Report Measured Drawing

METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305)
FWU CHANG DESIGN AND SOUVENIRS

NO. 87, JALAN HANG KASTURI, 75200 MALACCA, MALAYSIA
FWU CHANG GALLERY

JANUARY MARCH 2017

METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305)
FWU CHANG DESIGN AND SOUVENIRS

FWU CHANG GALLERY

Figure 0.1: Fwu Chang Design and Souvenirs (Tengku Syakira, 2017) Figure 0.2: Fwu Chang Gallery (Tengku Syakira, 2017)
JANUARY MARCH 2017
No. 87, Jalan Hang Kasturi, 75200 Malacca, Malaysia. No. 85, Jalan Hang Kasturi, 75200 Malacca, Malaysia.
MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I II!

DECLARATION OF SUBMISSION
Fwu Chang Design and Souvenirs Fwu Chang Gallery

No. 87, Jalan Hang Kasturi, 75200 Malacca, Malaysia. No. 85, Jalan Hang Kasturi, 75200 Malacca, Malaysia.
This report is submitted for the subject ARC 1215 / ARC60305 Methods of Documentation and Measured Drawings to School of Architecture,
Building and Design of Taylors University to obtain 5 credits for Practicum 1.
It is a group effort by :
Ong Tun Cheik 0319939 Loon Jin Wei 0322074
Cheok Jian Shuang 0320089 Neville Geoffrey Somi 0317780
Ee Yun Shan 0319990 Shefereena Isreen Binti Mohamad Ishak 0325915
Francis Yeow Sheng 1101A1239 Teh Chie Yang 0324947
Kok Xuan Ying 0322929 Tengku Syakira Binti Tengku Asmadi 0323079
Lau Hui Ming 0323827 Tung Siew Hui 0323823
Liu Jyue Yow 1007P7408 Wong Mei Xin 0323824
Bachelor of Science (Honours) Architecture

January 2015
Taylors University
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ACKNOWLEDGEMENT
Team Fwu Chang Design and Souvenirs would like to formally recognise and express our unending gratitude to all those who had provided us with
guidance and knowledge to complete this report. We express our utmost appreciation to all parties that kindly assisted us along the whole process and
made the completion of this project possible.
We would like to thank and show our gratitude to the owner of Fwu Chang Design and Souvenirs and Fwu Chang Gallery, Mr. Ting Wei Chia for
providing us the opportunity to measure and document these two buildings which are closely related to their ancestor handed-down carving business.
We would also like to thank the owners family members and friends who willingly shared their observations and experiences, giving us an insight on
the building, business and its surrounding.
Next, we would like to thank Dr. Nor Hayati Hussain for giving us this golden opportunity to experience and develop our understanding on methods of
documentation and measured drawing and Puan Hasmanira Mokhtar for organising this site visit, collaborating with the owner of the building and
providing us valuable guidance regarding this project.
Lastly, the completion of this assignment could not have been possible without the full cooperation of all the team members. We greatly appreciate the
teamwork, effort and contribution of every team members throughout the entire project.
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TABLE OF CONTENTS
TOPIC
Abstract .. VI
List of figures . XI
Chapter 1 Historical Background 1
Chapter 2 Architectural Development 22
Chapter 3 [ No. 87 ] Fwu Chang Design and Souvenirs 34
Chapter 4 [ No. 85 ] Fwu Chang Gallery . 41
Chapter 5 No. 87 and Features of Art Deco Style 45
Chapter 6 No. 85 and Features of Early Shophouse Style 65
Chapter 7 Spatial properties . 81
Chapter 8 Materials .. 88
Chapter 9 Construction Details 104
Chapter 10 Conclusion . 117
Chapter 11 References and Appendixes . 119
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ABSTRACT
This report documents on the overall information and data obtained from Measured Drawings activity one on the site of Fwu Chang Design and
Souvenirs and Fwu Chang Gallery situated on Jalan Hang Kasturi, Malacca, Malaysia. Five days were spent on-site to measure and collect data on the
two buildings and its origin.
Fwu Chang Design and Souvenirs and Fwu Chang Gallery shophouse were owned by Fwu Chang Trading, an established firm engaging in carving
and engraving line and centred its business on producing traditional tablets with gold lettering with a history of more than seven decades.
Both of the shophouses has been classified as part of Malacca Heritage Shophouses when Malacca and George Town were awarded as UNESCO
World Heritage Site as of 2008. The two shophouses showcase different attributes due to the fact that they were originally rebuilt on a different period
of time. Fwu Chang Design and Souvenirs (No.87) depicts Art-Deco Style whereas Fwu Chang Gallery (No.85) portrays an Early Shophouse Style and
these building shows the mixture of different influences that contributed to the unique architecture, internally and externally.
Keywords:
Fwu Chang, history, shophouse, Art-Deco, Early Shophouse, architecture
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AIMS AND OBJECTIVES INTRODUCTION TO RESEARCH
This project aims to produce a set of measure drawings of a Fwu This report highlights the outcome of Measured Drawing exercise on
Chang Design and Souvenirs and Fwu Chang Gallery shophouses on [ No. 87 ] Fwu Chang Design and Souvenirs and [ No. 85 ] Fwu Chang
Jalan Hang Kasturi, Malacca. This project is an on-site exercise where Gallery located on Jalan Hang Kasturi, Malacca. It also serves as a
students are required to execute fieldwork and hands-on measuring complete documentation of the buildings architectural, historical and
exercise that will help students to thoroughly understand the building. A cultural attributes of and its business and provide an in-depth analysis
report containing historical and architecturally significant information of and information on the subject. Additionally, a set of measured
the building was also produced to complement the set of measured drawings and photo book were included in this report to support the
drawings to provide a better insight into the building. Physical model informations mentioned in this report.
were also built to provide additional physical information on the
building. Fwu Chang Design and Souvenirs shophouse was built in 1939 and
was categorised under Art-Deco shophouses style whereas Fwu Chang
Gallery building portrays Early Shophouses style which were built in
1900-1950. Research on the architectural styles, elements, structure,
and spaces of both building were explicated in this report.
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METHODOLOGY
INSTRUMENTS AND TOOLS
Measuring tools mentioned below were used to ease measuring and documenting task:
Figure 0.3: Instruments and tools used during site visit (Lau, 2017)
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MEASURING METHODS
The instrument that were used to collect measurements of Fwu Chang Design and Souvenirs and Fwu Chang Gallery are measuring tape and Digital
Laser Measuring Device (Bosch GLM80 + R60). Measuring tape were used to measure smaller and easily accessible parts such as the columns,
ornaments, balustrades whereas Digital Laser Measuring Device was used to measure greater lengths for floor plans, ceiling heights, elevations, etc.
For vertical height on facade that is beyond human reach, laser measuring device were used along with Pythagoras theorem to calculate the actual
height from the measurements obtained.
METHODS OF DOCUMENTATIONS
Drawings
Measurements obtained on site were recorded as drafts on butter paper during measuring process and then later translated into scaled manual
drawings. These steps were done in a progressive and continuous manner during the site visit to prevent missing out measurements before
proceeding to the production of AutoCAD drawing after the site visit.
Photography and Videography

Photography and videography are quick and effective methods to document the building details and its context therefore plenty photos and videos
were taken during the site visit and used as further reference for our team after the visit. Photos taken were also used as a base for tracing
ornamentations in our building. Most photos taken are distorted due to perspective thus, perspective distortion were eliminated using photoshop via
alignment.
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INTERVIEWS
Interview with the owner of Fwu Chang Trading, Mr. Ting Wei Chia was conducted to get an insight on the historical background of the business and
building. Besides that, impromptu interviews were also conducted with the owners family members, his mother, Mrs. Ting, his siblings and his friend,
Mr. Chen Sou Jin, one of the author of The Legend of Ancient City, which talks about the traditions, cultures and business in Malacca.
LITERATURE REVIEW
Related data and information are collected mainly from Department of National Heritage, National Library, pamphlet, tourism guide, and some other
related books and journal on architecture of shophouses.
JOB DISTRIBUTION
Measured Drawings Physical Model Report Video and Photobook

Cheok Jian Shuang All members Kok Xuan Ying Ong Tun Cheik
Ee Yun Shan Lau Hui Ming Tengku Syakira Binti Tengku Asmadi
Francis Yeow Sheng Tung Siew Hui
Liu Jyue Yow
Loon Jing Wei
Neville Geoffrey Somi
Shafreena Isreen Binti Mohamad Ishak
Teh Chie Yang
Figure 0.4: Table of job distribution among members of the team (Measured Drawing Team Fwu Chang, 2017)
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LIST OF FIGURES
CHAPTER 0
FIGURE PAGE
Figure 0.1: Fwu Chang Design and Souvenirs front facade (Tengku Syakira, 2017) II
Figure 0.2: Fwu Chang Gallery front facade (Tengku Syakira, 2017) II
Figure 0.3: Instruments and tools used during site visit (Lau, 2017) VII
Figure 0.4: Table of job distribution among members of the team (Measured Drawing Team Fwu Chang, 2017) X
CHAPTER 1
FIGURE PAGE
Figure 1.1: Parameswara, founder of Malacca (Anonymous, n.d.) 1
Figure 1.2: Announcement of independence by Tunku Abdul Rahman 1957 (Anonymous, n.d.) 2
Figure 1.3: Heritage view of Malacca (Anonymous, n.d.) 3
Figure 1.4: Melaka Tree, Phyllanthus emblica (Anonymous, n.d.) 4
Figure 1.5: Fruits from Melaka Tree (Anonymous, n.d.) 4
Figure 1.6: Historical timeline of Malacca (Tung, 2017) 5-6
Figure 1.7: Malacca Portuguese Town Map (Anonymous, n.d.) 7
Figure 1.8: Another details of Fortaleza de Malacca (Anonymous, n.d.) 8
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Figure 1.9: Map of Malacca in Dutch Period (Anonymous, n.d.) 9
Figure 1.10: Early 20th Century British Malacca town map (Anonymous, n.d.) 10
Figure 1.11: Current Malacca Map after Independence (Google earth, 2017) 11
Figure 1.12: Malacca as world heritage site (Anonymous, n.d.) 12
Figure 1.13: Tofu Cafe front facade (Lau, 2017) 15
Figure 1.14: Front facade of tinsmiths shop (Lau, 2017) 16
Figure 1.15: Front facade of Fui Chew Association (Lau, 2017) 17
Figure 1.16: Front facade of Fu Xing (Wong, 2017) 18
Figure 1.17: Oriental Riverside Residence Guesthouse front facade (Wong, 2017) 19
Figure 1.18: 3D street murals at the backline of Jalan Hang Kasturi (Tengku Syakira, 2017) 20
Figure 1.19: Chinese calligraphy technique painted mural of eight running horses by local artist (Kok, 2017) 21
CHAPTER 2
FIGURE PAGE
Figure 2.1: Timeline of architectural development of shophouses (Anonymous, n.d.) 22
Figure 2.2: Dutch architectural style shophouse (Tung, 2017) 23
Figure 2.3: Southern China architectural style shophouse (Tung, 2017) 24
Figure 2.4: Early shophouse architectural style (Tung, 2017) 25
Figure 2.5: Early transitional architectural style shophouse (Tung, 2017) 26
Figure 2.6: Early straits eclectic architectural style shophouse (Tung, 2017) 27
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Figure 2.7: Late straits eclectic architectural style shophouse (Tung, 2017) 28
Figure 2.8: Neo-classical architectural style shophouse (Tung, 2017) 29
Figure 2.9: Art-deco architectural style shophouse (Tengku Syakira, 2017) 30
Figure 2.10: Early modern architectural style shophouse (Tung, 2017) 31
Figure 2.11: Evolution of shophouses architectural style (Tung, 2017) 32 - 33
CHAPTER 3
FIGURE PAGE
Figure 3.1: Entrance of Fwu Chang Design and Souvenirs (Kok, 2017) 34
Figure 3.2: Facade of Fwu Chang Design and Souvenirs (Tengku Syakira, 2017) 35
Figure 3.3: General Art-Deco Style shophouses building typology. 36
Figure 3.4: Indication of work and residential spaces on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 37
Figure 3.5: Indication of residential spaces on first floor plan (Measured Drawing Team Fwu Chang, 2017) 37
Figure 3.6: Wooden signboards displayed in Fwu Chang Design and Souvenirs (Kok, 2017) 38
Figure 3.7: Lu Ban, Chinese master carpenter honored by carpenters as the founder of carpentry (Anonymous, n.d.) 40
CHAPTER 4
FIGURE PAGE
Figure 4.1: Entrance of Fwu Chang Gallery (Kok, 2017) 41
Figure 4.2: Facade of Fwu Chang Gallery (Tengku Syakira, 2017) 42
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Figure 4.3: General Early Shophouses style building typology. 43
Figure 4.4: Indication of work and residential spaces on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 44
Figure 4.5: Indication of residential spaces on first floor plan (Measured Drawing Team Fwu Chang, 2017) 44
CHAPTER 5
FIGURE PAGE
Figure 5.1: Features of Art-Deco shophouse style identified on Facade of Fwu Chang Design and Souvenirs 45
(Measured Drawing Team Fwu Chang, 2017)
Figure 5.2: Indication of stepped parapet wall on front elevation (Measured Drawing Team Fwu Chang, 2017) 46
Figure 5.3: Stepped parapet wall on front facade of building (Tengku Syakira, 2017) 46
Figure 5.4: Indication of 1939 signage on front elevation (Measured Drawing Team Fwu Chang, 2017) 47
Figure 5.5: Close-up of 1939 signage on front facade of building (Measured Drawing Team Fwu Chang, 2017) 47
Figure 5.6: Indication of traditional signage on front elevation (Measured Drawing Team Fwu Chang, 2017) 48
Figure 5.7: Close-up of Fwu Chang Book Shop signboard (Kok, 2017) 48
Figure 5.8: Indication of signage on column on longitudinal section (Measured Drawing Team Fwu Chang, 2017) 49
Figure 5.9: Indication of signage on column on front elevation (Measured Drawing Team Fwu Chang, 2017) 49
Figure 5.10: Signage on column on front elevation with the name and basic information of business (Cheok, 2017) 49
Figure 5.11: Indication of five-foot way on longitudinal section (Measured Drawing Team Fwu Chang, 2017) 50
Figure 5.12: Five-foot way that were no longer used as pedestrian walkway (Tengku Syakira, 2017) 50
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Figure 5.13: Indication of bressummer beam on front elevation (Measured Drawing Team Fwu Chang, 2017) 51
Figure 5.14: Indication of corbel on front elevation (Measured Drawing Team Fwu Chang, 2017) 51
Figure 5.15: Close-up bressummer beam on building facade (Tengku Syakira, 2017) 52
Figure 5.16: Close-up rectilinear corbel on building facade (Tengku Syakira, 2017) 52
Figure 5.17: Indication of folding metal panelled door on front elevation (Measured Drawing Team Fwu Chang, 2017) 53
Figure 5.18: Indication of folding metal decorative lattice on front elevation (Measured Drawing Team Fwu Chang, 2017) 53
Figure 5.19: Folding metal panelled door (opened) and metal decorative lattice (Kok, 2017) 53
Figure 5.20: Indication of metal plate rear door on rear elevation (Measured Drawing Team Fwu Chang, 2017) 54
Figure 5.21: Metal plate rear door (opened) (Kok, 2017) 54
Figure 5.22: Indication of internal partitions on first floor plan (Measured Drawing Team Fwu Chang, 2017) 55
Figure 5.23: Internal partitions dividing bedrooms on first floor (Tengku Syakira, 2017) 55
Figure 5.24: Indication of double-leaved timber-framed panelled door on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 56
Figure 5.25 : Indication of single-leaved timber-framed panelled door on first floor plan (Measured Drawing Team Fwu Chang, 2017) 56
Figure 5.26: Single-leaved timber plank door with timber pivot and slide bolt on first floor (Tengku Syakira, 2017) 56
Figure 5.27: Double-leaved timber plank door leading to kitchen on ground floor (Kok, 2017) 57
Figure 5.28: Double- leaved timber plank door separating dining area and workspace on ground floor (Tengku Syakira, 2017) 57
Figure 5.29: Indication of timber window on front elevation (Measured Drawing Team Fwu Chang, 2017) 58
Figure 5.30: Close-up of timber windows with louvered shutters and solid timber lower panels on building facade (Tengku Syakira, 2017) 58
Figure 5.31: Indication of area covered with terracotta floor tiles on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 59
Figure 5.32: Kitchen area covered with terracotta floor tiles (Kok, 2017) 59
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Figure 5.33: Indication of area covered with timber planks on first floor plan (Measured Drawing Team Fwu Chang, 2017) 60
Figure 5.34: Maroon red painted timber planks on first floor (Tengku Syakira, 2017) 60
Figure 5.36: Japanese wall tiles installed in ground floor toilet area (Kok, 2017) 61
Figure 5.37: Japanese wall tiles installed on first floor bath area (Tengku Syakira, 2017) 61
Figure 5.38: Ground floor ceiling with exposed floor boards and timber joists (Tengku Syakira, 2017) 62
Figure 5.39: Indication on reflected ground floor ceiling plan showing exposed floor boards and timber joists 62
Figure 5.40: Indication on reflected first floor ceiling plan showing plasterboards panels with beading 62
Figure 5.41: Indication of family altar on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 63
Figure 5.42: Family altar in the building (Tengku Syakira, 2017) 63
Figure 5.43: Indication of double-leaved door with gold lettering attached on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 64
Figure 5.44: Double-leaved door with gold lettering mounted on it (Kok, 2017) 64
CHAPTER 6
FIGURE PAGE
Figure 6.1: Features of Early Shophouse style identified on Facade of Fwu Chang Gallery (Measured Drawing Team Fwu Chang, 2017) 65
Figure 6.2: Indication of terracotta v-tile used on front and rear facade of No. 85 building (Measured Drawing Team Fwu Chang, 2017) 66
Figure 6.3: Terracotta v-tile used on front facade of No. 85 building supported by column head Chi Tou (Tengku Syakira, 2017) 66
Figure 6.4: Indication of granite column head on front facade of No. 85 building (Measured Drawing Team Fwu Chang, 2017) 67
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Figure 6.5: Chi tou' decorated with jian nian ornaments on front facade of No. 85 (Tengku Syakira, 2017) 67
Figure 6.6: Indication of jian nian ornaments attached to granite column head on front facade of No. 85 building 68
Figure 6.7: Jian nian ornaments on front facade of No. 85 (Tengku Syakira, 2017) 68
Figure 6.8: Indication of golden signboard location on front facade of No. 85 building (Measured Drawing Team Fwu Chang, 2017) 69
Figure 6.9: Gold lettering signboard on front facade of No. 85 stating the name of the building, Fwu Chang Gallery (Kok, 2017) 69
Figure 6.10: Indication of five-foot way on longitudinal section (Measured Drawing Team Fwu Chang, 2017) 70
Figure 6.11: Five-foot way in front of Fwu Chang Gallery (Tengku Syakira, 2017) 70
Figure 6.12: Indication of bressummer beam location on front facade of No. 85 building (Measured Drawing Team Fwu Chang, 2017) 71
Figure 6.13: Bressummer beam on facade of Fwu Chang Gallery (Tengku Syakira, 2017) 71
Figure 6.14: Indication of collapsible lattice metal gate location on front elevation of No. 85 building 72
Figure 6.15: Bostwick gate installed in front of Fwu Chang Gallery (Tengku Syakira, 2017) 72
Figure 6.16: Indication of iron grille rear door on rear elevation of No. 85 building (Measured Drawing Team Fwu Chang, 2017) 73
Figure 6.17: Iron grille rear door on back of Fwu Chang Gallery (Ong, 2017) 73
Figure 6.18: Indication of single-leaf eight panelled door on first floor plan (Measured Drawing Team Fwu Chang, 2017) 74
Figure 6.19: Indication of timber window with stained glass on front elevation (Measured Drawing Team Fwu Chang, 2017) 74
Figure 6.20: Timber window with stained glass on front facade (Tengku Syakira, 2017) 75
Figure 6.21: Timber window with stained glass on front facade viewed from inside (Ong, 2017) 75
Figure 6.22: Indication of tea-drinking table on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 76
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Figure 6.23: Tea-drinking table in gallery space of Fwu Chang Gallery (Tengku Syakira, 2017) 76
Figure 6.24: Indication of console table on ground floor plan (Measured Drawing Team Fwu Chang, 2017) 77
Figure 6.25: Console table in gallery space of Fwu Chang Gallery (Ong, 2017) 77
Figure 6.26: Side table in gallery space of Fwu Chang Gallery (Ong, 2017) 77
Figure 6.27: Chairs in gallery space of Fwu Chang Gallery (Ong, 2017) 78
Figure 6.28: 4 seasons poem displayed in gallery space of Fwu Chang Gallery (Ong, 2017) 79
Figure 6.29: Gold ornament displayed above glass partition of Fwu Chang Gallery (Ong, 2017) 80
Figure 6.30: Guan Yin sculpture displayed in the Gallery (Ong, 2017) 80
Figure 6.30: Scholar sculpture displayed in the Gallery (Ong, 2017) 80
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HISTORICAL BACKGROUND
1.0 HISTORICAL BACKGROUND
1.1 MALACCA
1.1.1 HISTORY
Malcca is one of the thirteen states of modern Malaysia. It is located
on about 70 kilometres of the south-west coast of the Malay
Peninsula. It began as a small settlement, one of many in the area,
but grew to become a legendary Malay emporium and capital before
it fell into the hands of the Portuguese, the Dutch and finally the
British.
Malacca was just a village with few families when a fugitive prince
named Parameswara chanced upon it one day and decided to stay.
The people were orang laut, people who lived off the sea as
fisherman and as pirates. The Straits of Malacca was even the
lucrative grounds as there were boats laden with valuable cargo
sailing between China and India and the Middle East.
Figure 1.1: Parameswara, founder of Malacca (Anonymous, n.d.)
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1.1.2 INDEPENDENCE OF MALACCA

