Three-dimensional plant modeling and simulation : how far does recent computer technology expand to assist the landscape architecture practice

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The Technology of Geodesic Dome Design on Cinematography and Interactive Tourist Information Centre Building in Penang

Penang is among one of the states in Malaysia that embrace their cultural heritage and maintain their architectural style from early decade. Its population is extremely diverse in ethnicity, having rich culture, linguistic and religion. The issue of sustainability arose when we have the intention to ‘sustain’ a culture for tourism purpose but at the same time it contradicted with the process of urbanization and having rapid development of architectural style and recent technology. This research studied on the proposal of upgrading it into a more advance technology yet still maintaining the earlier era of architectural style. In order to keep this heritage sustain, design approaches may have a combination of two era which is colonial era style with modernism style. Penang virtual and interactive tourist information centre are design to accommodate tourist with an information transferred platform using high technology which is providing a 5D Cinematography and 9D technology. Having a geodesic dome for Penang Virtual and Interactive Tourist Information Centre in the design is a great solution because to build a 5D cinematography can be functional by using a geodesic dome. It also shows that 5D cinematography can be functioning without having columns. Geodesic dome is one of the building element that can replace column to build a high technology of cinema room. The issue on having large spaces and high ceiling for cinema has been solved. 5D cinematography using an 180ᵒ curve screen obviously needs a strong structure which are curve to hold the screen and it is solved by designing the geodesic dome. The issue on sustaining their cultural heritage is also achieved by combining the geodesic dome design with colonial era of architectural style on the building façade

Identiti ukiran kayu bagi rumah limas Johor

Every country, ethnic group or culture has its own traditional heritage, including Malaysia with cultural variations between the different states which makes up the west and east peninsular. Wood carving is one of the distinct heritages that can enhance the identity of a region or place. However, current practices of selecting designs and motifs which do not belong to the local region pose a threat to the local identity and the authentic value of the original heritage. If such practices continue and the identity of the local heritage is not identified and recorded, the traditional designs and local motifs left by the locals’ ancestors will eventually be lost. One such example is the Johor wood carving. Currently, no efforts have been made to review, analyse and identify the Johor wood carving identity. Thus, the objective of this study is to identify the placement of wood carvings, the typology of design compositions and motif of wood carvings which forms the identity of the rumah limas Johor. Site visits were conducted to 110 traditional Malay Johor houses with 50 rumah limas Johor selected for the case study in which the houses and wood carvings were examined, photographed and documented. Interviews were also conducted with house owners or occupants as well as wood carvers. The samples were analysed using the ‘S’ Code method and statistics and percentages were obtained via Window Excel and NVivo softwares as well as discussion with experts for verification. The findings revealed 10 wood carving placements with the highest percentage of placements found at the ventilation panel of windows (jerejak tingkap), at the top window panels (kepala tingkap) and at the top of door panels (kepala pintu). 40 wood carving design composition typologies were produced and coded. Floral motifs are found to dominate the percentage with pumpkin motif the most widely used. The findings of this research suggest that the placements at the bottom ventilation panel of windows (jerejak tingkap) and top window panels (kepala tingkap) at the covered raised porch or anjung with the typology combination of “JT2-P5+KT7” with ‘labu maya’ motif using perforated panel with non-overlapped and non-relief technique were identified as the identity of wood carving in rumah limas Johor. This research contributed three terms which are ‘rapat bertaut’, ‘labu maya’ and ‘flora disinari mentari ufuk’ and an additional three terms for the 'S' Code which is ‘daun lebar’, ‘pucuk tajam’ and ‘daun jambul’ under the ‘H’ Code. It is hoped that the findings of this research will help others to recognise the Johor wood carving and acknowledge its own unique identity to be used and sustained for future generations as well as a valuable guide for wood carvers

