menara mesiniaga and critical regionalism: adapting vernacular malay architecture form and...

Menara Mesiniaga and Critical Regionalism: Adapting Vernacular Malay Architecture Form and Technologies in a Modern Skyscraper

ARC 2213/2234 Asian Architecture 1

Menara Mesiniaga and Critical Regionalism: Adapting

Vernacular Malay Architecture Form and Technologies in a

Modern Skyscraper

Table of Contents Page

Abstract………………………………………………………………………………………………..3

1.0 Introduction…………………………………………………………………………………...5

2.0 Critical Regionalism………………………………………………………………………….7

2.1 Introduction to Critical Regionalism……………………………………………….7

2.2 Influence of Critical Regionalism in Malaysia…………………………………..10

3.0 Application of Critical Regionalism in Vertical Developments including the

skyscraper typology………………………………………………………………………..12

4.0 Similarities & Differences between Menara Mesiniaga and Generic Skyscraper…...17

4.1 Menara Mesiniaga As Compared to the International Style…………………..18

4.2 Menara Mesiniaga Similarities to the International Style……………………...18

4.3 Menara Mesiniaga Differences As Compared to the International Style…….19

5.0 Vernacular and Malay Architecture……………………………………………………….22

5.1 Introduction to Vernacular Architecture………………………………………….22

5.2 Characteristics and Adaptation of Vernacular Malay Architecture in a Tropical

Climate……………………………………………………………………………...23



5.3 Adaptation of Malay Architecture’s Bioclimatic Strategies in Menara

Mesiniaga…………………………………………………………………………..28

6.0 Conclusion…………………………………………………………………………………..32

7.0 References………………………………………………………………………………….33



Abstract

In the current age of globalization, architecture seeks to resuscitate local identities and

instil a psychological sense of place and belonging. However, the last thing we need today is

another simple-minded attempt to revive the hypothetical forms of a lost vernacular or the

employment of the International Style in architecture which would only result in buildings

struggling to adapt to the changed environmental or sociocultural context. Hence, Critical

Regionalism; an approach to architecture that strives to adopt Modern Architecture, critically,

for its universal progressive qualities in addition to using geographical contextual forces to add

value and meaning to the architecture, as the former lack sense of place and significance

alone. This research paper aims to discuss Critical Regionalism and its approach adopted into

Ken Yeang’s Menara Mesiniaga. The intention of carrying out this study is to identify the

qualities of Critical Regionalism found in skyscrapers that sets them apart from the generic

skyscraper. It is anticipated that the adaptation of vernacular Malay architecture form

technologies into the building are being discovered through this case study. Literature reviews

from various reliable sources regarding vernacular Malay architecture and critical regionalism

were conducted to further assist in the validation of this research. In order to provide a wider

variation of research, it is important to deliberate on Critical Regionalist architecture found

within the Asian context, in which the Bedok Court Condominium in Singapore and the Rokko

Housing I, II and III in Japan are taken to understand how the building design and its contextual

response exemplifies critical regionalism. Comparisons between Menara Mesiniaga and the

vernacular Malay architecture were also made to prove that there is a solid relationship

between the two designs. It is understood that vernacular Malay architecture is heavily

influenced by climate, where effective design steps were taken to accommodate the warm and

humid climate found in Malaysia. Moreover, its flexibility in design through an addition system

has allowed it to cater to the widely different needs of users. These qualities could be found

in Menara Mesiniaga, therefore strengthening the fact that there are vernacular Malay



architecture influences on the building design such as the building layout, ventilation

strategies, shading and natural lighting. The vernacular influence is further enhanced through

the application of bioclimatic design in the building, where passive design strategies were

implemented in order to achieve thermal and visual comfort as a whole. Hence, this concludes

that Menara Mesiniaga is a critical regionalist architecture, where the building design has not

only taken the vernacular into consideration but has also included the environmental context,

ultimately giving meaning and sense of place to the building.



1.0 Introduction

Malaysia, being an equatorial country, experiences a hot and humid climate all year

long, with frequent rains and high temperatures being the norm. The town in which Menara

Mesiniaga is located in, Subang Jaya, is located in the Greater Kuala Lumpur region, known

as the Klang Valley. Subang Jaya is also known to have an abnormally high amount of

lightning strikes in the region, and as such also has a high frequency of rain.

In general, the local architecture typically reflects the need for thermal comfort of its

occupants. While Subang Jaya itself does not have any vernacular or historical architecture

per se, its buildings do have considerations in the form of the 5-foot way (which is a public

shaded road), north facing solar orientation, small windows and clerestories for stack

ventilation. However, the Menara Mesiniaga takes its sustainable practices from more than

these modern practices.

The vernacular architecture of Malaysia could be found in the villages and kampungs

in the form of the Rumah Melayu. While the Rumah Melayu itself is a building topology and

thus many variants exist thereof, there exist general design axioms. The Rumah Melayu

exhibits a multitude of passive design solutions that result in a thermally comfortable internal

environment for its occupants.