Malacca and the rest of the Malay Peninsula were occupied by the
Japanese from 1942 to 1945 during World War II. The British
returned to Malaya after the Japanese surrender in 1945. Malacca
together with the other states in Malaya, came under Malayan Union.
After World War II, nationalist sentiments among the people of
Malaya culminated I a proud proclamation of independence. Tunku
Abdul Rahman, the first prime minister of Malaysia chose Pahang
Pahlawan (Warriors Field) at Bandar Hilir in Malacca to announce
Malaysia independence to the entire country on February 20, 1956.
Malaysia officially independent country on 31 August 1957.
Figure 1.2: Announcement of independence by Tunku Abdul
Rahman 1957 (Anonymous, n.d.)
1.1.3 PRESENT MALACCA

Malacca nevertheless has a strong economy based on agriculture
and tourism. With its choice location between Kuala Lumpur in the
north and Singapore in the south, Malacca City is a haven for both
tourist and investors. Although industry is set to become mainstay of
the state economy in the future, its tourism that will always remain
Malaccas main attraction. Malacca was declared as a historical City
on 15 April 1989 and it's the oldest city in the country. It has retained
much of its ancient heritage and timeless charm.
Figure 1.3: Heritage view of Malacca (Anonymous, n.d.)
1.1.4 ORIGIN OF NAME

The origin of Malaccas name has been debated by historians and
etymologists, but most accept a derivation from the tree commonly
called pokok Melaka in Malay because Malays traditionally named a
place for its geographic or botanic features.
The founder, Parameswara was standing under when he was
surprised by the actions of the mouse deer that had not run but
instead kicked his hunting dogs into the water when they tried to
corner it.
He saw this good omen and decided that he would settle down in the
place and name it Malacca - after the tree that was shading him. The
Figure 1.4: Melaka Tree, Phyllanthus emblica (Anonymous, n.d.)
account of this event is described in Sejarah Melayu (The Malay
Annals) and some people believe this actually took place in what is
now known as Melaka Pindah.
Figure 1.5 Fruits from Melaka Tree (Anonymous, n.d.)
1.1.5 HISTORICAL TIMELINE
1511 Malacca was attacked by Alfonso d' Albuquerque on 10th August and he built AFamosa
1545 Saint Francis Xavier visits Malacca and used Malacca as his base in the East.
1568 Johor helps the Portuguese to fight off the Achehnese who terrorize the Malacca Straits for sixty years.
1597 Malacca was attacked by the Dutch for the first time
1606 The Dutch under Admiral Matelieff de Jonge, teams up with the Sultan of Johor and attack Malacca.
1636 The Dutch destroyed Portuguese ships at the Malacca harbour.
1641 Malacca was surrendered to the Dutch by the Portuguese Governor, Manuel de Souza Couthinho
1650 The Stadthuys the Dutch administrative centre and home of the Governor is built.
1710 St. Peter's Church, the oldest functioning Christian church in Malaysia, is built after the Dutch freedom of religion.
1753 After twelve years Christ Church next to Stadhuys is completed.
1756 The Bugis under the command of Daing Kamboja attacks Malacca.
1795 The English East India Company takes over Malacca temporarily during the Napoleonic wars.
1807 Under William Farquar, the English begin demolishing A Formosa fort and transfer the city's population to Penang.
1808 Sir Stamford Raffles arrives in Malacca and saved it from destruction and the evacuation plan.
1818 Malacca is restored to the Dutch under the Treaty of Vienna after the Napoleonic Wars.
1824 The Dutch and the British made Anglo Dutch Treaty to be known as Treaty of London.
1826 Malacca, Penang and Singapore are incorporated as Straits settlement of India government.
HISTORICAL TIMELINE (CONT.)
1867 Straits settlements became a crown colony under the colonial office in London.
1941-1945 Second world war.
1942 Japanese occupied Malacca.
1945 British restored Malacca when Japanese surrender themselves in Singapore.
1948 Malacca was controlled by communist for 14 days.
1956 Malaysias first prime minister Tunku Abdul Rahman announces the news of independence.
1957 On 31st August 1957, Malaysia gained independence from British.
1963 Formation of Malaysia with Malacca, Singapore, Sabah and Sarawak forging a new nation.
1989 On 15th April, proclamation of Malacca as a historical city
Figure 1.6 Historical timeline of Malacca (Tung, 2017)
1.1.6 BACKGROUND AND TOWN PLANNING

Just over a century later, in 1511, Malacca fell to Portuguese
invaders travelling from Goa in India. This started a cycle of nearly
450 years of colonial rule during the history of Malacca, resulting in
its varied heritage still in evidence today. The fort of A Fomosa,
whose only remaining structure is the Porta de Santiago, became
the centre of Portuguese rule here, built on a hill overlooking the sea
to defend thetown from the armies of the Sultan. However, it was
another European power that proved the main threat.
Figure 1.7 Malacca Portuguese Town Map (Anonymous, n.d.)
As the first base of European Christian trading kingdom in Southeast

Asia, it was surrounded by numerous emerging native Muslim states.
Also, with hostile initial contact with the local Malay policy,
Portuguese Malacca faced severe hostility. They endured years of
battles started by Malay sultans who wanted to get rid of the
Portuguese and reclaim their land. Rather than a centralised port of
exchange of Asian wealth exchange, or a Malay state to police the
Strait of Malacca that made it safe for commercial traffic, trade was
now scattered over a number of ports amongst bitter warfare in the
Straits.
Figure 1.8 Another details of Fortaleza de Malacca (Anonymous,
n.d.)
During Dutch era, the This era saw relative peace with little serious
interruption from the Malay kingdoms due to the understanding
earlier on forged between the Dutch and the Sultanate of Johor in
1606. This time also marked the decline of the importance of
Malacca. The Dutch invaded and took over in 1641, again leaving
their distinctive European mark on Malacca. Stadthuys, or the Red
Building, was built in 1650 on Laksamana Road and is today the
oldest Dutch structure still standing in the East.Map of Malacca in
Dutch period
Figure 1.9: Map of Malacca in Dutch Period (Anonymous, n.d.)
By 1824, the Dutch had essentially lost interest in Malacca and

began to concentrate their efforts on Indonesia instead, ceding the
colony to the British under the Anglo-Dutch Treaty. The British East
India Company ruled until 1946, before the town became a crown
colony. During this period, the British did little building of their own,
instead converting the existing Dutch and Portuguese buildings for
their own use, even painting the Stadthuys its distinctive red colour.
Figure 1.10: Early 20th Century British Malacca town map

(Anonymous, n.d.)
METHODS OF DOCUMENTATION AND MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I 10
!
Despite of the rapid urban and commercial development, Melaka

town area have largely retain urban style of old shophouses,religious
and administrative buildings. Melaka Town Plan was been available
since the Portuguese. Then it was continued by Dutch and the
British. Many of the landscape from that era can still be recognized
until now. Original street patterns in the old Town map and present
still can be seen.
Figure 1.11: Current Malacca Map after Independence

(Google earth, 2017)
!
1.1.7 UNESCO WORLD HERITAGE SITE historic city centres on the Straits of Malacca with a multi-cultural
Melaka and George Town, historic cities of the Straits of Malacca living heritage originating from the trade routes from Great Britain
have developed over 500 years of trading and cultural exchanges and Europe through the Middle East, the Indian subcontinent and the
between East and West in the Straits of Malacca. The influences of Malay Archipelago to China. Both towns bear testimony to a living
Asia and Europe have endowed the towns with a specific multi-cultural heritage and tradition of Asia, where the many religions
multicultural heritage that is both tangible and intangible. With its and cultures met and coexisted. They reflect the coming together of
government buildings, churches, squares and fortifications, Melaka cultural elements from the Malay Archipelago, India and China with
demonstrates the early stages of this history originating in the 15th- those of Europe, to create a unique architecture, culture and
century Malay sultanate and the Portuguese and Dutch periods townscape.
beginning in the early 16th century. Featuring residential and
commercial buildings, George Town represents the British era from
the end of the 18th century. The two towns constitute a unique
architectural and cultural townscape without parallel anywhere in
East and Southeast Asia.
Both Malacca and George Town possess outstanding Universal

Value and are remarkable examples of historic colonial towns on the
Straits of Malacca that demonstrate a succession of historical and
cultural influences arising from their former function as trading ports
Figure 1.12: Malacca as world heritage site
linking East and West. These are the most complete surviving
(Anonymous, n.d.)
!
1.2 JALAN HANG KASTURI 1.2.2 BACKGROUND

1.2.1 ORIGIN OF NAME It all began during the 18th century when chinese immigrants from
The other name for Jalan Hang Kasturi is called Tofu street. Tofu villages near Guangdong,China came to Malaya. Many of them
street was first known as Jiang Hu(starch) street, because of how started their business and decided to reside in Melaka. Before this
often starch is used within that street till the drains were filled with street is known as Jiang Hu street, it is called the second crossed
starch water. There are many stories about how Tofu Street came street. This is because it is the second cross junction street.There is
about.The first story we heard from one of our local interviewee is many stories about how Tofu Street came about.
how the Hakka community find the word Jeong Hu isnt pleasing to
the ears thus they decided to change it to To Fu. There is also
another saying, tofu street started because of the plan view of the
houses and streets that looks like tofu being cut. Lastly, it is about
they decided to change the name when hawker stalls began to sell
tofu-based snacks at that area.
!
1.2.3 SITE CONTEXT ANALYSIS Soon Loong Chan. In spite of its shabby exterior and a rather small
During the 18th century, the end of second cross street is influenced and average interior, this shop is appreciated by its VIP and celebrity
by tinsmiths.These tinsmiths also made galvanised iron rain gutters patrons. Teo Soon Loong Chan has made its reputable name, where
for roofs of houses, however there are only a handful of them left on patrons have to make advance reservations due to limited number of
the street. tables.
There is this tinsmith located next door to the Balas Place guest Apart from that, the retail outlet Bali-inspired Puri Padi with a
house which carries the phrase of A little bit of India in Chinatown. Balinese getaway, which sells assortments of goods sourced from
The other tinsmith known as Yong Der Fa a third-generation tinsmith Indonesia.
which takes over his ancestral business.
Another exceptional place is Gees Original Gallery, a colorful shop
Situated at the junction of Jalan Hang Kasturi and Jalan kampung which sells hand-crafted clogs, shoes, slippers and T-shirt.
Kuli stands the only shop of rattan and bamboo weavers. The shop
is known as Yat Heng or Yuet Heng Rattanwork which established in Jalan Hang Kasturi, the name of this street is named after one of
the year 1908. The shop sells items like chairs, baskets, stools, Malaccas five mythical warriors. The irony is that he was not buried
trays, back scratches which were all made from either rattan or along the road but at Jalan Hang Jebat. Nonetheless, the street
bamboo. Jalan Hang Jebat and Hang Jebat is not related after all his tomb is
Besides that, one of Malaccas distinguished eateries is placed at the located Jalan Kampung Kuli.
next junction of the road with Jalan Tukang Emas. The restaurant
which serves best authentic Teo Chew Cuisine within the city, Teo
!
1.2.4 ACCESIBILITY
Jalan Hang Kasturi begins from Jalan Kampung Pantai which
intersects with Jalan Tukang Emas and cuts across Malaccas two
main tourist attraction streets Jonker street (Jalan Hang Jebat)
and Heeren Street (Jalan Tun Tan Cheng Lok).
1.2.5 RELATIONSHIP OF BUILDING TO ITS SURROUNDING

Tofu Cafe
No. 89, Jalan Hang Kasturi
Located at the right side of Fwu Chang shop.It's a small cafe run by
a Chinese family that serves drinks all day long. They open their
business from 4pm to 2am everyday.
Architecture Style
Art Deco style.
Figure 1.13: Tofu Cafe front facade
(Lau, 2017)
!
Tinsmiths Shops
There are about 2,3 Tinsmiths Shops in this street. During the 18th
century, tinsmiths dominated in this street. They made variety of
kitchen utensils and rain gutters for roofs of houses. There are now
only a handful of them left on the street.
Architecture Style
Art Deco style.
Figure 1.14: Front facade of tinsmiths shop

(Lau, 2017)
!
Fui Chew Association colour. Structurally the walls are of brick and plastered with lime, the
No. 94, Jalan Hang Kasturi roof structure is of timber.
The Fui Chew Association is opposite to Tofu Cafe. The Fui Chew
Association was set up in 1805 by Mr Le Chen Fah and a group of
enthusiastic countryman. Originally known as Hai Shan Company,
it was located at the present Hai Shan Street. The company was
moved to Jian Fu Street Lot 94 on 9th of September 1844. The then
leader Mr Lee Ah Huat purchased the lot from the Malay lady
Fatimah with 354 Spanish dollar. The company name was changed
to Er Cheng Guan, before finalizing the name to Er Cheng
Association ( Fui Chew old town to Er old town)
Architecture Style
The Chinese population in Malaysia generally and in Melaka Figure 1.15: Front facade of Fui Chew Association
particularly, mainly came from Southern China. This architecture (Lau, 2017)
embodies the spiritual notion of harmony with nature. This is
manifested in the symbolism of the ornaments that are used to
convey luck, directions, seasons, the winds and constellations. The
fundamental concepts of Chinese architecture are the courtyard,
emphasis on the roof, exposure of structural elements and the use of
!
(Fu Xing) Oriental Riverside Residence Guesthouse

No. 8, Jalan Kampung Pantai
Located at the back street of Jalan Hang Kasturi. It was a
It is located at the south corner of the street. This shop having smiliar
guesthouse for people. It only got six rooms and the price is cheap.
business ans Fwu Chang Trading. They did carving signboard, stone
carving, gold Chinese character and offset printing.
Architecture Style
Late straits eclectic style. The house ornamentations was interesting.
Architecture Style
There are Guan Yin(Goddess of Mercy), dragons, eagles and
Art Deco architecture style.
flowers that the facade. It has a mixture of both western and eastern
ornamentation , it was there since 1933. That is before the Japanese
invasion of Malaysia, when Melaka were placed under British Military
Administration. The owner decided to preserve the house because of
its unique ornamentation and cultures within. The opulence is
reflected in the rich ornamentation. The pilasters, spandrels, every
possible blank space would be embellished with stucco decorations.
Figure 1.16: Front facade of Fu Xing (Wong, 2017)
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Figure 1.17: Oriental Riverside Residence Guesthouse front facade (Wong, 2017)
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1.2.6 GENIUS LOCI Kasturi youre able to see a woman wearing cheong sam looking out
At this present time, Jalan Hang Kasturi still has its very own the window holding a traditional chinese basket.
essence of uniqueness and where artisans still practice their trades
in shops set up by their ancestors. Along this street you can find Jalan Hang Kasturi is known as Tofu Street to locals, because of
captivating elements of the five senses. In spite of the fact that, the the tofu-based snacks that were sold at that area during weekends.
value of the properties under the UNESCO designated World Besides that, there is a prominent pub there named The Tofu Cafe
Heritage status have been escalating which caused many traditional which is the best place to catch up with your friends or watch the late
family business to close down or find a new location to start its EPL matches.
business. However, Jalan Hang Kasturi manage to preserve its
appeal.
The mural of the eight running horses painted on the wall of one
building as you enter Jalan Hang Kasturi using the Jalan Kampung
Pantai junction has captivated the eyes of many. This mural was
themed Towards a new journey and is painted by two local artist
Chong Chen Chuan, 68, and Quake Kah Ann, 36 using a chinese
calligraphy technique. The mural became the center of attention for
tourists to pose for pictures as it symbolises robustness and vitality.
The other mural that caught many tourists is the 3D street murals at
Figure 1.18: 3D street murals at the backline of Jalan Hang Kasturi
the back lane of Jalan Hang Kasturi. While walking along Jalan Hang
(Tengku Syakira, 2017)
!
Figure 1.19: Chinese calligraphy technique painted mural of eight running horses by local artist (Kok, 2017)
!
ARCHITECTURAL DEVELOPMENT
2.0 ARCHITECTURAL DEVELOPMENT
2.1 INTRODUCTION TO SHOPHOUSES Dutch Style

In a tropical climate country ,the small town Melaka inspires many Southern China Style
with their architectonic beauty of the Shophouse. This typology is a Early Shophouse Style
mixture of Chinese building principles with Western giving it an Early Transitional Style
almost perfect balance between interior and exterior. There are more Early Straits Eclectic Style
than 600 shophouses and townhouses of different architecture styles Late Straits Eclectic Style
and influences, which can be separated into different categories, Neo-Classical Style
depending ontheir facade designs and in example: Art-Deco Style
Early Modern Style
Figure 2.1: Timeline of architectural development of shophouses (Anonymous, n.d.)
!
2.2 HISTORY OF SHOPHOUSES
2.2.1 DUTCH STYLE

17th - 18th Century
The Dutch style is the soonest sort and only can be found in the
Historic City of Melaka, predominantly on Heeren Street. Initially
worked by the Dutch in the seventeenth century these kind of
shophouses and townhouses are it is possible that maybe a couple
story tallness with basic faade plan with constrained openings on
the upper floor, typically with just a single brought together or and no
more two symmetrical windows. The ground floor are for the most
part now being utilized as private as opposed to shops, with
symmetrical faade outline of concentrated entryway and two side
Figure 2.2: Dutch architectural style shophouse (Tung, 2017)
windows The five foot way is not associated with the contiguous
structures along these lines this sort of structures have private
passageway yard. Basically the dividers are of dutchbrick and put
with lime, the rooftop structure is of timber.
!
2.2.2 Southern China Style

18th - Early 19th Century
Southern China Style

The Chinese populace in Malaysia by general and in Melaka
especially, fundamentally originated from Southern China. Like for
the Baba Nyonya Museum at Heeren Streets, the architectural
convention took after was a changed adaptation of the "Chinese
National" or northern style. This architectural exemplifies the
profound idea of amicability with nature. This is showed in the
imagery of the trimmings that are utilized to pass on good fortune,
bearings, seasons, the winds and heavenly bodies. The essential
ideas of Chinese architecture are the courtyard, accentuation on the
rooftop, presentation of auxiliary components and the utilization of
shading. Fundamentally the dividers are of brick and put with lime,
the rooftop structure is of timber.
Figure 2.3: Southern China architectural style shophouse