Typology of Woodcarving Motifs in Johor Traditional Malay Houses

Johor traditional Malay houses are typically known for its Limas roof. However, apart from the significant roof, woodcarving motifs found in Johor traditional Malay houses also possess a distinct architectural heritage that can promote the identity of a region. Many woodcarving motifs are found and should be studied and managed to sustain the identity of a local region as part of heritage sustainable management. A study on typology of woodcarvings motifs is critically needed in order to avoid losing the authenticity of each state if not being preserved and documented. Johor traditional Malay houses are being demolished day by day before we get to know the typology of it’s woodcarving motifs. The objective of this paper is to identify the woodcarvings motifs found in Johor traditional Malay houses, reveal the typology and analyze the mostly used to be named as the identity of Johor woodcarving motif. Site visits were conducted to 60 traditional Malay houses around Johor in which the woodcarvings motifs were examined, photographed and documented. Interviews were also conducted with the house owners or occupants, and the wood carvers. The samples were analyzed, and the results were verified by experts. A total of 12 typologies derived from 13 motifs were discovered, drawn, coded and named. The pumpkin motif preceded the percentage of the analysis statistics of mostly used and was named as Labu Maya. The findings of this research suggest that the Labu Maya motif represents the identity of woodcarving motifs of Johor traditional Malay houses. From the analysis and discussion made, 12 typologies on Johor woodcarving motifs were revealed, named and documented. This research has shown the local authenticity, beautiful heritage that should be enhanced through managing the typology and sustaining the local identity as part of sustainable management. All these typologies are important for Johor architectural heritage, body of knowledge and also for tourism purposes

Performance-Based Framework to Prioritize Adaptive Reuse Gallery Design: A Case Study of Tate Modern Towards Architectural and Cultural Engagement along London Riverfront

This topic of adaptive reuse of an historical and industrial building of Tate Modern, an art gallery from its previous function as old power station in London. Critical number of research has been done of the industrial buildings which incorporate the adaptive reuses concept on the impact on the universal building practice and economy. But, there has been a minimal extended research with regards to how adaptive reuse building portrays a significant impact to riverfront development planning for the vicinity. Therefore, this paper explores method of the architectural modifications made by both architects involved and its current ramification of cultural network establishment to both sides of the north and south bank of London. As an outcome, these findings adaptive reuse suggest space revivification, construction waste reduction and urban sustainability that promote a new label urban sprawl significance that support the tourism, industry, social and civic engagement for the Thames riverfront development based on the historical building preservation

Heritage identity conservation of the woodcarving placement and design composition typologies on Johor Malay houses

Woodcarving is a distinct heritage that can promote the identity of a region. However, current practices of using the design composition and woodcarving placement which do not belong to the local region pose a threat to the identity and authenticity of the original heritage. If such practices continue and the identity of the local heritage is not preserved and recorded, the traditional designs and local identity will eventually be lost. The objective of this paper is to identify the placements of woodcarving and the typology of design compositions of woodcarving which form the identity of the Johor Malay houses. Site visits were conducted to Limas Johor in which the wood carvings of 50 houses were examined, photographed and documented. Interviews were also conducted with the house owners or occupants, and the wood carvers. The samples were analyzed and the results were verified by experts. A total of 10 woodcarving placements and 23 typologies were discovered, drawn and coded. The findings of this research suggest that the typology combination of JT2-P5+KT7 of woodcarving represents the identity of Limas Johor houses. It is hoped that this study can bring recognition to Johor woodcarvings, contribute valuable guides for woodcarvers to apply these typologies into their future works to sustain and cherish the Johor local identity

Historical Building Inspection using the Unmanned Aerial Vehicle

Building inspection is very much required for all buildings especially those historical ones to maintain the structure condition and the safety of the people around. Visual inspection is commonly conducted using manual descriptive information carried out by the inspector personally. The problem with this technique of assessment is that the time needed to write all the defect description on site and to access difficult area can be hazardous. The aim of performing historical building inspection on Tan Swee Hoe’s historical mansion is to evaluate the overall condition of the building with Unmanned Aerial Vehicle (UAV) image assisted inspection and Condition Survey Protocol 1 (CSP1) method. From this drone assisted inspection, it shows that the time spent on site is less than half an hour and the data collected being evaluated with CSP1 method defined that the building is dilapidated. The overall building condition is in red class and require serious attention to avoid any injuries to the visitors. To prevent a possible failure of a building in the coming years, a suitable condition inspection has been carried out to identify the current existing defect so that it would be fixed before further damage to the building and visitors around it

Motifs, placements and influences of woodcarving in Muar traditional Malay houses

Almost every country, race or culture has its own traditional heritage including Malaysia and every state in it. Woodcarving is one of the Malaysian traditional heritage that has been passed through generations and should be preserved and maintained. Unfortunately, it is being forgotten due to the rapid urbanization and led to it getting destroyed and extinct. Nevertheless, there are still many traditional houses in some places which own very interesting woodcarvings that must be studied and analyzed before this heritage is permanently vanished such as in Muar, Johor where it owns an interesting history, thus making it among the earliest inhabited district and rich in woodcarvings. This study aimed to identify motifs and placements of the woodcarvings in traditional Malay houses in the districts of Muar including the influence on it. The research methodologies taken were case studies of existing traditional Malay houses in Muar. Site visits to the chosen houses are carried out where the process of taking data, photography and interviewing the resident as well as additional information from Center of Built Environment in the Malay World (KALAM) at Universiti Teknologi Malaysia (UTM) was then triangulated with the analytic interpretation of local woodcarvers. The results showed the existence of significant motif, placement and very strong influence on the woodcarvings found in these Malay traditional houses in Muar

