SCHOOLOFARCHITECTURE,BUILDING&DESIGN

CENTREFORMODERNARCHITECTURESTUDIESINSOUTHEASTASIA
BACHELOROFSCIENCE(HONOURS)INARCHITECTURE

ARCHITECTURECULTURE&HISTORYII(60203)
PROJECT2:REPORT

LOCATION
TUTOR

:PETALINGJAYACIVICCENTRE

:MSSHAHRIANNEMOHDSHAH

GROUPMEMBERS:JACKLEEHORKIT(0325810)

:KIMBERLYANNAUSSIE(0325881)
:HORMINGJACK

(0325145)

:HIRENDRANSIVAGANAM(0319894)

:LOOYANGXIANJADE(0325035)

CONTENTS

NO. DESCRIPTION

TableofContents

2.0

SiteContextAnalysis(byHorMingJack)

1.0
3.0
4.0
5.0
6.0
7.0

PAGENO.

8.0

Introduction

310

ArchitecturalLayoutofBuilding(byLooYangXianJade)

1118

BuildingConstruction,StructureandMaterialsAnalysis(byJackLeeHorKit)

2529

ArchitectureStyleAnalysis(byHirendranSivaganam)

ArchitectureElements/ComponentsAnalysis(byKimberlyAnnAussie)
Conclusion

References

1924
3040
41

4243

1.0INTRODUCTION

ThePJCC(PetalingJayaciviccentre)islocatedatNo.1,JalanYongShookLin,Selangor,

46675PetalingJaya,Malaysia.ThebuildingwasdesignedandcommissionedbyProjekArkitek,
KualaLumpur.Constructionbeganintheyear1973andcompletedintheyear1978witha

budgetallocationofRM4million.Theoriginalbuildingpriortothe2001renovationincludeda

1000seatauditorium,6badmintoncourtsandaconferencehall.Theciviccentrewasdesigned

tobecommunalspaceinwhichmembersofthecommunitycouldcometogetherandengagein
recreationalactivitiescelebratingthepowerofsocialparticipation.

Followingtherenovationoftheciviccentreof2001the6badmintoncourtspacewithinthe
buildingwasreplacedwithabanquethallanditsauditoriumupdatedtobetterservethe

communityofthesurroundingareaparticularlyPJS7citingtheincreaseofpopulationwithin
thecommunity.

Atthemomenttheciviccentreisopenforavarietyoffunctionssuchasperformances,local
exhibitions,celebratoryevents(particularlyweddingevents)forwhichmembersofthe
communitycanuseasaplatformofinteraction.

Figure1.1:FloorplanofthePetalingJayaCivicCentre

2.0SITEANALYSIS(byHorMingJack)

2.1ACCESSIBILITY

LocatedintheheartofPetalingJaya(PJS7)orcolloquiallyknownasOldKlangduetoit

beingpositionedintheearlysettlementsofKlangduringitsinception.Duetothefactthat
manyofthebuildingsespeciallygovernmentalbuildingsadoptedthebrutaliststyleof

architectureasitwasthetrendduringthemodernisationperiodofMalaysiabetweenthe60s
tothe80s.

ThecompoundinwhichtheCivicCentreispositionedalsoencompassestheMBPJsoffice,a
parkinglotandagardenashighlightedinthegreenpatchinFigure2.1below.

Figure2.1.0:Map

TheCivicCentreispositionedstrategicallybetweenthecommercialzoneintheNorthsection
andtheresidentialareaflankingtheother3sectionswithamainroad/JalanSelangoronits
Eastsection.Effectivelypositioningitselftoserveagreatnumberandtypesofusersinits
surroundingascanbeseenFigure2.1.1.

Figure2.1.1:Zoning

Figure2.1.22.1.3:HousessurroundingtheciviccentreFigure2.1.4:Shoplots

Figure2.1.5:Figure2.1.6:Figure2.1.7:
MenaraChoyFookOnMBPJGardenMBPJOffice

TheaccessoftheCivicCentreisdividedinto2mainaccesspoints,oneonthenorthgatewhile
theotherontheeastgateofthebuildingasseeninFigure2.1.8below.(Eastgateisfurther
dividedinto2gatesonetothebuildingitselfandtheothertothemainparkingarea)

Figure2.1.8:Access

Theeastentrancealsoservesastheserviceentrancetowhichthemunicipalvehiclesare
parked/storedinthedesignatedparkinglotatthesouthsideoftheciviccentreasshown
below.

Figure2.1.9:Designatedmunicipalparking

DuetothesheermassandpositionoftheCivicCentrebeingonahigherinclinedplanethanthe
housessurroundingitespeciallysofortheonesonthesouthside,Itactsasabarrierbetween
thebusycommercialzoneandtheprivacyoftheresidentialarea.Thusthehousesaroundthe
municipalcentretendstobemoreluxurious.