For Ken Yeang, three main forces influence his design methodology.

1. The climate. Buildings have to be designed in response to the ambient conditions of

the site, and the design solution ultimately have to be specific to the location. With

equatorial climate of Malaysia, Ken Yeang had to account for heavy rainfall, searing

temperatures and relentless sun in its design. The local conditions of Subang Jaya

also had to be considered, with its winds and other climatic elements influencing the

Menara Mesiniaga’s design.



2. The culture. Buildings have to be designed according to the local attitude and way of

life. The Malaysian work ethic, views and priorities have to be accounted for, and thus

will influence the spatial planning as well as facilities and systems.

3. The aspirations of countries to join the developed world.

These forces can be summed up by the fact that there will never be a standard “one-

size fits all” solution in architecture. This is directly contradictory to the “International Style”

philosophy, of which assumes there exists a “universal truth” in architecture, and thus justifying

the existence of the same approach, form and programme regardless if the building is in New

York or in Kuala Lumpur.

The Menara Mesiniaga can be seen as the physical manifestation of this methodology.

Everything from its form, to its spatial planning, to its internal systems proves that this

methodology is clearly influential on the building’s design. Most importantly, it has a relatively

high success in achieving those thermal comfort goals for its occupants.

This paper will investigate the adaptation of vernacular Malay architecture form and

technologies in a modern skyscraper by responding to the following research questions:

Question 1: What is critical regionalism and how does it influence architecture in

Malaysia?

Question 2: How is critical regionalism applied in the skyscraper typology?

Question 3: What are the similarities/differences of critical regionalism used in Menara

Mesiniaga compared to the generic skyscraper?

Question 4: How does the Malay vernacular architecture influence the design of Menara

Mesiniaga?

Question 5: How does the bioclimatic design applied in Menara Mesiniaga parallels the

strategies used in Malay vernacular architecture?



2.0 Critical Regionalism

2.1 Introduction to Critical Regionalism

Critical Regionalism is an approach to architecture that strives to counter the

inauthentic and lack of meaning in Modern Architecture by using contextual means to give a

sense of place and identity. The term was first used by Alexander Tzonis and Liane Lefaivre

and later more famously and pretentiously by Kenneth Frampton in “Towards a Critical

Regionalism: Six points of an architecture of resistance.” As per said by Kenneth Frampton,

Critical Regionalism should take up modern architecture critically for its universal progressive

qualities but at the same time should value the responses specifically to the context. Emphasis

should be placed on topography, climate, light, tectonic form rather than scenography and the

tactile sense rather than the visual.

Critical Regionalism vs. Regionalism

As put forth by Tzonis and Lefaivre, critical regionalism need not be directly drawn from

the context, rather elements can be stripped of their context and used in strange rather than

familiar ways. Critical regionalism is distinct from regionalism which attempts to achieve a one-

Figure 2.1.1 Menara Mesiniaga

(Source: AKDN,n.d)

Figure 2.1.2 Malay Kampung House

(Source: Master thesis "One Straight Story", 2015)



Figure 2.1.3 International Critical Regionalism

(Source: WorldMuseum, n.d)

to-one correspondence with vernacular architecture in conscious way without consciously

partaking in the universal.

Critical regionalism is considered as a particular form of post-modern (not to be

confused with post-modernism as architectural style) response in developing countries. The

following architects have used such an approach in some of their works: Alvar Aalto, Jorn

Utzon, Studio Granda, Mario Botta, B.V.Doshi, Charles Correa, Alvaro Siza, Rafael Moneo,

Geoffrey Bawa, Raj Rewal, Tadao Ando, Mack Scogin / Merrill Elam, Ken Yeang, William

S.W Lim, Tay Kheag Soon, Juhani Pallasma and Tan Hock Beng.

The architects have to mediate the impact of universal civilization with elements

derived from the peculiarities of a particular space. There are preference to how the architect



Figure 2.1.5 ISM Apartment Block 1951

(Source: Hilary French: Key Urban Housing of the Twentieth Century, Lawrence King Publishing,

London, 2008)

Figure 2.1.4 National Museum of Roman Art, Rafael Moneo

(Source: Archdaily, 2015)

deals with the irregularities of the physical landscape rather than how he or she employs local

culture. The architects should enter “a dialectical relation with nature”, taking clues from

topography and avoiding bulldozing in order to flatten space. Using top-lighting and exposing

the elements of construction is a way to express critical regionalism, and it must be speaking

more of the relationship of the building to its space.

Sometimes Regionalism goes back to just conservation and resorts to blind use of

vernacular but critical regionalism seeks architectural traditions that are deeply rooted in the

local conditions. This results in a highly intelligent and appropriate relevant architecture. In its

broadest sense, then, the Critical Regionalist sensibility looks to the uniqueness of site and

location when deriving the formal aspects of any given project.

All point to a design method that is assuredly modern but relies on the organic unity of

local material, climatic and cultural characteristics to lend coherence to the finished work. The

result is an architecture suited light and touch. Through a studied and careful appreciation of

provincial traditions, regionalism in the post-war years resulted in designs permeate with

sensitivity to the specifics of local climates and materials, topographies and building methods.

