01

Group Members
Tan Foo Wong
Lucas Wong Kok Hoe
Simon Soh Wei Aun
Yap Chun Yew
Ibrahim Adhnan
Maria Rosa Sue
0310004
0309421
0316887
0309343
0314694
0317067
02
1.0 Introduction
2.0 Architectural Styles
3.0 BUilding Constructions
4.0 BUilding Materials
5.0 ARchitectural Elements
6.0 COnclusion
7.0 References
03
In amidst the other famous historical landmarks of Kuala Lumpur, the Rubber Research Insttute of Malaysia (R.R.I.M.) sits unsuspectngly
on 260 Jalan Ampang, sprawling on a 7.6 acre stretch of land. The decades old structure was erected on 19th May, 1937 and was
actually considered ahead of its tme, with its prominent Art Deco style (which was rather popular in KL at the period) and exposed
fair faced red bricks. It is open every day of the week, from 8am untl 5pm, except on Saturday, Sunday and public holidays since the
year it frst opened its doors to afer its relocaton.Although now known as a heritage building, it stll plays an important role in the
economy of rubber in Malaysia.
1.0 Introduction
FIgure 1.1 Rubber Research Insttute of Malaysia 1937.
Source: Tan Foo Wong, 2014. Milestones in rubber research: 75th anniversary of the Rubber Research Insttute of Malaysia (1925-2000).
04
Back
The R.R.I.M. was established to take over
the research and technical advisory work on
rubber producton of the whole of Malaya,
as funds were provided by a tax on rubber
exports. Prior to the establishment of the
R.R.I.M., there was no concentrated locaton
to coordinate and consolidate informaton
regarding the material that played a very
important role in the Malaysian economy. It
now acts as a testng center for experimental
rubber products in the country before it is
.available to the commercial market
Around 1926, the organizaton was located in
Damansara Road, Kuala Lumpur. The R.R.I.M.
began as a small organizaton with only fve
divisions, an experiment staton, a small
library and a staf complement of about 20
headed by its director.However, it was felt
that the buildings occupied by the insttute
were inadequate as its permanent home.
Thus, it was subsequently relocated to 260
JalanAmpang, Kuala Lumpur in the heart
of the natonal capital on 14 May 1937 and
was erected at the cost of around $200,000.
However, if one were to observe closely,
many extension wings have been constructed
throughout the years in order to accommodate
more areas for the testng process and to
.improve productvity as well
Figure 1.2 Rubber Research Insttute Board of Commitee 1926.
Source: Tan Foo Wong, 2014. Milestones in rubber research: 75th anniversary of the Rubber
Research Insttute of Malaysia (1925-2000).
05
Back
The R.R.I.M. was designed by Arthur Oakley Coltman (under the architecture frm
of Booty and Edwards), while the contractor for the building was Bong Sin and the
consultng engineer as Steen Sehested.
A.O. Coltman was a Britsh Architect who had practced in Malaya for 32 years, from
his arrival in 1925 untl his retrement in 1957. Incredibly, Coltman is also responsible
for designing most of Kuala Lumpurs greatest Art Deco structures, including Wisma
Ekran near Merdeka Square and the Lee Rubber building. Also, he is cited for bringing
modernism to the Federated States of Malaya, later Malaysia.
As typical of Art Deco buildings, the RRIM is geometrical and symmetrical in design,
with exotc ornamentaton cladding its exterior faade. It is associated with modernity,
one of the reasons the RRIM was deemed ahead of its tme, and made use of showing
of its raw building materials.What makes this building unusual, though, is that Art
Deco is normally seen in individual buildings, whereas in the R.R.I.M., it is employed a
complex of linked, single- story buildings set in a landscape compound. The collectons
of buildings are almost linked with identcal faade elements.
Art Deco in 20th century Malaya was a
product of prosperity, founded on the Britsh
colonys exportaton of tn and rubber. So, it
only makes sense that the RRIM was built in
this style, as it represents the opulence of the
industry it was housing. However, afer 1957,
when Malaysia achieved its independence
from Britain, buildings seized to be designed
in the Art Deco style, as it was ofen associated
with its colonial era.
