Documente Academic
Documente Profesional
Documente Cultură
DECLARATION OF SUBMISSION
This is to certify that:
1) The Report comprises our original work towards the course work on
Methods
of
Documentation
and
Measured
Drawings
(ARC
ARC60305/ARC2323/ARC1215),
2) Due acknowledgements have been made in the text to all other material
used.
Signed by:
STUDENT NAME
SIGNATURE
STUDENT NAME
SIGNATURE
STUDENT NAME
TANG JU YI
SIGNATURE
LIEW JIN
LOH YU JIN
7 MARCH 2016
ABSTRACT
In a group of 27 students, we were given the task to measure and document
the Sin Sze Si Ya Temple as a part of our short semester module. The report
is meant to give a deeper understanding of the building from various aspects
such as architectural, historical and cultural. We choose to primarily base our
research on the relationship between its culture and architecture. The aspects
we covered were the relation of the building with its context, its significance,
the key components in its architecture and the way the users interact with it.
From the project, we hope to cover a gap of knowledge of the Sin Sze Si Ya
Temple.
ACKNOWLEDGEMENT
We would like to express sincere gratitude to Ms. Tey as well as the countless
amounts of administrators, staff, and helpers that were present at the Sin Sze
Si Ya Temple that provided us with ample care, help, and a friendly hospitality
to enable us to conduct our research.
We would also like to extend our sincere thanks to Ms. Nor Hayati, the main
coordinator of the module and the respective teams and staff in Taylors
University for providing us with the opportunity to conduct this research and
project.
We are also greatly in debt to Architect Kevin Mark Low, whom willingly took
time away from his busy schedule to agree upon us to have an interview to
provide us a clearer understanding and heading of direction of our project.
Lastly, we would like to extend our thanks and gratitude to our tutors Ar Ian
Ng and Dr. Sucharita Srirangam for guiding us along this project from the
beginning until the very end.
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3.03 Ample light is able to shine into the temple through these openings 30
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4.04 Floor plan showing the places (red) that is most frequent in-use
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6.16 Fu Dog 1
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6.17 Fu Dog 2
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and columns
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FOREWORD
We thank the entire team who worked on the Methods of Documentation and
Measured Drawings course work at the site of Sin Sze Si Ya Temple, Kuala
Lumpur, for offering such a great time and learning experience together.
The teams task was to measure and document the temple, which is one of
culturally and historically significant landmarks in the city of Kuala Lumpur.
The team enjoyed studying the temple for it offered a contrasting experience
within the city, where the tradition meets the contemporary and where the
chaos meets some order. With the immensity of such dualism, the team went
ahead to study both a) the tangible, scientific and technical aspects of the
building and b) the intangible, experiential and qualitative aspects of the
temple.
The production of deliverables from the course work, thus, became of two
folds. On one hand, the students presented the measurements by translating
the spatial measurements into graphical and physical representation through
drawings and model. And on the other, they presented sketches and
photographic journals, through actually becoming part of the temple itself by
participating in the cultural or ritual activities inside the temple.
The spatial articulation of Sin Sze Si Ya temple is of great complexity that has
its frontage facing a central courtyard that has two entries from two parallel
streets; the temple also exhibits complexity in its geometry as it orients an
9
Dr Sucharita Srirangam
Tutor
10
Having ever measured only one building in my long career, I approached Sin
Sze Si Ya with excitement. Deja vu it would not be then, particularly when 27
energetic and enthusiastic students under my charge would undertake the
task, not me. The most curious trait we would share would be that I was their
age when I measured a cruck barn in Yorkshire in the 70s.
The purpose of the exercise in Leeds, UK, was quite removed from that of
classical European tradition where it was thought that measuring up and
drawing of works of masters would somehow awaken some kind of
consciousness of the perfection of the classical orders and their proportions.
It was more than the acquisition of practical skills using instruments of
measuring, and recording onto paper (in pre-digital days.) Of that I would be
certain, as the final question from my reviewer would reveal. It was a question
I would remember above all other recalls. And what have you learnt about
the building? he asked. Thinking that it was an historic-theoretical question,
I fumbled in response. Basically, he said to end the ordeal, its a simple
structure that works very well in keeping out the weather.
Things have perhaps not changed today. It is more than measuring.
Sucharita and I challenged the students to extract more than merely bricks
and mortar from Sin Sze Si Ya. Beyond the mandatory mechanics of
measuring, cadding and model making old skills to be repeated, no doubt,
for the rest of their undergraduate studies we picked the video as an
opportunity to explore short-film communication as a means of synthesising
11
research. The basis of choice was the increasing use of narratives in video to
relate human experiences that other forms of communication do less well in,
particularly in the youngsters cyber spaced world. Happily, the students took
to textual analysis for an understanding of the principles of fictional narratives
with strict adherence to appropriate points of views. And amazingly,
Goldilocks and the 3 Bears fared well as the context for study.
Sucharita and I were delighted with the enthusiasm and the level of film and
dramatic talent the students harness on plunging into the filmmaking.
Finally, the reflective pieces each student wrote bear witness that the learning
had gone beyond measured drawing to drawing from cultural life and
relationship management. That, for me at least, is enough to make this an 8
weeks well spent together.
