Ipoh Town Hall
In 1914, when the Town Hall was built, the building was divided into two parts – the Western Wing (Town Hall) and the Eastern Wing (Post Office). Due to their segregation, the ownership of the two buildings was initially under the possession of two distinct bodies.
According to Tahir (2016), any plot of land that was under the Federal or State Government before Malaysia’s Independence was considered in their proprietorship. As the Post and Telegraphs Office was under the Federal Government, this meant that the Federal Government owned the building. The Town Hall, on the other hand, was under the State Government, making its ownership under the possession of the State Government, even though the building
was built by one authority. After the Federal Government completed the conservation works, a dispute arose, regarding the ownership of the building – whether it was under the Federal Government, or the State Government. To resolve the dispute, the State Government needed to provide documentation to prove its authority, while the Federal Government had to produce a letter regarding its property. After some time, Mr. Tajuddin received a letter from Jabatan Ketua Pengarah Tanah dan Galian Persekutuan (KPTG) confirming that the land lot was owned by the Federal Government but the Town Hall Building was under the State Government.
OWNERSHIP
DOOR DETAIL
WINDOW DETAIL
CONSTRUCTION DETAIL
Ipoh Town Hall
CONCLUSION
It also mentioned that after the Federal Government ended their conservation procedures and measured drawings, they would build an office for Jabatan Warisan (Northern branch), transferring the office from Lenggong to Ipoh.
However, due to the unstable economic conditions at that time in Malaysia, a shortage of funds and resources has prolonged the transfer of the branch for at least a year. Therefore, the Post Office replacement has been put on hold by the Federal Government until further notice.
AXONOMETRIC
PHYSICAL MODEL
Ipoh Town Hall
No. 44 King Street
T HE R OYAL M USEUM
BACKGROUND OF SITE KING STREET
King Street dates from the late 18th century and was originally laid out by Francis Light, which is why the road is connected to Light Street. The road was meant to be for the Europeans that settled in Penang. In the mid-19th century, when the Europeans started to move away into the suburbs, wealthy Chinese families began to occupy all the real estate including Light Street itself.
The Hokkiens in Penang call King Street by various names depending on its location. The Section from Light Street to Bishop Street was called Kau1 Keng3 Chhu3 Au3, which meant “The back of the nine houses”. This referred to the nine terrace houses facing towards Penang Street with back towards King Street. The Section of King Street between Bishop Street and China Street was the heart of the Cantonese community in the 19th century George Town, which explains the number of Cantonese diaspora associations and temples that are located in that area whereby the Hokkiens call them Kin1 Tang3 Tua3 Pek1 Kong3 Kay1, in reference to the Cantonese Tua Pek Kong Temple.
No. 44 King Street
history AND background of SHOPHOUSES NO. 44 KING STREET King Street got its name after King George III. It mostly housed sailors or harbour workers in the South Indian Harbour. It is distinguished by five Hokkiens Clans Associations, houses sited to the South. Temples here reflect different Chinese dialects, most of the buildings on this street have a Chinese influence, hence the heritage reflects the Chinese part of the community. This is due to the immigrants that settled in that area during the British colonial period. This explains the reason why there are many Chinese temples in that area, for example, the Cantonese Tua Pek Kong Temple, Nin Yong Temple and Nagore Shrine.
Map of George Town highlighting the location of King Street.
(Source: Measured Drawings Penang Group, 2016)
GROUND FLOOR PLAN
FIRST FLOOR PLAN
No. 44 King Street
DESIGN CONCEPT: THE EARLY STRAITS ECLECTIC STYLE
The transitional styles or the ‘‘west meets east// style of the building are manifested in the reserved use of ornaments on its facade. The doors and windows remain timber framed and traditionally made with shutters as they are easier to maintain.
The transoms are flat arches that act as a strengthening crossbar. The vents are employed with a sense of economical elegance with architectural composition such as squares or diamond shaped motives between the windows. The ground floor has masonry walls that consist of symmetrical double doors, a pair of windows and bat shape vents above each of them.
FRONT ELEVATION BACK ELEVATION
SIDE ELEVATION
OWNERSHIP
No. 44, King Street, George Town, Penang, owned by Seh Tek Tong Cheah Kongsi, (Cheah Kongsi was established in 1810, Cheah Kongsi is one of the oldest Hokkien clan associations in George Town, Penang.