FIgure 1.3 Rubber Research Insttute 1974.
Source: Yap Chun Yew, 2014.
FIgure 1.4 Her Majesty Queen Elizabeth II tapping
Rubber Tree with Malaysians 1974.
Source: Tan Foo Wong, 2014. Milestones in rubber
research: 75th anniversary of the Rubber Research
Insttute of Malaysia (1925-2000).
Back
06
FIgure 1.5 Foundaton stone of the Rubber Research Insttute of Malaya.
Source: Soh Wei Aun, 2014.
Figure 1.6 Site plan of RRIM.
Source: Google Maps, 2014.
Click image to view full map online.
Figure 1.7 Panaromic View of one of the facades. The collectons of buildings all share almost identcal facade elements.
Source: Lucas Wong, 2014.
Back
07
2.0 Architecture Style
Early 90s century, art deco movement started in 1910s and reached its peak during 1925 1939. Le Corbusier was the frst architect who
has been atributed the term art deco in building industry. When art deco emerged, it came to be associated with symmetry, geometry
paterns and exotc ornamentaton. One of its greatest strengths was its ability to adapt to local conditons. Bangunan Getah Asli as known as
The Rubber Research Insttute Malaysia located at 260 Jalan Ampang has been listed as a Natonal Heritage. The building built in 1937 was a
signifcant Art Deco movement architectural style that was considered ahead of its tme in Malaya, built by architect Arthur Oakley Coltman.
Figure 2.1 Le Corbusier having discussion with the site workers
source: htp://38.media.tumblr.com/tumblr_mcsxwpDLZ11qearaqo1_1280.jpg, 1949
Back
08
2.0 Architecture Style
As Figure 2.2 shows that the columns and ornament element was
highlighted by stcking out of the wall to create visually atractve
and all of them were arrange symmetrically. The ornament
elements emphasizes geometric forms: spheres, polygons,
rectangles, trapezoids, zigzags and more. The architect itself
uses repetton of the faade structure form and emphasizes
it around the courtyard and the links the building. Streamlines
were dedicated to be shown on the details.
Rounded Corners Figure 2.3 started to appear in the Art deco
architecture was because the technology during 1930s was
started allowed for constructon to be built with rounded corners
and ornamental treatment wad ofen limited to the most visible
parts of the building, where art deco is more emphasizing on the
exterior than the interior when it comes the ornamentatons.
Geometry shape was ofen sofen at the edge with round curved
corners. Rounded curved corners indicate the Art Modern
style which is spreading its infuence alongside with Art Deco.
The major diference between Art Deco is which emphasis more
on the vertcality elements while Art Modern is on the horizontal
The beginning of the Art Deco movement in Malaya uses
reinforced concrete as columns but yet with bulky look,
ornamentaton was used to give the building an exotc look.
With observaton in details, ornaments are extruded presentng
vertcal emphasis more of like a decoratve feature. Other than
that, the building of art deco usually have a parapet walls with
conceal fat roof or low-pitch roofs. Decoratve curiosites such as
roof drainage were added to further enhance the design.
Figure 2.2 Facade view that shows the building ornamentatons extruding out of the
building
source: Soh Wei Aun, 2014
Figure 2.3 Curvy round elements can be spoted at a western building
source: htp://content.clickbooq.com/3358/photos/adfc80747e.jpg
Back
09
The exterior of Art deco building got rich colour
tone by using diferent material and no longer
had neutral base colour. It represented luxury,
glamour, exuberance, and faith in social and
technological progress. As the bangunan getah
asli was built by red brick and concrete with grey
pebble. The red brick and grey pebble wash has
enhanced colour tone and texture feeling of
exterior wall.
Some of the wall Figure 2.4 & 2.5 also got reliefs to show the history that relatve to the
building.