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TABLE OF CONTENTS
Subject
Page
Declaration of Submission
Abstract
Acknowledgement
List of Figures
Foreword
Table of Contents
13
1.0 INTRODUCTION
16
21
2.1 Module
22
2.2 Aim
23
2.3 Objectives
23
2.4 Instruments
24
2.4.1 Measurements
24
13
2.4.2 Accessibility
24
25
3.4 Summary
4.0 LIFEBLOOD Rituals, Activities and Belief
35
36
2.5.1 Internet
25
4.1 Functions
37
2.5.2 Books
25
38
2.5.3 Interviews
25
4.3 Rituals
41
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44
26
4.5 Summary
47
26
2.6 Limitations
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5.3 Summary
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6.1 Structure
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14
6.3 Construction
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6.7 Summary
67
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7.0 CONCLUSION
68
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8.0 DRAWINGS
80
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GLOSSARY
122
59
REFERENCES
123
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APPENDIX 1
125
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APPENDIX 2
136
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APPENDIX 3
138
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APPENDIX 4
139
6.5.1 Orientation
61
APPENDIX 5
140
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63
6.5.4 Customs
65
6.6 Ornamentations
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6.6.2 Meanings
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15
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1.0 INTRODUCTION
This report is an outcome of an eight-week exercise undertaken by 27
students from the School of Architecture, Building and Design, Taylors
University, Malaysia. As part of a mandatory short semester course we, the
students, measured the Sin Sze Si Ya Temple in Kuala Lumpur with the
objective of learning methods of measuring and recording as well as to
research and report on the history and culture of the heritage building which
was constructed before formal and modern systems of design drawings were
invented. The team of measurers comprised students who had just completed
the Semester 2 and Semester 3 of the BSc (Hons.) Architecture programme,
and was supervised by Senior Lecturers, Dr Sucharita Srirangam and Ar Ian
Ng.
This report includes reduced copies of all the drawings (originally A1) and
written text from our research questions which themselves were derived from
Fig 1.01 Sketch of the road leading to the temple
literature review, site visits and class discussions responding to the privilege
given by the course module. The privilege was to choose to investigate either
the history or the culture of the building. We chose to research and report on
the culture of the Sin Sze Si Ya Temple.
17
One of the first findings that impressed us was the circumstances surrounding
and giving rise to the building of this temple, a series of socio-political events
in the founding years of Kuala Lumpur in the mid-19th Century. This involved
protracted inter-racial and communal wars which saw its turning point when
the leader of one of the groups was beheaded. Folklore has it that white blood
flowed from his beheaded neck, a phenomenon that so startled the opposing
group that repentance and reconciliation between the warring parties
followed. The building of the temple followed in the ensuing years in
commemoration of the event.
This report, thus, takes inspiration from this generating point, entitling itself
WHITE BLOOD, and picks up on the metaphor to flesh itself out.
Following the introduction Chapter 2, Module and Methodology, tables the
module outline given for our instruction and the methodology which were in
the main prescribed. The methodology led to a guiding research question
which is, In what way does the temple respond to the need of
contemporary users?
Fig 1.02 Natural light shining through the opening in the main hall of the temple
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With the clear research question, reporting was naturally organized into the
ensuing five chapters.
Chapter 3, Bloodline- from history to legend to faith, records the founding
and growth of the temple to present time. It starts with the white blood
occurrence, discussing the degree of truth of the matter, and attempts to show
its relationship to the character of the faith that forms the basis of this temple.
It also discusses the value of this temple to not only its adherents and
devotees but also the neighbouring community and our multicultural nation.
Chapter 4, Lifeblood - rituals and activities, gives a descriptive analysis of
the user content that range from formal and symbolic rituals to the day to day
activities of the temple occupants, and covers the deities housed. It focusses
on the essential rituals that give this temple its unique characteristic.
Chapter 5, Conduits - the spatial articulation within the temple, moves
into an analysis of how the architectural spaces within the temple are
configured according to our contemporary values of perception. It uses the
concept that what appears to be chaos may actually be order of a natural,
organic kind and comments on how this dynamic between order and chaos
speaks of the life of the temple.
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20
21
by Amir Fauzan
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2.2 Aim
Our aim was simple; to relate the architecture of the building to its
significance, highlighting how the two support the inhabitation of the building.
2.3 Objectives
The objectives of this project are to analyse the relationship between
architecture and the significance of the building as well as its inhabitation.
Furthermore, to learn to use different type of methods for researching
information.
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2.4 Instruments
2.4.1 Measurements
Measuring tape string and retractable measuring for curved and round
objects, construction laser ranger finder to measure height and distances on
high ground.
2.4.2 Accessibility
Multi-purpose ladder, Folding ladder, Safety Harness
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2.5.2 Books
Understanding Sin Sze Si Ya histories, cultures, events, activities and type of
gods in the Chinese version of the temples book and translated into English
to allow others to understand it. We also got some inside of the design of the
temple in order to meet the requirements of the Feng Shui.
2.5.3 Interviews
Interviewing the worker in the temple, Miss Ranjit and Ms Lim, a committee
member of the temple, to gain more inside information about the temple.
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2.6 Limitation
2.6.1 Lack of Information
Information about Feng Shui in books are limited and mostly about modern
building. Hence, we obtained the information through some elders who have
more knowledge on the Feng Shui of old buildings like temple but some of it
Fig 2.06 An elder praying to the deities
has
various
versions
due
to
the
fact
of
hearsay.
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3.0 BLOODLINE
History, Folklore & Culture
3.1 History of Sin Sze Si Ya Temple
Sin Sze Si Ya Temple, built in 1864 by Kapitan Yap Ah Loy, is hailed as the
oldest Taoist temple in Kuala Lumpur. The Sin Sze Si Ya Temple is an object
and place of faith for the civilians as well as a symbolic monument of the
historical fights of the Chinese. The existence of the temple allows us to look
at the backgrounds and life experiences of the Chinese heroes who were part
of the early stages of the development of Kuala Lumpur, which were
comprised of blood and tears.
According to history, in year 1859, there were two local emirates in Seremban
who were in a fight against each other due to mining and taxations rights. The
Chinese then followed the Malay landlords and were divided into two
organizations which were Ghee Hin and Hai San. At that time, Liu Ngim Kong
was a captain under the Chinese Kapitan Shing Kap and he recommended
Yap Ah Loy as someone capable who is brave, resourceful and can play a
major role in the fight to be the vice-captain.