Its members have their ancestral origins from Sek Tong Seah in the Sam Tor District of the Hai Teng County at Chean Chew Prefecture, Fujian Province, China). Shophouse No. 44 has an Early Straits Eclectic style.
No. 44, King Street was first purchased by Cheah Kongsi under the name Cheah Kay Hock Kaw Kong on 13th March, 1827. Hock Haw Kong was an honorific title, which means ‘prosperity marquis’. The purchase agreement as seen in Figure X is a contract between Colonel Norman Mcallister and Cheah Kong Si in 1827.
However, a discrepancy surfaces - the present facade of No. 44 best resembles the Early Straits Eclectic style, and this particular architectural style only started to gain popularity during the 1890s. This means that the building purchased by Cheah Kongsi from the British was not in the Early Straits Eclectic style, but rather its predecessor, the Southern Chinese Eclectic style (1840s-1910s), or even the Early Penang style (1790s-1850s).
AXONOMETRIC of stairs
PERSPECTIVE OF KING STREET DOOR AND WINDOW DETAILS
No. 44 King Street
CONSTRUCTION AND FUNCTION
CONCLUSION
Furthermore, the I-beam, a structural component used extensively for structural support did not exist before the 1840s, but is found as part of the first floor slab construction in No. 44 in its present condition. Dorman Long, founded in 1875, was the British company who manufactured the I-beams in No.44. This proved that sometime between the purchased date and today, No. 44 was renovated.
This caused a shift in style from a previous design to Early Straits Eclectic style, with the introduction of the I-beam in the construction of the first floor, and subsequently, the addition of the cantilevered room, which was supported by the I-beam.
Residential usage aside, No.44 has been used for various commercial purposes.
For over 50 years, the premises wore a sundry shop before it was converted into a tea wholesale shop. After the closing of the tea wholesale business, the premise was cleared and was then converted into a store. It was also used as workers’
quarters over the years, particularly Myanmar laborers. Signs of the tenancy are evident, as a poster of Aung San Suu Kyi and a medicinal prescription bottle with a Myanmar name were found within the premise.
No.44 used to be rented out to several families and had several tenants. Ren I Tang, a heritage inn, was the last and most recent tenant. Left in an abonded state but with valuable traits of the early Straits Eclectric style, No.44 now awaits new tenancy and possible restoration.
AXONOMETRIC
PHYSICAL MODEL
Ipoh Rainbow Shophouses
INTRODUCTION TO RAINBOW SHOPHOUSES JALAN SULTAN ISKANDAR
The rainbow shop houses comprise of seven shop houses: No.116, 118, 120, 122, 124, 126 and 128, Jalan Sultan Iskandar. As the name suggests, the shop houses get their name ‘Ipoh Rainbow Shop House’ from it’s eye catching rainbow coloured exterior.
They were repainted by the current owner, Mr. Lim Chai Hock, who aspires to use the bright coloured facades to liven up the town of Ipoh.
I POH R AINBOW S HOPHOUSES
怡保彩虹屋ROOF PLAN
SITE ELEVATION
Ipoh Rainbow Shophouses
DESIGN CONCEPT: TRADITIONAL SHOPHOUSES
The shop houses were designed with two floors where the ground floor is used for trading and the upper floor is a living space, providing an economical space for the rapidly growing community.
As shown in the plans, the ground floor hall and the first floor hall are the main spaces. At the end of the lower hall, there is a door that connects to the rear court where the service space is located and a long staircase leads to the storage or living space upstairs.
The tenants can access to the back lane through the rear court. The interior spatial planning was maximized by avoiding unnecessary partitions.
In comparison to the older shop houses in Old Town, it is clear that the Rainbow shop houses are much shorter in depth. This is due to the overwhelming demand for living and commercial premises in a short period of time, resulting in simplifying the layout to its’ most efficient form to shorten the construction process. The common measurement usually applied to shop houses is 6-7 meters wide and 30 meters deep, sometimes extending to 60 meters. But the rainbow shop house is shorter and narrower, at 5 meters wide and 21 meters deep. In short, the shop house was design with maximum efficiency, flexibility and practicality in mind.
GROUND FLOOR PLAN
FIRST FLOOR PLAN
FRONT ELEVATION
Ipoh Rainbow Shophouses
In the early twentieth century, as the expanding colonial urban economies absorbed large numbers of labor migrants, the number of shop houses in New Town, Ipoh grew rapidly to accommodate the overflow from the increasingly overcrowded conditions in Old Town. The architectural solution that was employed was to design smaller and practical dwellings that were economical to build. They were influenced by ‘Anglo-Chinese Urban Vernacular’ style which is a reference to the Southern Chinese building form and Colonial plans.
