architectural conservation arc3413 king street penang

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1 ARCHITECTURAL CONSERVATION ARC3413 PROJECT 3 INVESTIGATION AND PROPOSAL FOR ADAPTIVE REUSE 44 KING STREET PENANG MALAYSIA TEAM MEMBERS HARIISH KUMAR 0318852 KAN JIA WEI ADRIAN 0319384 LYNETTE LAW YONG YI 0317761 YEOW JINN SHENG 0318787 ADAM TAN YEN SHENG 0317750 TUTOR MR AZIM SULAIMAN

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Page 1: Architectural conservation arc3413 king street penang

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ARCHITECTURAL CONSERVATION

ARC3413

PROJECT 3

INVESTIGATION AND PROPOSAL FOR

ADAPTIVE REUSE

44 KING STREET PENANG MALAYSIA

TEAM MEMBERS

HARIISH KUMAR 0318852

KAN JIA WEI ADRIAN 0319384

LYNETTE LAW YONG YI 0317761

YEOW JINN SHENG 0318787

ADAM TAN YEN SHENG 0317750

TUTOR

MR AZIM SULAIMAN

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DECLARATION OF SUBMISSION

This is to certify that:

1) The Report comprises our original work towards the course

work on Architectural Conservation,

2) Due acknowledgements have been made in the text to all

other material used.

Signed by:

STUDENT NAME

HARIISH KUMAR

KAN JIA WEI ADRIAN

LYNETTE LAW YONG YI

YEOW JINN SHENG

ADAM TAN YEN SHENG

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ACKNOWLEDGEMENT

We would like to express our sincere thanks and gratification to

our tutor, Mr Azim Sulaiman for guiding us throughout the entire

working and study process and going out of his way to ensure

that the group stays on the right track throughout the progress

of the project. We would also like to extend our thanks to the

managers and staff on duty at the Georgetown municipal town

planners for their willingness to help and cooperate with the

advancement of our assignment, providing invaluable

information and also taking the extra step of guiding us around

the building to explain and show all of the systems. Finally, we

give thanks to each and every one of our very own group

members whom participated flawlessly and were quick and

efficient in conducting and executing their respective parts of

the project with contributed to a successful completion of the

project.

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LIST OF FIGURES, PLATES,

ILLUSTRATIONS

Figure 2.01 Picture of Captain Francis Light.

Figure 2.02 Map of Malaysia Indicating Location of Penang (RED)

Figure 2.03 Map of Penang Indicating Location of George Town

(RED)

Figure 2.04 File Picture of George Town.

Figure 2.05 George Town Heritage Zones.

Figure 2.06 George Town Buffer and Core Zones.

Figure 2.07 Diagram Showing Location of King Street.

Figure 3.01 Shop houses transformed to boutique hotels(top), Old

barber shop house in Georgetown(bottom).

Figure 3.02 A big fire which was due to guest of wind which blew

burning incense papers destroyed more than 100 wooden

house and attap houses, with only two buildings

remained. This incident was known as the Great Air Itam

Fire.

Figure 3.03 Georgetown shophouses in the 1900s(Top), Penang in

1899(Bottom)

Figure 3.04 Open courtyard and 3 floor steel structure.

Figure 3.05 Restoration of front façade.

Figure 4.01 Bare party wall of No.42, the premise beside No.44,

which was damaged by fire on the 2nd of July, 2012.

Figure 4.02 Four bats surrounding a coin, a common Chinese

motif found in air vents.

Figure 4.03 Façade.

Figure 4.04 Panel inserted window In good condition, Located at the

front facade.

Figure 4.05 Timber louvred windows at the airwell in a better,

less weathered condition.

Figure 4.06 Opened air well.

Figure 4.07 Closed air well.

Figure 5.01 Wall deterioration sign on first floor wall.

Figure 5.02 Exposed wall of clay bricks can be seen near airwell.

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Figure 5.03 Deteriorated lime washed wall.

Figure 5.04 Efflorescence mark on party wall near airwell.

Figure 5.05 Efflorescence happened on the exterior wall, which

affecting the visual quality of it.

Figure 5.06 Rusted door hinge can be spotted.

Figure 5.07 Window iron grill was corroded and looks brittle from the

appearance.

Figure 5.08 Rotted wooden door was measured and recorded.

Figure 5.09 Colours of the wooden window panel was paler and

rougher in texture.

Figure 6.01 Lime washing in progress.

Figure 6.02 Scrubbing a wall.

Figure 6.03 Pressurized water washer is being used to remove the

efflorescence.

Figure 6.04 Rust can be removed by using acidic solutions.

Figure 6.05 Case Study: Salud Tapas interior, I beam as the

alternative.

Figure 6.06 Case study: No.8 Heeren Street, Malacca for information

board display on wall.

Figure 6.07 Proposed ground floor plan (above) and first floor plan

(bottom).

Figure 6.08 Render 1

Figure 6.09 Render 2

Figure 6.10 Render 3

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TABLE OF CONTENTS

SUBJECT

PAGE

Cover Page

Declaration of Submission

Acknowledgement

List of Figures, Plates, Illustrations

Table of Contents

Abstract

1.0 INTRODUCTION

1.1 Aim

1.2 Objectives

1.3 Methodology

1.4 Methods of Documentation

1.5 Procedure

2.0 HISTORY AND SITE CONTEXT

2.1 History of Penang

2.1.1 Origin of Name

2.1.2 Background

2.2 History of George Town

2.2.1 Origin of Name

2.2.2 Background

2.2.3 Architecture of Georgetown

2.2.4 UNESCO World Heritage Site

2.2.5 Core and Buffer Zones

2.3 History of King Street

2.3.1 Little India

2.3.2 King Street

2.3.3 Significant Buildings of King Street

3.0 INTRODUCTION TO SHOPHOUSES

3.1 History

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3.1.1 Birth of Shophouses

3.2 Architectural Shophouses Evolution

3.2.1 Architectural Timeline of Shophouse Styles

3.2.2 The Contemporary Shophouses

4.0 ARCHITECTURAL FEATURES

4.1 Party Wall

4.2 Air Vents and Windows

4.3 Doors

4.4 Airwell

4.5 Ornamentation

5.0 DEFECTS AND DILAPIDATION

5.1 Wall Deterioration

5.2 Efflorescence

5.3 Metal Corrosion

5.4 Timber Deterioration (Dry Rot)

6.0 PROPOSAL

6.1 For Defects and Dilapidation

6.1.1 Wall Deterioration

6.1.2 Efflorescence

6.1.3 Metal Corrosion

6.1.4 Timber Deterioration

6.2 Proposal for Adaptive Reuse

6.2.1 Proposed Floor Plan

6.2.2 Perspective Renderings

7.0 PROVISIONS AND GUIDELINES

7.1 Federal Constitution (9th Schedule) – Articles 74, 77

7.2 UNESCO Convention Concerning The Protection of The World

Cultural and Natural Heritage

7.3 State of Penang Heritage Enactment 2011

7.4 National Heritage Act 2005 (Act645)

7.5 Guidelines for Conservation Work on Category II Buildings

8.0 CONCLUSION

APPENDIX

REFERENCES

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ABSTRACT

This investigation and proposal report aims to provide students

with the relevant and necessary ideas in which conservation

towards a building is conducted. The project requires groups of

five to survey and choose an abandoned building for the

purpose of proposing it with a new lease of life. Some of the

required assessments include the production of a written report

highlighting the historical context of the building, the proposal

and its new use. Furthermore, students are also expected to

produce measured drawings through site visits, and computer

impressions about how the building may look like when reused

or readapted. It is expected from the students that the

production of the report be sent accordingly and a verbal

presentation is required with the production of presentation

slides as well. The information gained from this project would

provide students with a better understanding of the

conservation industry in Malaysia as well as a new found

respect and appreciation for historical buildings.