(Tung, 2017)
!
2.2.3 Early Shophouse Style

1800 - 1850
The early type of two story sort of shophouses is worked to the road
edge with recessed ground floor framing a pedestrian walkway,
generally basic in detail and moderately low in scale. With brick work
partitioning divider, they are regularly inherent lines with
straightforward pitched rooftop. The faade is a method for filling the
space between the two end dividers. The upper floor faade
bolstered by squat columns extend over the walker walkway, and
comprises generally of timber development with nonstop line of
framed or louvered screens. The spandrel is of either timber (for the
prior sort) or stone work while the upper pillar is for the most part set
specifically over the window opening, ruling out frieze and with
uncovered rooftop rafters shaping a shade and straightforward sash
board. The upper floor faade is flanked by plain brick work pilasters
at each side and the ground floor has full width opening.
Fundamentally, structures of this style join brick work seperating
dividers with timber upper floor and tiled rooftop.
Figure 2.4: Early shophouse architectural style (Tung, 2017)
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2.2.4 Early Transitional Style

1840 - 1900
The two story structures are worked to the road edge and join a five
foot pedestrian on foot walkway which is therefore known as 'five
footway' and is all around dug in the style by the center of the
nineteenth century. Expressive gable ends to rows. Ornamentation is
minimal with the upper consoles frequently enlarged and decorated
with flower motifs, straightforward adornment to the spandrel. Green
glazed ceramic vents) and plain pilasters. The typical requests
embraced are the Tuscan and Doric. Upper floor openings, with a
line of consistent timber screens are normal. Cornices or flat
moldings along the bar make the strycture seem substantial.
Fundamentally, structures of this style fuse the utilization of stone
work isolating dividers with timber upper floor, tiled rooftop and
timber bar.
Figure 2.5: Early transitional architectural style shophouse

(Tung, 2017)
!
fuse broad utilization of workmanship with the presentation of

2.2.5 Early Straits Eclectic Style fortified solid lintels and pillars, timber upper floor and tiled rooftops.
1890 - 1920
The transitional style is portrayed by structures with relatively

controlled utilization of adornments on its faade. Doors and
windows remain transcendently timber framed and shuttered despite
the fact that the utilization of glass in little plates on the shades later
got to be distinctly normal. Transoms are level angled or half circle
infilled with glass. Vents are utilized with a style of economy,
architectural compositions as squares or diamond between windows.
Ground floor masonry work walls have symmetrical double doors, a
couple of window and bat shape vents above. The style fuses large
portions of the components of the "grand" classical style,
reinterpreted and received to suit the shophouses vernacular may
incorporate pediments, pilasters, cornerstones and curves. Since
1910s the use of reinforced concrete allowed wide roof overhangs
and more elaborate cantilevered concrete decoration (consoles).
This style displays only a bipartite height arrange, in example
Figure 2.6: Early straits eclectic architectural style shophouse
elevation with two windows. Fundamentally, structures of this style
(Tung, 2017)
!
2.2.6 Late Straits Eclectic Style

1920 - 1940
This the most impressive style particularly in the use of

ornamentation. The tripartite arrangement of three windows on the
faade reduces the actual wall space to the minimum and provides
maximum ventilation. In later examples, the wall surface is replaced
by columns or pilasters framing the windows. The constrained
indigenous faade designs borrowed freely from the various ethnic
traditions. Chinese panel frescoes are often combined with Malay
timber fretworks that fringe the cape of the roof. Brightly coloured
ceramic tiles and plaster delicately moulded into bouquets, festoons,
plagues and other elaborate ornamentation bear testimony to the
artistry of the shophouse builders. The development of reinforced
concrete in the 1910s enabled large spans to be achieved and more
elaborate cantilevered details to be incorporated into facades.
Fundamentally, structures of this style incorporate extensive use of
masonry with first floor timber fenestration and tiled roof.
Figure 2.7: Late straits eclectic architectural style shophouse

(Tung, 2017)
!
2.2.7 Neo- Classical Style

Late 18th - Early 20th
The Last phase of European Classicism of the late 18th and early
19th century characterised by monumentality, a sparing used of
ornament and strict used of the Orders Of Architecture. Attentively
proportioned which sometimes incorporate portico, colonnade and
cupola in the design. Apparently, the style which was carried through
into the early 20th century was altered by Anglo-Indian Architecture
through colonial British with East Indian Company which brought
influences practical to their tropical experience, which are embodied
by high ceilings, large porches and painted in pastel or white
finishing on exterior and interior walls which are seen in the colonial
government buildings and bungalows for European masters in all
major cities such as buildings along Weld Quay. The most non-
tropical forms used is the Palladian system of neo-greek column,
pediments and fenestration, neo-Roman arches and domes, and
Renaissance ,cupalos, turrets,parapets quoins, espadanas,
Figure 2.8: Neo-classical architectural style shophouse
surrounds, staircases and balconies.
(Tung, 2017)
!
2.2.8 Art-Deco Style

1930 - 1950
Art Deco is a decorative style used widely between the 1930s and
1950s. The style is categorised by the use of straight lines (typically
three parallel) arranged either vertically or horizontally in conjunction
with other geometric elements, creating a strong vertical or
horizontal emphasis to the structure. A granulated render adapted
from and regionally known as Shanghai Plaster was brought in at
this time and was frequently used. The buoyant classical decoration
of earlier style became much more controlled and in many cases
was stripped completely. Windows are arranged in groups rather
than the typical three bays commonly observed in the earlier
shophouses style (casement shutters). Emphasizing the date of
construction on the faade of the building as well as the use of metal
frame windows is typical of this period of architecture. Structurally,
buildings of this style are or reinforced concrete masonry rendered or
Shanghai plastered. Development or reinforced concrete resulted in
Figure 2.9: Art-deco architectural style shophouse
cantilevered sunshades and high pediment or parapet wall.
!
2.2.9 Early Modern Style

19th - 20th Century (Post War)
Following the evolution in western art and architecture from the end
of the 19th century to its peak in the 1920s and 1930s. It actually
grasp a wide variety of movements, theories, and attitudes whose
modernity resides in a common tendency to repudiate past
architecture. The important figures in the general trend towards a
radically ornamented and simplified architectural styles were Walter
Gropius, Le Corbusier, Mies Van de Rohe. Built with reason, form by
individuality and the aesthetic quality of which came from the
minimalist of their form and the abstract relationship of solid surfaces
and large, clean cut openings rather than from applied ornament or
decoration. The trend soon caught up in the country during post war.
Although in progressing design away from the quaint and
Figure 2.10: Early modern architectural style shophouse
craftsmanship, local influences were not disregarded but were
(Tung, 2017)
adapted to form a special modern style. Structurally, the buildings of
this style use reinforced concrete.
!
2.3 EVOLUTION OF SHOPHOUSES
17th - 18th Century 18th- early 19th century 1800-1850 1840- 1900 1890-1920
Dutch style Southern China Style Early Shophouse Early Transitional Style Early Straits Eclectic Style
style
Earliest type architecture Modified version of the Built to the street edge with Built on street edge Restrained use of ornaments
Built by Dutch Chinese National or recessed ground floor and incorporate a five on its faade.
Upper floor has limited nothern style forming pedestrian foot way Flat arched or semicircular
openings Express the spiritual walkway Minimal Ornamentation infilled with glass
Centralised or two notion of harmony with Small In scale with upper consoles Incorporate Grand Classical
symmetrical windows. nature. Built in rows with simple Enlarged and style like Pediments,
Five foot way not Feng Shui" is applied pitch roof decorated floral motifs pilasters, keystones and
connected to Concepts of chinese Continuous row of Adopt orders such as arches
neighbouring buildings architecture like courtyard, panelled or louvered Tuscan and Doric. Reinforced concrete allowed
emphasis on roof, shutters. Cornices along the wide roof overhangs
exposure of structural No room for frieze with beam Elaborate cantilevered
elements and use of color. exposed rafters concrete decoration.
Walls are dutchbrick Walls are made of brick Incorporate masonry The use of masonry Extensive use of masonry
Walls are plastered and plastered lime dividing walls dividing walls Introduction of reinforced
with lime Roof structure is timber Timber upper floor Timber upper floor concrete lintels and beams
Roof structure is of Tiled roof Tiled roof Timber upper floor and tiled
timber Masonry dividing walls Timber beam roofs
!
1920-1940 19th- early 20th century 1930-1950 Post War

Late Straits Eclectic Style Neo-Classical Style Art-Deco Style Early Modern Style
Reduces the actual wall space Sparing used of ornament and Characterised by the used of straight Common tendency to
which provides maximum strict used of the Orders of lines arranged vertically and repudiate past architecture
ventilation. Architecture horizontally. Built with reason
Wall surface replaced by columns Studiously proportioned Shang Hai plaster was introduced Form by character and
or pilasters framing the windows. Incorporate portico, colonnade and frequently utilised. aesthetic quality
Indigenous faade designs from and cupola(s) in the design. Exuberant classical decoration or Large, clean cut openings
various ethnic tradition. Typified by high ceilings, large earlier style became more restrained rather than from applied
Chinese Panel frescoes and Malay porches. or stripped completely. ornament or decoration.
timber fretworks Painted in pastel or white Highlighting the date of construction Moving design away from
Brightly coloured ceramic tiles finishing on exterior and interior on the faade of the building. quaint and craftsmanship.
Plaster delicately moulded into walls. Reinforced concrete resulted in
bouquets, festoons and other cantilevered sunshades and high
elaborate ornamentation pediment or parapet wall.
extensive use of masonry Reinforced concrete Reinforced concrete Reinforced concrete
First floor timber fenestration Tiled roof Masonry rendered Steel
Tiled roof Shanghai plastered
Figure 2.11: Evolution of shophouses architectural style (Tung, 2017)
!
[ NO. 87 ] FWU CHANG DESIGN AND SOUVENIRS
3.0 [ NO.87 ] FWU CHANG DESIGN AND

SOUVENIRS
3.1 FACTS
Name : Fwu Chang Bookstore / Fwu Chang Carving
F Zhng Dao K /
F Zhng sh din
Location : No. 87, Jalan Hang Kasturi, 75200 Malacca

Between Tofu Cafe and Fwu Chang Gallery
Built in : 1939
Acquired in : 1939
Function : Work and residential space
Architectural style :
Art-Deco shophouses
Emphasis on the date of construction on the facade of the building
and parapet wall are the key elements of Art-Deco shophouse
architecture.
Figure 3.1: Entrance of Fwu Chang Design and Souvenirs
(Kok, 2017)
$
3.2 ART DECO SHOPHOUSE STYLE

Art Deco is a decorative style widely used between the 1930s and
1950s and this style is characterised by the use of straight lines,
typically three lines parallel to each other arranged either vertically or
horizontally coordinated with other geometric elements, creating
strong vertical or horizontal emphasis to the facade of the building.
Shanghai Plaster, a granulated finishing was introduced and
commonly utilised at this period of time. Earlier shophouses style
with exuberant classical decoration were reduced and in many cases
was stripped completely. Windows are more commonly arranged in
groups in Art-Deco shophouses rather than the three bays casement
shutters windows arrangement that were practised in the earlier
shophouses style. Metal-framed windows were started to be
implemented in this period of architecture and the sate of
construction of the building were highlighted on the facade of the
building. Structurally, most buildings of this style are of reinforced
concrete with masonry render or Shanghai plastered. Development
of reinforced concrete during this period of time resulted in
cantilevered sunshades and high pediment or parapet wall.
Figure 3.2: Facade of Fwu Chang Design and Souvenirs
$
Flagpole
V-shaped/Marseille roof tiles
Stepped parapet wall
Strong horizontal and vertical lines
Shanghai plaster wall finish
Sea-green glass windows with

metal frames
Year of construction
Metal frame panel door
Figure 3.3: General Art-Deco Style shophouses building typology. Adapted from Art Deco Style by George Town World Heritage Inc. Copyright 2017 by
PENANG SHOPHOUSE. Adapted with permission.
$
3.3 HISTORY OF BUILDING

Fwu Chang Design and Souvenirs was established in the year of
1939, when Mr. Ting Fwu Chang, grandfather of the current owner,
Mr. Ting Wei Chia rented No. 87, Jalan Hang Kasturi to start up his
own carving business after leaving China in 1936 and decided to
stay in Malacca. This shophouse were rented since it was built until
Workspaces Residential spaces
today as it is part of the protected land and are not allowed to be
sold to any parties. Figure 3.4: Indication of work and residential spaces on ground floor
plan (Measured Drawing Team Fwu Chang, 2017)
3.4 FUNCTION OF BUILDING
No. 87, Jalan Hang Kasturi shophouse function as work and
residential space. The ground floor of the building were dominated
by workspaces filled with machineries and tools essential for carving.
Carving and business activities were all conducted within those
spaces. A kitchen and a dining area were also located towards the
inner part of the building to accommodate the more private lifestyle
of the residence of the building, the owners mother who had lived in
the building for more than half a century and the owners brothers. Residential spaces
First floor of the building are solely utilised as residential spaces with Figure 3.5: Indication of residential spaces on first floor plan
bedrooms, bathrooms and living spaces available. (Measured Drawing Team Fwu Chang, 2017)
$
3.5 FWU CHANG TRADING Mr. Ting Wei Chia, the current owner of Fwu Chang Trading has
Fwu Chang Trading is an established firm engaged in sculpturing gained reputation as one of the best carving artist in Malacca and
and carving industry. Founded in 1939 and persevered for more than His customers range from all around the world form Hong Kong,
half a century, the ancestor-handed-down hand carving skill of has China, Singapore, Malaysia, Indonesia to Australia.
been passed on for three generations. Todays Fwu Chang is well-
recognised as one of the pioneer of hand-carved traditional gold
tablets not only in Malacca but across the continent with great
experience and skills.
In the early days, Fwu Chang were greatly involved with the
distribution of books and are once the biggest book distributor in
Malacca and were also occupied with carving wooden and stone
signets and stamps.
Fwu Chang persevere with their own principle of quality over

quantity. High quality hard woods with beautiful grains and imported
99.877 pureness gold foils were used for its product. Strenuous
traditional handmade process were also never compromised thus
producing products of great craftsmanship and workmanship. Figure 3.6: Wooden signboards displayed in Fwu Chang Design and
Souvenirs (Kok, 2017)
$
3.7 HISTORY OF BUSINESS 3.8 PRACTICES AND BELIEF

Mr. Ting Fwu Chang, grandfather of the current owner, Mr. Ting Wei Some of the practices and beliefs that Fwu Chang holds on to during
Chia came to Malacca from Shang Hang, Mingxi, Sanming, Fujian, the process of carvings includes preparing the wood used according
China in 1936. He first started the business which focuses on book to a specific standard and tradition and also to be extremely careful
printing and distribution together with some design and souvenirs when hanging up the completed signboards onto its designated
carving. He brought in this business from Hong Kong where he position.
previously lived in and worked there.
Woods that were provided by suppliers were usually not dry enough,
The skills were then handed down to his son at the age of 18, the and the moisture content of the wood is usually around 30 degrees
second generation who also learned some of his skill from but to be able to produce a durable workpiece, the moisture content
Singapore. Shortly after, the business is passed down to the current should be around 20 degrees. If the moisture content were too high,
owner, Mr. Ting Wei Chia due to the sudden death of his father in an the wood will tend to crack easily in hot weather therefore wood with
accident. Mr, Ting Wee Chia and his siblings skills were all self- high moisture content will be placed in drying room for around one
learned as his father were unable to passed them his skills before he month,until it moisture content drop to around 16-17 degrees which
passed away. Now, Fwu Chang only focuses on designing and are the most ideal (Ting, 2017).
carvings souvenirs and no longer involved in book distribution.
Due to the nature of pure gold that were used in the signboards and
art pieces, it is also not advisable to be touched as this might harm
the art piece and it will be impossible to be retouched as every
pieces of gold are different from one another.
$
Fwu Chang also follows the Lu Ban and Ding Lang rules when
choosing date to chop down trees and carving so that it does not
disrupt the nature harmony and leads to bad happenings. Lu Ban
was an expert carpenter in Chinese history and were worshipped by
people who are involved in construction and wood related industry.
When carving ancestor panel, extreme care were taken into

choosing the right date and time to chop down trees as it is closely
related to the deaths spirit. Besides that, when preparing signboards
or statues for temple, it is crucial to consecrate the art piece before
placing it in the temple, this is also known as Kai Guang in Chinese.
It is essential for the person hanging up the signboards Chinese
zodiac to not crash with the date and time of the elevating event
therefore thorough examination were done before the event.
It is also a taboo to remove the signboards or tablet once it had been

hung up as this convey a bad omen to the business.
Figure 3.7: Lu Ban, Chinese master carpenter honored by
carpenters as the founder of carpentry (Anonymous, n.d.)
$
[ NO. 85 ] FWU CHANG GALLERY
4.0 [ NO.85 ] FWU CHANG GALLERY
4.1 FACTS
Name : Fwu Chang Gallery
F Zhng Y Sh Gun
Location : No. 85, Jalan Hang Kasturi, 75200 Malacca

Between Fwu Zhang Carving and a tinsmith shop
Built in : 1900 to 1950
Acquired in : 2009
Function : Exhibition space for completed products
Architectural Style :
Early Shophouse
Usage of terracotta roof tiles on the facade of the building and
continuos row of timber panelled windows are the key elements of
Early Shophouses architecture.
Figure 4.1: Entrance of Fwu Chang Gallery

(Kok, 2017)
"
4.2 EARLY SHOPHOUSE STYLE

Early Shophouse style are the early form of two storey type of
shophouses. They were built to the street edge with recessed
ground floor forming a pedestrian walkway, five-foot way.
Shophouses of this style were generally simple in detail and
relatively low in scale. They were normally built in rows with masonry
parti wall and simple pitched roof. The facade acts as a filler
between the spaces within the two walls, the upper floor facade
usually projects over the walkway supported by square pillars.
These shophouses consists mostly of timber construction with
continuos row of panelled or louvered shutters. The upper floor
facade is usually bordered by plain masonry pilasters at each side
and the ground floor has full width opening. structurally, buildings of
this style incorporate masonry dividing walls with timber upper floor
and tilled roof.
Figure 4.2: Facade of Fwu Chang Gallery

"
Terracotta U-shaped
roof tiles Overhanging pitched roof
Continuous row of timber

panelled or louvered shutters
and solid timber windows
Wood panel doors and

square timber windows
Granite edge block

and steps
Figure 4.3: General Early Shophouses style building typology. Adapted from Early Penang Style by George Town World Heritage Inc. Copyright 2017
by PENANG SHOPHOUSE. Adapted with permission.
"
4.3 HISTORY OF BUILDING residential purpose. Kitchen, bath, bedrooms and living rooms are all
Fwu Chang Gallery were bought by Mr. Ting Wei Chia in 2009 with located on the first floor of the building.
an intention to use the shophouse as an exhibition space for the
completed art pieces done by Fwu Chang. This building were once a
kopitiam, traditional kind of cafe in the past. The building had
undergone renovation during that period of time and the layout of the
building were maintained by Mr. Ting Wei Chia. He did some
alterations on the building facade and internal spaces but maintained
and used the same materials for the main elements that defines the Gallery Office
shophouse as Early Shophouses such as the terracotta-tiled flooring, Figure 4.4: Indication of work and residential spaces on ground floor
timber upper floor and V-terracotta roof tiles. He refurbished the plan (Measured Drawing Team Fwu Chang, 2017)
building with a mixture of traditional and modern materials to suits
his preference and narration of the gallery.
4.4 FUNCTION OF BUILDING

No. 85, Jalan Hang Kasturi shophouse includes gallery, office and
residential usage. The ground floor of the building are mainly a
gallery space for exhibiting Fwu Changs work. An office where Residential spaces
payments and documentations were made were located at the back Figure 4.5: Indication of residential spaces on first floor plan
of the gallery whilst the first floor of the building is entirely used for
"
NO. 87 AND FEATURES OF ART DECO STYLE
ROOF RIDGE LEV.