In the year 1860, a war broke out and unfortunately, Kapitan Shing Kaps
forces was defeated and Kapitan Shing himself was beheaded after being
captured by the opposing Malay forces. His death was extraordinary as white
Fig 3.01 Sketch of temple main entrance
by Mark Eng
blood was seen flowing from his neck after his head was chopped off. In
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Malay belief, it is an indication that the person is a saint if white blood is spilled
by a dying person. After witnessing such phenomenon, the Malays begged
for forgiveness and allowed the Chinese to retrieve his body for burial.
The news spread like wild fire and had soon become a myth. It was said that
Kapitan Shing Kap was very kind and had the heart of a Buddha, hence after
he was killed, he took his place as one of the Gods. Ever since then, Shing
Kap is regarded and looked upon by the local Chinese as a deity, and a
temple was built in his honour in order to worship and commemorate him. In
1861, Yap Ah Loy became Shing Kaps successor as the Kapitan of
Seremban.
Aside from Shing Kap, there was another hero, Sze Si Ya, who was the
commander-in-chief during the Selangor Civil War. He admired Yap Ah Loy
during that time and followed him to the war. He won a lot of battles but in the
end he was killed in the battlefield. In order to commemorate him, Yap Ah Loy
built a temple and named it as Sin Sze Si Ya Temple, which is the combination
of the name of Shing Kap and Sze Si Ya.
Sin Sze Si Ya Temple is a part of the history of Kuala Lumpur. To the Chinese
community, the temple is a clear evidence of the contribution of the Chinese
Fig 3.02 Picture of Yap Ah Loy.
community to the country. The temple holds certain sentimental values for the
local Chinese as it reflects the hard work of their ancestors who came to
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this land and witness the birth and growth of the city of Kuala Lumpur, which
indirectly formed the core starting point for the current Chinese community
who eventually resided here in the country as their home.
Other than the Sin Sze Si Ya Temple, there are twelve other temples with the
same theme and objectives in many other towns and cities around the region,
each of them easily dates back to more than a hundred years old.
30
craftsmanship that went into the details of the ornaments, statues and
decorations made with pure precision. They may learn something new, or
trigger the most memorable portion of their trip. Needless to say the temples
contribution to tourism is immense.
3.2.3 Temple and Religion
Devotees appear in masses especially during the annual Chinese New Year
celebrations. Many arrive with the intentions of conducting a prayer that will
provide luck and prosperity to the prayers. Some may pray for health and the
safety of loved ones. Others may pray because it has already become a
routine for them, many familiar faces can be seen bleeding the interiors of the
Fig 3.06 Main hall of temple, level change seen on green tile
table of the main altar on the eve of Chinese New Year, in the hopes of
lessening mortal burdens through help from the Almighty above.
Humans from the oldest and wisest to the purest and youngest would conduct
this ritual, without any hesitation. Further influences that draw in devotees
and visitors alike include the unique ritual of praying to Wenchang Dijun,
known widely as the God of Education in Chinese history and mythology.
Most popular during times of examinations, prayers to the God of Education
himself will hopefully lead to the passing of examinations of flying colours for
hopefuls. Also ever present in the temples religious line up are the odd
Fig 3.07 Usage of temple with rituals
devotee conducting a prayer that includes them circling the main altar three
times, to shower his or her with good fortune from the Gods.
Of course, a temple would not be a temple if it were not for the fortune telling
facilities as well. An extremely popular bread and butter service from the
temple, many a time the odd hopeful will seek a hint or clue to their next big
break of hitting the fortune bucket. Sadly, this service has its place well in
Chinese culture, as wealth is an ominous sign of success and social stature
that all so craved in Chinese culture. Therefore, to say that the temples
influence on religious matters is profound is an understatement. Serving a
city with thousands of inhabitants that observe the religion would mean that
the temple is not only influencing the social stature, it is an essential aspect
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On a wider scale, the temple, along with the aforementioned Central Market
grew up to adapt to the changing landscape of Kuala Lumpur. Surviving horse
carts and world wars, the temple remains in its place amongst the cloud
piercing buildings of the modern era, blending in seamlessly in a beautiful
mixture of modernity and tradition.
Fig 3.10 Original staircase of temple still in use
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birth and growth of the city of Kuala Lumpur, hence indirectly formed as core
starting point for the current Chinese community who eventually resided here
in the country as their home. Founded in 1886, this is one of the temples that
still stands today.
3.4 Summary
The temple holds strong social significance through its historical heritage and
contemporary cultural practices. The beliefs on supernatural and rituals have
been carried on for centuries and still vibrant in the contemporary urban
enclave. The temple creates surprise and contrast by its institution and
informal function in the busy commercial node of the city.
Fig 3.13 List of names of the influential people in the making of the temple
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4.0 LIFEBLOOD
Rituals, Activities & Belief
4.1 Functions
Functions in the temple fall into three major categories:
1) Main activities of worship and rituals
a) Main Hall
b) Ancestral Hall
c) Guan Yin Hall
2) Supporting activities of administration and retail for temple offering
a) Administration office
b) Maintenance
c) Counters for selling the offerings such as incense, prayerscripts
3) Services:
Fig 4.01 Sketch of the back entrance.
a) Kitchen
b) Storage
c) Toilets
The functions have been taking the form of certain order; the main functions
occupy the three major halls, the supporting functions exhibit themselves in
fronting and separated spaces and the services fill-in the transition spaces.
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Referring to Figure 4.02, the colours of red represent the three main halls,
while orange represents the supporting spaces and finally yellow
representing services.