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1.0 INTRODUCTION

1.1 AIM

The aim of the assignment would be to understand the

conservation statuses and procedures when conserving a

building in Malaysia through conducting an investigation of a

real site and producing a report and proposal which ensures a

proper learning experience. Furthermore, this project would

also provide architecture students on the awareness of

historical buildings which provide context to building and

designing a new building.

1.2 OBJECTIVES

The objectives of this assignment include and the production of

a complete investigative report and proposal to the

conservation and adaptive reuse of an abandoned building or

site with historical context. Objectives to include also require

students to gain enough understanding on adaptive reuse and

produce measured drawings and computer generated

impressions on how the space would be utilised based on the

designer’s wishes. Thus, one of the objectives of this project

would also mean the understanding and realisation of the

historical context within a site or building with historical or

cultural value.

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1.3 METHODOLOGY

As this assignment require the students to conduct a site study,

the main resources used for this assignment in the site study

include a car for transportation to the site, multiple cameras as

photographic evidence is due to be recorded, measurement

tapes for the information gathering for the production of the

measured drawings and a small ladder which was brought

along to reach height that are not reachable by humans

normally. From then on, the production of the investigative

report meant that technologies such as the laptop was used.

Books and websites were also used as sources or informative

resources for more information regarding the history of the site.

1.4 METHODS OF DOCUMENTATION

Various methods were used in the documentation process of

the report and proposal, which are not limited to the uses of

book sources, online research and interviews. Some of the

book sources which were referred to were obtained from the

university library which helped in the historical study of the site.

Peer references were also used in reference to past building

drawing works which was used to double check and look out

for inaccuracies. Throughout the research using online

resources, scholar journals, articles, government and heritage

websites with proper documentations of conservation rules and

acts were also extensively sourced. Finally, a lot of interviews

were conducted impromptu with various people of the site,

including locals, tourists of all ages, gender and life.

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1.5 PROCEDURE

Below is the procedure list of the entire study process:

1. Preliminary investigation and photo survey, indication of

potential spaces for adaptive reuse.

2. Measurement and production of floor plans, gridlines.

3. Research on historical and cultural context.

4. Production of investigation.

5. Production of proposal and adaptive reuse.

6. Analysis of data and production of report.

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2.0 HISTORY AND SITE CONTEXT

2.1 HISTORY OF PENANG

2.1.1 ORIGIN OF NAME

In the earliest time, the name Penang Island came from

numerous amount of Areca Palm found on the island, the word

‘Penang’ was derived from the word ‘Pinang’ in Malay. During

1786, after British East India Company occupied Penang

Island, Captain Francis Light named it Prince of Wales.

However, this name did not last long as the locals continue

naming it Penang Island. This is also the reason most people

have already forgotten about the original name of Penang

Island as Prince of Wales. Later in 1880, the land across

Penang Island was also occupied by British and was named as

Province Wellesley, which is called Seberang Perai today.

Province Wellesley was then added to Penang Island by the

British and was called The State of Penang, which means,

Penang was no longer only an island. However, the locals still

call it as Penang Island, which in Bahasa Malaysia, it is still

called Negeri Pulau Pinang, but not Negeri Pinang.

2.1.2 BACKGROUND

Situated on the north-western coast of the peninsular Malaysia,

the second smallest state in Malaysia, Penang is divided into

two sections which are the Penang Island and Seberang Perai,

also known as Province Wellesley.

One of the major reasons for its cultural richness is the 171

years of British presence. Unlike Singapore where many

heritage buildings are replaced by high-rise apartments due to

rapid development rate, Penang and Malacca the other two

British Straits Settlements are able to retain its cultural heritage.

Both named as World Heritage Sites by the United Nations

Educational, Scientific and Cultural Organisation (UNESCO),

what makes Penang different from Malacca is the influence of

the Chinese people. With an ethnic composition of 45.6% (in

2010) compared to that in Malacca which is 24.6% (in 2010),

buildings in Penang are relatively more affected by the

architecture from China as can be seen from the shophouses

and Chinese temples like the spectacular temple of Kek Lok Si.

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Figure 2.01 Picture of Captain Francis Light.

Figure 2.02 Map of Malaysia Indicating Location of Penang (RED)

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2.2 HISTORY OF GEORGE TOWN

2.2.1 ORIGIN OF NAME

The George Town area was once known as Tanjung (Cape) in

the Malay Language by the Malay community living there as it

was situated on the cape area of the island northeast. The

name is derived from the older name of the town, Tanjung

Penaga (Cape Penaigre).

As a settlement was soon established and founded by a British

Captain Francis Ligh in 1786, the town was soon named after

King George III.

2.2.2 BACKGROUND

Located at the Northeast corner of the island. George Town is

the capital city of Penang consisting an estimated population of

500,000 (in 2010). George Town Penang has long been

associated with the British even though it is described as the

latecomers in a line of Western Colonialists in Malaysia's

history.

Since 1948, George Town heritage buildings were under a

Rent Control Act. The architecture of the old city can be altered

or rebuilt without circumstances. A 1994 census later showed

that Penang had more than 12,000 rent control premises with

over 8,000 located in the heart of George Town. The repealing

of Rent Control that is coming nearer in the new millennium is

causing the tenants who have lived in the historical city for the

past 50 years to face potential dislocation. This will bring about

the bleak future that Penang's living heritage city is now facing

hence causes many to voice their unhappiness as a whole

historic environment together with the old way of life for

Penangites may disappear forever. However, the Penang State

Government is doing all it can to ensure that George Town's

heritage city and living culture will survive in this difficult period.

For example, George Town is now recognized as a World

Heritage City and will go a long way towards achieving the goal

of retaining its cultural heritage.

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Figure 2.03 Map of Penang Indicating Location of George Town (RED)

Figure 2.04 File Picture of George Town.

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2.2.3 ARCHITECTURE OF GEORGETOWN

The Historic City of George Town encompasses a rich

collection of historic buildings in various styles. They include

the indo-Malay Palladian Style, Anglo-Indian Bungalow, Early

Shophouses, Early Transitional Style, Early Electicism

Shophouses, Sino-Anglo Bungalows, Neo Classical Style, art

Deco Style, Early Modern Style, Late Modern Style, as well as

numerous religious buildings such as Mosques, Churches,

Chinese and Indian Temples. These architectures scatter along

the many streets of George Town, bearing witness to the

evolution of this rustic port city. Architectural styles vary

tremendously and are often unique blends of British colonial

and Chinese designs & decor, including but certainly not limited

by the peranakan designs.