Figure2.1.10:Southviewofciviccentre

2.2RELATIONSHIPOFBUILDINGSTOSURROUNDINGS

HOUSES

Figure2.2.1Figure2.2.2

Figure2.2.3

Asseenfromthepicturesprovided,thehousesaroundtheCivicCentretendtohaveasimilar

theme,inthattheyareverymuchmodernistranchstyleinspiredbuildings(popularduringthe

60stothe80s).Inwhichtheformsittakestendstobeverypracticalwithoutmuchinterioror
exteriordecorations,minimalprofiletothegroundandlowpitchedroof,seeninthebottom
pictureabove.

Thesehousestendtoblendintoitssurroundingswithitslowprofileform,verymuchincontrast
tothetheobviouslybrutaliststyleoftheciviccentrewhichcanbesaidtoreallyemphasizethe
civiccentreasthecommunitycentreoftheareaduetothejuxtapositionofstyles.

MBPJOFFICE

Figure2.2.4:MBPJoffice

Themunicipalofficefollowsthesamebrutalistapproachastheciviccentrealbeitatamore

conservativelevelwherebytheexpressionofthematerial(concrete)isnotasimposingasthe
sisterbuilding.Thewallsoftheofficebuildingisalotthinnerandtheslopedroofismore
geometricinnatureratherthancurvedastheyareintheciviccentreastomaximisethe
workingspacewithinthebuildingitself.

Lookingatbothbuildingsitisclearthattheyaresimilarinmanywaysalthoughduetothe

differenceinfunctions,itsformisdifferenttoreflectassuch.Hencefollowingthecredothatin
modernistarchitectureformfollowsfunction.

*TheCivicCentrefunctionsasacommunalgatheringspacesuchastheatricalperformanceand
diningevents,largeopenspacethatissymbolicallysignificantisprioritizedwhereastheMBPJ
officefunctionsasaworkingspacecompartmentalization(forvariousdepartments)is
prioritizedresultingsmallerorganizedspacesratherthanlargeopenones.

Figure2.2.5:GroundfloorbackentranceFigure2.2.6:Groundfloorplan

SHOPLOTS

Figure2.2.7:Shoplots

Amajorityofshoplotsaroundtheareaarethesetypicalmodular2storeybuildingsbuiltside

bysidealongaroadconnectedtothemainroaditself.Theseshoplotstypicallyhaveverylittle
decorationsbesidestheonesdonebythebusinesseswithinthelotsthemselves.Theyare
visuallyquitedifferentfromsomeofthemucholdercolonialshoplotsaroundastheyare
typicallynotdesignedtohaveresidentialspacesabovethelotsfromgroundlevel.

DespitebeingoneoftheolderpartsofPetalingJayathesetypesofshoplotsarequiteabundant
intheareaastheresidentialzoneintheareahasremainedlowtomediumdensitythroughout
theyearsthusdoesnotencouragefurtherdevelopmentsuchasshoppingmallsthatcanbe
seeninnearbySubangJaya.

Figure2.2.7:Empireshoppinggallery

Figure2.2.8:Subangparade

2.3RESPONSETOCLIMATE

AsawholetheCivicCentreisinsularinnatureduetotheactivitiesheldindoorsneeds

tobeavailableyearlongthusitcannotbeaffectedbytheclimateoutside.Asfortheventilation
indoorsiscompletelyhandledbyitsowncentralA/Cunitandiscompletelyshieldedfromthe
sunlightandrainoftheoutdoors.

Theonlynotableaffecttheclimatehasonthebuildingitselfisperhapsthealignmentofthe
structuretothedirectionofthesun.ItssideentrancefacingtheEastdirectionseemsto

highlighttheimportanceofitsentranceandinmyownopinionisratherfittingasitdirectly
connectstotheroadintheresidentialzonestayingtruetoitspurposeofservingthe
communityitisplacedin.

Figure2.3:positionofthesuninthemorning

10

3.0ARCHITECTURALLAYOUTOFTHEBUILDING(byLooYangXianJade)

3.1PLANTOELEVATIONANALYSIS

Inmodernism,theformofaparticularbuildingorstructureshouldprimarilyfollowthe

floorplan.ThePJCivicCentreisdesignedinthestyleofBrutalism,whichisderivedfrom

modernistarchitectureandisaclearexampleofformfollowsfunction.ThePJCivicCentres
formisfundamentallydesignedfollowingtheplanofthebuilding,withthemainbodyofthe
buildingfollowingthesizesandareasoftheinteriorspaces.Thisisevidentwhencomparing
thefloorplanandthefrontelevation.

Figure3.1.1:Massingoftheauditoriumandthebanquethall

Whencomparingthemassingofthespacesoneachside,itisobviousthatthemassof

theauditoriumisslightlylargerthanthebanquet.Thisdirectlycorrespondstothebuildings

exteriorform,wherebytheexteriorformoftheauditoriumisslightlylargerthantheexterior
formofthebanquethall.