Identiti dan tipologi motif ukiran kayu bagi rumah limas Johor

Setiap negara, kumpulan etnik atau budaya mempunyai warisan tradisi tersendiri, termasuk Malaysia dengan variasi budaya antara negeri-negeri yang penuh kepelbagaian. Ukiran kayu merupakan salah satu warisan tradisi yang mampu menonjolkan identiti senibina sesebuah negeri. Walau bagaimanapun, amalan pemilihan reka bentuk dan motif yang bukan milik tempatan menimbulkan ancaman kepada identiti asal dan nilai warisan setempat. Jika amalan sedemikian berterusan dan identiti warisan tempatan tidak dikenal pasti dan direkodkan, reka bentuk tradisional dan motif tempatan yang ditinggalkan oleh nenek moyang tempatan akhirnya akan hilang. Ini termasuklah ukiran kayu Johor. Sebelum ini, tiada usaha telah dibuat untuk mengkaji semula, menganalisis dan mengenal pasti identiti ukiran kayu Johor. Justeru itu, objektif kajian ini adalah untuk mengenal pasti motif-motif ukiran kayu yang ada di sekitar negeri Johor dan menghasilkan tipologi yang membentuk identiti rumah limas Johor. Kajian lawatan tapak telah dijalankan terhadap 50 buah rumah limas Johor untuk mendapatkan data terperinci, mengambil gambar dan menganalisis ukiran kayu. Temubual juga dijalankan dengan pemilik rumah atau penghuni serta pengukir kayu. Sampel dianalisis menggunakan kaedah Kod ‘S’ serta perbincangan dengan pakar untuk mendapatkan pengesahan. Dapatan ini menunjukkan dominasi penggunaan motif flora pada rumah-rumah kajian, terdapat 10 tipologi yang dominan telah dikenalpasti di mana motif labu yang diberi nama ‘labu maya’ merupakan motif yang paling banyak digunakan dan layak diangkat sebagai identiti motif ukiran kayu Johor. Kajian ini diharapkan dapat membantu masyarakat mengenali seni ukiran kayu Johor dan memiliki identiti uniknya sendiri yang dapat diteruskan kesinambungannya bagi generasi akan datang serta panduan berharga bagi pengukir Johor

Idea dan pemikiran seni bina Melayu moden Razin Mahmood

Pengadaptasian bahasa senibina luar ke dalam rekabentuk bangunan di Malaysia dilihat telah menjadi sebagai ancaman kepada pembangunan negara Malaysia sebagai sebuah negara yang kaya dengan warisan kebudayaan dan kesenian. Seawal tahun 1950-an, pelbagai usaha telah dijalankan bagi menzahirkan identiti senibina nasional yang dapat mencerminkan kekayaan nilai kebudayaan dan kesenian di Malaysia. Usaha ini disambut baik oleh pihak kerajaan dan juga arkitek pada ketika itu, di mana warisan kesenian Melayu tradisional telah sepakati sebagai asas pembangunan identiti seni bina nasional. Setelah hampir 70 tahun, perbahasan mengenai identiti senibina nasional ini masih lagi giat diwacanakan dan dibahaskan. Tempoh masa yang panjang ini telah melahirkan pelbagai reaksi, yang mana sebahagiannya melihat isu mengenai pembangunan identiti ini sebagai hanya isu kecil yang tidak perlu diambil berat di dalam aspek reka bentuk dan pembangunan. Senario ini terjadi disebabkan pemahaman konstruk identiti senibina nasional yang bersifat statik, sehingga membataskan pembangunan identiti hanya pada nilai rekabentuk fizikal bangunan sahaja. Pembangunan bahasa senibina Melayu moden telah dicadangkan sebagai salah satu jawapan kepada pembangunan identiti senibina nasional yang lebih holistik. Di dalam kajian ini, konsep dan pemikiran seni bina Melayu moden Arkitek Razin Mahmood telah didokumentasi. Kajian ini dilaksanakan melalui kaedah pendapat pakar, di mana sesi temubual telah dilaksanakan. Hasil dapatan kajian ini akan menyumbang kepada tipologi pemikiran senibina Melayu Moden di dalam usaha memberi jawapan kepada pembangunan identiti senibina nasional yang lebih komprehensif di Malaysia