There are today very few Indo-Malay style of bungalows and

terrace houses in George Town, Penang. The few that are left

can be found scattered throughout the city in areas where there

were former Malay or Indonesian settlements. More often than

not, these houses stand in the shadow of looming high-rise

apartments and condominiums.

2.2.4 UNESCO WORLD HERITAGE SITE

On 7 July 2008, during the 32nd session of the World Heritage

Committee which met in Quebec City, Canada, on 2-10 July

2008, George Town, together with Malacca have become the

first ever cultural sites in Malaysia to be inscribed into

UNESCO’s World Heritage Listing, with the official title for the

inscription “Melaka and George Town, Historic Cities of the

Straits of Malacca”.

The properties were celebrated for the following outstanding

universal values:

1) Multicultural Trading Towns forged from exchanges of

Cultures;

2) Testimony to Multicultural Tangible and Intangible Heritage;

and

3) Melting pot of Multicultural Architecture and Townscape.

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The original heritage zones in the inner city of George Town

were divided into six areas. The six areas were categorised

according to the most prevalent economic or cultural activities.

They were;

1) Seven Streets Precinct;

2) Cultural precinct of Chulia Street and Love Lane;

3) Historical commercial district of Little India;

4) Waterfront business financial district:

5) Mosque and clan house enclave; and

6) Market and shopping district

2.2.5 CORE AND BUFFER ZONES

UNESCO draws a distinction between core and buffer zones.

The core zone is the actual World Heritage area, while the

buffer zone is the land directly surrounding the core zone. The

buffer area has been designated to ensure effective protection

of the core zone.

T H E C O R E Z O N E

George Town covers an area of 109.38 hectares bounded by

the Straits of Melaka on the north-eastern cape of Penang

Island, Love Lane to the north-west and Gat Lebuh Melayu and

Jalan Dr Lim Chwee Leong to the south-west corner. There are

more than 1700 historic buildings within this zone.

T H E B U F F E R Z O N E

This zone has an area of 150.04 hectares bounded by the

harbor, Jalan Perangin to the south-west corner and Jalan

Transfer to the north-west corner.

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Figure 2.05 George Town Heritage Zones.

Figure 2.06 George Town Buffer and Core Zones.

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2.3 HISTORY OF KING STREET

2.3.1 LITTLE INDIA

This regimented network of streets that makes up Little India

are Market Street, King Street, Queen Street and Penang

Street were amongst the earliest parts of town planned under

the administration of Captain Francis Light, the English founder

of the multicultural trading port of Penang, which is referred to

as “The Francis Light Grid”, which was a grid bordered by Light

Street, Beach Street, Chulia Street and Pitt Street.

The predominant community of Little India in the nineteenth

and early twentieth centuries was of Tamil Muslim origin,

known as Chulias, socially divided on the basis of occupation

which consists of 3 groups, stated by the Governor General, Sir

George Leith In 1804. The first group was made up of

merchants who were ‘fixed inhabitants and possess Property

to a very great amount’. The second group who formed the

greatest portion, were sojourning Chulias who brought exotic

imports from the Coromandel coast and small quantity of fine

goods whenever they return to the ‘Coast’. The third group

consisted of ‘coolies and boatmen’, working-class migrants

who returned to India after a few years. The permanent settlers

of the first category, were well connected both to each other

and to the British administration.

There used to be two major Indian settlements at Chulia Street,

across the King Street junction. The largest influx of Indians and

their myrial trades occurred during the early part of the

twentieth century. The area then briefly underwent a slight

change during the Second World War, when economic

activities lulled a bit. The Japanese presence was very much

felt in Little India. A few Japanese-owned shops were set up in

China and King Street. The shops were novelties then. A

gradual incursion of modern trades, still run by Indians, slowly

seeped into the area during the postwar decades, but many of

the traditional enterprises remained.

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2.3.2 KING STREET

This road got its name after King George the 3rd. It mostly

consists of sailors or harbour workers in the South Indian

Harbour. Its distinguished that 5 main Hokkien clan houses

sited to the South. Associations and temples here reflect

different Chinese influence on them, hence the heritage came

from the Chinese part of the community. This is due to the mass

immigrants that settled in that area during the British colonial

period. Which explains the reason why there are lots of Chinese

temples in that area. For example, the Cantonese Tua Pek

Kong Temple, Nin Yong Temple, Nagore Shrine and much

more.

King Street dates all the way back to the late 18th century and

was originally laid out by Francis Light, which is why the road is

connected to Light Street. Back then the road was meant to be

for the Europeans that settled there. In the Mid-19th century,

when the Europeans started to move away into the suburbs,

wealthy Chinese began to occupy all the real estate all the way

to 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 was referred to the nice

terrace houses facing towards Penang Street and their 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 district 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.

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Figure 2.07 Diagram Showing Location of King Street.

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2.3.3 SIGNIFICANT BUILDINGS OF KING STREET

N A G O R E D U R G H A S H E R I F F

At the northeast corner of Chulia and King Street, a white dome

sitting astride three pointy blue-and-white arches seems like

something of a subcontinental anachronism, and indeed, it is

the durgha shrine of Syed Shahul Hameed of Nagore, a 13th

century Muslim saint, which was built in 1801 and it is the

earliest Indian Muslim shrine in Penang. It is inspired by the

architecture style of Nagore Durgha which features multi-storey

squared minarets, prominent domes, doric columns and pointy

arches which features the unique blend of East and West.

K O O S A I N G W O O I T E M P L E

Koo Saing Wooi Koon is a clan temple along King Street in

George Town, Penang. Though it was built as a townhouse,

this double-storey building is a standalone structure. This is a

combined-clan temple, for people of the Lau, Kuan, Teoh and

Teo clans. Dating to 1872, this is believed to be the oldest

combined-clan temple in the country. The name Koo Saing

Wooi Temple is derived from the Chinese historical

novel,Romance of the Three Kingdoms, one of the Four Great

Classical Novels of Chinese literature. It features a statue of the

four heroes Liu Bie, Guan Yu, Zhang Fei, and Zhao Yun which

commemorates their merciful actions, loyalty and brave spirits.