4.2 Activities on Annual Calendar
Below is the list of events that happen annually in the temple:
1) New Years Eve Temple opens at midnight for prayers for a blessed
year
2) Shang Yuan Dan The act of Zhuan Yin (change of luck)
3) Cai Shen Dan (Financing Day) Pray to the deity of Guan Yin to
gather wealth and prosperity
4) Jing Zhe (White Tiger Praying) & Villain Hitting To get rid of bad
luck, gossips and prevent misfortune. The person engaged in the
villain hitting would give the villain a nickname and not the real name
of his/her as that will bring bad luck to all parties instead.
5) Parade Festival Flower parades, lion dance performances
conducted along the streets. Gongs and drums along the parade are
played to ward off evil spirits.
6) Fu De Gong/ Da Bo Gong Dan (Earth God) Celebrating the birth of
Fu De Gong, the Lord of Blessing and Virtue. Also traditionally
worshipped before the burial of any deceased, to thank him for
Fig 4.02 Floor plan colour-coded according to the temples function, supporting spaces and services.
allowing the use of his land to return their bodies to the earth.
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7) Wen Chang Dan Celebrating the birth of Wen Chang, the God of
Culture and Literature. Believers flock to be blessed with good
academics and smooth education.
8) Kapitan Yap Ah Loy Dan Celebrating the birth of Yap Ah Loy to
commemorate his prominent role in history, his influence to the
temple and to obtain his blessings.
9) Guan Yin Dan Celebrating the birth of Guan Yin. Devotees offer oil
to Guan Yin;s lamp and pray for health and peace, while others offer
long silk scrolls in hopes of bearing a son. Some pray to Guan Yin to
bless their child with longevity.
10) Yee Yong Chee Dan To commemorate Yee Yong Chee
11) Tham Gong Dan Celebrating the birth of Tham Gong and
Siddhartha Gautama
12) Jin Hua Dan - Celebrating birth of Jin Hua, praying for blessings and
fertility
13) Guan Yin Dan (to reach illumination Buddhism) Celebrating the
birth of Guan Yin
14) Guan Di Dan Celebrating the birth of Guan Di
15) Si Ya Festival Taoist Masters conduct reading of the sutra,
celebrating the birth of Si Ya
Fig 4.03 Visitors taking photographs in one of the temple halls
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18) Guan Yin Dan (to become a Buddhist monk or nun) Celebrating the
birth of Guan Yin
19) Tai Sui Dan Celebrating the birth of Tai Sui
20) Anniversary of temple Yearly celebrations
21) Hua Guang Dan Celebrating the birth of Hua Guang
22) Xia Yuan Dan Zhuan Yin (change of luck)
Thus the temple is full of liveliness throughout the year. Figure 4.04 illustrates
the locations of one of the key-event in the Chinese calendar. During Chinese
New Year the three main halls, highlighted in red, are frequently visited and
used for rituals and activities, becoming the most used spaces in the temple.
This explains the culture of the space, with people performing religious
activities and rituals.
Fig 4.04 Floor plan showing the places (red) that is most frequent in-use
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4.3 Rituals
A few of the most unique rituals carried out by this temple are the activities
carried out on the eve and first day of Chinese New Year, Jingzhe Day, and
Wen Chang Day.
To begin with, devotees will visit Sin Sze Si Ya temple on the eve or first day
of Chinese New Year to get blessings for peace and security for the whole
year. Devotees will have to crawl under a table in front of the altar to secure
a smooth sailing year.
On Jingzhe Day, devotees will worship the White Tiger God and perform the
Da Xiao Ren (villain hitting) ritual. According to folklore, on this significant
day the insects will awake from hibernation and the White Tiger God should
be worshipped. Devotees are to silently say a verse while worshipping along
the tones of
Hope to get away from villains, dispel all bad luck,
turn around dangers to be safe, enjoy good luck
These devotees then carry out the ritual of hitting villains whereby paper
effigies representing said person would be hit in hope that they would be
Figure 4.05 An elder standing next to the main altar
defeated.
41
brought to worship Wen Chang Di Jun (God of Culture and Literature) that
comprises mainly of fresh vegetables so that their children can have good
luck while facing their examinations. The significance of the vegetables is as
such:
1) Celery: diligence and perseverance
2) Garlic Sprout: ability to calculate accurately
3) Onion Sprout: intelligence and wisdom
4) White Carrot: auspicious omen
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There are also considerable amounts of the mix of visitors; may it be Chinese
or other races, locals or tourists, pedestrians or car-drivers. This proves that
the temple is a vibrant cultural anchor in the urban configuration of the KL City
Centre.
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The Three Pure Ones, San Qing () are the greatest deities in Taoism.
They transcend the entire hierarchy of Taoist deities. The Three Pure Ones
are known as the avatar of Taoism which has come to signify an embodiment, a
substantial indication of the heavenly.
When all things are created, Tai Shang Lao Jun () descends and
settle on the right. He holds a mystical fan which symbolizes the
consummation of the Universe, and that Taoism can be spread far and wide,
and living things can seek salvation.
According to the Chinese Folklore, the Jade Emperor, Yu Huang Da Di (
Fig 4.09 Drawings of deities in the temple
) is the supreme ruler of the Heavens, the hades and the protector of
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pantheon and directs Heaven and Earth. His birth, commonly known as Tian
Gong Dan (Festival of the Heavenly God) is an important festival to the
Chinese community and is celebrated on the ninth day of the Lunar New Year.
Taoist temples throughout the world will hold gatherings and prayers together
to worship him, to entreat him to allow peace, plenteous harvest, and
assurance from catastrophes for the year.
Despite the hierarchy of deities in Taoism, the main deities in Sin Sze Si Ya
Temple are none other than Si Sze Ye () and Sin Sze Ye (),
as the temple was deliberately built in their honour. Hence, they are both
seated in the centre altar in the main hall. However, the two main deities
worshipped were not traditional deities originating from China, instead, they
were two local people that had elevated to the status of deities based on their
merit.