Figure 2.4 Wall sculptng of the life of a rubber
tapper
source: Soh Wei Aun, 2014
Figure 2.5 Wall sculptng of the history of who
brought rubber to Malaya
source: Soh Wei Aun, 2014
Figure 2.6 Brickwall arrqnged in diferent level, corners
are curved and atached with the grey pebble wash
source: Tan Foo Wong,2014
Back
10
Figure 2.7 Wall sculptng of the history of rubber in Malaya tll Malaysia today
source: Soh Wei Aun, 2014
Back
11
Everything in the building seem to come in threes, as the fgure
shows below. Three windows, or three bandings or three steps up
etc. This is probably due to the Egyptan infuence of the pyramids.
Chrysler building Figure 12 in New York seems to have infuence
from the pyramid stacking and infused with the sun burst element
on each level. This proves that the Egyptan architecture not only
infuences the west, it also was brought into local society like the
RRIM building.
The bandings mostly was horizontal element on the facades of
the buildings Figure 2.9 and 2.10, which can be incised or applied
in decoratve materials such as tle. The banding was fnished in a
contrastng colour with the red brick wall .
Figure 2.8 Chrysler building showing the sunburst element of art deco
source: Leena Hietanen, 2005
Figure 2.9 The corridor facade with 3 bandage & 3 openings
source: Soh Wei Aun, 2014
Figure 2.10 The 3 secton diferentate by 2 defne lines
source: Soh Wei Aun, 2014
Back
12
The interior space of building
normally will have a large
skylight Figure 2.12 or a row
of window on top of wall
Figure 2.11 to bring the sun
light even the door also have
glass. The interior foor are
terrazzo fooring, is a fooring
material consistng of chips
of marble or granite set in
concrete and polished to give
a smooth surface.
The spatal organizaton of its building grouped around a
courtyard giving access throughout the whole site and was
giving the environment a private garden for the building.
This was giving the building the luxurious elements where
it provides natural sources such as air, light, tranquillity
and security and private. Afer the World War II, there
are disagreement that sees the design as inappropriate
luxurious. The local infuence of bringing in the courtyard
was brought by the Chinese peoples from China that
migrate to Malaya during the war and established their life
here. It was then taken account in the design of the RRIM
building.
Figure 2.11 Windows arrange high up in a row of the
interior space
source: Soh Wei Aun, 2014
Figure 2.13 Courtyard view
source: Soh Wei Aun, 2014
Figure 2.12 Skylight at the entrance atrium
source: Soh Wei Aun, 2014
Back
13
The second point was the glamour element that was referring to
the lavish ornamentaton of the Art Deco movement. This could
be observed through the faade where the ornamentaton details
were design very precisely with a good crafsmanship. The building
was designated in a bulky way and huge ornamentaton yet with
very fne details on the ornamentatons, such as rubber tapping
symbols and sheet of rubbers was shown in Figure 2.15 & 2.16
Figure 2.14 Rubber are dried under the sun
source: htp://1.bp.blogspot.com/-FjgVm2XBU9o/UD9X5y3KMoI/AAAAAAAAABs/
ManSe7e-Fu8/s1600/Sun+dry+of+rubber+sheets.jpg
Figure 2.15 Rubber sheet sculpture on the facade.
source: Soh Wei Aun, 2014.
Back
14
Follow by exuberance of the ornamental quality, there
are test tube patern ornaments thats representng the
equipment for research purposes. Meaning behind the work
of the rubber tapping has infused with local infuence, its
patern was crafed and located at the building faade. This
could be seen by the detail of the meaning which the rubber
tapping industry that took place in the Malaya. This is the
representaton of the rubber researchers and rubber tappers
life as well as the job that they are the professional at hand.
This building shows innovatve of the industrial revoluton,
inventve elements and nature of the Art Deco style.
Figure 2.16 Rubber research test tube sculpture
source: Soh Wei Aun, 2014 Figure 2.17 Rubber research test tube sculpture on the facade
source: Soh Wei Aun, 2014
Back
15
Art Deco was infuenced by cubism, an Avant-garde art movement pioneered by Georges Braque
and Pablo Picasso. Subsequently, it inspired movements in music, literature and architecture. Cubism
has been considered as the most infuental art movement of the 20th century. Furthermore, it
plays an important role in infuencing architecture movement, where it doesnt follow or imitate
architectural style from the past and it was understand as the futurist movement. This was certainly
shown throughout the structure of the Rubber Research Insttute of Malaysia, where rectlinear
could be observe through the bulky form of rectangular form. Similarly, the ornamentaton details
of the ceiling was also in the similar form.