T O I S H A N N I N T E M P L E

The Toishan Nin Temple at 36 King Street, is a clan temple of

the Toi San Association, a Cantonese district association of the

Sing Ling dialect group from Toi San District, Guangdong

Province. It is one of three Cantonese-style temple buildings in

a row along King Street, the other two to its left are the War

Emperor's Temple and Ng Kongsi. The temples are clearly

defined by projected nine-inches party walls with protruding

stepped ridge at the gables roof. The facades were designed

as double height porticos with arches cutting through the party

walls, to function as continuous five-foot covered walkway of

neighbouring shophouses

N G K O N G S I

Also known as Seh Ng Chia Soo or Ng See Kah Meow at 40

King Street, it is a clan association of the Cantonese people

surnamed Ng. It is part of a row of Cantonese-style association

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buildings and temples that lines King Street. This includes

Kwan Kong Temple and Nin Yong Temple next door. The

present building was renovated around 1910. The original

structure dating from 1830 is encased into the new facade. Art

Nouveau tiles adorn the exterior walls of Ng Kongsi. The outer

facade was re-finished in stucco until around 2007, when these

were replaced with granite tiles. It features Cantonese-style

temple architecture with its prominent stepped gables. The

double-height panels, traditional furniture and ceramic flower

stands as well as the wall tableaus are attractive

ornamentations to the building.

L E E S I H C H O N G S O O

Lee Sih Chong Soo, or Lee Kongsi, is the clan association for

the Chinese surnamed Lee. The association has its clan temple

at 39 King Street, George Town. It occupies the middle building

of a row of three double-storey shophouses. The building was

modified in the Straits Eclectic style in 1926 to house the Lee

clan temple. East meets west at Lee Sih Chong Soo. On the

ground floor, you see a pair of Ionic columns while on the upper

floor, you see a pair of Chinese-style temple columns. The roof

is also modified to follow the elements of a Chinese temple,

complete with circular windows adorned with ornate faux-

bamboo grills.

C H I N S I M A N S I O N

Chin Si Thoong Soo or Chin clan association, is located along

King Street in George Town. This ornate two-storey building

houses the clan association of those surnamed Chin. The Chin

Si Thoong Soo building was designed and built in the

Cantonese Straits Eclectic style in 1914 to encourage

camaraderie between clan members and to care for the sick

and helpless. Viewing the building from the side, a ‘fire’ styled

gable is seen while on the roof is a pair of stone lions sitting at

either end of the gable wall. Meanwhile, the exterior upper floor

features balustrades backed with a row of carved timber

screen.

tableaus are attractive ornamentations to the building.

C H O N G S A N W O O I K O O N

It is a Cantonese district association located at the junction of

King Street and Church Street. Constructed in the mid-19th

century, the association was founded by Heong San Hoay

Kuan in 1801 then renamed Chong San Wooi Koon in the early

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20th, in honor of Dr Sun Yat Sen, who is also known among the

Cantonese by the name of Sun Chong San. Both names can

be seen at the front facade. The original name is in relief on the

lintel of the front door while the latter name on wooden plaques

on both sides of the door. Admire the Cantonese-style

architecture, with its decorated glazed tile roof and granite

columns. Its lantern beams, with its intricate design, terracotta

relief at the corbels and granite columns are all very attractive.

K A R Y I N F E E K U A N

The Kar Yin Association is a Hakka district association of

clansmen from the Kar Yin District of Guangdong Province in

southern China. Founded in 1801 the association obtained a

deed from the East India Company for the premises at 22 King

Street. One of its founders was Low Amee, an early Hakka

merchant in Penang. The adjoining lot, No. 24, was added to it

at a later date. Located to the left of Tseng Lung Fui Kon, it

was constructed in the Art Deco style which was popular

around that the 1930's, and finished with a rusticated Shanghai

plaster facade. Kar Yin Fee Kuan, though keeping a lower

profile than the other more ostentations clan association

temples, is a fine example of Shanghai Art Deco style.

T U A P E K K O N G T E M P L E

The Taoist temple is located at 32, 32A & 34 King Street,

sandwiched between the Heong San Hoay Kuan and the Nin

Yong Temple. It was built by the Hakka and Cantonese

communities to ensure a place to worship the god of prosperity.

The building was constructed in the middle of the 18th century,

with renovations done around 1909. The Cantonese Tua Pek

Kong Temple follows a Hokkien style temple architecture

admiring the roof ornamentation and sloping roof rafters while

Chien Nien broken pottery ornamentation is used in the

decoration, which sees dragons and tiny figurines. The red

facade, divided into three bays, with ornate windows in the

middle bay, is particularly attractive. On either side of the

temple are side bays with act as living quarters, with decidedly

simpler design.

T S E N G L U N G F U I K O N

Tseng Lung Fui Kon at 22, King Street is a district association

of the Hakka people from the Tseng Lung district of Guangdong

Province in southern China. It is located next to Kar Yin

Association. The original building on the site was constructed

in 1849 and was restructured in 1920-22. The Tseng Lung Fui

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Kon has a parapet façade with four rusticated columns. A huge

double-height arch frames the main entrance. On the upper

floor facade are keystone arches that sit on pilasters. The first-

floor balconies have been sealed up and windows installed.

The double-height main hall inside retains the original old

columns.

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3.0 INTRODUTION TO SHOPHOUSES

3.1 HISTORY

3.1.1 BIRTH OF SHOPHOUSES

Figure 3.01 Shop houses transformed to boutique hotels(top), Old barber

shophouse in Georgetown(bottom).

‘Shophouses’ the term was originated from Mandarin, which

means shops and houses, served as a dwelling place and a

shop at the same time. Majority of shophouses are usually 2-3

stories high, built in row with a five-foot-way and back alley,

facing the busy streets. The ground floors are mostly used for

business purposes, while the upper floors are used

residentially.

It all started from the Straits Settlements, shophouses were first

built to provide mostly single male immigrants a place to work

and sleep. More women migrated to Penang as years past, and

more workers decided to settle down and build their own family.

Over time, the functions of shophouses changed, some

shophouses were completely transformed into residential

places, especially after World War II.

Earlier days, the businesses ran by the owner in the lower floors

were mostly barber shops, kopitiam (coffee shops), clan

associations etc. Whereby the functions of the shophouses has

changed with the passing of time. Some of the shophouses

were transformed into boutique hotels, café, offices and so on.

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Figure 3.02 A big fire which was due to guest of wind which blew burning

incense papers destroyed more than 100 wooden house and attap

houses, with only two buildings remained. This incident was known as the

Great Air Itam Fire.

During the 1780s, the earliest of shophouses were built using

timber as walls and attap as roof. They were squat and crudely

built, with mangrove legs and roughly-sawn planks. After a fine

incident in Georgetown, people began to utilise bricks and tiles

to build the shopshouses. During 1790s-1850s, clay, bricks and

lime became popular building materials, which then resulted in

the birth of the ‘Penang’ style shophouse. Georgetown

shophouses styles were mostly influenced by the building

traditions of early immigrant Chinese, with long and narrow

plans and the air wells which were typically seen in a Chinese

shophouse. Other characteristics and features of shophouses

in China were also implemented here due to the similar climatic

exposure, for example high ceilings and air vents. After Penang

was colonized by the British, the style of shophouses slowly

changed due to the influence of colonial architecture attributed

to the eclectic architectural style of shophouses. However,

even though the style or façade design of the shophouses kept

evolving until today, the main structure and key features of

shophouses kept its integrity.