Figures3.1.2and3.1.3:Exteriorformoftheauditoriumandthebanquethall

11

AnotherobviousindicationofformfollowsfunctionintheexteriorformoftheCivicCentreis

thecylindricalformofthestaircasewhichfollowsthedirectionandorientationofthedesigned
staircase.

Figure3.1.4:Stairsinthefloorplan

Figure3.1.5:Flowofdirection

Figure3.1.6:Staircase

12

Besidesthat,themainentranceofthePJCivicCentrealsoembodiesformfollowsfunction

wherebywhenviewedintheplan,thespaceconvergesastoindicatetheflowofdirectioninto
theCivicCentre.Thisalsocorrespondstotheformoftheentranceinwhichinsteadofatypical

flatroof/pitchedroof,theroofiscurved,signallingtheentranceandimmediatelydistinguishes
theflowofdirectionintothebuilding.

Figure3.1.7:Narrowingofthespaceofthemainentrance

Figure3.1.8and3.1.9:Translationfromtheplantotheelevationofthebuilding

13

3.2SPATIALRELATIONSHIP

Theauditorium,banquethallandtheconferenceroomarearrangedaroundthemain

lobby.Eachroomisindividuallyseparatedwithnoaccesspointstootherrooms.Theonly

accesspointtoeachroomisviathelobby.Thus,thespaceshavenodirectrelationshipwith
eachotherbutshareacommonspace,whichisthelobby.

Figure3.2.1:Interiorspacesinthefloorplan

Figure3.2.2:Spaceslinkedtothelobby

14

3.3CIRCULATION

Modernistarchitectureutilizesanopenfloorplanwhichprovidesfreeflowing

circulation.InthecaseofthePJCivicCentre,thelobbyactsasthecentreofallcirculationthat

occurswithinthebuilding.Theonlywallsarethewallsthatpartitionsthespacesfromthemain
lobby.Thus,togettoanyofthespaces,onewouldhavetowalkthroughthelobbyfirstbefore
enteringtheintendedspace.

Figure3.3.1:Radialconfigurationofpathway

Thespacesarearrangedsuchaway,thattheconfigurationofpathwaysintheCivicCentreis

thatofaradialconfiguration.WiththeCivicCentreconsistingofpublicspaceswithdifferent,

separatefunctions,thepathwaysterminateineachroom.Therearenocrossoverpathwaysor
diagonalcirculationwithinthefloorplanleavingthespacethatallowsforfreeflowof
circulationbeingthemainlobby.

Besidesthemainwalkingpaths,therearetwotypesofcirculationintermsofthestairway
paths.Basedonthefigure,therearestraightrunstairsandUstairs.

15

3.4SYMMETRYANDBALANCE

Oneofthemaincharacteristicsofmodernistarchitectureissymmetryandbalance.The

ideaofmodernismistocelebratesymmetryandbalancetoachieveorderandclarityofform.In
termsofsymmetry,thePJCivicCentreachievessymmetryintheoverallformofthestructure.

Figure3.4.1:Symmetryinfloorplan

Figure3.4.2:Frontelevation

Asforbalance,thePJCivicCentreachievesbalanceinmassthroughthearrangementofthe

spaces.Whencompared,thetwolargerspaces,theauditoriumandthebanquethall,balance
eachotherouthorizontally,whereastheconferenceroom,lobbyandthemainentrance
balanceseachotheroutvertically.Thus,creatinganoverallspacewithclarityandorder.

16

Figure3.4.2:Horizontalandverticalspacesinplanview

3.5HIERARCHY

Thespatialhierarchyofabuildingusuallyreferstotheorderofimportanceofthe

spaces.IntermsofthePJCivicCentre,thehierarchyofthespacescanberankedbythe

massingofthespaces,capacityofpeoplethespaceholdsandthefunctionofthespace.The

hierarchyofspacesofthePJCivicCentreisfirstlytheauditorium,thenthebanquethall,and
finallytheconferenceroom.

Figure3.5.1:Hierarchyofspaces

17

Figure3.5.2:Theauditorium

Theauditoriumfunctionsasavenueformusicalandculturalperformances,thus,thespaceis

requiredtoholdalargecapacityofpeople.Hence,itslargemass.Besidesthat,therearestairs
thatleaduptotheauditorium,elevatingtheentrance,givingoffthesensethatthespaceisof
mostimportance.

Figure3.5.3:Thebanquethall

Next,thebanquethallhasthesecondlargestmassandholdsthesecondlargestcapacityof

peopleinthebuilding.Itdoesnotrequireasmuchspaceastheauditoriumasitfunctionsasa

dininghallforsocialevents.Finally,theconferenceroomdoesnotrequireaccommodationofa
largecapacityofpeoplesinceitsfunctionisforprivatemeetingsandconferences,thus,ithas
thesmallestmassamongthethreemainspaces.