Figure 2.18 Portrait of Georges Braque and Pablo Picasso
source: htp://blog.styleboston.tv/wp-content/uploads/2011/07/georges-braque-et-pablo-picasso.jpg, 2011
Back
16
Figure 2.19 Rectlinear ceiling design under the pathway
source: Soh Wei Aun, 2014
Back
17
3.0 Building Construction
Foundation
The foundaton of the building is concrete base support the structure,
this foundaton has a footng placed below a foundaton wall. According
to Figure 3.1, the footng is wider than the foundaton wall to give
extra support at the base.
Walls
Surrounding the building is a series of load bearing brick walls, these
bricks are laid from ground level concrete slab to the top. Some parts
of the wall with decoratve sculpture plastered with pebble wash.
base
caulk
anchor
concrete wall
concrete footng
interior brick layer
exterior brick
layer
Figure 3.1 Sketch of Foundaton Column
source: Yap Chun Yew, 2014
Figure 3.2 Sketch of Load Bearing Wall
source: Yap Chun Yew, 2014
Back
18
3.0 Building Construction
Walls
Figure 3.3 Load Bearing Walls
(Source: Soh Wei Aun, 2014)
Back
19
Sliding Door
In Figure 3.4, the sliding door is placed at main entrance
to save space and accommodate medium density
circulaton. It is built on a 500mm high platorm to the
lobby of the building, the door is 3 meters tall with a
width of 1.4 meter in total.
Figure 3.4 Main Entrance Sliding Door
Source: Soh Wei Aun, 2014
Figure 3.3 Sketch of Frame of Sliding Door
Source: Yap Chun Yew, 2014
Back
20
Windows are the key feature of the buildings, they have long vertcal
and high above eye level types. Vertcal windows allow more sunlight
to penetrate into buildings but most of these windows are shaded
windows. In Figure 3.6, the external part of the windows are shaded
with extended ceiling. When the windows are opened for ventlaton,
cool air will fow inwards to fll the area. As for the high level windows,
they are located in the library building which has a second level. The
functon of the high level windows are to let light penetrate to higher
grounds and also prevent users from getng distracted by the views
outside.
Windows
Figure 3.5 Library High Window
Source: Soh Wei Aun, 2014
Figure 3.6 Repettve Windows
Source: Soh Wei Aun, 2014
Figure 3.7 Sketch of Frame of Window
Source: Yap Chun Yew, 2014
Back
21
Figure 3.8 shows the roof of the buildings are fat with guter for rain water
displacement through drop outlets. Zinc plate is installed on top of structural
deck with the ceiling joist.
Figure 3.9 Roof View from Top
Source: maps.google.com, 2014
Zinc Plate
Structural Deck
Ceiling Joist
Roof
Figure 3.8 Sketch of Zinc Roof Layer
source: Yap Chun Yew, 2014
Back
22
Second Level
From the Figure 3.10, the concrete column and beam forms a second
level to the building. This is made possible because a frame is used
to place in between the concrete slabs which acts as a supportng
load bearing structure. The extension of the wings are added a few
years later.
Figure 3.11 Double Level Building
Source: Soh Wei Aun, 2014
Beam Column Bearing Ledge
Figure 3.10 Sketch of Double Level Building Constructon Concrete Frame
source: Yap Chun Yew, 2014
Back
23
Art Deco Movement was a break away
from traditon in the use of materials. In
contrast with the Art Nouveau period,
Art Deco designers began to work with
more straight lines and geometric pat-
terns, and the materials they chose for
their work had to be able to mimic those
lines in form and feel.
Bangunan Getah Asli is a pure example
of material employment in Art Deco
movement in Malaysia, that relecfs the
characteristcs of Art Deco Architecture.