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Figure 3.03 Georgetown shophouses in the 1900s(Top), Penang in

1899(Bottom)

During the Victorian Era, many shophouses were built around

Little India area, which is very near to King Street. Thus, the

styles of the shophouses are similar, which was the early Straits

Eclectic Style. The shophouses in Little India are strongly

associated with Chinese and Indian traders. Even though a lot

of Indian people live there, most of the shops were owned by

Chinese.

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3.2 ARCHITECTURAL SHOPHOUSES EVOLUTION

3.2.1 ARCHITECTURAL TIMELINE OF SHOPHOUSES

STYLES

Early Shophouses 1700s

Cheap combustible materials were used. However, none of

these buildings can be found today as they were replaced with

more durable materials, such as bricks. The one storey

structure ensured uninterrupted view of the ocean to match the

Feng Shui purposes.

Early Penang Style 1790s-1850s

The adaptation rectangular form was due to the paying

assessment as indicated by the width façade in Malacca.

Penang shophouses later imitated the design. Moreover, this

timber span was determined by the availability of maximum

length of timber use for the beams.

Early Transitional Style 1840s-1900s

Two storey structures were assembled by the road edge, fusing

a five foot pedestrian walkway, also known as the ‘five footway’

by the middle of the 19th century.

Southern Chinese Eclectic Style 1840s-1910s

Building regulation in the 1880s dictated that all buildings

should be erected of durable materials such as bricks and tiles.

Firewall was to prevent fires from spreading to neighbouring

blocks. An inside yard and an air well to provide ventilation and

natural sunlight, which isolates the banquet room in the front

from the kitchen. Underneath the rows of wooden windows, the

spandrel space is regularly embellished with green ceramic air

ventilation. Same goes to the entrance both sides of windows.

Early Straits Eclectic Style 1890s-1910s

The full-length windows are regularly called imitation of the

French window which is topped by arched transoms. The

pilasters between the windows and spandrels are usually

unadorned.

Late Straits Eclectic Style 1910s-1940s

Pilasters are of classical order, the arched or rectangular

transom over the window opening and plaster renderings are

to reflect the wealth and status of the owners. To prevent water

smudge on the wall that would damage the lime plastering wall,

coloured ceramic tiles are included.

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Art Deco Style 1930s-1960s

Geometrical shapes were emphasized on the vertical and

horizontal elements. Its features include banding devices,

Shanghai plaster renderings and concrete flag poles. Higher

pediments and extended parapet walls made the building look

taller.

Early Modernism Style 1950s-1970s

Smooth curvature of machines, fused into the outline of the

shophouses. Following the functional style of the modern

movement, which was greatly influenced by European style.

The trend further influenced contemporary practices without

ornamentation but large flanks of overhanging and shading

design.

3.2.2 THE CONTEMPORARY SHOPHOUSES

With the strict UNESCO requirements, and the desire to

implement advance technology, the refurbishment of

shophouses has become relatively challenging as compared to

the olden days, due to the structure and cost efficiency.

However, this has made Georgetown an assembly point for

exciting architecture, resulting from the charming cultural

feature and creative contemporary design. One of the most

evident examples that can be found in the town is the Sinkeh

hotel.

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Figure 3.04 Open courtyard and 3 floor steel structure.

Figure 3.05 Restoration of front façade.

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4.0 ARCHITECTURAL FEATURES

4.1 PARTY WALL

In simple terms a party wall divides the buildings of two owners

with the boundary between ownerships usually, but not always,

positioned at the centre of the wall. They transfer the weight of

the roof and upper floors down to the ground, unlike the post

and beam system, we have today.

The idea of party wall was brought from the Southern Chinese,

by the Chinese immigrants with building skills. The smaller

early shop houses, more Indian in influence can be identified

for their lack of diving party wall above the roof.

With this construction method, it restricted the width of the shop

houses, as the masonry party walls supported floor loads of

these structure and the timber beams carried the roof, partly

causing the long, narrow plan of shop houses.

Figure 4.01 Bare party wall of No.42, the premise beside No.44, which

was damaged by fire on the 2nd of July, 2012.

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The benefit of this masonry system compared to post and beam

system is that it serves as a barrier to the spread of fire in a

crowded urban settlement, so the party wall could be a fire wall.

Besides, masonry was also used to bear the heavy loads to

provide privacy and security.

The party wall of No.44 is built with fired clay bricks and the

plastered with lime plaster. The party wall withstood the fire on

2nd July 2012 that damaged No.42 (neighbouring premise),

leaving No.44 unharmed.

4.2 AIR VENTS AND WINDOWS

Ground floor masonry walls have symmetrical double doors, a

pair of window and bat shape air vents above. Both windows

and air-vents are fixed with vertical iron bars. The transom is

carved with Chinese mascot that implied the meaning of

blessing and good fortune. Usually the transoms are carved

with four bats with the word “福” in the middle, which means

blessings.

Buildings of the Early Straits Eclectic style often features three

arched openings on the first floor as full-length windows. The

top part of the window is often shuttered, and the bottom part

is a flat panel. The windows are often built with steel bars to

prevent falling accidents.

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Figure 4.02 Four bats surrounding a coin, a common Chinese motif found in air vents.

Figure 4.03 Façade.

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Figure 4.04 Panel inserted window In good condition, Located at the front

facade.

Figure 4.05 Timber louvred windows at the airwell in a better, less weathered condition.

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4.3 DOORS

The entrance of the shop house is significant in feng shui. The

door has to be located at the middle of the shop house. The

size of the door is measured using the feng shui ruler as the

ancestors are very concerned about the location of the door.

The main entrance id called as “ shu zi men” ; it acts as an

opening for air ventilation.

Usually, the door is carved with magpie and plum flower, which

means happiness; carved with flowers of four seasons, which

means peaceful throughout the year. In addition, the ancestors

are also concerned about the height of the ceiling; It is usually

between 10 to 11 feet, it has a meaning of good fortune.

Moreover, the curved timber door, air vents gable end and air-

well has the Chinese influence style while the full-length

shuttered windows has the European influence style.

4.4 AIRWELL

Surrounded by three other building, getting natural light and

fresh air is a problem. As a solution, one of the most important

features of the shop house is the use of a variety of open-to-

sky spaces. This helps shop houses to admit natural daylight,

as well as natural air, improving the ventilation.

These open-to-sky spaces are normally multi-purpose internal

courtyards. These courtyards may be landscaped spaces for

chilling, reading newspapers, or taking. It could also be used

for household purpose, as a place to dry laundry. Moreover, it

is a vent for cooking smoke, taking away the heat from the

charcoal fired stoves, or it could be a fine dining area.

However, air wells do come with problems like heavy rain could

make the interior wet, even minor flooding. When air

conditioning became a popular household electronic device,

many owners chose to cover up the airwell, losing the natural

ventilation, as well as the natural lights, causing the courtyard

become dark and damp.

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The air well of No.44 King Street has a pulley roof system that

allows the roof above the air well to be opened or closed

manually. During the day, the air well would be opened up to

be brighten up the building and also to allow better air

ventilation. The air well can be enclosed immediately when it

starts to rain because the pulley system is easily controllable

from both floors.