The two deities are considered patron deities of the local population of Kuala
Lumpur and are very important and prominent to the local community as the
deities had guided Kapitan Yap Ah Loy in his dreams, which helped to defeat
the enemies and defend Kuala Lumpur during the Civil War from year 1870
to 1873.
Devotees will visit the temple when the white tiger opens its mouth annually
Fig 4.10 Sedan used by the Gods in certain times of the year
which is what the temple is famous for, the Tai Sui and the White Tiger
Prayers.
45
Aside from that, devotees will also come forth to the temple to pray to the
deities listed below:
1) Tai Shang Lao Jun () The Grand Supreme Elderly
Lord (TheTaoist Ancestor)
2) Zhu Sheng Niang Niang () Goddess of Child Birth
3) Fu De Zheng Shen () God of the Soil and Graves
4) Guan Di Sheng Jun ()
5) Guan Yin Pu Sa () Goddess of Mercy
6) Tian Hou Sheng Mu () God of Wind and Safety
7) Wen Chang Da Di () Deity of Education Scholar and
Prosperity
8) Di Zang Wang Pu Sa () the Bodhisattva of the
Great Vow (to save all souls before accepting Bodhi)
9) Da Ye Be () Deity of Prosperity
10) Qi Tian Da Sheng ()
11) Hua Guang Da Di () Deity of Artistes and Craftsmen
12) Tai Sui Ye () Master of Deities of Prosperity, Health
and Good Luck
13) Cai Bo Xing Jun () Deity of Business
14) Hu Ye Gong ()
Fig 4.11 Sketch of the offerings.
by Valentine Hew
46
4.5 Summary
The temple has significantly unique rituals such as nailing-the-villain etc. The
architectural space adapts to activities of varied time of the annual calendar.
The simplicity of form offers great flexibility to the ways of those temporal and
Fig 4.12 Location of statues of deities
permanent activities.
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48
5.0 CONDUITS
The Circulation & Usage of Space
5.1 Space Configuration
An architectural study is never ever complete without studying form and
function. Within the discipline, form and function almost always become two
entities that co-exist with one another. Some may argue that the former is
more significant than the latter and vice versa. Nonetheless, we can always
agree that these two aspects of architecture are derived almost always by its
surroundings a manifestation of a response. The solution to a question.
Prior to building the form, an architect and his team goes through a cultivated
process of design deriving from the needs of the users, the needs of the
surroundings, the urban fabric of the location, the weather, the required
spaces, the materials of the building the list goes on.
By Amir Fauzan
Hew
49
Situated in the middle of Central Market, a busy bustling city at Leboh Pudu,
the temple immediately sets itself apart from other traditional Taoist temple.
Sin Sze Si Ya Temple is sandwiched between a bank tower and colonial shop
lots, causing the faade to be constraint to the template, in terms of the size
of the entrance, again, following the likes of its neighbours with regards to the
dimensions and the height. Yet, the architecture that partakes in the faade
is purely traditional Chinese architecture allowing the form to emulate the
function of the temple being a sacred place, a temple. Referring to the location
plan, we can observe where the faade acts as the main entrance, and the
back alley houses the long stretch of gate, the temples back entrance.
Fig 5.02 Back entrance and alley of temple
The form of Sin Sze Si Ya Temple itself has a degree of symmetry to the
design. Cutting the section through the main hall, you could see that the
essence of the building is based on symmetry, an element very commonly
applied in sacred buildings. The very initial purpose of the building as a sacred
place for Taoist believers has initiated the extensive use of traditional Chinese
architecture, apparent in the ornamental design of the roof, the faade, the
high volume of space constructed by a high ceiling and open spaces evokes
a certain ambience to assist the emphasis on the spaces being a sacred
place. The temple has also paid attention to its dcor by relishing it in
Fig 5.03 Section of temple
The continuous changes of the form of the building itself has been contributed
by the cultural advancements and changes in the social, political and
economy of Kuala Lumpur itself. Due to the dire needs of advancements in
the social and economic success in the city, the temple has come to offer
believers to cleanse apart from having rituals for good fortune, and fortune
telling. The design of the temple exists a clash in the uses of modern
materials, indicating that a few renovations and expansions were made due
to the increasing need of space within the temple as the outstanding interest
for these activities has resulted in an increase of influx of visitors and staffs.
Fig 5.04 The use of wrought iron suggests that this part of the building is an add-on
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Aside from the obvious use of doors for the separation of the private areas
(the office and store room) from the public areas, the other spaces in the
temple were separated by the use of different floor levels, arc doorways, and
in the case of a temple, a threshold. The use of these architectural elements
provide the users an idea of when they are entering another place of different
functions or purposes while maintaining the flow of the space. Also, these
subtle architectural elements segregate the crowd according to what they
intend to do or where they intend to go in the temple. This in turn brings an
Fig 5.06 Traditional use of threshold to separate spaces in the temple
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6.0 PULMONARIES
Structure, Construction & Details
6.1 Structure
The building was built on 1864, ancient Chinese wooden architecture was
used to build this temple. There are few significance components that can be
found in this building such as the timber frame and the decorative roof.
The fundamentals of Chinese wooden architecture are the load-bearing
timber frame and a network of interlocking wooden supports forming the
skeleton of the building. Unlike western architecture, in Chinese traditional
architecture, the wall is only defined by an enclosure, and did not form a loadbearing structure. The building in Chinese traditional architecture are being
supported by wooden frame. There are several types of wooden joint can be
found in this buildings such as, half lap joints, mortise and tenon, and cross
lap joints.