Figure 4.1 Material employment in external facade
source: Soh Wei Aun, 2014
4.0 building materilas
Back
24
stucco
Stucco is a durable, atractve, and weather-resistant wall cov-
ering made of aggregate, binder and water which hardens to a
very dense solid when applied wet. Traditonal stucco is made
of lime sand and water. Animal or plant fbers were ofen
added for additonal strength. Stucco has been used in the ar-
chitectural decoraton schemes of many ancient cultures. It is
used to form extension from the real architecture and match-
es with the painted architecture in the Art Deco movement.
It played an important role in decoratng the joints between
walls and ceilings as seen in Bangunan Getah Asli.
Untl the later part of 19th century, stucco was commonly
used in the exterior of the buildings.
Common Materials used in
Art Deco
1.Stucco
2.Concrete
3.Fair Faced Brick
4.Tera cota
5.Steel
6.Aluminium
7.Glass Blocks
8.Decoratvie opaque
plate glass.
9.Exotc woods
10.Marble
11.Metals
12.Plastc
13.Lacquer
14.Animal Skin
Figure 4.2 Stucco artwork
source: Soh Wei Aun, 2014
Back
25
Fair Faced Bricks
Fair Faced bicks are versatle and durable masonry units made of
fred clay. It was used to build the load bearing walls of Getah Asli.
Fair-faced brick is a way of using bricks to cover walls where the
material is lef on view with no further work or fnishing layers.
This type of brick masonry is especially used in the exterior of Ba-
ngunan Getah Asli, which is common in art deco buidings. The vast
use of bricks in Getah Asli lends the building an individual charac-
teristc of naked material use.
Figure 4.4 Chrysler building
source: htp://www.newautomodels.
org/crysler-building/crysler-build-
ing-0/, 2014
The Chrysler Building in
New York is a good exam-
ple of brick employment in
Art Deco Architecture. The
building is cald white brick
and dark brickwork is used
as horizontal decoraton to
enhance the window rows.
Figure 4.3 Fair faced brick wall
source: Adnan Ibrahim, 2014
Concrete
Concrete is a mixture of cement, aggregate and water. It has
strength, durability and most importantly workability, which made
concrete one of the vast materials used in Art Deco buildings.
Concrete with reinforcements is used to build supportng structure
of the building. Moreover it was the ideal material to design the
exterior ornamentatons like the fag Poles and Bands as in the
Figure 4.7 Concrete beam and column structure
source: Soh Wei Aun, 2014
Back
26
Aluminium
Aluminium is a low density metal with high strenghth, superior
malleability, easy machining and exellent corrosion resistance. As
the Art Deco movement surfaced in the 1930s many architects
used aluminium in therir designs. Aluminium was a way to com-
bine traditonal craf motfs with Machine Age materials. These
propertes make it ideal for making doors and windows. It is wide-
ly used in art deco buildings throught the globe. Windows and
Doors of Bangunan Getah asli were made with aluminium framig.
However, the use of aluminium for decoraton in Bangunan Getah
Asli was very less compared to Art Deco Buildings in the west.
Figure 4.5 Empire state building
source: htp://www.cambridge2000.com/gallery/html/P10223842e.html, 2008
Aluminium was seen as a luxurious material in the Art Deco
Movement in America. The Foyer of the Empire State Building
features an Aluminium relief. Aluminium trims are used for deco-
ratve purposes.
Figure 4.6 Aluminium frame windows
source: Soh Wei Aun, 2014
Back
27
Brick Bonds
When the vertcal joints between bricks are not aligned in adjacent
courses, which is known as bonding. There are a number of
confguratons but the 3 basic arrangements are the English bond,
Flemish bond and the Running bond. This building uses 2 types
of brick bonding layout; one is the Flemish bond and the other is
the Running bond. In the Figure 5.1, the type of bonding used is
the Flemish bond. The patern of this bond is made from varying
headers and stretchers in the course giving it an aesthetc look
to the building with a good bonding strength. A queen closer is
normally seen at the end of the course to complete arrangement.
