographical factor. Responding to the original contour and shape

of the site and creates an impact on the highest point to achieve the eye catching

prerequisite as an iconic building. In the bigger point of view, the PICC is going the

same direction as the concept of Putrajaya which is to create a garden city, providing

an environment with the balance between architecture and nature. By way of PICC

being such a significant building in Putrajaya, it is advantageous that the building

itself becomes a role model that follows the concept of Putrajaya, which will affect

the later developments around the site, to give a respect or take as reference of how

it creates functional space yet being able to preserve the landscape and greeneries.

Last but not least, I believe that neither a single theory nor a single external factor is

sufficient to form a good architecture, especially speaking of an iconic building that is

going to represents the country. It should response to several aspects, all the

theories and external factors are somehow linked together during the design stage,

every decision made has gone through lots of consideration, the building may not be

what it is without all the theories and factors connected and translated creatively by

the designers.

11

5.0 References

ARCHITECTURE URBANISM. (n.d.). Retrieved April 6, 2015, from

http://architectureandurbanism.blogspot.com/2010/10/ebenezer-howard-garden-

cities-of-to.html

Archnet. (n.d.). Retrieved from

http://archnet.org/system/publications/contents/1583/original/FLS1827

Discovering Urbanism: Ebenezer Howard's Garden City concept. (n.d.). Retrieved

April 6, 2015, from http://discoveringurbanism.blogspot.com/2009/06/ebenezer-

howards-garden-city-concept.html

Howard, E. (1902). Garden Cities of To-morrow (2nd ed., p. 167). London: Swan

sonnenschein & co.

Hijjas Kasturi Associates Sdn. (n.d.). Retrieved from http://www.hijjaskasturi.com/

Putrajaya International Convention Centre (PICC). (n.d.). Retrieved from

http://piccweb.wix.com/newwebpicc#!dimension--capacities/c2fc

Putrajaya International Convention Centre (PICC). (n.d.). Retrieved from

http://www.picc.com.my/

Spartacus Educational. (n.d.). Retrieved April 6, 2015, from

http://spartacus-educational.com/Ebenezer_Howard.htm

World’s First Intelligent Garden City. (n.d.). Retrieved April 6, 2015, from

http://www.putrajaya.gov.my/tourist/green_city/

Retrieved from http://www.explorer-malaysia.com/beta/wp-

content/uploads/2012/09/Putrajaya-International-Convention-Center.jpg