5.0 NO. 87 AND FEATURES OF ART DECO STYLE
FFL: +8255.00
5.1 FEATURES ON FACADE

1939 signage (year of construction)
Stepped parapet wall
Rectilinear corbel
5424
Louvered shutters and solid

timber lower panels
Horizontal lines
Bressummer beam
FIRST FLOOR LEV.
Traditional signboard
FFL: +2831.00
2831
Folding metal panelled door
GROUND FLOOR LEV.
Five-foot way
FFL: +0.00
475
GROUND LINE
FFL: -475.00
Figure 5.1: Features of Art-Deco shophouse style identified on Facade of Fwu Chang Design and Souvenirs
!
5.2 STEPPED PARAPET WALL

A parapet is a barrier which is an extension of the wall at the edge of
a roof, terrace, balcony, walkway or other structure. Parapets were
originally used to defend buildings from military attack, but today
they are primarily used as guard rails and to prevent the spread of
fires. It were present in most architecture that were built during art
deco period as advancement of fortified cement made it possible to
build cantilevered sunshades and high pediment or parapet divider.
Figure 5.3: Stepped parapet wall on front facade of building (Tengku

Syakira, 2017)
Figure 5.2: Indication of stepped parapet wall on front elevation

!
5.3 SIGNAGE
5.3.1 1939 Signage
This signage can be seen on building facade and they were formed
with moulded plaster. It normally displays the year of construction for
the building and some also indicate the company name and original
building use and these signages. It were normally kept intact even if
it is no longer relevant to the current business as it helps to record
and preserves the history of the building.
Figure 5.4: Indication of 1939 signage on front elevation (Measured

Drawing Team Fwu Chang, 2017)
Figure 5.5: Close-up of 1939 signage on front facade of building

!
5.3.2 Traditional Signboard

The signboard that were displayed above the front door were neither
Fwu Chang Design and Souvenirs nor Fwu Chang Carving but Fwu
Chang Book Shop. This signboard were handed down by the
previous generation and although it is old, it were kept displayed
there as it holds a deep value towards the owner and also tells the
story of the background of the business that Fwu Chang had done
as book distributors in the past.
Figure 5.6: Indication of traditional signage on front elevation

Figure 5.7: Close-up of Fwu Chang Book Shop signboard

(Kok, 2017)
!
5.3.3 Signage on Column

The column at the front of the building form the five-foot way
colonnades and acts as a support for the upper floor. Due to the
position of the column at the front of the building, it were also utilised
to display the name of the business, Fwu Chang Carving and the
basic information of the business. These informations were painted
on the surface and acts as an advertisement for the building and to
enable people to find the location of the business.
2 3 4 5 6 7 8 9 11 12
ROOF RIDGE LEV.

FFL: +4280.00
MAX. CEILING LEV.

FFL: +3096.00
FIRST FLOOR LEV.

FFL: +3175.00
Figure 5.9: Indication of

signage on column on Figure 5.10: Signage on column on
GROUND FLOOR LEV.
FFL: +0.00
GROUND LEV.
FFL: -360.00
front elevation front elevation with the name

Figure 5.8: Indication of signage on column on longitudinal section
(Measured Drawing and basic information of
Team Fwu Chang, 2017) business (Cheok,2017)
!
5.4 FIVE-FOOT WAY

Five-foot way is a sheltered space for circulation and is an important
element that contributes to the experience of walking through a
conservation area. Therefore, it should be kept clear for pedestrian
flow. However, the five-foot way of Fwu Chang Design and
Souvenirs is blocked with woods and tables for carving therefore it
can no longer be used for pedestrian walk anymore.
2 3 4 5 6 7 8 9 11 12
ROOF RIDGE LEV.

FFL: +4280.00
MAX. CEILING LEV.

FFL: +3096.00
FIRST FLOOR LEV.

FFL: +3175.00
GROUND FLOOR LEV.

FFL: +0.00
GROUND LEV.
FFL: -360.00
Figure 5.11: Indication of five-foot way on longitudinal section Figure 5.12: Five-foot way that were no longer used as pedestrian
(Measured Drawing Team Fwu Chang, 2017) walkway (Tengku Syakira, 2017)
!
5.5 BRESSUMMER BEAM

Bressummer beam is the main structural beam supporting the wall
above and creating a wide opening beneath it. Originally it were
made of hardwood, then reinforced concrete beams were introduced
during the 1920s and by the late of nineteenth century, I-beam was
introduced. As the structural material changed, the corbel supporting
the end of the bressummer beam changed as well. This element
were gradually merged into the overall facade and the clear
definition of this element disappeared. Common materials used for
Art-Deco bressummer beam includes reinforced concrete, cement or
shanghai plaster Figure 5.13: Indication of Figure 5.14: Indication of
bressummer beam on front corbel on front elevation
5.6 RECTILINEAR CORBEL elevation (Measured Drawing (Measured Drawing Team
Corbel is a structural piece of stone, wood or metal jutting from a Team Fwu Chang, 2017) Fwu Chang, 2017)
wall to carry a superincumbent weight, a type of bracket. In Art Deco
style, brackets were simplified to rectilinear-shaped corbel which
commonly uses steel i-beam, reinforced concrete and shanghai
plaster as the main material.
!
Figure 5.15: Close-up bressummer beam on building facade Figure 5.16: Close-up rectilinear corbel on building facade
(Tengku Syakira, 2017) (Tengku Syakira, 2017)
!
5.7 FOLDING METAL PANELLLED DOOR 5.8 METAL DECORATIVE LATTICE

Traditional commercial shopfront was made from movable timber Metal decorative lattice were placed above the folding metal
planks on either side of a central door which allows it to be removed panelled door to promote ventilation.
during the daytime for business operations and were reinstalled at
night. Folding metal panelled door were used in No. 87 as the main
door for the building.
Figure5.17: Indication of Figure 5.18: Indication of

folding metal panelled door on metal decorative lattice on
front elevation front elevation
Figure 5.19: Folding metal panelled door (opened) and metal
(Measured Drawing Team (Measured Drawing Team
decorative lattice (Kok, 2017)
Fwu Chang, 2017) Fwu Chang, 2017)
!
5.9 METAL PLATE REAR DOOR

Rear door leading to the back lane was normally double-layer
system but in this building, it is only a single-layer metal plate rear
door without any grille.
Figure 5.20: Indication of metal plate rear door on rear elevation Figure 5.21: Metal plate rear door (opened)
(Measured Drawing Team Fwu Chang, 2017) (Kok, 2017)
!
5.10 INTERNAL PARTITIONS

Internal partitions are non-structural component, and consist of
timber frames and panels that divide a shophouse into different
spaces such as the front hall and upstairs rooms. Internal partitions
can be found on first floor of the building where timber panels from
merbau, balau and meranti wood acts as room partitions.
Figure 5.22: Indication of internal partitions on first floor plan

Figure 5.23: Internal partitions dividing bedrooms on first floor
!
5.11 INTERNAL PANELLED TIMBER DOOR

Early room doors were normally single-leaf, timber-framed solid
plank doors with timber pivots and a slide bolt. Double-leaved, timber
-framed panelled door with metal hinges came into use in the late
19th century. Four-panelled double-leaved doors were used for
kitchen and dining area whereas a single-leaf timber plank door with
Figure 5.25 : Indication of single-leaved timber-framed panelled door
timber pivot and slide bolt were used for rooms on first floor.
on first floor plan
Figure 5.24: Indication of double-leaved timber-framed panelled door

on ground floor plan (Measured Drawing Team Fwu Chang, 2017)
Figure 5.26: Single-leaved timber plank door with timber pivot and
slide bolt on first floor (Tengku Syakira, 2017)
!
Figure 5.27: Double-leaved timber plank door leading to kitchen on Figure 5.28: Double- leaved timber plank door separating dining area
ground floor (Kok, 2017) and workspace on ground floor (Tengku Syakira, 2017)
!
5.12 WINDOW
Window on the upper floor of front facade are made up of hardwood
frame with louvered shutters and solid timber lower panels. Internal
wood balustrade were also installed for security purpose.
Figure 5.30: Close-up of timber windows with louvered shutters and

solid timber lower panels on building facade (Tengku Syakira, 2017)
5.13 FENESTRATION
Fenestration refers to the arrangement, proportioning and design of
windows and doors in a building that are strongly associated with the
usage and productivity and comfort of its occupant.
Due to the nature of the building being an intermediate unit, windows

Figure 5.29: Indication of timber window on front elevation
and doors can only be found on the front and rear facade with the
exception of the two doors that connect the the building to Fwu
Chang Gallery, internal doors used to divide the spaces for different
functions and windows placed between rooms.
!
5.14 TERRACOTTA FLOOR TILES

A tile is a slab of baked clay, cement or composite material such as
terrazzo that is used as floor finish. Early shophouses used
terracotta tiles as a breathable surface to help cool the rooms and
prevent damp problems . They were either wood or electric kiln fired
and highly porous in nature. It were directly laid on lime concrete
floors.
Figure 5.31: Indication of area covered with terracotta floor tiles on Figure 5.32: Kitchen area covered with terracotta floor tiles
ground floor plan (Measured Drawing Team Fwu Chang, 2017) (Kok, 2017)
!
5.15 TIMBER PLANKS 5.16 CERAMIC WALL TILES

Timber floorboard from meranti wood were nailed into timber joist Thin, glazed ceramic wall tile were introduced as decoration and
supports to create the upper floor. The planks were painted with protection to lower portion of front facades and interiors. Japanese
2 3 4 5 6 7 8 9 11 12
maroon red paint which follows the trend during 1930s to 1960s. tiles made from white clay coloured glaze were used for the toilet
and kitchen area as these spaces are prone to damp problem.
ROOF RIDGE LEV.

FFL: +4280.00
MAX. CEILING LEV.

FFL: +3096.00
FIRST FLOOR LEV.

FFL: +3175.00
GROUND FLOOR LEV.

FFL: +0.00
GROUND LEV.
FFL: -360.00
Figure 5.33: Indication of area covered with timber planks on first

floor plan (Measured Drawing Team Fwu Chang, 2017) Figure 5.35: Indication of area covered with ceramic wall tiles on
longitudinal section (Measured Drawing Team Fwu Chang, 2017)
Figure 5.34: Maroon red painted timber planks on first floor

!
Figure 5.36: Japanese wall tiles installed in ground floor toilet area
(Kok, 2017)
Figure 5.37: Japanese wall tiles installed on first floor bath area
!
1 2 3 4 5 6 7 8 9 10 11 12
A B C
5.17 CEILING A
F D14
D11 W1
F
A
D12
B B
UP
Ceiling is a panel or strip covering or hides the structure of the roof
D10
D6
D13
D9
D8
D7
C C
or floor from the room below. The underside of floor boards and D D
D2
D E E D
D3
UP
supporting timber joists of the first floor as seen from ground floor
D1
D5 D4
were traditionally exposed, without a ceiling. Ceiling panels and

E E
beading were used for first floor such as asbestos board and later Figure 5.39: Indication on reflected ground floor ceiling plan showing
A B C
replaced with plasterboards and non-asbestos board. exposed floor boards and timber joists
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METHODS OF REFLECTED CEILING PLAN (GF)
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19-03-2017
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05
DOCUMENTATION AND
1 2 3 4 5 6 7 8 9 10 11 12
A B C
A
F F W9 W8 F
B
UP
D21
W7
D23
D20
D22
C
D D D
W6 D18
D E W4
E
D17 D16 D15
D19
W2
W5
W3
Figure 5.40: Indication on reflected first floor ceiling plan showing

A B C
plasterboards panels with beading
Figure 5.38: Ground floor ceiling with exposed floor boards and
timber joists (Tengku Syakira, 2017)
!
5.18 FURNITURE
Family Altar
This family altar is the creation of the current owner himself. He
hand-carved the whole altar from scratch when he was still in
secondary school to commemorate the death of his father. This was
one of the earliest artwork by him and he carved it without any
guidance due to the sudden death of his father in an accident.
The purpose of having a family altar is to worship god, honors his

word, develop respect to it and to live by it. It also plays an important
role to establish the family in the fate, personal convictions and
doctrine.
Figure 5.41: Indication of family altar on ground floor plan (Measured

Drawing Team Fwu Chang, 2017) Figure 5.42: Family altar in the building (Tengku Syakira, 2017)
!
5.19 ORNAMENTATION
Gold Lettering
This hand-crafted gold lettering were made to convey good
messages. It were mounted on the kitchen door. The position of the
lettering is very well-thought of as it is a focal point of attention
therefore the family members will be constantly reminded on the
meaning of this four words and does not forget about their life.
Figure 5.43: Indication of double-leaved door with gold lettering

attached on ground floor plan (Measured Drawing Team Fwu Chang,
2017)
Figure 5.44: Double-leaved door with gold lettering mounted on it

(Kok, 2017)
!
9139
NO. 85 AND FEATURES OF EARLY SHOPHOUSE STYLE
3745 1598 1790 2005
6.0 NO. 85 AND FEATURES OF EARLY SHOPHOUSE STYLE
6.1 FEATURES ON FACADE ROOF RIDGE LEV.

FFL: +8255.00
Overhanging pitched roof
Jian Nian ornament

Column head Chi Tou
5424
Continuous row of timber

panelled window
Terracotta V-shaped roof tiles Plain masonry pilaster border
FIRST FLOOR LEV.

Traditional golden signboard FFL: +2831.00
2831
Five-foot way GROUND FLOOR LEV.
Granite steps
FFL: +0.00
475
GROUND LINE
FFL: -475.00
Figure 6.1: Features of Early Shophouse style identified on Facade of Fwu Chang Gallery
6.2 TERRACOTTA V-TILE OVERHANGING ROOF

V-shaped terracotta roof tiles were used to cover the overhanging
roof in the front and rear facade of Fwu Chang Gallery. They are
wide at the front and and narrow at the back. This feature helps them
to lock together to form the roof.
This type of tiles were hand-made and kiln bakes as unglazed clay.
They
E
were supported
D C
onB timber
A
battens and column
A
head
B
that
C
were
D E
E D C B A A B C D E
present on the facade.
9139
3745
9139
1598 1790 2005

9139
2005 1790
9139
1598 3745
3745 1598 1790 2005 2005 1790 1598 3745
ROOF RIDGE LEV. ROOF RIDGE LEV.

FFL: +8078.00
FFL: +8255.00

FFL: +8078.00
FFL: +8255.00
5218
5424
5218
5424
FIRST FLOOR LEV.

FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00 FIRST FLOOR LEV.
FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00
Figure 6.3: Terracotta v-tile used on front facade of No. 85 building
3054
2831
3054
2831
supported by column head Chi Tou

GROUND FLOOR LEV. GROUND FLOOR LEV.
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
GROUND FLOOR LEV. GROUND FLOOR LEV. FFL: -291.00

GROUND LINE
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -475.00
FFL: -291.00
GROUND LINE
FFL: -475.00
Figure 6.2: Indication of terracotta v-tile used on front and rear (Tengku Syakira, 2017)
facade of No. 85 building

1:50
1:50 1m 0 1m 2m 3m 4m 5m
1m 0 1m 2m 3m 4m 5m
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2017/ARC1215/FWUCHANG/E01
ARC1215 METHODS OF FRONT ELEVATION FRONT ELEVATION
07
02-02-2017 19-03-2017
METHODS OF DOCUMENTATION AND REAR ELEVATION 19-03-2017 1:50
07
DOCUMENTATION AND REAR ELEVATION 1:50
MEASURED DRAWING 25
TEH CHIE YANG . LOON JING WEI . LIU JYUE YOW
MEASURED DRAWING
METHODS OF DOCUMENTATION AND MEASURED DRAWINGS
25
I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I 66
PUAN HASMANIRA
87,Jalan Hang Kasturi,75200 Melaka,Malaysia TEH CHIE YANG . LOON JING WEI . FRANCIS YEOW SHENG
PUAN HASMANIRA
87,Jalan Hang Kasturi,75200 Melaka,Malaysia NEVILLE GEOFFREY SOMI
TEH CHIE YANG . LOON JING WEI . FRANCIS YEOW SHENG
NEVILLE GEOFFREY SOMI
6.3 CHI TOU

Facade columns found on early Chinese-influenced building end with
a column head which is also known as chi tou, a projecting bracket
at the top of the column or the eave of gable wall. This structure
allows roof eave be a to be placed one foot or more parallel to the
facade. Front face of chi tou' is normally shaped in three parts: a
vertical top, a slightly concave surface in the middle and a recessed
bottom part. Early examples of chi tou were plain and later
developed into more decorative design with intricate coloured stucco
E D C B A A B C D E
work or even jian nian', cut and paste porcelain shard work of
9139 9139
Chinese motif.
3745 1598 1790 2005 2005 1790 1598 3745

FFL: +8078.00
FFL: +8255.00
Figure 6.5: Chi tou' decorated with jian nian ornaments on front
5218
5424
facade of No. 85
FIRST FLOOR LEV.
FFL: +2831.00 (Tengku Syakira, 2017) FIRST FLOOR LEV.
FFL: +3054.00
3054
2831
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -291.00
GROUND LINE
FFL: -475.00
Figure 6.4: Indication of granite column head on front facade of No.

85 building (Measured Drawing Team Fwu Chang, 2017)
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 METHODS OF DOCUMENTATION AND MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I 67
FRONT ELEVATION
02-02-2017
METHODS OF 19-03-2017
07
MEASURED DRAWING 25
PUAN HASMANIRA
6.4 JIAN NIAN

Jian nian' ornament were formed with broken ceramic pieces. It is
often known as jianhuaand is known asqianciin China's
Guangdong Province and is a very unique form of sculpturing that
originated in southern china and still flourishes in Guangdong and
Fujian areas.
Four different design were sculpted on the four granite brackets on

the facade and each of them represents a season of the year, they
symbolises the 4 seasons when placed together. Several flowers
often appear with the form of great four seasons. For Spring, plum
blossom,
E for D Summer,
C B lotus,
A for Autumn, chrysanthemum,
A B C and
D E
Winter, camellia.
3745
9139
1598 1790 2005 2005 1790

9139
1598 3745

FFL: +8078.00
FFL: +8255.00
Figure 6.6: Indication of jian nian

Figure 6.7: Jian nian ornaments on front facade of No. 85
ornaments attached to granite
5218
5424

column head on front facade of FIRST FLOOR LEV.
FFL: +3054.00
FIRST FLOOR LEV.
No. 85 building (Measured

FFL: +2831.00
3054
2831
GROUND FLOOR LEV.

Drawing Team Fwu Chang, 2017) GROUND FLOOR LEV.
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -291.00
GROUND LINE
FFL: -475.00
1:50
1m 0 1m 2m 3m 4m 5m
6.5 TRADITIONAL GOLDEN SIGNBOARD

The signboard that were displayed above the front door shows the
name of the building, Fwu Chang Gallery. This signboard were
crafted to suits the grand appearance of the gallery while still
preserving the traditional art of carving by hand and using gold as
one of the main materials for signboard making. It also reflects the
standing of Fwu Chang Trading in the carving industry as they were
well-known for gold
E letteringDsignboards
C B and Athey receive ordersA and B C D E
requests from all around the world.

9139 9139
3745 1598 1790 2005 2005 1790 1598 3745

FFL: +8078.00
FFL: +8255.00
Figure 6.9: Gold lettering signboard on front facade of No. 85 stating

the name of the building, Fwu Chang Gallery.
5218
5424
(Kok, 2017)
FIRST FLOOR LEV.
FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00
3054
2831
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -291.00
GROUND LINE
FFL: -475.00
Figure 6.8: Indication of golden signboard location on front facade of

No. 85 building (Measured Drawing Team Fwu Chang, 2017)
1:50
1m 0 1m 2m 3m 4m 5m
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METHODS OF FRONT ELEVATION
07
19-03-2017
MEASURED DRAWING 25
PUAN HASMANIRA
87,Jalan Hang Kasturi,75200 Melaka,Malaysia
6.6 FIVE-FOOT WAY

Five-foot way is a sheltered space for circulation and is an important
element that contributes to the experience of walking through a
conservation area. Therefore, it should be kept clear for pedestrian
flow. However, the five-foot way of Fwu Chang Design and
Souvenirs is blocked with woods and tables for carving therefore it
can no longer be used for pedestrian walk anymore.
12 11 10 9 8 7 6 5 4 3 2 1
27399
1092 1984 1308 3772 3377 3202 2155 2041 2527 5743 199
ROOF RIDGE LEV.

FFL: +8255.00
5050
BEDROOM 1 BEDROOM 2 BEDROOM 3

LIVING KITCHEN 2 W/C 4
AREA 1
FIRST FLOOR LEV.