This bonding is seen on surface of every other building except for
the library.
In the Figure 5.2, a course of soldier brick can be seen with cut
edges. The purpose of this cut edges is to show its aesthetc design
over the Flemish bond as a foundaton. The cut edge soldier bricks
were seen on many low brick walls from across the courtyard and
entrance. In the fgure above, the low brick wall was built as the
foundaton of the higher Flemish bonding walls.
Figure 5.3 shows the Running bond which is also commonly known
as the stretcher bond as it is laid horizontally in overlapping courses
of stretchers. This bond is the toughest and most common type
of bonding seen on many buildings. Headers are not seen in this
type of bonding as headers minimize the strength of the bonding.
This design naturally minimizes any cutng giving its simplicity the
advantage.
5.0 Architectural ELements
Figure 5.1 Flemish Brick Bond at the Insttute.
Source: Soh Wei Aun, 2014.
Figure 5.2 Course of Soldier brick with cut edges on the column.
Souce: Soh Wei Aun, 2014.
Back
28
Figure 5.3 Running brick bonds at the exterior of the library.
Source: Soh Wei Aun, 2014.
Back
29
Doors
Figure 5.4 Timber Sliding Door at main entrance.
Source: Soh Wei Aun, 2014.
The carved tmber doorway in the main entrance was very decoratve,
with elaborate pilasters and a pediment that framed the building
beautfully. If one were to look closer, the pediment is almost eyebrow
like, shading direct sunlight and keeping the interior passage cool. It
featured ornaments depictng rubber sheets on the top corners of
each of the doors pilaster. Also, two windows frame the entrance on
either side, adding the symmetry and central balance to the viewers
eye. It is large and majestc, giving an overall impression of splendor
when entering the insttuton and what it represents.
Figure 5.5 shows the on site sketching of the main entrance of he
Rubber Research Insttute.
Figure 5.5 On site sketching of detail of the main entrance sliding door.
Source: Maria Rosa Seu, 2014.
Figure 5.6 Typical door design
that can be found around the
RRIM.
Back
30
When you frst see the faade of the insttuton, youll
immediately notce its clean modern profle and sharp
edged corners that make its Art Deco style so distnctve.
The walls compromise of exposed, smooth fair red-
faced bricks, with stylized geometrical and streamlined
ornaments grappling on its elevaton, symmetrical to each
other and giving a total overall impression of balance.
The ornaments on the outer walls represent things
relatng to the rubber industry, such as test tubes and
folding rubber sheets, lines of tapping and bowls to collect
rubber; this was because the Rubber Research Insttute of
Malaysia (R.R.I.M.) was the front liner of rubber research
in the country. The faade features a series of set backs
that create a stepped outline. Low relief decoraton panels
can be found at the entrances, around windows, along the
roof edges and as stringcourses.
Faade
Figure 5.7 A water color sketch of the Faade.
Source: Maria Rosa Seu, 2014.
Back
31
Flooring
Herringbone Pavements
The fgure 5.8 is a paver made up of herringbone patern bricks.
The arrangement of this patern is achieved by lying blocks of
bricks at 45 in such a manner that the chevrons run along
the principal directon of trafc or along the pathway, rather
than across. At side of the pavement are 2 courses of half
soldier bricks aligned uniformly from the beginning to the
end. Bricks are long lastng landscape designs. With proper
and occasional care, bricks can ofer a long lifespan service
and maintain its aesthetc looks compared to other materials.
Hexagonal Tiles
The fgure 5.9 shows the hexagonal foor tles at the corridor
pathway connectng from one building to another. This
type of arrangement has its advantages in its durability and
unique patern arrangements instead of Common Square
tles arrangements.
Figure 5.8 Herringbone arrangement pavements.
Source: Lucas Wong, 2014
Figure 5.9 Hexagonal TIles at the corridor.
Source: Lucas Wong, 2014
Back
32
Ornamentations
Ornamentatons can be seen throughout the buildings in this
research facility. As Art Deco style architecture, ornaments are
used to beautfy the building at the surfaces of the walls. Art
Deco buildings usually have fat roof or multleveled fat roofs.