18

4.0ARCHITECTURESTYLEANALYSIS(byHirendranSivaganam)

PetalingJayaCivicCentrewascommissionedbyProjekArkitekKualaLumpurduringthe

early70s.Thetotalperiodofconstructionfrom1973to1978.CommonlyknownasDewanSivik
MBPJorPJCC,theciviccentrerepresentstherightsofciviliansandthepowerofsocial

participation.Theinceptionofitsconceptisuncertain,whetheritwasdrawnfromacivic
societyoritwasconstructedbasedontheurbandevelopmenttrendsinthemid70s.

Theearly70swashitbyeconomicandsocialrecessioninmanycountriesduetotheoilcrisis.

Hence,governmentsaroundtheworldturnedtotheconstructionofheavydutybuildingsthat
wouldbeeasytomaintain,relativelyinexpensivetoconstructyetstillprovidingastrong
nationalisticmetaphor.

ModernarchitecturebecameadominantarchitecturalstyleaftertheSecondWorldWar,and

remainedatthetopforseveraldecades.Modernismwaslargelycharacterisedbyprogressive
membersoftheBauhausschoolduringtheearly20sand30s.Derivedfromthatstyle,some
othermodernistsoughttodefinenicheswithinmodernism,includingminimalistandlater,
Brutalist.ThePetalingJayaCivicCentreheavilyreflectsbrutalism.

19

4.1BRUTALISM

Brutalistarchitectureisamovementinarchitecturethatflourishedfromthe1950sto

themid1970s.Itderivesfromthemodernistarchitecturalmovementoftheearly20thcentury.

BrutalistoriginatesfromtheFrenchwordfor"raw"inthetermusedbyLeCorbusiertodescribe
hischoiceofmaterialbtonbrut(rawconcrete).BritisharchitecturalcriticReynerBanham

adaptedtheterminto"brutalism"(originally"NewBrutalism")toidentifytheemergingstyle.
Brutalismbecamepopularwithgovernmentalandinstitutionalclients,withnumerous

examplesinBritain,France,Germany,Japan,theUnitedStates,Canada,Brazil,thePhilippines,
IsraelandAustraliaasitwasfavouredformanygovernmentprojects.

InMalaysia,the'Brutalist'movementwasleadlargelybysomeprolificBritisharchitects

receivingmanycommissionsfromlocalcouncils,tomaketheirmarkon'progressive'postwar
housingandpublicbuildings.

20

4.2CHARACTERISTICS

LARGEFORMS

TheBrutalistmovementemphasizesonfunctionalityandform.Mostofthesebuildingsare

oftentypicallymassiveincharacterevenwhennotlargeinsize.TheCivicCentreresemblesa
fortressthatischaracterizedbylargeangularformsalongwithacurvedshiplikemassive

substructureatthetop.PartofitsstructurecanbecomparedtoLeCorbusier'sHighCourt
buildingandtheSecretariatofficesinChandigarh,Indiawhichhassimilarfeatures.

Figure4.2.1LargeAngularFormsFigure4.2.2FortressLike
ShipLikeSubstructure

Figure4.2.3LeCorbusier'sHighCourtbuildingandtheSecretariatoffices

21

EMPHASISONFUNCTIONALITY

Twostaircasetowersextendverticallytocreateabalanceofsymmetrytothehorizontal

massiveform.Thesestaircasetowersshowcasetheemphasisonfunctionalityofthebuilding.

Thehorizontalityindesignofthebuildinggoeshandinhandwiththedivisionofinteriorspaces.
Thesespacesareclearlydefinedbythetwostaircasetowerswhichdividethebuildinginto3
mainspaces;theauditorium,theconferenceroomandthebanquethall.Thesestaircase
towersalsogivesarepetitivetouniqueprincipletothestructure.

Figure4.2.4StaircaseTowerFigure4.2.5Horizontality

Figure4.2.6EmphasisonFunctionality

22

MATERIALITY

TheBrutalistinfluenceonthePetalingJayaCivicCentrecanalsobeseenthroughtheusageof
roughmaterialssuchasglass,brickandconcrete.UnliketheirInternationalstylecousins,

Brutalistarchitecturewasaboutstretchingthelimitsofhowconcretecouldbeshaped.The

buildingruggedlycombinesdetailedbrickworkandconcreteasrelativelyeasytoconstructand
easytomaintain.Beingforgedlargelyoutofrawconcretetheywereoftenseenasaquickand
easywaytoconstruct'lasting'buildingsinthe60s.

Figure4.2.7ConcreteFigure4.2.8StructuralStrength

ThevisualstrengththatBrutaliststyleconveysalsocomesthroughinstructuralstrength.The
useofhighgradereinforcedconcreteforthesuperstructurealsomeansthebuildingis

structurallyveryhardy.Thebuildingalsolacksthe'skeletal'appearanceofearlyInternational
stylebuildingswhichreinforcesitsclassificationasaBrutalistbuilding.