FFL: +3205.00
GALLERY
WORKSHOP 1/ Figure 6.11: Five-foot way in front of Fwu Chang Gallery
3205
SPACE
OFFICE
GROUND FLOOR LEV.

FFL: +0.00

475
GROUND LINE
FFL: -475.00
Figure 6.10: Indication of five-foot way on longitudinal section

1:50
1m 0 1m 2m 3m 4m 5m

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METHODS OF
DOCUMENTATION AND
SECTION E - E'
02-02-2017
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1:50
2017/ARC1215/FWUCHANG/S04
11
MEASURED DRAWING 25
ONG TUN CHEIK
PUAN HASMANIRA
87,Jalan Hang Kasturi,75200 Melaka,Malaysia CHEOK JIAN SHUANG . WONG MEI XIN . EE YUN SHAN
FRANCIS YEOW SHENG
6.7 BRESSUMMER BEAM

Bressummer beam is the main structural beam supporting the wall
above and creating a wide opening beneath it. It merge into the
overall facade andE are hardlyD noticeable
C B
dueAto the projecting V-tiled
A B C D E
roof. 3745
9139
1598 1790 2005 2005 1790

9139
1598 3745

FFL: +8078.00
FFL: +8255.00
5218
5424
FIRST FLOOR LEV.

FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00
3054
2831
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -291.00
GROUND LINE
FFL: -475.00
Figure 6.12: Indication of bressummer beam location on front facade Figure 6.13: Bressummer beam on facade of Fwu Chang Gallery
of No. 85 building (Measured Drawing Team Fwu Chang, 2017) (Tengku Syakira, 2017)
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
07
19-03-2017
MEASURED DRAWING 25
PUAN HASMANIRA
6.8 COLLAPSIBLE LATTICE METAL GATE

Traditional commercial shopfront was made from movable timber
planks on either side of a central door which allows it to be removed
during the daytime for business operations and were reinstalled at
night. Collapsible lattice metal gate also known as Bostwick gate
were used in No. E85 as the main
D
gate
C
for
B
the Abuilding. A B C D E
9139 9139
3745 1598 1790 2005 2005 1790 1598 3745

FFL: +8078.00
FFL: +8255.00
5218
5424
FIRST FLOOR LEV.

FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00
3054
2831
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -291.00
GROUND LINE
FFL: -475.00
Figure 6.14: Indication of collapsible lattice metal gate location on Figure 6.15: Bostwick gate installed in front of Fwu Chang Gallery
front elevation of No. 85 building (Tengku Syakira, 2017)
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
07
19-03-2017
MEASURED DRAWING 25
PUAN HASMANIRA
6.9 IRON GRILLE REAR DOOR

Rear door leading to the back lane was normally double-layer
system and in this building, iron grille rear door with timber frame
D C B A
were used as Athe outer
B
later
C
and
D
single-leafEmetal plate on the inner
9139 layer. 9139
1598 1790 2005 2005 1790 1598 3745
ROOF RIDGE LEV.

FFL: +8078.00
5218
FIRST FLOOR LEV.
FFL: +3054.00
3054
GROUND FLOOR LEV.
291
FFL: +0.00
GROUND LINE
FFL: -291.00
Figure 6.16: Indication of iron grille rear door on rear elevation of No.
85 building (Measured Drawing Team Fwu Chang, 2017)
1:50
1m 0 1m 2m 3m 4m 5m
02-02-2017
FRONT ELEVATION
07
19-03-2017
ON AND REAR ELEVATION 1:50
AWING 25 Figure 6.17: Iron grille rear door on back of Fwu Chang Gallery
PUAN HASMANIRA
00 Melaka,Malaysia TEH CHIE YANG . LOON JING WEI . FRANCIS YEOW SHENG
(Ong, 2017)
6.10 INTERNAL PANELLED TIMBER DOOR 6.11 WINDOW

All1 internal doors on 4the first floor of No. 85 building are single-leaf Window on the upper floor of front facade are made up of hardwood
N
2 3 5 6 7 8 9 10 11 12
27399
E D C B A A B C D
eight-panelled door.
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
frame with stained glass and solid timber lower panels. Internal wood 9139 9139
A REF.
SHEET
B
REF.
SHEET
C
REF.
SHEET
balustrade were also installed for security purpose.

08 08 09
3745 1598 1790 2005 2005 1790 1598
A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
2005
W10
W9
LIVING BEDROOM 5
13
BEDROOM 4
AREA 2
UP
B
JALAN HANG KASTURI

14 TIMBER FLOORING ROOF RIDGE LEV.
TIMBER FLOORING
TIMBER FLOORING FFL: +8255.00
D23
1790
TERRACOTTA TILES W8
BACK ALLEY
D25
D22
D24
C
PERIMETER DRAIN
9139
D D
1598
REF.
SHEET
W7 W/C 4 D20 REF.
SHEET
11 TERRACOTTA TILES 11
D E E
REF. REF.
5424
SHEET SHEET
10 10
D19 W4 D18 D17

D21
LIVING
11
10 W2
W6 KITCHEN 2 AREA 1
BEDROOM 2
9
TERRACOTTA TILES
8 BEDROOM 3 BEDROOM 1 W3 TIMBER FLOORING
3745
7
W5 TIMBER FLOORING TIMBER FLOORING TIMBER FLOORING
6
FIRST FLOOR LEV.
E FFL: +2831.00
Figure 6.18: Indication of single-leaf eight panelled door on first floor
2831
GROSS
AREA (SQ.M)
FIRST FLOOR
LIVING AREA 1
BEDROOM 1
BEDROOM 2
BEDROOM 3 GROUND FLOOR LEV.
plan (Measured Drawing Team Fwu Chang, 2017)

FFL: +0.00
A
KITCHEN 2
475
B C
REF. REF. REF.
SHEET SHEET SHEET W/C 4 GROUND LINE
08 08 09 BEDROOM 4
FFL: -475.00
BEDROOM 5
LIVING AREA 2
LAUNDRY AREA
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
Figure 6.19: Indication of timber window with stained glass on front

ARC1215 02-02-2017
elevation (Measured Drawing Team Fwu Chang, 2017)

METHODS OF FIRST FLOOR PLAN
04
19-03-2017
DOCUMENTATION AND 1:50
LIU JYUE YOW

MEASURED DRAWING PUAN HASMANIRA
25
87,Jalan Hang Kasturi,75200 Melaka,Malaysia CHEOK JIAN SHUANG . EE YUN SHAN . SHEFEREENA ISREEN BINTI MOHAMAD
ISHAK . LIU JYUE YOW . TUNG SIEW HUI . WONG MEI XIN
1:50
1m 0
ARC1215 02-02-2017
METHODS OF FRONT ELEVATION 19-03-2017
MEASURED DRAWING
TEH CHIE YANG . LOON JING WEI .
PUAN HASMANIRA
87,Jalan Hang Kasturi,75200 Melaka,Malaysia TEH CHIE YANG . LOON JING WEI .
3745
ROOF RIDGE LEV.

FFL: +8078.00
5218
FIRST FLOOR LEV.

FFL: +3054.00
3054
GROUND FLOOR LEV.

291
FFL: +0.00
GROUND LINE
FFL: -291.00
Figure 6.20: Timber window with stained glass on front facade Figure 6.21: Timber window with stained glass on front facade
1m 2m 3m 4m 5m
(Tengku Syakira, 2017) viewed from inside (Ong, 2017)
07
25
. LIU JYUE YOW
. FRANCIS YEOW SHENG
6.12 TIMBER FURNITURE

Tea-drinking Table
Hand crafted by the owner by reusing the timber structure that were
replaced during the renovation of the building. The table were used
to welcome valuable guests that visits the gallery such as the Sultan
alike. A complete tea set were prepared at the table for the owner
and
1 2his guests to
3 enjoy
4 some tea6 drinking
7 session.
N
5 8 9 10 11 12
27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
STAMP CONCRETE STAMP CONCRETE
TERRACOTTA TILES
D8
D15 D12 TERRACOTTA TILES
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
C
PERIMETER DRAIN
9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
TERRACOTTA TILES
Figure 6.23: Tea-drinking table in gallery space of Fwu Chang

8
3745
D7 D6
6
E
1 2 3
Gallery (Tengku Syakira, 2017)

Figure 6.22: Indication of tea-drinking table on ground floor plan
GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE

W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
SHEET SHEET SHEET DINING AREA
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF GROUND FLOOR PLAN
02
19-03-2017
LIU JYUE YOW

25
87,Jalan Hang Kasturi,75200 Melaka,Malaysia SHEFEREENA ISREEN BINTI MOHAMAD ISHAK . LIU JYUE YOW . TUNG SIEW HUI
KOK XUAN YING . LAU HUI MING . FRANCIS YEOW SHENG . NEVILLE GEOFFREY SOMI
Console Table Side table

Hand carved with traditional Chinese border elements by9 the owner All the side tables that were used to display carvings and sculptures
N
1 2 3 4 5 6 7 8 10 11 12
27399
and were used to display his personal stone carving collection in the
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
were hand picked by the owner as the furnitures need to reflect the
A REF.
B
REF.
C
REF.
gallery. essence of the space, full with antiques and well-crafted carvings
SHEET SHEET SHEET
08 08 09
A REF.
SHEET
F
12 1 2
3 4 5 6 7 8 9 10 11 12
W1
REF.
SHEET
F
12 and sculpture with not only high quality but also aesthetics.
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
C
PERIMETER DRAIN
9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
D7 D6
6
E
1 2 3
Figure 6.24: Indication of console table on ground floor plan AREA

GROSS
(SQ.M)
GROUND FLOOR

ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE
W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
02
19-03-2017
LIU JYUE YOW

MEASURED DRAWING 25
Figure 6.26: Side table in gallery space of Fwu Chang Gallery
PUAN HASMANIRA
(Ong, 2017)
Figure 6.25: Console table in gallery space of Fwu Chang Gallery

(Ong, 2017)
Chairs
All the chairs that were available in the building were chairs that
resemble the traditional kind of majesty chair. This type of chair adds
on to the grandeur touch of the space. Certain area of the chairs
were also carved with floral and others ornamentation to give a focal
point and boost to the magnificent space.
Figure 6.27: Chairs in gallery space of Fwu Chang Gallery

(Ong, 2017)
6.13 ORNAMENTATION produce the same piece, he rejected all of them as he hold on to his
4 Seasons Poem Tablet own principle of creating the same thing over and over again will
Four-part poem that depicts the 4 seasons of the year. It is the lack originality and soon losses interest and resulting in a different
greatest masterpiece by the current owner that is displayed in Fwu product. Therefore, he create every product whole-heartedly,
Chang Gallery. There is only one of this pice in the whole world annd thinking about each and every strokes of the writings.
although the owner has received countless number of request to
Figure 6.28: 4 seasons poem displayed in gallery space of Fwu Chang Gallery (Ong, 2017)
Gold Ornament Sculpture

Four golden ornament were placed above the glass sliding door. Two A sculpture of Guan Yin and another sculpture of a Chinese scholar
of the ornaments were lion figure while the other two depicts a were placed in the gallery. Guan Yin is the goddess of mercy and
human figure with his disciple in the nature. It were placed there for people believe that she will assist those who pray to her whereas the
Feng Shui and decorative purpose. scholar were well-known for his great intellectual.
Figure 6.29: Gold ornament displayed above glass partition of Fwu

Figure 6.30: Guan Yin Figure 6.31 Scholar
Chang Gallery (Ong, 2017)
sculpture displayed in the sculpture displayed in the
gallery gallery
(Ong, 2017) (Ong, 2017)
MELAKA
SPATIAL PROPERTIES
7.0 SPATIAL PROPERTIES
7.1 ORIENTATION
Figure 7.1: Site plan showing the

GA
orientation of building (Measured Drawing

LL
IL
EO
GU
ES
T
HO
Team Fwu Chang, 2017)

US
E
GA
LL
IL
EO
GU
ES
T
HO
US
E
TO
FU
Both No. 85 and No. 87 were south-east

CA
FE
FW
U
CH
AN
G
TR
orientated.This orientation allows cross
FW AD
U
CH
IN
G ventilation of the interior spaces through
AN
G
GA
LL
ER
the front facade windows and effective
Y
daytime lighting into the interior spaces
through the openings on the roof on the
I
UR
ST
KA
building.
F
NG
AS UI C
HA
SO H
N
CI EW
LA
AT
JA
IO
N
!
!
divided and differentiated into spaces with different area and volume according to its spatial importance and function.
TUNG SIEW HUI . LAU HUI MIN . KOK XUAN YING
SHEFEREENA ISREEN BINTI MOHAMAD ISHAK
FRANCIS YEOW SHENG 87,Jalan Hang Kasturi,75200 Melaka,Malaysia
CHEOK JIAN SHUANG . WONG MEI XIN . EE YUN SHAN PUAN HASMANIRA
PUAN HASMANIRA ONG TUN CHEIK
25 MEASURED DRAWING
ONG TUN CHEIK
25 MEASURED DRAWING
1:50
DOCUMENTATION AND
Both plan and sections of the building convey a coherent in terms of form where the drawings shows a rectilinear shophouse. The spaces were also
1:50
DOCUMENTATION AND
19-03-2017
12 METHODS OF
19-03-2017
11 METHODS OF 2017/ARC1215/FWUCHANG/S05
SECTION F - F'
02-02-2017
SECTION E - E' ARC1215
02-02-2017
ARC1215
5m 4m 3m 2m 1m 0 1m
5m 4m 3m 2m 1m 0 1m
1:50
1:50
(Measured Drawing Team Fwu Chang, 2017) (Measured Drawing Team Fwu Chang, 2017)
FFL: -475.00
Figure 7.5: Longitudinal section of No. 85 shophouse Figure 7.3: Longitudinal section of No. 87 shophouse
GROUND LINE
FFL: -475.00
475
GROUND LINE
FFL: +0.00
475
GROUND FLOOR LEV.
FFL: +0.00
GROUND FLOOR LEV.
WORKSHOP 2
OFFICE AREA
3205
SPACE
3205
WORKSHOP 1/ DINING
GALLERY KITCHEN 1
WORKSHOP 3
FFL: +3205.00
FIRST FLOOR LEV.
FFL: +3205.00
FIRST FLOOR LEV.
AREA 1
W/C 4 KITCHEN 2 LIVING AREA 2 BEDROOM 4
BEDROOM 2 BEDROOM 1 BEDROOM 5
BEDROOM 3 LIVING
LAUNDRY AREA
5050
5050
FFL: +8255.00
FFL: +8255.00
ROOF RIDGE LEV.
ROOF RIDGE LEV.
N
N
1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12
27399 27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092 199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
27399
27399
REF. REF. REF. REF. REF. REF.
SHEET SHEET SHEET SHEET SHEET SHEET
08 08 09 08 08 09
1 2
A
3 4 5 B 6 C 7 11
Figure12 7.4: 10 9
Ground floor 8plan 1 2 A 3 4 B 5 6 C 7 Figure 9
12 117.2:10Ground floor8 plan
A REF. 3 4 5 6 7 8 9 10 11 12
A REF. REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET SHEET SHEET
12 1 2 12 12 1 2 12
D13 W1 D13 W1
2005
2005
F D14
F F D14
F
13 DINING 13 DINING
D16 WORKSHOP 3 WORKSHOP 2 D16 WORKSHOP 3 WORKSHOP 2
14 14
STAMP CONCRETE KITCHEN 1 AREA STAMP CONCRETE STAMP CONCRETE KITCHEN 1 AREA STAMP CONCRETE
UP
UP
TERRACOTTA TILES
D8 TERRACOTTA TILES
D8
B D15 D12 TERRACOTTA TILES B D15 D12 TERRACOTTA TILES
ENTRANCE
ENTRANCE
W/C 2 D11 W/C 2 D11

D10 D10
W/C 3 CERAMIC TILES
W/C 3 CERAMIC TILES
1790
1790
D9 D9
C C
BACK ALLEY
BACK ALLEY
JALAN HANG KASTURI
JALAN HANG KASTURI
REF. D4 REF. REF. D4 REF.
9139
9139
1598
1598
SHEET W/C 1 SHEET SHEET W/C 1 SHEET
D 11 CERAMIC TILES D 11 D 11 CERAMIC TILES 11 D
REF. REF. REF. REF.
PERIMETER DRAIN
PERIMETER DRAIN
SHEET SHEET SHEET SHEET
D 10 E D E 10 E 10 E 10
D5 D5
WORKSHOP 1/ 11
GALLERY WORKSHOP 1/ 11
GALLERY
10 D3 10 D3
UP
UP
OFFICE D2 D1 OFFICE D2 D1
9 SPACE 9 SPACE
TERRACOTTA TILES TERRACOTTA TILES
8 TERRACOTTA TILES 8 TERRACOTTA TILES
TERRACOTTA TILES
TERRACOTTA TILES
ENTRANCE
7
ENTRANCE
3745
3745
6 6
D7 D6 D7 D6
5 5
4 4
1 2 3 1 2 3
E E
GROSS GROSS
AREA (SQ.M) AREA (SQ.M)
GROUND FLOOR GROUND FLOOR
ENTRANCE ENTRANCE
GALLERY SPACE GALLERY SPACE
WORKSHOP 1/OFFICE WORKSHOP 1/OFFICE
W/C 1 W/C 1
WORKSHOP 2 WORKSHOP 2
7.2 PLAN TO SECTION

REF. REF. REF. REF. REF. REF.
SHEET SHEET SHEET DINING AREA SHEET SHEET SHEET DINING AREA
08 08 09 KITCHEN 1 08 08 09 KITCHEN 1
A B C A B C
W/C 2 W/C 2
WORKSHOP 3 WORKSHOP 3
W/C 3 W/C 3
1:50 1:50
TOTAL TOTAL
1m 0 1m 2m 3m 4m 5m 1m 0 1m 2m 3m 4m 5m
02-02-2017 02-02-2017
ARC1215 2017/ARC1215/FWUCHANG/P02 ARC1215 2017/ARC1215/FWUCHANG/P02
GROUND FLOOR PLAN 19-03-2017 GROUND FLOOR PLAN 19-03-2017
METHODS OF METHODS OF
SPATIAL PROPERTIES
1:50
02 1:50
02
DOCUMENTATION AND LIU JYUE YOW
25 MEASURED DRAWING PUAN HASMANIRA
25
KOK XUAN YING . LAU HUI MING . FRANCIS YEOW SHENG . NEVILLE GEOFFREY SOMI KOK XUAN YING . LAU HUI MING . FRANCIS YEOW SHENG . NEVILLE GEOFFREY SOMI
N
1 2 3 4 5 6 7 8 9 10 11 12
SPATIAL PROPERTIES
27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
7.3 CIRCULATION TO USE SPACE

A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
Circulation of the spaces were in linear form and both building were connected with a door located in the parti wall on both floors.
REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
PERIMETER DRAIN
9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
D7 D6
6
1 2 3
Figure 7.6: Ground floor plan showing the function of each spaces and linear circulation of the space (Measured Drawing Team Fwu Chang, 2017)
GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE
W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
GROUND FLOOR PLAN
METHODS OF METHODS OF DOCUMENTATION AND MEASURED DRAWINGS I NO. 85 - 871:50I JALAN HANG KASTURI I MALACCA I 83
! 19-03-2017
02
25
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09 SPATIAL PROPERTIES
REF. 3 4 5 6 7 8 9 10 11 12 REF
SHEET SHE
12 1 2 12
F F
2005
W10
W9
LIVING BEDROOM 5
13
BEDROOM 4
AREA 2
UP
JALAN HANG KASTURI

14 TIMBER FLOORING
TIMBER FLOORING
TIMBER FLOORING
D23
1790
TERRACOTTA TILES W8
BACK ALLEY
D25
D22
D24
PERIMETER DRAIN
9139
D D
1598
REF.
SHEET
W7 W/C 4 D20 REF.
SHEET
E E
REF. REF
SHEET SHE
10 10
D19 W4 D18 D17