The fgure 5.10 shows a combinaton of 3 ornaments. From the
front of the building entrance shows 2 columns fxated to the
lintel. Both the columns show the symbol of the rubber tapping
and the collecton of rubber sap.
The overlapping white sheets represent the sheets of rubber
collected afer the rubber is processed. The meaning behind this
art deco is to show its collectons of the rubber research made
since the opening of this faculty. on the both sides of the wall
shows the concrete test tubes. This is to represent research and
laboratory testng on the rubber materials.
The 2 columns shown in the Figure 5.11 are art deco columns. Art
deco columns usually stand out from the building and atached to
the front faade actng as an archway even if its non-accessible.
Lintels can be either a load bearing element or a decoratve
architectural component found over doors, portals, windows or
freplaces. As for the Art Deco Style that the RRIM follows, the
lintels are used for purely ornamentaton purposes and have no
structural functon. It emulates the fold of the sheets of rubber,
which echoes the other ornamentaton found covering the
building.
FIgure 5.10 Ornamentatons on the entrance.
Source: Soh Wei Aun, 2014
Figure 5.11 Art Deco Columns intersected with lintels
Source: Lucas Wong, 2014
Back
33
The Figure 5.12 shows the pilots supportng the
shade at the corridor. The pilots gives free spaces
for circulatons under the constructon. On the right
of the photo shows the ribbon windows which give
the freedom for the building to extend its windows
across the wall.
The Figure 5.13 shows a design of wall stud framing. Art deco columns
are used as studs to create sectons of frames. A frame is created when
the wall is recessed inwards. This is seen at the exterior wall of the
library.
Figure 5.12 Pilots supportng the corridor.
Source: Lucas Wong, 2014.
Figure 5.13 Wall Stud Framing as an exterior decoraton.
Source: Lucas Wong, 2014.
Back
34
Figure 5.14 Skylight Ceiling at the main entrance of the building.
Source: Soh Wei Aun, 2014.
The skylight ceiling illuminates the main lobby and provides natural
lightng for the building and helping save to save electrity costs. Art
Deco is a style that exudes an aura of grandiose and power, and
the Skylight helped to prove that the moment one steps into the
building.
FIgure 5.15 Rear wndows of the Library building.
Source: Maria Rosa Seu, 2014.
The windows in the RRIM typically appear as punctured
openings, mostly in a cubic form. Piers frame the window
openings, which are divided into three vertcal bands by two
large, protruding plaster mullions. Art deco windows are
usually geometrical and symmetrical, which can be seen in
the R.R.I.M.
Back
35
At the side of the library block are the The Seven Gems, a set of relief panels designed by Italian sculptor Rudolfo Nolli, who was
based in Singapore at the period. Relief panels are commonly used to narrate a story to the viewer and made a revival in the 20th
century with the emergence of the Art Deco style. The arrival of the industrial age helped to make manufacturing these relief panels
easier. Ornamentaton was not an issued route, but merely meant to give a building unique characteristcs and easy to diferentate
from other Art Deco styled buildings. Symbols were ofen used to show a buildings connecton to the industry in which it was housing.
Elements taken from Egyptan art, such as hieroglyphs, were incorporated into bas-reliefs, but streamlined. Also, Classical fgures were
seen in the roles of modern workers, exemplifying the connecton between classical idealism and modernity.
The seven gems depict the story of rubber, appropriately ftng the buildings functon, from the manufacturing process all the way to
its use in the commercial world.
The Seven Gems
Back
36
Figure 5.16 The Seven Gems.
Source: Yap Chun Yew, 2014.
Back
37
Figure 5.17 The image shows
the plantng of rubber trees in
Malaysia.
Source: Yap Chun Yew, 2014
FIgure 5.18 Workers tapping the
tree for rubber.
Source: Maria Rosa Seu, 2014
Figure 5.19 Smoking of the
rubber extract.
Source: Yap Chun Yew, 2014
Figure 5.20 Research on the
propertes and uses of rubber.