REAR ELEVATION
SECTION A’-A’
SECTION B’-B’
TRANSITIONAL STYLE
STRAITS ECLECTIC STYLE
The Transitional Style is characterized by buildings with relatively restrained use of ornaments on the façade. Ground floor masonry walls have symmetrical double doors, a pair of window and bat shape vents above. The style incorporates many of the features of the ‘grand’ classical style, reinterpreted and adapted, and may include pediments, pilasters, keystones and arches.
This is the most spectacular style particularly in the use of ornamentation. The tripartite arrangement of three windows on the façade reduces the actual wall space to the minimum and provides maximum ventilation. In later examples, the wall surface is replaced by columns or pilasters framing the windows. Chinese panel frescoes are often combined with Malay timber fretwork that fringes the coping on the roof. The development of reinforced concrete in the 1910’s enabled large spans to be achieved and more elaborate cantilevered details to be incorporated into facades.
Structurally, buildings of this style incorporate extensive use of masonry with first floor timber fenestration and tiled roof.
EXPLODED AXONOMETRIC OF FACADE DETAILS
EXPLLODED AXONOMETRIC OF PILASTER ELEVATION OF PILASTERS
WINDOW DETAILS
DOOR DETAILS
GRILLE GATE DETAILS
MAIN STRUCTURAL ELEMENTS
CONCLUSION
According to Gurstein, shop houses are laid out in rows or blocks. A shop house is a shop with a dwelling above. Shop houses were usually built as part of a terrace, often with their upper floor overhanging the first storey to form a pedestrian covered arcade.
Historical buildings are important in showing how a country came together.
People appreciate buildings for their history, and heritage – alongside their old character and imperfections. The owner of the rainbow shoplots himself, Mr.
Lim Chai Hock- showed great appreciation for Ipoh’s heritage by buying and restoring some of the buildings in the area. The younger generation is also actively taking part in revitalizing the old town, adding life by merging their modern businesses into the buildings, with very few modications – in the hope of retaining the beauty of it’s original design.
PHYSICAL MODEL EXPLODED AXONOMETRIC
Ipoh Rainbow Shophouses
Sarang Paloh
HISTORY OF SARANG POLOH HERITAGE STAY & EVENT HALL
According to the history of the Ipoh, the land in Ipoh Old Town originally belonged to Dato Panglima Kinta. After building the shop houses on his land, he sold the lot to the Chinese for $25. One of the famous local tin mining Chinese tycoons, Leong Sin Nam bought one and opened the first Chinese Bank, which was the Bank of Malaya. In the recession, the building was bought by the Overseas Banking Chinese Corporation (OCBC).
The OCBC purchased Yik Woh Goldsmith & Jeweller Shop and Lim Kopi unit as well when they bought the buildings from Leong Sin Nam. The unique Art Deco style façade of the OCBC building attracted the attention of Lim’s family. The building was on sale at that time and they submitted the tender to show their interest to purchase.
Their first tender submission failed. However, less than a year, the seller came back and asked them whether they were still interested in it. But the terms were that the four units i.e. the Yik Woh Goldsmith & Jeweller Shop (one unit), OCBC Building (two units) and Lim Kopi (one unit) must be bought together. The Lim family bought up the four units and started their heritage preservation and conservation journey.
The name “Sarang Paloh” was a combination of a Malay word for ‘nest’ and a traditional Cantonese word ‘pa-loh’ which means dam. By using the aviary theme in their hotel, they hope that the hotel will be able to create a sense of belonging for all the travellers who stay here.
S ARANG P OLOH HERITAGE STAY & EVENT HALL
Sarang Paloh
spatial program and experience
Sarang Paloh is a heritage hotel with 10 rooms for guests on its top floor. The ground floor kept its overall form with some minor changes made to cater for its current use. Generally, a building’s spatial program and properties are dependent on its owner or architect. Although Sarang Palloh’s current design is a reminiscent of its past glory, the spaces within are a palimpsest of the taste of its previous owners.
The building offers spaces that cater to families and couples as a haven for holiday getaways. The spatial sequence of the building emulates that of a comfortable heritage home that sets itself apart from the outside world. In the lobby, people relax and socialize as they would in a living room. At the rear is the kitchen and toilet. On the top floor are places to rest, sleep and to experience the different aspects that each room has to offer.