23

RIGIDNESS

Buttress,supportingconcretecolumncreatesasenseofrigidnesswhichcontradictsthecurving
facadeandthestaircasetowers.Theseelementscombinetocreateastablefirmfeelingtothe
structureandenhancetheirdurabilityevenfurther.

Figure4.2.9ButtressSupportingConcreteColumn

4.3LOCALINFLUENCES

Besides,beinginfluencedbywesternmodernistarchitecture,PetalingJayaCivicCentre

alsohastracesoflocalinfluences.Theseinfluencesaremainlyshowcasedintheinterior

spaces.The12pointstarlayoutplanforthelobbyandthebanquethallarebasedonanIslamic
symbol.

Figure4.3.1Islamicinfluence,12pointstarplan

24

5.0BUILDINGCONSTRUCTION,STRUCTUREANDMATERIALSANALYSIS(byJackLeeHorKit)

Figure5:PetalingJayaCivicCentre(PJCC)

ThetermforthestyleofBrutalistarchitecturederivedfromtheFrenchtermBtonBrut

meaningrawconcreteisacleartranslationthatBrutalismischaracterisedbyitsroughmaterial
finishesandsenseofgreatscale.

Brutalismispureandhonestinitsconstructionanditshowsinitsmaterialsandstructure

throughitsuseofoffformconcreteconstructionmethod.Thisleavesitsstructuralelements
exposedinallitsnaturalanduntamperedtextureandmonolithicform.

ThePJCCsconstructionmethodaswellofuseofmaterialsisagreatrepresentationof

BrutalismandasaModernbuildingingeneralwithitsforminspiredbyitsfunction,and
emphasisonitsmaterials.
5.1SUPERSTRUCTURE
TheinfluenceofBrutalistarchitectureinthePJCCismostobviousinitsexteriorasitis

completedwithreinforcedconcrete(asismostofitsentirety)whichaidsintheemphasisofthe
rawnessBrutalismaimstoshow.Whentheformworkisremovedfromthe

pouredandthendriedconcretearounditsreinforcementbars,theroughandnaturally

texturedsurfacesoftheconcretegainedfromtheformworkisthestructuresfinalfinish.
TheuseofBrutalisminthePJCCsdesignnotonlyflourishesinitsaestheticappealbutinits
durabilitytoMalaysiasharshweatherandclimateconditions.

25

5.2WALLS

Figures5.2:Theexteriorwall

Wallsofanystructuretransferloadsfromthefloorsandroofabovetothefoundation.Forthis
reason,thewallsmustbeappropriatelyconstructedtowithstandthemassiveloadsfromthe

roof.Inturn,thewallsareconstructedmassive(thick)toaccommodatetheweightoftheroof
whichenhancestheBrutalism.
5.3ROOFS

Figures5.3.1and5.3.2:Theroofs
Asitispartoftheexteriorandalsooneofthebuildingsmostprominentfeatures,the

roofisalsomadeofreinforcedconcrete:perfectfortheinsulationoftheexteriorheatin
Malaysiasweather.

Itisconstructeddifferentlyfromthewalls,beamsorcolumnsaswhiletheyarecastedby

pouringliquidconcreteintoformworkaroundreinforcementbarsaccordingtowherethe
buildingistobepositioned,theroofisprecastsoastosuitthedesignoftherestofthe
building.

26

InspirationfromLeCorbusiersNotreDameDuHautaswellasHighCourtBuildingisvery
evidentinthePJCCsroofdesign.Usingoffformconcreteplaysabigroleineasingthe

constructionoftherooftogiveitsorganicformsimilarlyseeninLeCorbusiersmasterpiece.
5.4FOUNDATION
ThefoundationtypeusedforthePJCCisdeepfoundation(inwhichloadsare

transferreddeepdownintotheearthfromthesurfacebypilesofthebuilding)whichis

commonlyusedinMalaysiaduetotheconditionofthesoilinthecountrysoastoensure
properstabilityinstructures.

Precastconcretepilingisusedandistypicallyconstructedinapilingyardbeforebeing
transportedtotheconstructionsitetobeinstalled.

Thepilesarehammereddeepintotheearthbyeitherapilehammerorahydraulichammer.
5.5FLOORS

Figure5.5:Thebanquethallfloor
Thefloorsofthebuildingacttotransferbothliveanddeadweightsfromitselftothe

existingcolumnsandwalls.

Thefloors,locatedmostlyintheinterior,arenotfinishedwithrawconcrete.Rathertheyare
finishedwithothermaterialssuchastiles,marble,andalsocarpetstogiveoffdifferent
experiencesindoors.