D21
LIVING
11
10 W2
W6 KITCHEN 2 AREA 1
BEDROOM 2
9
TERRACOTTA TILES
3745
7
6
Figure 7.7: First floor plan showing the function of each spaces and linear circulation of the space (Measured Drawing Team Fwu Chang, 2017)
GROSS
AREA (SQ.M)
FIRST FLOOR
LIVING AREA 1
BEDROOM 1
BEDROOM 2
BEDROOM 3
A
KITCHEN 2
B C
REF. REF. REF.
SHEET SHEET SHEET W/C 4
08 08 09 BEDROOM 4
BEDROOM 5
LIVING AREA 2
LAUNDRY AREA
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
04
19-03-2017
LIU JYUE YOW

2
!
N
1 2 3 4 5 6 7 8 9 10 11 12
SPATIAL PROPERTIES
27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
7.4 PUBLIC TO PRIVATE

F.
EET
2
A building were divided into public,
Spaces in No. 87 and No. 85 B semi-private
C and private spaces where most of the private spaces are located towards
REF.
SHEET
08
REF.
SHEET
08
REF.
SHEET
09
F the inner part (back of the building) and the upper floor.
REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
JALAN HANG KASTURI

D
14
TERRACOTTA TILES
D8
F.
EET
W/C 2 D11
0
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
PERIMETER DRAIN
9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
D7 D6
6
1 2 3
Public (accessible to everybody for visits)

GROSS
AREA (SQ.M)
Semi-private (accessible to certain people, such as Yang di-Pertuan Agong and reputable people) GROUND FLOOR
ENTRANCE
Private (accessible for family members only)

GALLERY SPACE
WORKSHOP 1/OFFICE
W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
Figure 7.8: Ground floor plan indicating the privacy of each spaces according to its function(Measured Drawing Team Fwu Chang, 2017)
WORKSHOP 3
W/C 3
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
25
ARC1215 02-02-2017
METHODS OF METHODS OFGROUND FLOOR PLAN
DOCUMENTATION AND MEASURED DRAWINGS I NO. 85 - 8719-03-2017
I JALAN HANG KASTURI I MALACCA I 85
! 02
LIU JYUE YOW

25
N
1 2 3 4 5 6 7 8 9 10 11 12

199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
2005
W10
W9
LIVING BEDROOM 5
13
BEDROOM 4
AREA 2
UP
JALAN HANG KASTURI

14 TIMBER FLOORING
TIMBER FLOORING
TIMBER FLOORING
D23
1790
TERRACOTTA TILES W8
BACK ALLEY
D25
D22
D24
PERIMETER DRAIN
9139
D D
1598
REF.
SHEET
W7 W/C 4 D20 REF.
SHEET
E E
REF. REF.
SHEET SHEET
10 10
D19 W4 D18 D17

D21
LIVING
11
10 W2
W6 KITCHEN 2 AREA 1
BEDROOM 2
9
TERRACOTTA TILES
3745
7
6
Private (accessible for family members only) GROSS

AREA (SQ.M)
FIRST FLOOR
LIVING AREA 1
Figure 7.9: Indication of private spaces on first floor plan (Measured Drawing Team Fwu Chang, 2017)
BEDROOM 1
BEDROOM 2
BEDROOM 3
A
KITCHEN 2
B C
REF. REF. REF.
08 08 09 BEDROOM 4
BEDROOM 5
LIVING AREA 2
LAUNDRY AREA
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
04
19-03-2017
METHODS OF DOCUMENTATION AND MEASURED DRAWINGS I NO. 85 - 871:50

DOCUMENTATION AND I JALAN HANG KASTURI I MALACCA I 86
LIU JYUE YOW
!
25
E D C B A A B C D
E D C B A A B C D E
9139
9139 9139
3745 1598 1790 2005 2005 1790 1598 3745
3745 1598 1790 2005 2005 1790 1598 3745
7.5 SYMMETRY AND BALANCE
ROOF RIDGE LEV.

FFL: +8255.00
V. ROOF RIDGE LEV.

FFL: +8078.00
5424
5218
FIRST FLOOR LEV.
FFL: +3054.00
V.
2831
3054
GROUND FLOOR LEV.
FFL: +0.00
475
LEV. GROUND FLOOR LEV.

GROUND LINE
291
FFL: +0.00
FFL: -475.00
GROUND LINE
FFL: -291.00
Figure 7.10: Symmetrically balanced front facade Figure 7.11: Asymmetrically balanced rear facade
Front facade of both No. 87and No. 85 building were symetrically balanced with all the elements being able to be reflected onto an axis of symmetry in
the middle of the facade whereas the rear facade were asymmetrically balanced due to the placement of openings such as the windows and doors.
1:50
1:50
! 1m 0 1m 2m
5 1m 0 1m 2m 3m 4m 5m
MATERIALS
8.0 MATERIALS
TRADITIONAL MATERIALS 8.1.1 CLAY AS STRUCTURAL WALLS

8.1 CLAY Clay bricks were used for walls and columns together with lime
Clay were used in traditional shophouses elements such as: mortar and plaster to create breathable walls. This type of wall is
Terracotta clay roof tiles ideal for hot and humid climates such as in Malaysia as it absorbs
Brick for walls moisture and were able to cool down the air inside the building.
Brick dust in lime mortar/plaster Brick walls were used as load-bearing and non-load bearing walls for
Lime concrete both No. 87 and No.85 building. The load-bearing walls including the
N
1 2 3 4 5 6 7 8 9 10 11 12
Brick pieces for below ground hardcore parti wall function as a support to withhold the weight of upper floor, 27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
Terracotta ground floor tiles roof structure

A and tiles. REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
Terracotta terrace floors

A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
Terracotta flat tiles (roof edges, gable edge and low alls)
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
Clay invert for interior and exterior drainage

W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
PERIMETER DRAIN
9139
D
D4
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
7
D7 D6
6
E
1 2 3
Figure 8.1: Ground floor plan indicating the load-bearing and non-
GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE
load bearing walls (Measured Drawing Team Fwu Chang, 2017)

W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
02
19-03-2017
LIU JYUE YOW

MEASURED DRAWING 25
!
PUAN HASMANIRA
MATERIALS
Figure 8.3: Exposed brick without any finishing as support for roof
Figure 8.2: Painted exposed brick column in dining area of
structure in both No. 87 and No. 85 building (Ong, 2017)
No. 87 building (Ong, 2017)
!
MATERIALS
8.1.2 CLAY AS COVERINGS

Terracotta V-tile were used to cover the overhanging roof of No. 85
building both in the front and rear facade. The overhang on the front
facade also functions as a shading device for the five-foot way
beneath
E the building.
D C B A A B C D E
E D C B A A B C D E
Figure 8.5: Terracotta v-tile used on front facade of No. 85 building

9139 9139
9139 9139
3745 1598 1790 2005 2005 1790 1598 3745
3745 1598 1790 2005 2005 1790 1598 3745

FFL: +8078.00
FFL: +8255.00

FFL: +8078.00
FFL: +8255.00
5218
5424
5218
5424
FIRST FLOOR LEV.

FFL: +3054.00
FIRST FLOOR LEV.
FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00
3054
2831
3054
2831
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
GROUND FLOOR LEV. GROUND FLOOR LEV. FFL: -291.00

GROUND LINE
291
FFL: +0.00
FFL: +0.00
GROUND LINE
475
FFL: -475.00
FFL: -291.00
GROUND LINE
FFL: -475.00
Figure 8.4: Indication of terracotta v-tile used on front and rear

facade of No. 85 building
(Measured Drawing Team Fwu Chang, 2017) Figure 8.6: Terracotta v-tile used on rear facade of No. 85 building
1:50
1:50 1m 0 1m 2m 3m 4m 5m
1m 0 1m 2m 3m 4m 5m
(Ong, 2017)
ARC1215 02-02-2017
ARC1215 METHODS OF FRONT ELEVATION FRONT ELEVATION
07
02-02-2017 19-03-2017
METHODS OF DOCUMENTATION AND REAR ELEVATION 19-03-2017 1:50
07
MEASURED DRAWING 25
MEASURED DRAWING 25
PUAN HASMANIRA
PUAN HASMANIRA
!
MATERIALS
Terracotta floor tiles were extensively used on the ground floor of

both No. 87 and No. 85 building. This is due to the porous
characteristic of the tile itself which allows moisture from the damp
earth to evaporate while also creating a cooling effect for the interior
spaces. Porous3 nature4 of terracotta tiles7 also prevent the9possibility
N
1 2 5 6 8 10 11 12
of damp problem compared to other types of tiles.

27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
Figure 8.8: Terracotta floor tiles in gallery space , No. 85 shophouse

A
(Ong, 2017)
REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
C
PERIMETER DRAIN
Facing bricks were used decorative feature on the facade of

9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E E D C B A A B C D
REF. REF.
SHEET SHEET
10 10
D5
building No. 85. It appears as a plain masonry pilaster border that
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
9139 9139
7
D7 D6
6
3745 1598 1790 2005 2005 1790 1598 3745
frames the side of the upper floor facade.

4
E
1 2 3
Figure 8.7: Indication of terracotta floor tiles used on ground floor of

GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE
ROOF RIDGE LEV.
W/C 1
No. 87 and No.85 building B

FFL: +8255.00
A
WORKSHOP 2
C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL

1m 0 1m 2m 3m 4m 5m
Figure 8.9: Indication of

5424
ARC1215 02-02-2017
02
19-03-2017
facing bricks on the front

LIU JYUE YOW
25
elevation
FIRST FLOOR LEV.
FFL: +2831.00
(Measured Drawing Team

2831
GROUND FLOOR LEV.

FFL: +0.00
Fwu Chang, 2017)

475
GROUND LINE
FFL: -475.00
!
1:50
1m 0 1m
E D C B A A B C
3745
9139
1598 1790 2005

MATERIALS 2005 1790
8.2 TIMBER ROOF RIDGE LEV.

FFL: +8255.00
Timber were used in traditional shophouses elements such as:

Roof structure
5424
Floor structure and floor boards
First floor partitions FIRST FLOOR LEV.
FFL: +2831.00
Frames, doors, shutters and air-vents
2831
Decorative screens, carvings and sign boards
GROUND FLOOR LEV.
Staircases, balustrades and hand rails

FFL: +0.00
475
GROUND LINE
FFL: -475.00
Panelled timber windows

8.2.1 TIMBER AS FACADE Wooden frame
Timber were used in facade for both No. 87 and No. 85 shophouses Louvered shutters
in shutters, frames and windows. Louvered shutters can be seen on
ARC1215
No. 87 building whereas panelled timber window with stained glass Figure 8.10: Indication of wooden frame,REAR
louvered shutters and
ELEVATION
DOCUMENTATION AND
MEASURED DRAWING
can be identified from the facade of No. 85 building. Windows were
panelled timber window the front elevation

opened in the day to promote ventilation and light fusing into the (Measured Drawing Team Fwu Chang , 2017)
interior spaces and closed during the night for security purposes.
!
C D E
9139
1598 3745
MATERIALS
ROOF RIDGE LEV.

FFL: +8078.00
8.2.2 TIMBER AS STRUCTURE
Timber were used as structural roof beams between shophouses
shared parti walls. They function as a support for the roof battens
5218
and roof tiles.

FIRST FLOOR LEV.
FFL: +3054.00
3054
GROUND FLOOR LEV.

291
FFL: +0.00
GROUND LINE
FFL: -291.00
Figure 8.11: Panelled timber window on the front facade of No. 85

building (Tengku Syakira , 2017)
1:50
1m 0 1m 2m 3m 4m 5m
02-02-2017
07
19-03-2017
1:50
25
PUAN HASMANIRA
Figure 8.13: Timber rafter above the first floor ceiling of No. 85
shophouse (Ong, 2017)
Timber were also used as pile foundation for both building. 5

Figure 8.12: Louvered timber shutters on the front facade of No. 87 diameter mangrove timber pile were driven into the ground 8 deep
building (Tengku Syakira , 2017) to be able to support the two-storey building.
!
MATERIALS
Timber floor beams and floor planks were also implemented into
both No. 87 and No. 85 building. Both building uses meranti wood
planks but with different finishing on it. Shophouse No. 87 timber
planks were painted maroon red colour whereas shophouse No. 85
timber planks uses clear finishing, maintaining the original colour of
N
1 2 3 4 5 6 7 8 9 10 11 12
the wood. The timber floor joists acts as a support to construct a 27399
solid platformAfor the upperB floor.

199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
C
REF. REF. REF.
SHEET SHEET SHEET
08 08 09
A REF.
SHEET
12
1 2
3 4 5 6 7 8 9 10 11 12 REF.
SHEET
12
Figure 8.15: Exposed timber beams visible from the ground floor of
F F
W1
2005
D11
ENTRANCE
No. 87 shophouse (Tengku Syakira , 2017)
D12 13
DINING
UP
B
JALAN HANG KASTURI

WORKSHOP WORKSHOP
14
D6
D13 D10
KITCHEN 1 AREA
W/C 2 D9
D8
1790
BACK ALLEY
D7
C
PERIMETER DRAIN
9139
D
D2
D
1598
REF. REF.
SHEET W/C 1 SHEET
11 11
D E E
REF. REF.
SHEET SHEET
10 10
D3
ENTRANCE
WORKSHOP/ 11
GALLERY
UP
OFFICE 10
SPACE D1
9
8
3745
D5 D4
6
E
1 2 3
Figure 8.14: Reflected ground floor ceiling plan showing visible

exposed timber
A
beams B C
REF. REF. REF.
SHEET SHEET SHEET
08 08 09
1:50
(Measured Drawing Team Fwu Chang , 2017)

1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
REFLECTED GROUND FLOOR
Figure 8.16: Maroon red painted Figure 8.17 Original coloured

03
DOCUMENTATION AND CEILING PLAN 1:50
CHEOK JIAN SHUANG

25
CHEOK JIAN SHUANG . EE YUN SHAN
timber flooring on the first floor of timber planks on first floor of

No. 87 shophouse No. 85 shophouse
!
N
1 2 3 4 5 6 7 8 9 10 11 12
199 5743 2527 2041 2155

27399
3202 3377 3772

MATERIALS
1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
Ground floor and first floor of both shophouse No. 87 and No. 85 A REF.
SHEET
12 1 2
3 4 5 6 7 8 9 10 11 12 REF.
SHEET
12
F F
W1
2005
D13
ENTRANCE
were connected by timber staircase. The handrail and balustrade Bof
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
the staircase were made from timber as well. C
PERIMETER DRAIN
9139
D
D4
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
Figure 8.18: Indication of staircase location on ground floor plan

10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
7
shophouse (Measured Drawing Team Fwu Chang , 2017)

D7 D6
6
E
1 2 3
1280
Figure 8.18: Indication of staircase location on shophouse ground
GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE
14 W/C 1
floor plan (Measured

A
Drawing Team Fwu Chang , 2017)
WORKSHOP 2
B C
REF. REF. REF.
13 SHEET
08
SHEET
08
SHEET
09
DINING AREA
KITCHEN 1
2065
W/C 2
1375 230 230 230
180
WORKSHOP 3
W/C 3
1:50 3 2 1
12 TOTAL
180
1m 0 1m 2m 3m 4m 5m
11
180
920
1135
10
180
9
180
4
825
230
ARC1215 02-02-2017
METHODS OF 8 GROUND FLOOR PLAN 5
02
920
19-03-2017
180
230
Figure 8.19:
2760
DOCUMENTATION AND 7
1:50
6
2336
230
180
LIU JYUE YOW
MEASURED DRAWING 7 25
230
6 PUAN HASMANIRA
180
8
230
200
Axonometric of
9
230
4
200
10
230
3 11
230
200
50
1000
95
2
quarter-turn
95
200
1145
100
775
1030
staircase with WOODEN TREAD
straight newel RISER BOARD
WOODEN STRINGER
post and timber 1275
RISER BOARD
200
rails in shophouse
1089
956
WOODEN TREAD TIMBER WEDGE
No. 87 (Measured
14
13 GLUE BLOCK
674
Drawing Team
2070
Figure 8.20: Axonometric of quarter-turn staircase with vase-shaped

1668
SOFFIT
777
Fwu Chang ,
1032
2 1
12 11 10 9 8 turned timber newel and elongated vase shaped baluster

7 6 5 4 3
250 250
2017) 1276 250 250 250 250 250 250 250 250 250 250
in shophouse No. 85 (Measured Drawing Team Fwu Chang , 2017)

4276
ARC1215
ANCHOR BEAM METHODS OF STAIRCASE DETAIL
DOCUMENTATION AND
SOFFIT MEASURED DRAWING
!
WOODEN STRINGER
MATERIALS
Figure 8.21: Shophouse No. 87 quarter-turn staircase painted Figure 8.22: Shophouse No. 85 clear finished quarter-turn staircase
maroon red with straight newel post and timber rails painted in blue with vase-shaped turned timber newel and elongated vase shaped
(Tengku Syakira , 2017) baluster (Tengku Syakira , 2017)
!
MATERIALS
Timber partition were also used to divide the spaces on the first
floor of No. 87 building between the living area8 and bedroom.
N
1 2 3 4 5 6 7 9 10 11 12
27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
2005
W10
W9
LIVING BEDROOM 5
13
BEDROOM 4
AREA 2
UP
B
JALAN HANG KASTURI

14 TIMBER FLOORING
TIMBER FLOORING
TIMBER FLOORING
D23
1790
TERRACOTTA TILES W8
BACK ALLEY
D25
D22
D24
C
PERIMETER DRAIN
9139
D D
1598
REF.
SHEET
W7 W/C 4 D20 REF.
SHEET
D E E
REF. REF.
SHEET SHEET
10 10
D19 W4 D18 D17

D21
LIVING
11
10 W2
W6 KITCHEN 2 AREA 1
BEDROOM 2
9
TERRACOTTA TILES
3745
7
6
GROSS
AREA (SQ.M)
FIRST FLOOR
LIVING AREA 1
BEDROOM 1
BEDROOM 2
BEDROOM 3
A
KITCHEN 2
B C
REF. REF. REF.
08 08 09 BEDROOM 4
BEDROOM 5
LIVING AREA 2
Figure 8.24: Internal partitions dividing bedrooms on first floor of No.

LAUNDRY AREA
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
Figure 8.23: Indication of timber partitions on first floor plan

ARC1215

METHODS OF
DOCUMENTATION AND
FIRST FLOOR PLAN
02-02-2017
19-03-2017
1:50
04 87 building (Tengku Syakira, 2017)
LIU JYUE YOW
25
!
MATERIALS
Besides partition wall, timber doors were also utilised as divider Four panels double-leaved door
between spaces allowing privacy to the space when required. Types Double-leaved carved door
of timber doors available in both No. 87 and No. 85 building includes Eight panels single-leaf door
four Single-leaf timber plank door

1 2 panels double-leaved 5doors,
6 single-leaf timber plank9 door, eight
N
3 4 7 8 10 11 12
panels single-leaf doors and double-leaved carved doors.