The roof pulley system for the air well is considered a modern

addition to the building, as it was not present when the premise

was built in its original condition.

Figure 4.06 Opened air well

Figure 4.07 Closed air well

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4.5 ORNAMENTATION

No.44 King Street is not adorned with many ornamentation

elements, but they are still evident within the premise. Most

ornamentation details occur at the front facades of Early Straits

Electric architecture, which unfortunately in No.44, most of

those details cannot be visually documented as they are

obstructed by planks. There are a few notable ornamentations

at other parts of the buildings, as listed below :

DECORATIVE TIMBER VENTILATION SCREEN

Timber lattice screens are popular in vernacular shop house

designs for ventilation purposes, but the lattice screen featured

in No. 44 is intricately decorative. It is subtlety included on the

top of a wooden partition wall, featuring interwoven octagonal

geometry.

DECORATIVE TIMBER BLOCK

Decorative timber blocks, as seen on top of the timber

ventilation screen in Figure X, are aligned along top part of the

partition walls. It is shaped into the shape of a butterfly, which

is an auspicious Chinese feng shui element for the symbol of

love and transformation.

CORNICE

The cornice is an ornamental element discreetly embedded

between the masonry walls in No.44 and the first floor slab

structure. It is molded into a simple, classical design, enabling

a more aesthetically pleasing connection between two planes

of different orientation (wall-to-slab corner).

CORBEL

A few corbels are featured in No.44 intended for structural

purposes in supporting the I-beams of the first floor slab.

Despite its straightforward and pragmatic function, it still

molded into seamless curves to enhance its aesthetic appeal.

BALUSTRADE (STAIRCASE)

The row of balustrade between the handrail and threads are

crafted with care and precision, with streamlined forms and

delicate curves of varying circumferences. Cortel and cornice,

portraying both structural and aesthetic qualities.

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5.0 DEFECTS AND DILAPIDATION

5.1 WALL DETERIORATION

No.44 shophouse’s wall was composed of traditional burnt clay

bricks as structural load bearing, singular unit, lime mortar as

workable paste to bond bricks, and lime plaster as wall finishes.

Lime is a building material which allows moistures to remain in

the masonry for periods. Eventually, it can leads to binder

leaching and reduced strength and adhesion properties which

obviously can lead to serious problem. From the figures below,

the sign of deterioration can be seen on the wall surface, due

to the climatic and other factors.

Figure 5.01 Wall deterioration sign on first floor wall.

Figure 5.02 Exposed wall of clay bricks can be seen near airwell.

Figure 5.03 Deteriorated lime washed wall.

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5.2 EFFLORESCENCE

Efflorescence is a crystaline deposit on surfaces of masonry,

stucco or concrete. It is whitish in appearance, and is

sometimes referred to as "whiskers". The formation of these

salt deposits are not mysteries. They are, for the most part,

water-soluble salts that come from many possible sources to

mar and detract from an otherwise beautiful and serviceable

structure. First of all, there must be water present to dissolve

and transport the salts. Groundwater is often a source of

efflorescence. For water to carry or move the salts to the

surface there must be channels through which to move and

migrate. The more dense the material, whether it be brick,

stone, stucco or concrete, the more difficult for the water to

transport salts to the surface. Conversely, the more porous the

material (lime for example), the greater the ease with which

salts are transported and deposited. Most of the water will

deposited on the lime-mortar wall, and eventually caused pock

marks, which clearly affecting the aesthetic quality of the wall.

Figure 5.04 Efflorescence mark on party wall near airwell.

Figure 5.05 Efflorescence happened on the exterior wall, which affecting

the visual quality of it.

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5.3 METAL CORROSION

Not too surprising to notice rusted metal components in this

over 150 year old building. Basically, metal reacts to the

surrounding environment especially humidity, and throughout

the chemical reaction it resulted in the deterioration of the entire

exposed surface of a metal. Deterioration of a metal can lead

to the structural failure of the particular component, which it will

be brittle and weak.

Figure 5.06 Rusted door hinge can be spotted.

Figure 5.07 Window iron grill was corroded and looks brittle from the

appearance.

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5.4 TIMBER DETERIORATION (DRY ROT)

Dry rot (Serpula lacrymans) is a wood-destroying fungus that is

found in most parts of the world. Although it affects forest

timbers, dry rot is best known for its ability to destroy timbers in

buildings. There are a few indications of dry rot outbreak

includes:

A. Cuboidal cracking - Caused by the removal of moisture from

the wood, this is an indicator of a brown rot attack.

B. Dry timber - Crumbles easily between fingers.

C. Mushroom like odour.

Meanwhile, the corrosion of metal building components such

as nails, metal window frames, can be a cause for the timber

deterioration, as the rust can contributes to the rotten wood

effect.

Figure 5.08 Rotted wooden door was measured and recorded.

Figure 5.09 Colours of the wooden window panel was paler and rougher in

texture.

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6.0 PROPOSAL

6.1 FOR DEFECTS AND DILAPIDATION

6.1.1 WALL DETERIORATION

In order to restore the building’s wall, we have to understand

the materials or ingredients that are appropriate for

conservation work. The main principle of the repair work is to

remain the original look of the building, therefore, the colours or

materials that chosen to be applied should be refer to the

building original choice. Usually scraping method will be carried

out to investigate the initial colour the building.Lime mortar is a

mixture of lime and sand, generally in the ratio of 1:3. It is the

best for burnt clay bricks in bonding and create stronger

adhesive forces. In places where only non-hydraulic lime is

available, pozzolan is added for strength. Lime wash is a

traditional way that being applied externally and

internally.Limewash is a repairing material, being used to fill

small shrinkage cracks on the lime coverings. Limewash can

also be used in conjunction with various aggregates to make

shelter coats for friable masonry and will act as a sacrificial

protective coat. Meanwhile, limewash creates a cooler interior

as it is a breathable material.

Figure 6.01 Lime washing in progress.

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6.1.2 EFFLORESCENCE

It is much easier to overcome the efflorescence issue

compared to wall deterioration. Washing by scrubbing off the

deposits by using mild or diluted acidic solutions (depends on

the conditions) that is stronger than vinegar. However, more

diluted solutions are recommended for integral - coloured

concrete to avoid surface etching that may reveal aggregates

and change the colour and texture of the surface. Another

alternatives is to using pressurized water to remove the

efflorescence. Even though this solution does not works

suitably as it might tear or peel off the wall layers, but further

discussion is essential for a better technique.

Figure 6.02 Scrubbing a wall.

Figure 6.03 Pressurized water washer is being used to remove the

efflorescence.

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6.1.3 METAL CORROSION

In the case of No.44 shophouse, most of the iron components

such as window metal grill etc. were in unpleasant conditions.

Therefore, some of these items are encouraged to replace with

parts that is similar materials and colour or coatings. Some of

the components such as door lock, which is potential and

functional, we can try to remove the rust by scrubbing it with

some solutions such as vinegar and other acidic solutions.