27

5.6MATERIALS

Figures5.6.1,5.6.2and5.6.3(fromlefttoright,thenbottom):Lobby,auditoriumandbanquet
hall

TheentiretyofthePJCCsexteriorstructureismadeofreinforcedconcretewhileits
interiorroomsuseavarietyofdifferentmaterialstoenhanceorbringoutdifferentfeelings
withinvisitorsastheyareinadifferentroom.
Incontrasttothecold,strongandrawappearancetheexteriorhas,
Theentranceand/ormainlobbyisfinishedprimarilywithmarble,anelegantmaterialwhich
givestheroomagranderlook.Theceilingisgivenawhitepaintfinish,allowingtheroomto
appearmorespacious.
Theauditoriumwallsarecladdedwithlaminatedtimberwithintentiontoenhancethe
acousticsoftheroomwhilealsobringinginawarmatmosphere.
Thebanquethallusestimbercladdingonitswallsandcarpetstoallowgueststofeelmore
welcomed,andhasahighceilingandsounddampenersonitswallstoaccommodateforthe
largeamountofpeopleitisintendedtohold.

28

5.7COMPARISONSTOTHEWEST

Figure7:LeCorbusiersNotreDameDuHaut
https://www.bluffton.edu/~sullivanm/ronchamps/112.jpg
TheNotreDameDuHaut(NDDH),designedbythelateLeCorbusierandsituatedin
Ronchamp,HauteSane,France,isachapelintendedforreligioususewithExpressionistand
moreimportantlyBrutalistinfluencesinitsdesignwhichcanbecomparedwithPJCC.
PJCCisintendedforthelocalcommunityandholdingprivateeventswhileNDDHisintendedfor
religiousservices.Ultimatelybothareintendedtoholdcrowds.
PJCCissetinthecityofPetalingJayasurroundedbyhouses,shoplotsandotherbuildings.
NDDHissetonahillisolatedfromotherbuildings,surroundedbynature.
Bothbuildingslayoutsaresimpleyetwiththeirdifferences.PJCCsfloorplanhighlightsafew
significantlylargerspaceswithasmallercentrallobbyspacethatconnectsthem.NDDHsfloor
planisinspiredbythatoftraditionalchapellayoutsbutmuchmoreorganic.
AsbothhaveBrutalistinfluenceintheirdesign,bothhavesimilarconstructionfeatures:
primaryuseofconcrete,highceilingsandthickwalls,coldlookingexteriorswithwarmer
interiors,anduniquelyconstructedroofspossessingroughlytexturedyetorganiccurves.

29

6.0ARCHITECTURALELEMENTS/COMPONENTANALYSIS(byKimberlyAnnAussie)

6.1FACADE

Figure5.1.1Facadeindicationonplan

Abletosetthecharacterofabuilding,thefacadeoftengivesthefirstimpressionofa

building.AsBrutalismultimatelytranslatestorawconcrete,themostdistinctivefeatureof

thisbuildingisthefacadewherethesculpturaluseofexposedconcreteandstrongboldshapes
displaysarawandunpretentioushonesty.Theprotrudingplanesanduseoftaperedwallsare

symmetricalattheentranceandexpressesstrongcurvedelementscontrastingwithhorizontal
andverticalelements.

Figure6.1.2PanoramicViewoftheFacade

30

Figure6.1.3Protrudingwedgefromexteriorwall

Theboldshapesandlargeareasofblankwallshowevergiveastrongmassiveappearancewhile
detailssuchastheroundwindowlikeprojectionfromtheentranceaddsresemblanceofaship
foraestheticvalue.Diagonalandslopingelementssuchasthewedgefoundprotrudingfrom
theexteriorwallisadistinctfeatureofBrutalistarchitectureaswell.

6.2ROOF&CEILING

Figure6.2.1SimilaritybetweentheChandigarh(left)andPJCC(right)roof

Fromitselevationview,theroofofthisbuildingappearstobeamassiveconcreteslab

sittingoncolumnsforsupportandaestheticvalue.Itshyperbolicformfollowsthecontrastof
curvedelementswithverticalandhorizontalmembersofBrutalism.SimilartoLeCorbusiers
Chandigarh,bothbuildingscanbeseenwiththesameelementsoftheroof.

Whenviewedfromabirdseyeview,theroofcanbeclearlyseentobeaflatcoveredroofwith
aprominenthyperbolicform.Priortoitsrenovationin2004,theexposedwaffleroofsystem
canbeobservedalongwiththe12pointedstarmotifbeforetheywerereplaced.Theroof
31

howeverlacksnaturallightpenetrationthushavingtodependonartificiallightindoors.

Figure6.2.2Birdseyeviewoftheroofduring(left)andafter(right)renovationGoogleImage

Figure6.2.3Ceilingfeaturingthe12pointedstarmotif

Insidethebuilding,wherethelobbyisenteredfromthemaindoor,theceilingshows

significancetoIslamicarchitectureinfluence.Theartificiallightfeaturebringsfocustothe12
pointedstarmotiveabovetheceiling.