27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
C
PERIMETER DRAIN
9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ GALLERY
N
11
UP
OFFICE D3
1 2 3 4 5 6 SPACE
7 8 9 10 11 12
D2 D1
10
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
D7 D6
6
4 27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
E
1 2 3
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
A REF. 3 4 5 6 7 8 9 10 11 12
WORKSHOP 1/OFFICE
W/C 1
REF.
A
SHEET WORKSHOP 2 SHEET
B C
12 REF. 1 2 REF. REF. 12
DINING AREA
F F
SHEET SHEET SHEET
2005
08 08 09 KITCHEN 1
W10
W9 W/C 2
LIVING BEDROOM 5
13
BEDROOM 4 WORKSHOP 3
AREA 2
UP
B
JALAN HANG KASTURI

14 TIMBER FLOORING W/C 3
1:50 TIMBER FLOORING
TIMBER FLOORING TOTAL
D23 1m 0 1m 2m 3m 4m 5m
1790
TERRACOTTA TILES W8
BACK ALLEY
D25
D22
D24
C
PERIMETER DRAIN
ARC1215
9139
D
02-02-2017
D
1598
REF. W7 W/C 4 D20

2017/ARC1215/FWUCHANG/P02 REF.
SHEET
METHODS OF GROUND FLOOR PLAN SHEET
02
11 TERRACOTTA TILES 19-03-2017 11
D E E
REF. REF.
SHEET
DOCUMENTATION AND 1:50 SHEET

10 10
D19 W4 D18 D17 LIU JYUE YOW

MEASURED DRAWING
D21
PUAN HASMANIRA
LIVING
25
11
10 W2
AREA 1
SHEFEREENA ISREEN BINTI MOHAMAD ISHAK . LIU JYUE YOW . TUNG SIEW HUI
W6 KITCHEN 2 BEDROOM 2
9
TERRACOTTA TILES
3745
7
6
Figure 8.26: Double-leaved Figure 8.27 Four panels

5
carved door on the connecting double-leaved timber door

Figure 8.25: Indication of timber doors location on ground and
GROSS
AREA (SQ.M)
FIRST FLOOR
ground floor of No. 87 and No.85 on ground floor of No. 87

LIVING AREA 1
BEDROOM 1
BEDROOM 2
BEDROOM 3
rst oor plan

A
(Measured
B Drawing Team Fwu Chang, 2017)
KITCHEN 2
C
REF. REF. REF.
08 08 09 BEDROOM 4
BEDROOM 5
(Tengku Syakira, 2017) (Kok, 2017)

LIVING AREA 2
LAUNDRY AREA
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
04
19-03-2017
LIU JYUE YOW

MEASURED DRAWING 25
!
PUAN HASMANIRA
MATERIALS
8.3 LIME Figure 8.28: Brick wall fixed

Lime were derived from limestone, chalk or seashells that were together with lime mortar
slaked into an adhesive mixture used as: which acts as a support for
Lime wash (as paint) the roof structure
Lime plaster (as surface) (Ong, 2017)
Lime mortar (for bricks structure)
Lime concrete (for ground floor and terraces) 8.3.2 LIME PLASTER
A smooth mixture of lime, sand and water applied as a breathable
This material were extensively used as traditional building materials skin and finishing on brick work.
as it is a green material and promote even evaporation of moisture
from the earth reducing damage on walls due to moisture related
problem.
8.3.1 LIME MORTAR

Lime mortar are rough mixture of lime, sand and water that were
used to bind bricks together. It allows moisture from the ground to
rise and evaporate thus creating a cooling mechanism to the space.
Figure 8.29: Lime plastered wall in No. 87 shophouse which shows

deterioration that causes the plaster to chipped off from the wall
(Kok, 2017)
!
MATERIALS
8.3.2 LIME WASH

Lime wash is a mixture of lime and water used to deflect light and
heat from exterior walls. Lime wash are permeable and produced a
breathable finish for walls. It were commonly recognised in beige/ off
white colour but pigments can be added to produce pastel colours.
Figure 8.30: Facade of No. 85 shophouse with lime wash finishing Figure 8.31: Facade of No. 87 shophouse with lime wash finishing
!
MATERIALS
8.4 STONE Granite stone flower statue were also placed at the entrance of the
Stone were used in traditional shophouses elements such as: building for decorative purpose.
Corbel brackets for main beams on the first floor
Granite slab across open drain
Steps up from the drain
Edge of five-foot way and rubble wall
Bottom of staircase
Foundation stones and footings below ground
Internal sunken air-well floor and edge
Five-foot way and ground floor (certain buildings)
8.4.1 GRANITE
Granite steps in front of Fwu Chang Gallery, No. 85 shophouse
covers the open drain in front of the building and provide a platform
for people to approach the building in ease.
Besides that, granite ornamentation can also be identified on the

facade of No. 85 shophouse which appears as column head, Chi
Tou. It acts as a support for the overhanging roof and were Figure 8.32: Granite steps in front of No. 85 shophouse
decorated with Jian Nian ornament. (Tengku Syakira, 2017)
!
MATERIALS
Figure 8.33: Chi Tou on the facade of No. 85 shophouse Figure 8.34: Granite stone flower ornaments with carvings depicting
(Tengku Syakira, 2017) the history of Malacca placed at the entrance of No. 85 shophouse
(Ong, 2017)
!
N
1 2 3 4 5 6 7 8 9 10 11 12
199 5743 2527 2041 2155

27399
3202 3377 3772

MATERIALS
1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
MODERN MATERIALS A REF.

SHEET
12 1 2
3 4 5 6 7 8 9 10 11 12 REF.
SHEET
12
F F
W1
2005
D13
ENTRANCE
8.5 GLASS
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
Glass elements were incorporated into the gallery space in No. 85C
PERIMETER DRAIN
9139
D
D4
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
building during the renovation of the building after Mr. Ting acquired
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
7
the building. The elements includes glass partitions, single-leaf glass

D7 D6
6
E
1 2 3
door, double-leaved glass door and glass sliding doors. Mr. Ting
Single-leaf glass doors
GROSS
AREA (SQ.M)
decided to use glass partitions and doors for the space with an
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE
W/C 1
Double-leaved
A
glass door
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
intention to blend the new (glass doors and partitions) and old
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL
Glass partition
1m 0 1m 2m 3m 4m 5m
(terracotta floor tiles) features in the spaces together as one. Usage

Glass sliding door
ARC1215 02-02-2017
02
19-03-2017
of glass also give an impression of spaciousness and suits the

LIU JYUE YOW

25
purpose of the space as an exhibition area.

Figure 8.35: Indication of glass elements location on ground
oor plan (Measured Drawing Team Fwu Chang, 2017)
Figure 8.36: Glass partition in the gallery space on

ground oor of No. 85 shophouse (Kok, 2017)
!
CONSTRUCTION DETAILS
9.0 CONSTRUCTION DETAILS
9.1 FLOORING
Timber strips flooring were used to cover the first floor of No. 87 and
No. 85 building. Timber flooring has high durability due to its good
resistance against fungi, insects, chemicals, etc.
Advantages: Tough and able to withstand various types of weather

Figure 9.1: Timber flooring used in No. 87 building
conditions. Variety of styles, colours and species to choose from.
(Shafreena Isreen, 2017)
Considerably cheap and reasonable cost. Can be recycled and
renewed. Flexible in design and easy to maintain.
Disadvantages: Setting up of flooring requires skill workers. Bad

conductor of heat and low sound insulation. Re-sand and re-polish
are required to maintain the original appearance as it will lose its
shine and appears dull after a period of time.
Figure 9.2: Timber flooring used in No. 85 building

(Shafreena Isreen, 2017)
!
9.2 STAIRCASE
The type of staircase in No. 87 shophouse is quarter-turn stair with
landing and an enclosed riser arrangement. The stringer within the
staircase has rebated treads. This staircase were made from timber
excluding the first five steps that were made out of concrete with
cement finishing.
Advantages: concrete staircase can withstand damp condition of the

ground.
N
1 2 3 4 5 6 7 8 9 10 11 12
Disadvantages: Termite attack might occur for timber staircase if 27399
proper prevention methodsBwere not taken.

199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A C
REF.
SHEET
08
REF.
SHEET
08
REF.
SHEET
09
A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
Figure 9.4: Classification of material used for the construction go the

W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
C
PERIMETER DRAIN
structure (Measured Drawing Team Fwu Chang , 2017)

9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
D7 D6
6
E
1 2 3

GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
WORKSHOP 1/OFFICE

W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
02
19-03-2017
METHODS OF DOCUMENTATION AND MEASURED

25 DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I 105
!
LIU JYUE YOW

Figure 9.5: Concrete portion of quarter-turn staircase used in No. 87

building (Tengku Syakira, 2017)
Figure 9.6: Joining details and components of staircase (Measured

Drawing Team Fwu Chang, 2017)
!
The type of staircase in No. 85 shophouse is also quarter-turn stair

with landing but the whole staircase is constructed out of timber only.
Staircase in No. 85 features wooden steps with timber balustrades
along with handrails for decoration and safety purposes.
Advantages: usage of timber as the choice of material transform this

functional element into an aesthetically pleasing feature of the
shophouse.
N
1 2 3 4 5 6 7 8 9 10 11 12
Disadvantages: Installation and maintenance might be costly. 27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
A REF. 3 4 5 6 7 8 9 10 11 12 REF.
SHEET SHEET
12 1 2 12
F F
W1
2005
D13
ENTRANCE
D14
WORKSHOP 3 DINING
WORKSHOP 2
13
D16
KITCHEN 1 AREA
UP
B
JALAN HANG KASTURI

14
TERRACOTTA TILES
D8
W/C 2 D11
W/C 3 D10
1790
CERAMIC TILES
BACK ALLEY
D9
C
PERIMETER DRAIN
9139
D
D4
D
1598
REF.
SHEET W/C 1 REF.
SHEET
11 CERAMIC TILES 11
D E E
REF. REF.
SHEET SHEET
10 10
D5
ENTRANCE
TERRACOTTA TILES
WORKSHOP 1/ 11
GALLERY
UP
OFFICE 10 D3
SPACE D2 D1
TERRACOTTA TILES
9
8 TERRACOTTA TILES
3745
D7 D6
6
E
1 2 3

GROSS
AREA (SQ.M)
GROUND FLOOR
ENTRANCE
GALLERY SPACE
Figure 9.8: Solid hardwood quarter-turn staircase with elongated

WORKSHOP 1/OFFICE

W/C 1
A
WORKSHOP 2
B C
REF. REF. REF.
08 08 09 KITCHEN 1
W/C 2
WORKSHOP 3
W/C 3
vase shaped baluster (Ong, 2017)

1:50
TOTAL
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
02
19-03-2017
LIU JYUE YOW

25
!
Figure 9.9: Construction and joint detail of staircase (Measured Drawing Team Fwu Chang, 2017)
!
9.3 PARTITION WALL

Timber partition wall is installed on the first floor of No. 87
shophouse. Partition wall is a type of wall that were used to divide
floor spaces of a building into rooms.
Advantages: Timber partition wall can be easily constructed because
of its thin and light structure. This helps saving up spaces as it
occupies less floor area.
Disadvantages: Timber partition walls have bad sound insulation due

to its thin structure. It is also not long-lasting as it is vulnerable to Figure 9.10: Timber partition wall used to divide spaces in No. 87
termites. Timber partition walls does not have resistance towards fire building (Shafreena Isreen, 2017)
because of the original nature of timber.
Figure 9.11: Details of timber joining used in the construction of partition wall in No. 87 shophouse (Measured Drawing Team Fwu Chang, 2017)
!
9.4 WINDOWS
Windows on the facade of No. 87 shophouse were louvered
windows made out of timber. This type of windows provide more
privacy to suits the function if the interior space as the master
bedroom. This window acts as a shading device to the space.
On the other hand, windows on the facade of No. 85 building were

panelled timber window with stained glass. The stained glass were Figure 9.12: Louvered shutters window on No. 87 building front
implemented not only due to its aesthetic value but it also functions facade (Tengku Syakira, 2017)
as a shade. The stained glass creates a magnificent ambience to the
interior space when light were dispersed after passing through it.
Advantages: Protects the interior spaces from exterior treats such as

rain and sun. Prevent direct sunlight penetration into the space and
aesthetically pleasing. Promotes cross ventilation and air circulation
in and out of the building maintaining a comfortable thermal comfort.
Disadvantages: Vulnerable to termite attack.
Figure 9.13: Panelled window with stained glass on No. 85 building

front facade (Ong, 2017)
!
N
1 2 3 4 5 6 7 8 9 10 11 12
27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
9.5 SKYLIGHT A REF.

SHEET
12
REF.
SHEET
12
F F
2005
Back in those days where polycarbonate were yet to be invented,
B
JALAN HANG KASTURI

UP
9 PITCH
9 PITCH 9 PITCH
1790
BACK ALLEY
perspex were widely used because of their high impact resistance,
C
PERIMETER DRAIN
9139
D D
1598
REF. REF.
SHEET SHEET
11 11
D E E
REF. REF.
good optical transparency and low ignitability. In addition, perspex

SHEET SHEET
10 10
9 PITCH 5 PITCH 9 PITCH 25 PITCH
3745
offer lightweight alternative to traditional cast glass blocks which are
E
much heavier compared to them.

No. 87 skylight
A
No. 85 skylight
B C
REF. REF. REF.
SHEET SHEET SHEET
Advantages: Improves air ventilation and allows sunlight to penetrate

08
07 08 09
1:50
1m 0 1m 2m 3m 4m 5m
through. ARC1215 02-02-2017

ROOF PLAN
Figure 9.14: Indication of skylight location on roof plan (Measured
06
ONG TUN CHEIK

25
ONG TUN CHEIK
Disadvantages: Requires frequent maintenance and water may leak Drawing Team Fwu Chang, 2017)
through.
Skylight in Fwu Chang Design and Souvenirs, No. 87 were placed

on plaster board ceiling attached with timber strips frame holding the
perspex cover panel. On the other hand, skylight in shophouse No.
85 appears to be newer than the one in No. 87. The skylight were
located on suspended plaster ceiling, covered with light timber frame
structure which enhances the aesthetic value and essence of the
space.
!
Figure 9.15: Skylight in No. 87 shophouse (Shafreena Isreen, 2017) Figure 9.16: Skylight in No. 85 shophouse (Shafreena Isreen, 2017)
!
9.5 ROOF
Horizontal structure of the roof is made out of timber and acts as the
main support for the weight of the roof. Timber roof truss were used
to support the roof structure as a whole whist timber rafters arrayed
uniformly on top of the roof truss support the zinc roof sheets.
Sheet metal roof are in the guide of UNESCO and other international
arbiters of heritage practice.
Figure 9.17: Zinc roof observed from the back facade of No. 87
shophouse (Ong, 2017)
!
Figure 9.18: Zinc roof construction (Measured Drawing Team Fwu Chang, 2017)
!
N
1 2 3 4 5 6 7 8 9 10 11 12
27399
199 5743 2527 2041 2155 3202 3377 3772 1308 1984 1092
A REF.
SHEET
08 B
REF.
SHEET
08 C
REF.
SHEET
09
9.6 OVERHANGING ROOF A REF.

SHEET
12
REF.
SHEET
12
F F
2005
Terracotta roof riles are a type of clay-based tile and are normally
B
JALAN HANG KASTURI

UP
9 PITCH
9 PITCH 9 PITCH
1790
BACK ALLEY
implemented in sculpture and building construction. They are strong
C
PERIMETER DRAIN
9139
D D
1598
REF. REF.
SHEET SHEET
11 11
D E E
REF. REF.
and long-lasting and are resistant to fire.

SHEET SHEET
10 10
9 PITCH 5 PITCH 9 PITCH 25 PITCH
3745
E
V-shaped terracotta roof tiles were used for the overhanging roof on
the front facade of No. 85 building and the back part of its roof. They Figure 9.19: Indication of V-terracotta roof tiles used on roof plan
A
B C
REF. REF. REF.
SHEET SHEET SHEET
were installed overlapping onto each other as caps and pans tp

08
07 08 09
1:50
1m 0 1m 2m 3m 4m 5m
retains watertightness, preventing rain to seep in. These tiles were ARC1215 02-02-2017
METHODS OF ROOF PLAN
06
19-03-2017
laid and set on two timber rafters attached to load-bearing wall and DOCUMENTATION AND 1:50
ONG TUN CHEIK

25
ONG TUN CHEIK
aligned with strips of timber battens.
Advantages: This roof structure are able to withstand extreme

weather condition due to its durability and material selection. It also
requires low maintenance therefore saving cost in maintenance
process.
Disadvantages: Terracotta tiles must be sealed properly during

installation to prevent fungal growth, discolouration and leakage. Figure 9.20: V-shaped terracotta roof tile observed above the five-
foot way of No. 87 shophouse (Tengku Syakira, 2017)
!
Figure 9.21: Pan and cover roof tiles system arrangement (Measured Drawing Team Fwu Chang, 2017)
!
CONCLUSION
10.0 CONCLUSION
Fwu Chang Trading have two shophouses which are gallery room much ornaments. It normally got private space which only access by
(No. 85) and workshop (No. 87) and they just next to each other. their family such as kitchen, dining room, toilet and storage. Besides,
However, these two shophouses gave two different feeling. The the gallery room has more ornaments and decorations because it is
architecture element also different to each other. The gallery room is used to show the art panels to visitors so it has public space. The
Early Shophosue style while the workshop Art deco shophouse style. ornaments and decorations are meaningful because the message for
The gallery room can be identify by looking at the roof tiles and the people to explore and understand the culture and traditional beliefs
facade design. The workshop also can be identify by looking at the besides attracting people visiting the place.
facade and the year it built. The interior of the gallery room is
modern because it has been renovated while the interior of
In recent years, Malacca has focused in the conservation of its
workshop maintain its own style. Therefore, it has created a contrast
heritage buildings, especially those in Malacca town where most of
between modern and past when passing through the doorway that
the buildings were erected during the Dutch and Portuguese
has connected these two buildings. The workshop looks narrower
invasion. These buildings are rich in history however with recent
because of the partition wall and the columns. Theres a lot of
developments, problems are arising in the process of conserving
columns expose outside the walls. The gallery room looks wider
these buildings. During our five days in Malacca, we had been
because they use glass as part of the wall which enable to see
analysing the condition of our site, a building that was constructed 78
through space by space. The amount of ornament and decoration
years ago, and it is clear that these buildings have shown the use
also affected due to the user and functions. The workshop has no
and weathering over the years. It is important that the owners of
CONCLUSION
these buildings are aware of the significance that these buildings conservation creates a sense of realisation that can influence
holds in contribution to Malaccas fading history and culture. aspiring architects. In a world where modernism is dominant, old
In ensuring the conservation of these buildings, analysing and buildings holds a loose grip in the future of architecture. However,
detecting the defects of such buildings are only the first step. these buildings holds the history, one that we can look back and
Responding efficiently to the problems allows for the building to be assimilate to inspire our future.
restored or conserved. While restoring the building, owners and

professionals involved are to consider the features and elements the
were originally present in these buildings. To not divert away from
the buildings original features, shows respect to the history and the
spirituality of the building is what conservation of old buildings should
be.
Nowadays, modernising these historical buildings and altering it to

such an extent that it loses its history is a common practice. Rather
than destruction and alteration, conservation of these buildings are
to focus more on the repair and reconstruction. Reuse of materials
helps in keeping excessive waste at bay, and maintains the
buildings integrity. In addition, frequent maintenance ensures the
long run of these buildings. Understanding the humbling position of
APPENDIX AND REFERENCES
11.0 REFERENCES AND APPENDICES
11.1 REFERENCES Ahmedabad. Retrieved from http://www.plea2014.in/wp-content/

uploads/2014/12/Paper_3A_2601_PR.pdf
PRINTED MATERIALS
George Town World Heritage Inc. (2012). Introduction to Clay
Chen, K.H & Kenji, H. (2009) Content of Temple Jian-nian
[Brochure]. Retrieved from http://gtwhi.com.my/images/Clay
Ornamentation in Taiwan and Cultural Implications (Doctoral
%202.pdf
dissertation). Retrieved from http://www.iasdr2009.or.kr/Papers/
Poster%20Highlight/Content%20of%20Temple%20Jian-nian George Town World Heritage Inc. (2012). Introduction to Heritage
%20Ornamentation%20in%20Taiwan%20and%20Cultural Building Materials: Clay [Brochure]. Retrieved from http://
%20Implications.pdf gtwhi.com.my/images/Clay%201.pdf
Department of National Heritage, KeKKWA . Typology of George Town World Heritage Inc. (2012). Introduction to Heritage
shophouses. Retrieved from http://buildingconservation.blogspot.my/ Building Materials: Lime [Brochure]. Retrieved from http://
2007/05/typology-of-malaysia-shophouses.html gtwhi.com.my/images/Lime%201.pdf
Elnokaly, A. & Wong ,J.F. Demystifying vernacular shop houses and George Town World Heritage Inc. (2012). Introduction to Heritage
contemporary shop houses in Malaysia; A Green-Shop Framework, Building Materials: Stone [Brochure]. Retrieved from http://
presented at 30th International Plea Conference, CEPT University, gtwhi.com.my/images/Stone%201.pdf
METHODS OF DOCUMENTATION AND MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I !119
George Town World Heritage Inc. (2012). Introduction to Heritage Tan, Y.W. (2015). Penang Shophouses: Handbook of Features and
Building Materials: Timber [Brochure]. Retrieved from http:// Materials. Malaysia: Heritage Research Studio.
gtwhi.com.my/images/Timber%201.pdf
Veera Pandiyan, M. (2013, December 13). Jalan Hang Kasturi:
George Town World Heritage Inc. (2012). Introduction to Lime Street of tinsmiths and tofu. The Star. Retrieved from http://
[Brochure]. Retrieved from http://gtwhi.com.my/images/Lime www.thestar.com.my/news/community/2013/12/13/street-of-
%202.pdf tinsmiths-and-tofu-jalan-hang-kasturi-is-a-place-where-artisans-still-
practice-their-tra/
George Town World Heritage Inc. (2012). Introduction to Stone
[Brochure]. Retrieved from http://gtwhi.com.my/images/Stone . (2010, August 1). Sin Chew
%202.pdf Daily. Retrieved from http://www.sinchew.com.my/node/1212080
George Town World Heritage Inc. (2012). Introduction to Timber