Similar to the boutique hotel, the event hall also functions as a space for reminiscing. However, this building offers spaces that cater more to larger groups of people. The program is such that customers of the hall are allowed to use the ground floor facilities while walk-in outsiders are only allowed access to the facilities if they are participants. The hotel customers on the other hand, are permitted to use facilities available on both floors. The hall program is not limited to meetings, performances and big or small events and is well known for its multipurpose use. The top floor is similar to the boutique hotel with the exception of a roof garden. Guests are able to use the garden which expands the range of activity.
GROUND FLOOR PLAN
FIRST FLOOR PLAN
SITE SECTION
Sarang Paloh
A building’s activity or program has is usually predetermined before it is built. Architecture always revolves around spaces and the activities planned for the spaces which in turn reflects its identity. Throughout the history of architecture, buildings were designed and built for a purpose. The same goes for Sarang Paloh. But use can change over time and buildings need to be robust and adaptable.
FRONT ELEVATION
REAR ELEVATION
SARANG PALOH HERITAGE HOTEL’S SECTION
SARANG PALOH EVENT HALL’S SECTION
ARCHITECTURAL ELEMENTS
Vernacular architecture also known as traditional architecture was commonly used during the early 19thcentury, where local builders and designers were mainly employed to design and build commercial buildings using materials that deeply reflects the traditions of the community. This particular language of architecture is influenced by the climate and culture of the community, therefore it is seldom a single style but a mix of different features, as is the concept behind the interior of the Heritage Stay Sarang Paloh & Event Hall.
The façade however is oriental design but influenced by European fashion.
From 1900 to 1960, the architectural style of the surrounding buildings gradually changed; adopting western characteristics which emphasizes more on geometrical shapes and the use of industrial materials, such as concrete, glass and metal. These characteristics are evident on the façade of both buildings; Sarang Paloh Heritage Stay & Event Hall which are art deco and neo-classical. Art deco and neo classical styles in Malaysia resulted from British colonization.
With the exception of the façade of the building, the concept of the building design follows the Straits Eclectic Style which is evident in the designs of the interior doors, windows, spaces and exterior roofs. This is a consequence of a predominantly Chinese and Malay community.
EVENT HALL’S PEDIMENT AXONOMETRIC
HERITAGE STAY’’S PEDIMENT AXONOMETRIC
DOOR DETAILS
TILE DETAILS
Sarang Paloh
CONCLUSION
Sarang Paloh is an old building. It was decaying, its art form no longer memorable but now it is a holiday destination that is known to many. Not only does this attract the attention of people, it has also brought awareness and made us appreciate the building more. It is due to this that we were able to study the history and culture of Sarang Paloh’s former identity. We were able to understand for ourselves the evolution of its aesthetics, appreciate its existence as a part of the community and understand its design roots that would not have been possible without the conservation of the building.
EXPLODED AXONOMETRIC
PHYSICAL MODEL
Sarang Paloh
Sin Sze Si Ya Temple
History of Sin Sze Si Ya Temple
Sin Sze Si Ya Temple, built in 1864 by Kapitan Yap Ah Loy, is hailed as the oldest Taoist temple in Kuala Lumpur. The Sin Sze Si Ya Temple is an object and place of faith for the Chinese community as well as a symbolic monument of the historical fights of the Chinese.
The existence of the temple allows us to look at the background and life experiences of the Chinese heroes who were part of the early stages of the development of Kuala Lumpur, and comprised of blood and tears.
According to history, in 1859, there were two local emirates in Seremban who were fighting each other due to mining and taxation rights. The Chinese followed the Malay landlords and were divided into two organizations which were Ghee Hin and Hai San. At that time, Liu Ngim Kong was a captain under the Chinese Kapitan Shing Kap and he recommended Yap Ah Loy as someone capable, brave and resourceful who could play a major role in the fight.
In 1860, a war broke out and unfortunately, Kapitan Shing Kap’s forces were defeated and Kapitan Shing himself was beheaded after being captured by the opposing Malay forces. His death was extraordinary as white blood was reputed to be seen flowing from his neck after his head was chopped off. In Malay belief, it is an indication that the person is a saint if white blood is spilled by a dying person. After witnessing such a phenomenon, the Malays begged for forgiveness and allowed the Chinese to retrieve his body for burial.
S IN S ze S I Y a 仙四师爷庙
Sin Sze Si Ya Temple