32

6.3STAIRS

Figure6.3.1Stairwayindicationonplan

Atotalof3stairtowersareerectedandattachedtothebuildingitself.Builtonthe

conceptofformfollowsfunction,theiconictowersaresituatedwherethereare2fronttowers
and1backtower.ThisconceptisbasedontheModernistprinciplewheretheshapeofthe

buildingisbasedonthepurposeinstead.Thetwofronttowersshowasenseofsymmetryand
balancewhenpositionedatequaldistancesfromtheentrance.

Figure6.3.2IconicStairToweralongtheentrance

33

Focusingondetails,thereareshuttercolumnswithsteellouversverticallyalongtheeachstair
tower.Thesefunctionasalightandairventilationbyallowinglighttopassthroughwhenits
openandimprovingaircirculationindoors.

6.4DOOR

Figure6.4.1Doorindicationonplan

Beingoneofthesignificantcomponents,thereareafewdoorsinthebuildingitself.Itis

akeyaccessthatpromotescirculationtodifferentroomsorareas.Thevariousdoorsdiffer
frommaterialandtypetosuiteachfunctionofspacerespectively.

Figure6.4.2MainEntranceA

34

Attheentranceofthebuilding,automatedslidingdoorsareusedwithareflectiveglass

materialwhenwalkingintothelobby.Itgivesasenseofsecurityandallowsnaturallightto
passslightly.

Figure6.4.3BanquetHalldoor(leftB)andAuditoriumdoor(rightC)

Asforthebanquethall,thedoorsaresignificantlylargerthantheentranceshowingits

grandnessofthevenue.Itincludesalargecentrehungglassdooraccompaniedbytwopivoted
glassdoorsbyeachside.ThelongcurvedverticalsteelhandrailmakesituniquetoBrutalism
architectureaswell.

Contrastingfromthebanquethallsdoor,theauditoriumsdoorapproachismuchsimpler.Itis
madeoutofwoodwhichmakesitwarmandinvitingtoguestsfromthelobby.Minimal
decorationisusedonthesewoodendoorstoattractattentionaesthetically.

6.5WINDOW

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Figure6.5.1Windowindicationonplan

FollowingthelackofwindowsinBrutalism,thisbuildingusesminimalusageof

windows.Thereareonlysmallfixedwindowsplacedhighabovethelobby.Itistheonlysource
ofnaturallightapartfromthedooropenings.Asthematerialofthewindowsareclearglass,

artificiallightingcanbeavoidedduringtheday.Overall,thisbuildingisnotnaturallyventilated
andreliesonartificiallightingonthemostpartespeciallyintheBanquetHallandAuditorium.

Figure6.5.1WindowsabovetheLobby

6.6FLOOR

36

Figure6.6.1Floorindicationonplan

Figure6.6.2FlooratLobbyA

Thefloorofthelobbyismadeoutofmarble,graniteandceramic.Duetothefinishof

thesematerials,theyareaestheticallypleasingandrequiresminimaldecoration.Influencedby
Islamicarchitecture,thelobbysfloordisplayssignificanceofthe12PointedIslamicStar.

37

Figure6.6.4FlooratBanquetHall(leftC)andAuditorium(rightB)

IntheBanquetHall,thefoyerusesblackceramictilesandprogressestocarpetfortheentire

hall.BothfoyerandhallfloorsshowsheavyinfluenceofIslamicarchitectureasthe12Pointed

IslamicStarmotifisusedrepetitivelyindifferentsizes.Thebrightyellowcarpetcreatesawarm
invitingatmosphere,thusmakingitvisuallyappealingcolourandtexturewise.Thecarpeted

floorsalsoreducethesoundoffootstepsandhelpsinsulatethehallasstrongairconditioningis
used.Thisway,guestscanfeelcomfortable.

Theauditoriumontheotherhandissimilarbyusingcarpetfortheentirefloor.Themain
purposeofcarpetedfloorsistohelpsoundprooftheroomasitisnormallyusedfor

performances.Thisreducesnoiseleakageoutsidethehall.Thebrightredcarpetcomplements
theAuditoriumseleganceandbringscomfortaswell.

6.7INTERIORWALL

Figure6.6.1Interiorwallindicationonplan

38

Figure6.6.2AuditoriumHallWallA

Thewallsoftheauditoriumhallplaysabigpartinsoundproofingthewholearea.Thus,

whenbuiltinacurvyform,itsnonparallelsurfaceinterruptsthestandingsoundwaveswhen
projectedfromthespeakerswithinthehall.Thewallsaremadeoutofwoodwhichisagreat

soundabsorbingmaterialandhelpreducereverberation.Italsodistributesthesoundevenlyto
preventdeadspotsinthehall.