Source: Maria Rosa Seu, 2014
Meaning of the Gems
Back
38
Figure 5.21 Exportaton of
rubber products.
Source: Maria Rosa Seu, 2014
Figure 5.22 The applicaton of
rubber in everyday life. Finding
futuristc themes in art deco
ornamentaton is commonplace,
and the airplane in the relief
illustrates that.
Source: Maria Rosa Seu, 2014
Figure 5.23 Relief of Sir Henry Wickham, who
apparently is responsible for stealing approximately
70,000 rubber seeds from the rubber- bearing tree
Hevea brasiliensis in Brazil around 1876. The seeds
were brought to London and then its seedlings
were later dispatched to many tropical locatons,
including Malaya.
Source: Yap Chun Yew, 2014
Back
39
6.0 COnclusion
Trough our site visit to the RRIM, one of the most prominent Art Deco buildings in Malaysia, we have learnt a lot about
this architectural style and the colorful history behind the building. We also managed to understand more about the
principle, ideas and contributing factors behind the modern architecture movement in Klang Valley.
Te project has thought us how to analyze and identify the diferent elements and components of an Art Deco styled building
and how to diferentiate it amongst the other modern architecture in Kuala Lumpur, such as its striking ornamentations and
raw use of materials.
Furthermore, we had to document the architectural heritage of our building through the form of writings, descriptive
diagrams and photography. Te writing was done within the group, with the help of some research on books we found in the
library of the RRIM.
Lastly, we compiled everything into a web book as a mean to publish academic materials. Tis information can now be
shared with all.
Back
40
7.0 References
Lai, C.K. (2007). Building Merdeka: Independence Architecture in Kuala Lumpur, 1957 1966. Kuala Lumpur, Malaysia: Petronas.
Meijs, M. & Knaack, U. (2009) Principle of Constructon: Components and Connectons. Basel: Birkhauser.
Fama, P. (2013, June 6). The History and Infuence of Art Deco in Malaysia's Architecture. Retrieved June 11, 2014, from htp://www.
expatgomalaysia.com/artcle/1205/the-history-and-infuence-of-art-deco-in-malaysias-architecture
Malaysia, L. G. (n.d.). The Origin and Establishment of RRIM. Retrieved June 11, 2014, from htp://www.lgm.gov.my/general/rrim70yrs.aspx
Price, L. (2011, May 27). Rubber Research Insttute Malaysia. Retrieved June 11, 2014, from htp://cavingliz-noncave.blogspot.com/2011/05/
rubber-research-insttute-malaysia.html
Yeang, K. (2013). Malaya in the Early 20th Century. The Architecture of Malaysia (1st ed., pp. 172-175). Amsterdam, The Netherlands: The
Pepin Press. (Original work published 1992).
Sharon Koskof. Art Deco Elements. Retrieved June 13,2014 from Art Deco Society of the Palm Beaches website: htp://www.artdecopb.org/
whats2.html
Wentworthstudio. (2013) Historic Styles / Art Deco Style 1925-1940. Retrieved June 13,2014 from htp://www.wentworthstudio.com/historic-
styles/art-deco
Vint Elegance. (2012) Art Deco Inspired. Retrieved June 13, 2014 from htp://vintelegance.blogspot.com/2012/01/art-deco-inspired.html
Architecture, Landscape, and Urban Design. (2011) Art Deco and Modern. Retrieved June 13,2014 from htp://architecturestyles.org/art-deco/
Setng out Herringbone. (2014) Block Paving: Herringbone Patern. Retrieved June 13.2014 from htp://www.pavingexpert.com/howto45.
htm
Fama P.(2013). The History and Infuence of Art Deco in Malaysias Architecture. Retrieved June, 2014 from htp://www.expatgomalaysia.com/
artcle/1205/the-history-and-infuence-of-art-deco-in-malaysias-architecture
Interior Decoratng. (2014) Styles of Decoratng: Art Deco. Retrieved June, 2014 from htp://interiordec.about.com/od/decorateforbegin/a/
StylesofDecoratngArtDeco.htm
Back
41