This building also features architectural bilateral symmetry, one of the
significant element from Chinese architecture. The building emphasizes on
articulation and bilateral symmetry, which signifies balance, it can be seen
from plan to elevation. The building tends to contain an even number of
columns in a structure to produce an odd number of bays. The plan of
Fig 6.01 Sketch of Back entrance.
painting.
6.2.2 Back Entrance
The back entrance primary function is to allow easier entrance to the building
for patrons that walk. It is shorter and has light ornamentation.
It uses bright colours to stand out rather than ornamentation as the main
entrance. It is not symmetrical due to a longer right side.
6.2.3 Opposite The Temple
The facades opposite the temple is mostly monotonous and the back
entrance is facing the back alley. The back alley is mostly bare walls with
some small entrances.
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6.3 Construction
Sin Sze Si Ya temple's construction has many distinct features that relates to
traditional Chinese architecture such as its massive columns and beam
structure which supports this edifice. The exterior is mainly brick and stone
work while it's counterpart is mostly made out of wood. It uses the technology
of skylights which is becoming very popular in architecture nowadays
although it being built hundreds of years ago. Temple roofs were also made
of glazed ceramic tiles and have an overhanging cave distinguished by a
graceful upward slope. The roof arch comes from the intricately fitted rafters,
which were jointed together. The ridges of each roof are topped with figures
of mythical creatures, each curve no more than a sweep. The roof has wavelike tiles that run horizontally, and vertical round ridges that run vertically.
Fig 6.04 The main hall of the temple with wooden beams and columns
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components are called Dougong. Dougong (Figure 6.05) is a cap and block
bracket system. A dou is an inverted cap holding a gong, a block, or a beam
on top of it, and each dou has a small hole drilled in the bottom into which a
matching pin protruding from a gong is mated.
6.3.2 Column Details
The external columns are connected with the installation of Pingban Fang
(perimeter girders). The connection continues with other components such as
Ying Ding until roof installation is completed.
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algae growth.
6.4.2 Brick Structure
The whole Sin Sze Si Ya temple structure is basically constructed with bricks.
Bricks have excellent thermal mass as it helps adjust the buildings
temperature by storing cool air and heat, keeping the internal temperature in
the comfort zone. They provide great cooling effect especially in a tropical
climate. Situated in a high humidity climate, bricks can easily absorb humidity
as they have a surface which is more diffusion-open than other materials. As
they are 100% inorganic and absorb humidity, this combination minimises the
risk of mildew.
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Fig 6.10 Timber framing at the top of the main hall skylight
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6.5.1 Orientation
History informs that Yap Ah Loy decided to build the temple on its present site
after consultation from a Chinese medium. The deity who spoke through this
medium promised good Feng Shui, prosperity and wealth if the temple was
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to be built on that land. The temple was the Chinese religious and community
center of Kuala Lumpur at that time. It was the place where the leaders of the
Chinese community held meetings and made important decisions about the
administration of Kuala Lumpur.
It is said that a temple should be built far away from residential areas as there
are a lot of Chi energy in a temple. The negative Chi will flow to the
surrounding thus people should avoid living near to that area. In regards to
that, temples are normally built at quiet places due to the negative Chi.
A temple built in an urban area must have a lot of tall trees or tall buildings in
its surroundings to reflect the negative Chi away. In year 1864, when the Sin
Sze Si Ya Temple was first built, it was not built in an urban area. The
buildings such as the Hong Leong Bank only erected along the stages of the
development of its surroundings. In order to balance out the negative energy,
many plants are planted and placed along the perimeter of the Sin Sze Si Ya
Temple so as to create a harmonious balance between the energies.
6.5.2 Construction Details
The Chinese belief is that any sharp edges or corners should be avoided as
it can be harmful to the occupants, and gable roofs are said to have a better
Feng Shui than flat roofs. Which is why the roofs of Sin Sze Si Ya Temple, be
Fig 6.12 The beam and column
it during the initial construction or the renovations after that, had taken the
propensity to use gable roofs over any other roofs. Besides, a higher ceiling
62
Additionally, the rain water down pipes are placed strategically through the
inside of the temple as the rainwater from the roof will flow from the exterior
to the interior and then to the underground. According to Feng Shui, it is
believed that this will bring wealth to the temple as the flowing of rainwater
symbolizes wealth.
Another belief is that earth materials should be used on the floors as anything
broken suggests an unstable foundation. The tiles that cover the floors of the
temple are good earth materials as they suggest a stable foundation.
6.5.3 Symbolic Ornamentation
A powerful Feng Shui features is to have personalized main doors which has
a small roof to symbolize protection, as can be seen on the main door of Sin
Sze Si Ya Temple. The door open inwards to welcome the Chi and to create
can be constructed using a gable roof as the temple could use the source as
a form of passive ventilation from the smoke of the incense sticks.
a positive flow of Chi into the temple. The personalized doors of the temple
are painted with a pair of gate guardians with fierce faces and glaring eyes,
powerful presence, muscular bodies and threatening poses while bearing
The beams and columns in the interior of the temple is cylindrical because in
weapons. These guardians serve to ward off evil spirits and show their power
Chinese, yuan man () means harmony, where the first word yuan ()
by carrying out their duties in protecting the temple. They are the
means round in English. Round pillars signify Chi moving upwards and brings
the promise of abundance. Hence, we can see that the preferred shapes of
the beams and columns inside Sin Sze Si Ya Temple are cylindrical rather
than square-shaped.
Fig 6.13 Main door and the Door God
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Also, Fu Dogs are placed in a pair flanking the main door of Sin Sze Si Ya
Temple as it will guard against wandering spirits from entering the temple.
Their fearful faces and muscular bodies are believed to ward off evil
influences and spirits. The male Fu Dog is placed on the left while the female
Fu Dog is placed on the right side with both of them facing outwards. They
are placed near the doorway to ensure protection of the visitors and devotees
when they exit the abode.