Figure 6.04 Rust can be removed by using acidic solutions.

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6.1.4 TIMBER DETERIORATION

Timber-made components that are found in No.44 shophouse

such as door and window panels are still in functional condition,

which is encouraged to be reused and served as their role over

the years. However, structural components such as timber

beam, timber wall which is unlikely steady and firm should be

replaced with another materials such as steel or timber.

Regardless of the materials, the colours should be able to blend

into the building interior. Below is the figures that showcases a

case study on how new materials can actually merges well in

an old building. However, timber components are still the best

choice, since it gives a similar colours, textures and

appearance.

Figure 6.05 Case Study: Salud Tapas interior, I beam as the alternative.

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6.2 PROPOSAL FOR ADAPTIVE RE-USE

After the investigation and research on the building and its site

context, we decided to propose a community centre which

symbolizes King Street, Penang. Even though there are plenty

of temples and clan associations, which served as the same

purposes, but we wanted to attracts public responses from

different classes, races, social and cultural background, into

our centre to revitalise No.44 shophouse and bring its back into

its glorious moment. As far as we know, King Street is a diverse

streetscape that used to be a busy street, with mainly Chinese

and Indian-Muslim.

So we started our design proposal, by separate ground and first

floor into public and private spaces. Main hall, which served as

a social and semi-public space in the past, is proposed to be a

place where visitors can get their souvenir, which is locally

produced by the local craftsman (mainly elderly around that

area). Walked through the corridor, users can read the

information boards hung on the wall which next to the

airwell.Dining area is prepared, which can served as reading

area, for visitors and locals to get a short drinks or meal which

provided by nearby coffee shop, and obtain the knowledges

about Penang culture and history. At the back, where the

services will be provided, such as washrooms, bathroom,

kitchen with pantry for staff uses. Upper floor is more focus on

the private spaces. Recalling back to the spaces that were

utilized before dilapidation, those spaces were used to be room

for each family. Therefore, we came out with an idea that each

spaces served as different functions.

Handicraft-making space will the located at the bigger room,

which is at the back and close to the airwell, which is much

better in air and light ventilation. Services will be provided at the

end of the first floor. Offices for stuff or shopkeeper will be

utilized at the cantilevered room, which is central and ease of

approaching. Smaller room that next to main room at first floor,

which be an exhibition hall. By looking back to the history, King

Street was a places where Hakka community stayed and

worked at the nearby sea as a fisherman. Since that, we think

the room can exhibit some of the antiques or nostalgic items

that can be display to showcases the daily life and precious

moment of the community,

The main room, which is the biggest room will be function as a

private hall, where private events such as public lecture, local

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story telling sessions, movie-playing theatre can be carried out.

Basically, it will be a multi-purpose hall where gathers local

culture and society into one room.

Figure 6.06 Case study: No.8 Heeren Street, Malacca for information

board display on wall.

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6.2.1 PROPSED FLOOR PLAN

Figure 6.07 Proposed ground floor plan (above) and first floor plan

(bottom).

LEGENDS:

1. Souvenir shop

2. Reception and cashier

3. Storeroom

4. Dining room

5. Artwork / information board display wall

6. Counter

7. Reading Area

8. Pantry

9. Kitchen

10. Washroom 1

11. Bathroom

12. Event hall (Multi-purpose use)

13. Exhibition hall

14. Office

15. Handicraft-making

16. Washroom 2

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6.2.2 PERSPECTIVE RENDERINGS

Figure 6.08 Render 1

Figure 6.09 Render 2

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Figure 6.10 Render 3

By exploring the spaces and programming involved in general

shophouses, the main hall served as a guest-greeting spaces,

which is semi-public. The carved screen acts a border line

between main hall and the spaces behind, which is much more

private. Usually the screen was carved with excellent

craftmanship, to show off the house owner's social level.

Therefore, we proposed it as a souvenir shop (Render 1), which

welcomes the visitors at the first moment.

Airwell is a crucial yet prominent feature that can be spotted in

every shophouses. It provides good light and air ventilation for

the particular building. In No.44, the airwell is flexible for users

to control by using the retractable roof panels. The reason why

we proposed the dining area (Render 2) at the airwell, because

we wanted the visitors to enjoy their light meal and drinks under

the bath of soft sunlight, and facing the information boards that

hung on the corridor wall. Flipping through the books that

provided on the shelf, allows them to understand the culture

and history of Penang shophouses, a basic yet fantastic

pioneer in early architectural design.

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As the room used to be a dark, yet abandoned spaces, we

considered it as a potential to be a private, yet efficient

workspace. It is proposed as a handicraft-making spaces

(Render3), which brings advantages for the local community by

giving them a job to make handicraft or art and sell to the

visitors. The airwell, which is just next to it, will enhance the

spatial quality by giving light and refreshing air.

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7.0 PROVISIONS AND GUIDELINES

7.1 FEDERAL CONSTITUTION (9th SCHEDULE) - ARTICLES

74,77

Legislative List:

List 1-

13. Education, including -

B. Libraries ; Museums ; Ancient and historical Monuments and

records ; Archaeological sites and remains.

List 11b -

9e. Perservation of heritage

7.2 UNESCO CONVENTION CONCERNING THE

PROTECTION OF THE WORLD CULTURAL AND

NATURAL HERITAGE

Article1

For the purpose of this Convention, the following shall be

considered as "cultural heritage": monuments: architectural

works, works of monumental sculpture and painting, elements

or structures of an archaeological nature, inscriptions, cave

dwellings and combinations of features, which are of

outstanding universal value from the point of view of history, art

or science; groups of buildings: groups of separate or

connected buildings which, because of their architecture, their

homogeneity or their place in the landscape, are of outstanding

universal value from the point of view of history, art or science;

sites: works of man or the combined works of nature and man,

and areas including archaeological sites which are of

outstanding universal value from the historical, aesthetic,

ethnological or anthropological point of view.

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Article 4

Each State Party to this Convention recognizes that the duty of

ensuring the identification, protection, conservation,

presentation and transmission to future generations of the

cultural and natural heritage referred to in Articles 1 and 2 and

situated on its territory, belongs primarily to that State. It will do

all it can to this end, to the utmost of its own resources and,

where appropriate, with any international assistance and co-

operation, in particular, financial, artistic, scientific and

technical, which it may be able to obtain.

Article 5

To ensure that effective and active measures are taken for the

protection, conservation and presentation of the cultural and

natural heritage situated on its territory, each State Party to this

Convention shall endeavor, in so far as possible, and as

appropriate for each country:

(a) to adopt a general policy which aims to give the cultural

and natural

heritage a function in the life of the community and to integrate

the protection of that heritage into comprehensive planning

programmes;

(b) to set up within its territories, where such services do

not exist, one or

more services for the protection, conservation and presentation

of the cultural and natural heritage with an appropriate staff and

possessing the means to discharge their functions;

(c) to develop scientific and technical studies and research

and to work

out such operating methods as will make the State capable of

counteracting the dangers that threaten its cultural or natural

heritage;

(d) to take the appropriate legal, scientific, technical,

administrative and financial measures necessary for the

identification, protection, conservation, presentation and

rehabilitation of this heritage; and

(e) to foster the establishment or development of national

or regional centres for training in the protection, conservation

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and presentation of the cultural and natural heritage and to

encourage scientific research in this field.