Figure6.6.3BanquetHallWallB

Inthebanquethallarewhereeventsandcelebrationsareheldthusthewallsaremore

decorativehere.Itisbuiltwithwoodpanelsalongwithsomecushiontohelpaidincancelling

thenoiseemitted.Theembellishmentsmadeonthecushionsmakethemaestheticallypleasing
astheygowellwiththedecorstyleofthehall.

6.8LIGHTING

39

Figure6.8.1Lightingindicationonplan

Duetothelackofwindows,thebuildingdominantofartificiallightingindoors.Different

typesoflightingsareusedinthisbuildingasithelpsetdifferentspatialexperience.

Figure6.8.1BanquetHallLightingB

ThebrightestspacewouldhavetobetheBanquetHall.Inthehallitself,therearefourlarge

chandeliersthatgoinasinglerowaboveapathway.Beingbrightenough,theplacementabove

thepathwayalsocreatesemphasisonthegrandlightingandcirculationasthereareabsenceof
chairsandtablesunderneath.Theabundanceofartificiallightisemphasizedbythechandeliers
thatexudesagrandexperiencealongwiththehugesizeofthehall.

40

Figure6.8.2AuditoriumHallLightingA

ComparedtotheBanquetHall,theAuditoriumhasreducedlightingconditions.Thedimlighting
createsanenclosedcosyenvironment.Theplacementoflightsaffectthecirculationinsideas
theyguidegueststotheirseats.Thestagehoweverisbrightlylitasmainemphasisisimplied
whereperformancesareusuallycarriedout.

7.0CONCLUSION

Figure7.1PJCCmainentrance
41

Allinall,thePetalingJayaCivicCentreisanotablebuildingbuiltduringtheBrutalistera

whichisasubbranchofModernism.SimilartoLeCorbusiersChandigarh,thebuildingisbuilt

asanindicationofournationprogressingforwardwhereitbecomesawellknownlandmarkof
PetalingJayaespecially.Thebuildingsucceedsinincorporatinglocalarchitecturesuchasthe
IslamicinfluencewithBrutalistelementsgivingititsownuniquenessfromotherWestern

Brutalistbuildings.Anothersignificantfeatureofthisbuildingisthefactthatitachievesan

architecturalimagethatisabletocommunicatethroughitsarchitecturalelementssuchasits

largenessofscaleanditsrawandunpretentioushonestyofexposedconcrete.Lastly,toensure
thatthefuturegenerationwillhaveaprivilegetovisitsuchahistoricalbuilding,thebuilding
hastobewellmaintainedandrecordedintothenationalarchive.

8.0REFERENCES
FamousDesignersLeCorbusier(LeCorbusier)(18871965).(2012,November28).Retrieved
June21,2016,from
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ModernistsandtheFreePlan.(2013).RetrievedJune22,2016,from
https://shannonlynettebuchanan.wordpress.com/2013/03/30/modernistsandthefreeplan/
Brutalism.(2012,May9).RetrievedJune22,2016,from
http://www.slideshare.net/fdjaipur/brutalism
WhybrutalistarchitecturematterstoWinnipeg.(2015,July20).RetrievedJune19,2016,from
http://spectatortribune.com/whybrutalistarchitecturematterstowinnipeg/
Brutalism(19601970).(n.d.).RetrievedJune19,2016,from
http://www.ontarioarchitecture.com/Brutalist.htm
AHISTORYOFARCHITECTUREMODERNISM.(2016).Historiasztuki.com.pl.Retrieved22June
2016,from
http://www.historiasztuki.com.pl/kodowane/0030201ARCHWSPMODERNIZMeng.php
42

Abriefhistoryofmodernarchitectureanddesign|DailyNews.(2016).Dailynews.lk.Retrieved
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http://www.dailynews.lk/?q=2013/07/22/features/briefhistorymodernarchitectureanddesi
gn
Modernism.(2016).Architecture.com.Retrieved22June2016,from
https://www.architecture.com/Explore/ArchitecturalStyles/Modernism.aspx
Brutalistarchitecture:aconceptmadeconcreteFT.com.(2016).FinancialTimes.Retrieved22
June2016,from
http://www.ft.com/cms/s/2/4dcac1febe2511e29b2700144feab7de.html#slide0
Brutalism'sBrutalPracticality.(2016).Mir.com.my.Retrieved22June2016,from
http://www.mir.com.my/rb/photography/portfolio/azrul/html/prac1.html
Civiccentrenearpetalingjaya(nodate)Availableat:
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PortalRasmiMajlisBandarayaPetalingJaya(2016)Availableat:

http://www.mbpj.gov.my/web/guest/kenyataanmedia1?p_p_id=56_INSTANCE_v9uQ&p_p_lif
ecycle=0&p_p_state=normal&p_p_mode=view&p_p_col_id=columncontent&p_p_col_count=
1&page=1(Accessed:23June2016).

43