[Brochure]. Retrieved from http://gtwhi.com.my/images/Timber
%202.pdf
George Town World Heritage Inc. (2012). Penang Shophouse

[Brochure]. Retrieved from http://www.gtwhi.com.my/images/
Shophouse%20Brochure%20(English)%20FINAL_Web.pdf
Lim, H.C. & Jorge, F. (2006). Malacca: Voices from the Street.
Malaysia: Lim Huck Chin.
ONLINE MATERIALS Early Penang Style (n.d). Retrieved from http://

penangshophouse.com.my/?page_id=70
An Influence of Colonial Architecture to Building Styles and Motifs in
Colonial Cities in Malaysia. (n.d.). Retrieved March 05, 2017, from Fwu Chang Trading Co. (n.d.). Retrieved March 05, 2017, from
https://www.malaysiadesignarchive.org/an-influence-of-colonial- http://www.fwuchang.com/index.htm
architecture-to-building-styles-and-motifs-in-colonial-cities-in-
Kamal, D. K. (2008, April 1). Categories and Styles of Shophouses
malaysia/
and Townhouses in Malacca and George Town, Malaysia [Web log
Art Deco Style (n.d.). Retrieved from http:// post]. Retrieved from http://buildingconservation.blogspot.my/
penangshophouse.com.my/?page_id=184 2009/01/categories-of-shophouses-at-malacca.html
A. (2010, March 10). Town Planning for Melaka is History. Retrieved LU-BAN - the Chinese God of Manufacturing (Chinese mythology).
March 05, 2017, from http://asmaliana.com/blog/2010/03/10/town- (2014, July 21). Retrieved March 05, 2017, from http://
planning-for-melaka-is-history/ www.godchecker.com/pantheon/chinese-mythology.php?deity=LU-
BAN
Centre, U. W. (n.d.). Melaka and George Town, Historic Cities of the
Straits of Malacca. Retrieved March 05, 2017, from http:// Malacca's History Chronology. (n.d.). Retrieved March 05, 2017,
whc.unesco.org/en/list/1223/ from http://khleo.tripod.com/chrono-2.htm
Melaka timeline. (n.d.). Retrieved March 05, 2017, from https://
Choo, Y. The Magic Ruler (2016, October 13). The Magic Ruler.
www.timetoast.com/timelines/melaka
Retrieved March 05, 2017, from http://www.redbrick.sg/blog/ruler
PenangShopHouse. (2013). Introduction to Penang Shophouses
[Powerpoint slides]. Retrieved from https://www.slideshare.net/
penangshophouse/3-introduction-to-penang-shophouse-
may2011-27555359?ref=http://penangshophouse.com.my/?
page_id=115
Shophouses: Our Heritage. (2012, September 27). Retrieved March

05, 2017, from https://smalltalesofsg.wordpress.com/2012/09/27/
shophouses-our-heritage/
Tian, J. (1970, January 01). -.
Retrieved March 05, 2017, from http://photoessay1043.blogspot.my/

2015/04/blog-post.html
Xulaimanwebmaster@traveltourz.com, C. (n.d.). Market Square -

Kuala Lumpur. Retrieved March 05, 2017, from http://
www.traveltourz.com/market_square.htm
11.2 APPENDICES
Documents from Department of National Heritage, KeKKWA
Scaled Measured Drawing
KUALA LUMPUR
MELAKA
GAL
LI
LE
O
GU
ES
T
HO
USE
GAL
LI
LE
O
GU
ES
T
HO
USE
TO
FU
CAF
E
FW
U
CH
AN
G
TR
FW AD
U IN
CH G
AN
G
GA
LL
ER
Y
I
UR
ST
KA
F
NG
AS UI C
HA
SO H
N
CIAEW
LA
JA
TIO
N
SHOP HOUSE
FUI CHEW ASSOCIATION JALAN HANG KASTURI
1:200
4m 0 4m 8m 12m 16m 20m
ARC1215 02-02-2017 2017/ARC1215/FWUCHANG/P01

SITE PLAN
01
DOCUMENTATION AND SITE SECTION AS SHOWN
ONG TUN CHEIK

MEASURED DRAWING PUAN HASMANIRAH
25
1 2 3 4 5 6 7 8 9 10 11 12
A B C
F F
D13 W1
D14
D16
UP
B D15 D12
D8
D11
D10
D9
C
D
D4
D
D E E
D5
UP
D3
D2 D1
D7 D6
A B C
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
02
19-03-2017
LIU JYUE YOW

25
SHEFEREENA ISREEN BINTI MOHAMAD ISHAK . LIU JYUE YOW . TUNG SIEW HUI
1 2 3 4 5 6 7 8 9 10 11 12
A B C
F F
D11 W1
D12
UP
B D13 D10
D6
D9
D8
D7
C
D
D2
D
D E E
D3
UP
D1
D5 D4
A B C
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF REFLECTED GROUND FLOOR
03
19-03-2017
CHEOK JIAN SHUANG

25
1 2 3 4 5 6 7 8 9 10 11 12
A B C
F W10
W9 F
UP
B D23
W8
D25
D22
D24
C
D D
W7 D20
D E W4
E
D19 D18 D17
D21
W2
W6
W3
W5
A B C
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
04
19-03-2017
LIU JYUE YOW

25
CHEOK JIAN SHUANG . EE YUN SHAN . SHEFEREENA ISREEN BINTI MOHAMAD
1 2 3 4 5 6 7 8 9 10 11 12
A B C
F W9 W8 F
UP
B D21
W7
D23
D20
D22
C
D D
W6 D18
D E W4
E
D17 D16 D15
D19
W2
W5
W3
A B C
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF REFLECTED FIRST FLOOR
05
19-03-2017
CHEOK JIAN SHUANG

25
1 2 3 4 5 6 7 8 9 10 11 12
A B C
F F
B
C
D D
D E E
A B C
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF ROOF PLAN
06
19-03-2017
ONG TUN CHEIK

25
ONG TUN CHEIK
A B C D E E D C B A

FFL: +8078.00
FFL: +8255.00
FIRST FLOOR LEV.

FFL: +3054.00
FIRST FLOOR LEV.
FFL: +2831.00

FFL: +0.00 FFL: +0.00
GROUND LINE
FFL: -291.00
GROUND LINE
FFL: -475.00
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
07
19-03-2017
MEASURED DRAWING 25
PUAN HASMANIRA
A B C D E A B C D E

FFL: +8255.00 FFL: +8255.00
ROOF RIDGE LEV.

FFL: +8078.00
FIRST FLOOR LEV.

FFL: +3205.00
FIRST FLOOR LEV. FIRST FLOOR LEV.

FFL: +2831.00 FFL: +3054.00

FFL: +0.00 FFL: +0.00
GROUND FLOOR LEV.
FFL: +0.00
GROUND LINE GROUND LINE GROUND LINE

FFL: -475.00 FFL: -475.00 FFL: -291.00
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF SECTION A - A'
08
19-03-2017
DOCUMENTATION AND SECTION B - B' 1:200
MEASURED DRAWING 25
CHEOK JIAN SHUANG . KOK XUAN YING . LIU JYUE YOW
PUAN HASMANIRA
87,Jalan Hang Kasturi,75200 Melaka,Malaysia ONG TUN CHEIK . NEVILLE GEOFFREY SOMI
EE YUN SHAN . KOK XUAN YING . LAU HUI MING
A B C D E
ROOF RIDGE LEV.

FFL: +8255.00
ROOF RIDGE LEV.

FFL: +8362.00
FIRST FLOOR LEV.

FFL: +3205.00
FIRST FLOOR LEV.

FFL: +3144.00
GROUND FLOOR LEV.

FFL: +0.00 FFL: +0.00
GROUND FLOOR LEV.

GROUND LINE GROUND LINE
FFL: -475.00 FFL: -200.00
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF SECTION C - C'
09
19-03-2017
MEASURED DRAWING 25
WONG MEI XIN
PUAN HASMANIRA
WONG MEI XIN . NEVILLE GEOFFREY SOMI
1 2 3 4 5 6 7 8 9 10 11 12
ROOF RIDGE LEV.

FFL: +8255.00
FIRST FLOOR LEV.

FFL: +3205.00
GROUND FLOOR LEV.

FFL: +0.00
GROUND LINE
FFL: -475.00
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF SECTION D - D'
10
19-03-2017
MEASURED DRAWING 25
ONG TUK CHEIK
PUAN HASMANIRA
12 11 10 9 8 7 6 5 4 3 2 1
ROOF RIDGE LEV.

FFL: +8255.00
FIRST FLOOR LEV.

FFL: +3205.00
GROUND FLOOR LEV.

FFL: +0.00
GROUND LINE
FFL: -475.00
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF SECTION E - E'
11
19-03-2017
MEASURED DRAWING 25
ONG TUN CHEIK
PUAN HASMANIRA
FRANCIS YEOW SHENG
12 11 10 9 8 7 6 5 4 3 2 1
ROOF RIDGE LEV.

FFL: +8255.00
FIRST FLOOR LEV.

FFL: +3205.00
GROUND FLOOR LEV.

FFL: +0.00
GROUND LINE
FFL: -475.00
1:50
1m 0 1m 2m 3m 4m 5m
ARC1215 02-02-2017
METHODS OF SECTION F - F'
12
19-03-2017

MEASURED DRAWING ONG TUN CHEIK
PUAN HASMANIRA
25
87,Jalan Hang Kasturi,75200 Melaka,Malaysia SHEFEREENA ISREEN BINTI MOHAMAD ISHAK
TUNG SIEW HUI . LAU HUI MIN . KOK XUAN YING
2875
2685
1095
1095
2065
1375 230 230 230
3 2 1
180 175
200
920
218
1135
218
218
4
230
218
5
920
230
2760
218
6
230
218
7
2631
2631
230
218
8
230
218
9
230
1095
218
218
10
230
3
218
218
871
871
11
230
50
2
218
218
965
1000
95
1
218
218
95
1145
1012
1135
WOODEN TREAD
NEWEL POST
RISER BOARD
TIMBER HANDRAIL
WOODEN STRINGER
TIMBER BALUSTRADE
1275
200
1089
TIMBER WEDGE
GLUE BLOCK
SOFFIT
ARC1215 02-02-2017 2017/ARC1215/FWUCHANG/D06

STAIRCASE DETAIL
20
DOCUMENTATION AND AS SHOWN
LIU JYUE YOW

25
TEH CHIE YANG . NEVILLE GEOFFREY SOMI
LIU JYUE YOW
1280
14
13
180
12
180
11
180
10
180
9
180
825
8
180
7
2336
180
6
180
5
200
4
200
3
200
2
200
1
100
775
1030
RISER BOARD
956
WOODEN TREAD
14
13
674
2070
1668
777
1032
2 1
250 250
12 11 10 9 8 7 6 5 4 3
1276 250 250 250 250 250 250 250 250 250 250
4276
ANCHOR BEAM
SOFFIT
WOODEN STRINGER
ARC1215 02-02-2017 2017/ARC1215/FWUCHANG/D07

STAIRCASE DETAIL
21
DOCUMENTATION AND AS SHOWN
LIU JYUE YOW

25
TUNG SIEW HUI . LAU HUI MING
Photo 1: Taken at the intersection point of Jalan Hang Kasturi, and Jonker Street. The dominating street decorations, boasts
the soul of Malacca.
Photo 2: View of Jalan Hang Kasturi. Located at the borders of Jonker, its minimal human activity leaves the street untouched,
the shops have a common similarity of craftsmanship.
Photo 3: Red Handicrafts, a souvenir shop located at the West end of the street.
Photo 4: A family-owned shop that specialises in crafting with rattan.
Photo 5: This shop creates artwork inspired by Malaccas history and culture.
Photo 6: A metal-crafts shop that creates common household items, located right next to our site (85, Jalan Hang Kasturi).
Photo 7: East end of Jalan Hang Kasturi. Street-view heading towards the site.
Photo 8: A mural of eight running horses by local artist, located at the East end of Jalan Hang Kasturi . Painted using Chinese
calligraphy technique and symbolises robustness and vitality.
Photo 9: Street-view leading to the site, the narrow winding roads of Malacca.
Photo 10: View of the site from the South, on Jalan Hang Kasturi.
Photo 12: Ornament on the South facade known as the chi tou, it doubles as a support for the roof, and an image of the four
seasons decorates its faces.
Photo 13: Lanterns which are extended from Jonker street, creates a cultural togetherness in the roads connecting towards it.
Photo 14: V-terracotta roof tiles of the new building observed from the South facade.
Photo 15: The South entrance to the new building, leads into the gallery space.
Photo 16: Stone flower statue situated at both sides of the main door. The middle part of the statue pictures a mouse-deer with
a tree, reminiscent of the history of Malacca.
Photo 17: Lanterns with intricate detailing hangs from the ceiling of the South entrance, its drawings tells a story and wishes
the family luck and prosperity.
Photo 19: Inside the gallery space of the new building. Area open to customers to view carvings that are completed, and in the
process of being made.
Photo 20: A showcase of the varying styles and sizes of the carvings made. Each made unique to order and the designs are
never repeated.
Photo 21: Past the gallery, is the front of the office, where the owner uses for business.
Photo 22: Dominating the office space is a gold plaque engraved with a Chinese poem.
Photo 23: The back office, a private space, used by family members. The door leads to the North-end of the building.
Photo 24: Kitchen on the first floor of the new building. The space faces the North, with a sunlight and stained-glass windows,
allowing gentle natural light into the space.
Photo 25: The stained glass used in the window adds colour to the space, whilst also blocking harsh direct light from
entering.
Photo 26: Hallway connecting the kitchen to the living room on the first floor of the new building. Use of skylights to light up the
path during the day.
Photo 27: Living room of the first floor, a more modern design is implemented when the renovation happened. The spacious
living room has little clutter.
Photo 28: Window of the living area, carries a similar design of stained glass panes as the ones found in the kitchen. More
window panes are apparent as to allow more light to enter the living area.
Photo 30: The South entrance to the old building with a much worn exterior compared to the new building. Chipping paint on
the columns and walls are apparent.
Photo 31: Front area of the workshop where the carving for the plaques are done. Wall mounted shelves and movable furniture
allows for varying use of space.
Photo 32: Back area of the workshop. The wooden altar is prominent and compliments the wooden doors that are used in
connecting the workshop to the other spaces.
Photo 33: Door connecting the workshop to the gallery space. The difference in the condition of the building is apparent by the
walls of both buildings.
Photo 34: The ceiling of the workshop, made of timber, common for the shophouses in the area.
Photo 35: Door into the dining area of the old building. The linearity of the building creates paths through spaces.
Photo 36: Dining area of the old building, with walls decorated with pictures and newspaper cutouts. A recollection of the
achievements and family history.
Photo 37: Hanging on the wall of the dining area, a poem dating back to 1942, praising Fwu Changs crafting skills, and the art
to be passed down to following generations.
Photo 38: Sunlight illuminates the kitchen area of the old building. The shelves cluttered with spices and cooking utensils.
Photo 39: Stairway in the old building, connecting the kitchen to the laundry area upstairs.
Photo 40: The way the roof is arranged allows for sunlight into the spaces below, while also allowing rainfall runoff.
Photo 41: Laundry area of the old building located on the North-end of the first floor, cluttered with various items.
Photo 42: Railing located along the laundry area.
Photo 43: Living area of the old building. Spaces here are mostly lit up by natural light through the skylights in the ceiling, or
windows and openings.
Photo 45: Inside the bedroom of the old building. The condition of the walls and the floor reveals the wear throughout the years
of use.
Photo 46: Natural light greets the bedroom through this window overlooking Jalan Hang Kasturi. The windows panes creates
ventilation for the space as well.
Photo 29: 1939 the year of the buildings construction engraved clearly on the south facade of the old building.
Photo 18: Translates to Fwu Chang Gallery Room, the plaque hangs over the entrance into the new building.
Photo 48: Roof details, as seen from the North side of the old building.
Photo 44: Plastic covered cutouts in the plasterboard ceiling of the first floor acts as skylights, transmitting daylight into the
spaces.
Photo 49: North view of the new building, the kitchen area on the first floor is an extension from the previous structure.
Photo 47: Work-space at the North end of the old building, specifically to store larger machineries and wood used for carving.
Photo 50: View of the North-side of both buildings.
Photo 51: North entrance of the old building.
Photo 11: South elevation of the new building; 85, Jalan Hang Kasturi (left), and the old building; 87, Jalan Hang Kasturi
(right).

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METHODS OF DOCUMENTATION AND MEASURED DRAWINGS (ARC60305)

FWU CHANG DESIGN AND SOUVENIRS

FWU CHANG GALLERY

JANUARY MARCH 2017

FWU CHANG DESIGN AND SOUVENIRS

FWU CHANG GALLERY

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I II!

Fwu Chang Design and Souvenirs Fwu Chang Gallery

Bachelor of Science (Honours) Architecture

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I III

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I IV

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I V

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I VI

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I VII

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I VIII

Photography and Videography

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I IX

Measured Drawings Physical Model Report Video and Photobook

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I X

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XI

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XII

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XIII

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XIV

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XV

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XVI

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XVII

MEASURED DRAWINGS I NO. 85 - 87 I JALAN HANG KASTURI I MALACCA I XVIII

1.0 HISTORICAL BACKGROUND

Figure 1.1: Parameswara, founder of Malacca (Anonymous, n.d.)

1.1.2 INDEPENDENCE OF MALACCA

1.1.3 PRESENT MALACCA

Figure 1.3: Heritage view of Malacca (Anonymous, n.d.)

1.1.4 ORIGIN OF NAME

Figure 1.5 Fruits from Melaka Tree (Anonymous, n.d.)

1.1.5 HISTORICAL TIMELINE

HISTORICAL TIMELINE (CONT.)

Figure 1.6 Historical timeline of Malacca (Tung, 2017)

1.1.6 BACKGROUND AND TOWN PLANNING

Figure 1.7 Malacca Portuguese Town Map (Anonymous, n.d.)

As the first base of European Christian trading kingdom in Southeast

Figure 1.9: Map of Malacca in Dutch Period (Anonymous, n.d.)

By 1824, the Dutch had essentially lost interest in Malacca and

Figure 1.10: Early 20th Century British Malacca town map

Despite of the rapid urban and commercial development, Melaka

Figure 1.11: Current Malacca Map after Independence

Both Malacca and George Town possess outstanding Universal

1.2 JALAN HANG KASTURI 1.2.2 BACKGROUND

1.2.5 RELATIONSHIP OF BUILDING TO ITS SURROUNDING

Figure 1.14: Front facade of tinsmiths shop

(Fu Xing) Oriental Riverside Residence Guesthouse

Figure 1.16: Front facade of Fu Xing (Wong, 2017)

2.0 ARCHITECTURAL DEVELOPMENT

2.1 INTRODUCTION TO SHOPHOUSES Dutch Style

Figure 2.1: Timeline of architectural development of shophouses (Anonymous, n.d.)

2.2 HISTORY OF SHOPHOUSES

2.2.1 DUTCH STYLE

2.2.2 Southern China Style

Southern China Style

Figure 2.3: Southern China architectural style shophouse

2.2.3 Early Shophouse Style

2.2.4 Early Transitional Style

Figure 2.5: Early transitional architectural style shophouse

fuse broad utilization of workmanship with the presentation of

The transitional style is portrayed by structures with relatively