Article 8

1. An Intergovernmental Committee for the Protection of the

Cultural and Natural Heritage of Outstanding Universal Value,

called "the World Heritage Committee", is hereby established

within the United Nations Educational, Scientific and Cultural

Organization. It shall be composed of 15 States Parties to the

Convention, elected by States Parties to the Convention

meeting in general assembly during the ordinary session of the

General Conference of the United Nations Educational,

Scientific and Cultural Organization. The number of States

members of the Committee shall be increased to 21 as from the

date of the ordinary session of the General Conference

following the entry into force of this Convention for at least 40

States.

2. Election of members of the Committee shall ensure an

equitable representation of the different regions and cultures of

the world.

3. A representative of the International Centre for the Study of

the Preservation and Restoration of Cultural Property (Rome

Centre), a representative of the International Council of

Monuments and Sites (ICOMOS) and a representative of the

International Union for Conservation of Nature and Natural

Resources (IUCN), to whom may be added, at the request of

States Parties to the Convention meeting in general assembly

during the ordinary sessions of the General Conference of the

United Nations Educational, Scientific and Cultural

Organization, representatives of other intergovernmental or

non-governmental organizations, with similar objectives, may

attend the meetings of the Committee in an advisory capacity.

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7.3 STATE OF PENANG HERITAGE ENACTMENT 2011

Part V State Heritage

Declaration of State Heritage

29. (1) The commissioner may, with the approval of the State

Authority, by notification in the Gazette, declare any tangible

cultural heritage site, intagible cultural heritage or natural

heritage site as a State Heritage.

(2) In making a declaration under subsection (1), the

Commissioner may consider the following matters:

(a) the historical importance of the State;

(b) the design or aesthetic characteristics; 22 Laws of the

State of Penang ENACTMENT 14

(c) the innovation or scientific or technical achievements;

(d) the social or cultural relationship of society;

(e) the potential to educate, illustrate or provide scientific

investigation in relation to the cultural heritage and natural

heritage in the state of Penang; or

(f) the uniqueness of the cultural heritage or natural

heritage.

(3) Where the site is on an alienated land or belongs to any

person other than the State Government, the owner, custodian

or trustee of that site, shall be notified at least thirty days prior

to the date of the proposed declaration.

(4) Where the declaration under subsection (1) involves an

intangible cultural heritage and copyright still subsists in such

works, the consent of the copyright owner shall be obtained

before any declaration is made.

Ownership or possesion of State Heritage

30. Any State Heritage which is owned or possessed by a

person other than the State Government may remain in the

possession of its owner, custodian or trustee.

State Heritage Register

31. (1) The Commissioner shall establish a register known as

the State Heritage Register which contains the lists of tangible

cultural heritage site, intangible cultural heritage and natural

heritage site which have been declared as the State Heritage

under section 29.

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(2) The Commissioner shall maintain and ensure that the

Register is kept up to date from time to time and in good

condition. (3) Any person may request for any information

contains in the Register and the Commissioner may provide the

information and impose prescribed fee for such information.

7.4 NATIONAL HERITAGE ACT 2005 (ACT645)

Part VI management, Preservation and Conservation of

State Heritage

Care of heritage

34. (1) The owner or occupier of a heritage site shall ensure

that the site is always in a good condition.

(2) The owner or occupier of a heritage site shall permit the

Commissioner,any authorized officer or enforcement officer to

enter the site for the purpose of carrying out any conservation,

repair or maintenance works as he deems expedient or

necessary.

(3) Where the Commissioner is satisfied that reasonable

steps are not being taken for properly preserving the heritage

site, he may carry out such repair works, after giving to the

owner or occupier of the site a fourteen days notice in writing

of his intention to do so, and all costs and expenses incurred

while carry out the works shall be reimbursed by the owner or

the occupier of the site.

Application for planning permission

35. (1) The local planning authority shall coordinate and seek

the advice from the Commissioner before giving any planning

permission or development order involving a heritage site.

(2) An application made under subsection (1) shall contain

the following matters:

(a) sufficient particulars to identify the monument or

building in relation to the application, including its layout plan,

measured building plan and photographs of its angle, including

the exterior and interior of such monument or building;

(b) such other plans and drawings to describe the work in

the application;

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(c) measures that have been taken to secure the safety of

the heritage site and the neighbouring land; and Penang

Heritage 25

(d) such other particulars as may be required by the

Commissioner.

(3) For the purpose of paragraph 2(c), neighbouring land

means—

(a) any adjoining land within a distance of two hundred

metres from the boundary of the land to which an application

under this section relates;

(b) any land separated from the land to which an application

made under

this section relates by any road, lane, drain or reserved land,

the width of which does not exceed twenty metres and which

would be adjoining the land to which the application relates had

they not been separated by such road, lane, drain or reserved

land; or

(c) any land located within a distance of two hundred

metres from the boundary of the land to which an

application under this section relates.

(4) The Commissioner shall advise the local planning

authority to impose any condition when approving planning

permission or a development order involving a heritage site

which may include—

(a) requiring the compliance with any conservation

guidelines and procedures issued by the State Authority;

(b) requiring the payment of any damage caused to any

heritage site after the works authorized by the planning

permission or the development order are completed; or

(c) requiring the protection and preservation of any specific

features of the heritage site. 26 Laws of the State of Penang

ENACTMENT 14

(5) Where the planning permission is given, the

Commissioner shall liaise, co-operate and coordinate with the

local planning authority to ensure that any terms and conditions

imposed on the owner or occupier of the heritage site relating

to the conservation of heritage are complied with.

(6) Any person who contravenes any condition imposed

under subsection (4) commits an offence.

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7.5 GUIDELINES FOR CONSERVATION WORK ON

CATEGORY II BUILDINGS

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8.0 CONCLUSION

From the production of this investigative report and subsequent

proposal for an adaptive reuse of the building, we have gained

invaluable and insightful information regarding the conservation

methods of historical and culturally active buildings in and

around Malaysia. It has been brought to our attention that, even

though buildings may have been abandoned long ago and may

look like it has lived out its lifespan, the buildings may have a

new lease of life through proper conservation work. This is in

stark contrast to our design modules which have always given

us a clean slate to design our buildings without regard to the

previous occupants. As architecture students we now feel an

expanded knowledge on building types and construction and

that not all good and active buildings need to look modern and

sleek but they can also come in the form of a humble old looking

building that still has plenty of essence and soul on offer

especially in regards to the site context which may still be rich

in similar heritage.

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APPENDIX

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REFERENCES

BOOKS

1. Tan, Y.W. (2015). Penang Shophouses : A Handbook of Features

and Materials. Penang : Tan Yeow Wooi Culture and Heritage

Research Studio.

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