It is widely believed that dragons bring prosperity and success. Thus, a pair
of dragons made in the color of gold flank the urn in the main porch. Gold
dragons are said to best portray the dragons.
Spiritual consciousness can also be heightened through the sense of smell.
The aroma of incense purifies and revitalizes spatial energy to the temple.
The fragrant scent of the sandalwood is particularly uplifting and has the
power to break down negative Chi. It brings out the creative spirit of the
devotees consciousness and is wonderful for transcending into other
dimensions.
Besides that, a seven metal Tibetan singing bowl is placed on the central
table of Sin Sze Si Ya Temple to create a fresh new energy in the abode and
absorb and transform negative Chi. A small mirror is also placed facing away
from the deities so as to reflect away evil. To bring Yang life into the temple,
Fig 6.14 Sketch of dragon ornamentation on the urn outside the temple
by Valentine Hew
the bell and gong in the main hall is used periodically as it will bring the energy
alive instantly.
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6.5.4 Customs
Each and every gestures are significant in a temple. Upon arriving at the Sin
Sze Si Ya Temple, devotees are required to bow to the Jade Emperor Urn
outside (heaven) to show respect to the deities of the temple as well as to
inform that they are here to pay their respects to the deities of the temple.
Whilst entering the main hall of the temple, the devotees will be sure to cross
the red frame, which symbolizes them passing into another dimension and
cleanse ones physical body, mind and soul. The traditional Chinese belief is
to enter with the left leg and exit with the right leg as this will ensure that upon
Fig 6.15 The main porch of the temple
exiting, ones bad luck will be retained by the deities and they will be blessed
upon with good luck.
6.6 Ornamentations
6.6.1 The Order and Chaos
This principle is seen throughout most of the ornamentation and the motifs
used in temple, the chaos being the ornamentation and motif itself while their
arrangement is order. The order they are arranged in, is always balanced. Its
either symmetrically or asymmetrically balanced.
65
6.6.2 Meanings
Chinese guardian lions, also known as Fu Dogs are believed to have powerful
protective powers, discovering the bad intentions from someone who is
coming into the temple and help to ward off evil spirits and influences. Fu
Dogs are often display in pairs. According to Feng Shui, the female lion
should be placed on the left with her left paw fondling a cub and the male lion
on the right playing with a ball. The female is said to protect the interior of the
place as well as its worshipping believers or inhabitants and the male guards
the structure.
Fig 6.18 Main Door
The Door gods (Figure 6.12) are the earliest gods worshipped by the Chinese.
They are regarded as the Spiritual Guardians of the Entrance. People believe
that peach wood has spiritual properties and can ward off evil spirits so they
started making auspicious carvings on peach wood, made and pasted on
gates in the hope of attracting good luck and scaring away evil spirits.
The door gods usually come in pairs, facing each other; it is considered bad
luck to place the figures back-to-back.
Ancient Chinese Dragons are ultimate symbols of cosmic Chi (energy). It is
said to be the most potent symbol of good fortune in the Chinese pantheon
of symbols. The Dragon stands for new beginnings.
Fig 6.19 Dragon ornamentation
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6.7 Summary
The symmetry in the temple offers a lot of order in the architectural form and
thus the detailing. The magnificent form is put together with simple structural
logics on load bearing walls, columns and struts, rafters and beams. The
entire composition offers comfort in the interior and poetic qualities such as
light and shadow, human scale and visually cuing perspectives.
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The temple was created in symmetry, with two identical wings attached to its
The journey of this this course has taken us to the final chapter to discuss -
main hall in order to accommodate the specific rituals carried out in the
how did the Sin Sze Si Ya Temple manage to respond to the need of
has embodied the essence of duality, time and time again. The duality of
then supports the inhabitation of the building, balancing again between its
order and chaos has become very apparent through the temples form and
activities, where form becomes the order and activities represent chaos. To
elaborate further, the form and the activities continuously complements one
succeed. One of the key examples are when tallying all the measurements to
another and as the activities within the temple evolves, the form changes to
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PERSONAL CONCLUSION
AMIR FAUZAN
Based
on
my
personal
experience, Sin Sze Si Ya Temple
is a building which had full of
complexity. A temple built
surrounded by rebel cityscape and
urban development that had a
simple spatial layout but in term of
religious circulation (function) its
a bit crowded. Other than that, this
exercise is an opportunity for me
to expose into a different world
which is very important nowadays,
`Seeing is believing` not because i
believe on their religion but
because of knowing the
importance of cultural sensitivity
and humility as an acknowledge
SHALINN TAN
From this exercise, I have learnt to
be a better team player and to take
the lead when the situation calls
for it. Moreover, I learnt to put
down my ego and listen to the
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VALENTINE HEW
It was certainly breath-taking as I
ventured into the temple. When I
entered the main hall I could see
the joss sticks burning with
smokes billowing up at the
background silhouetting the
statues of the deities, god and
goddesses. It gives me a peaceful
break in this bustling city although
theres an influx of crowd in here.
SARAVANAN VYTELINGUM
72
TANG JU YI
Through this exercise, I have
gained more knowledge about
Taoist Temple Architecture. I think
that this temple is really
meaningful because it blends the
Taoist theories and believes with
the traditional Chinese methods of
construction. Together, they
create a unique Taoist style.
Another thing that impressed me
was the excellent ventilation of the
temple. The use of double-height
space allowed windows to be
positioned at a higher level, thus
provides good air and light
ventilation. The most interesting
part is the natural light that
SHERY EDRINA
It was indeed an interesting
experience being able to go to a
temple for a first time. Getting to
know its architecture elements,
learning the meaning of each
ornaments and getting to know
their culture and way of praying is
a fascinating eye-opener. The
thing that impressed me the most
is how the building maintained its
structure for the past 200 years
still while still using some of old
wooden structure and just by
adding another structure over the
old ones to throughout the
renovations. The first time I
74
HARIISH KUMAR
My experience in the gained me
new knowledge of how a design
building influences the way the
people interact to it. As simple as,
how a concrete slab made for the
drain can become a meeting area
or how a bench can become a
home of a cat. What I learnt from
this is that design isnt what it was
meant to, but what it becomes. As
an example, there is an office on
the entrance. I dont think it was
put there on purpose, it was
evolution that made it there. Now,
the office has become a meeting
area that has privacy from the rest
of the building.
LOH YU JIN
LIEW JIN
AIDA JUNITA
77
NUR EMILY
After spending a week in the heart
of Kuala Lumpur, measuring our
chosen site The Sin Sze Si Ya
Temple, I have learned to
appreciate
the
surrounding
architecture throughout the whole
project. The temple itself is located
in the busy streets of KL, which
offers exposure in the diversity of
the cultures as well as in
architecture. The opportunity we
had showed that there are so
many ways one can learn that are
both fun and educational. Ive
became proficient in measuring to
the finest details of the temple. Ive
learned to work and communicate
better in the group. I feel that I
MUHAMMAD AZZAM
Architecture
is
what
we
experience, this is one of the
aspects that really struck me
about this temple. The moment I
entered the temple, the light that
struck in the middle and the smoke
dissolving to it created an instant
holly feel. This what amplified as
the light shined through the brass
REION TAN
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GLOSSARY
1. Bodhisattva Vajparani - He is the protector and guide of Gautama
Buddha and rose to symbolize the Buddha's power
2. Chi energy force in Chinese culture.
3. Feng Shui - Feng Shui is an ancient art and science developed over 3,000
years ago in China. It is a complex body of knowledge that reveals how to
balance the energies of any given space to assure health and good fortune
for people inhabiting it.
4. Fu Dogs - Chinese guardian lions, guardian dogs or stone temple dogs.
5. Mahayana - is one of two (or three, under some classifications) main
existing branches of Buddhism and a term for classification of Buddhist
philosophies and practice
6. Sutra - a Buddhist or Jain scripture.
7. Yin - Yin energy is the cool, slow, passive, feminine energy of darkness
and slow ice.
8. Yang - Yang is heat and action, movement, fire, and masculine force.
122
REFERENCES
Beginner.
(n.d.).
Retrieved
February
17,
2016,
from
http://fengshuibeginner.com/must-see-feng-shui-tips-and-taboo-whenlooking-for-house/
7. T Which way does my property face? (n.d.). Retrieved February 20, 2016,
from http://www.fengshuiweb.co.uk/advice/property.htm
123
14. Sin Sze Si Ya Temple - Oldest Taoist Temple in Kuala Lumpur. (n.d.).
Retrieved
http://yapahloy.tripod.com/the_sin_sze_si_ya_temple.htm
lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo
February
20,
2016,
from
15. TAOISM.
February
(n.d.).
20,
Retrieved
2016,
from
February
http://www.kuala19,
2016,
from
http://mvtao.blogspot.my/2008/09/god-and-goddess-level-structure.html
16. Taoism Religion. (n.d.). Retrieved February 19, 2016, from
http://www.patheos.com/Library/Taoism/Beliefs/Ultimate-Reality-andDivine-Beings
17. Golden Dragon Mythology: Pangu. (n.d.). Retrieved February 20, 2016,
from
http://www.goldendragontruro.co.uk/index.php/cult-deities-three-
purities-e
http://www.kuala-
lumpur.ws/magazine/sin-sze-si-ya-temple.htm#promo
12. XIAN SI SHIYE / SIN SZE SI YA Temple, Kuala Lumpur, Malaysia - Index
Page.
(n.d.).
Retrieved
February
20,
2016,
from
http://www.mir.com.my/leofoo/landmarks/shiyemiaoKL/index.htm
13. Overseas Chinese in the British Empire. (n.d.). Retrieved February 20,
2016, from
http://overseaschineseinthebritishempire.blogspot.my/2011/12/chansow-lin.html
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APPENDIX 1
Translation of Sin Sze Si Ya Commemorative Book
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APPENDIX 2
Transcript of Interview with Ms.Ranjit
Q: The thing inside the glass, is it the thing that they use for the parade?
136
step on (the green) is the Xiao Ren. Theres one special day for this event.
The white tiger will then open its mouth.
A: Aside from the main hall, theres also the business God. People come to
pray for their business. People pray with the joss sticks.
There's not only one Si Ye Temple, there's so many Si Ye Temple, like
there's one in Kajang.
He was a local and then he assumed the deities status. Visions came up
Q: The paper for the Da Xiao Ren, do people write names on it?
A: Some people writes, some dont. Its fine even without name, the god will
still show you the person and nothing will block you, at least thats what I feel.
Q: Is this the only temple with this Da Xiao Ren activity?
to him, and his blood was white and that is very, very rare. What I heard is
what I know. And it's true, you know, what the people who had been doing
divination says, they come true. My wish also came true.
A: No, theres another temple that has it, but I find here, they say that its more
powerful. Maybe the people praying here is powerful or what, I dont know.,
but its really powerful. Compared to the other places, they are not as powerful
The main door was in front that old one. It was not the current one. Now only
as this. Some shifu will specially send their people to come to this temple, but
I dont know why do they specifically come to this temple. So I asked them
and they said their shifu asked them to come.
A: Yeah, the first place they go is to the God at the front (main hall), then they
go to the sides
APPENDIX 3 Video
Video
Link: https://www.youtube.com/watch?v=exHjiGu63P4&feature=youtu.be
Directed by: Amir Fauzan
Acting credits: Valentine Hew & Adrian Kan
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APPENDIX 4 Model
Model
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