In a global aspect, its influence can be felt in the work of the Tichino School in

Switzerland, the sophisticated urban infusions of many contemporary Spanish architects

(including Rafael Moneo), or the austere concrete forms of the Japanese master Tadao Ando.



Figure 2.2.1 Menara Mesiniaga

(Source: AKDN, n.d.)

Figure 2.2.2 Menara Dayabumi

(Source: Panaromio, 2013)

The Southern California work of Richard Neutra in the 1930s, for example, or the

brilliant projects designed by the Barcelona architect J.A Coderch, demonstrate a variety of

innovative alterations of local forms and methods to the requirements of modern functionality.

The results are formally and conceptually divorced from received notions of style, as in the

case of Coderch’s celebrated ISM apartment block (1951), which represents a modern brick

veneer mediated by carefully realized interpolations of traditional elements such as full-height

wood shutters and thin overhanging cornices.

2.2 Influence of Critical Regionalism in Malaysia

The influence of critical regionalism is blatantly displayed in Malaysian context, as there

are plenty of skyscrapers imbued with our very vernacular qualities. The architects Ken Yeang

with Menara Mesiniaga, Nik Mohammed with Menara Dayabumi, and Cesar Pelli with our

proud Petronas Twin Tower have appropriately expressed our culture into the internationally

influenced building to create our very own identity.



Figure 2.2.3 Petronas Twin Tower

(Source: Momoc, 2009)



3.0 Application of Critical Regionalism in Vertical Developments

including the skyscraper typology

According to Collins English Dictionary (2000), a

skyscraper is defined as a tall building of multiple stories,

especially one for office or commercial use. In the

modern context, the term was coined when Chicago had

one building to first employ the use of steel structure,

which was the Home Insurance Building, built in 1885. It

was a major stepping-stone toward modern skyscraper

construction in the years to come (History.com, 2010).

Today, most skyscrapers are merely designed to be the

tallest and outstanding structure, thus devoid of sense of

contextual identity.

Applying Critical Regionalism in vertical developments especially skyscrapers can be

a tedious process. It involves understanding the context to which the skyscraper would be built

upon, ultimately reflecting locality and contributing to place identity. This is extremely important

as skyscrapers stands as a monumental structure and the intention of applying critical

regionalism approach in skyscraper design will be outstanding as it will definitely differ from

other modernist skyscrapers. Failure to design a skyscraper to respond to both context and

culture will result in the conformation of skyscraper that shows placelessness and lack of

identity, similar to skyscrapers that have adopted the International Style or Modernism

approach.

Figure 3.1: Home Insurance Building (Source:

https://upload.wikimedia.org/wikipedia/commons/3/38/Home_Insurance_Building.JPG)



Two case studies were made to identify how critical regionalism is applied to the

skyscraper typology. The case studies chosen are located in London and Singapore

respectively. This is to show the various approaches these skyscraper designs were made

across different context and climate, displaying critical regionalism.

Case Study 1:

London - 1 Undershaft

By Avery Associates

1 Undershaft (Figure 3.2) is a proposed skyscraper to be built in the financial district of

London, replacing the currently standing St Helen’s building. It is set to be the world’s

exemplary skyscraper in applying Critical Regionalism in its design.

St. Helen’s building as shown in Figure 3.3, is a skyscraper that has applied the

International Style in its design. Due to the site being bought by a different owner, plans were

made to demolish the building and to build a brand new skyscraper (Skyscrapernews.com,

Figure 3.2: 1 Undershaft (Source:

http://www.architectsjournal.co.uk/pictures/606x422fitpad[0]/5/5/4/1406554_14-12-16-1-Undershaft-AAA-5.jpg)

Figure 3.3: St. Helen’s building (Source: http://www.e-

architect.co.uk/images/jpgs/london/london_building_aw050507_204.jpg)



2015). In result, the proposed design for the new building was made and has actually

succeeded in its design due to its sensitive response to its context.

1 Undershaft is set to be built among the London skyline, standing along notable

skyscrapers such as 30 St Mary Axe (the Gherkin), the Leadenhall building (the

Cheesegrater), The Scalpel and 20 Fenchurch Street (the Walkie-Talkie). Its design is

intended to correlate closely with its surroundings, especially having the lowest possible visual

impact on the skyline (The Angry Architect, 2015).

Note, in Figure 3.4, how the building has its massing responding directly to the adjacent

Leadenhall building and has taken into consideration of not obscuring the view of the Gherkin

(Weston, 2015). The building’s design also pays attention to its climatic response as shown in

Figure 3.5.

1 Undershaft

Leadenhall

building 20 Fenchurch

30 St Mary Axe

30 St Mary Axe

1 Undershaft Leadenhall

building

Figure 3.4: 1 Undershaft among London skyscrapers

(Source: https://acdn.architizer.com/thumbnails-PRODUCTION/68/fc/68fc7df057869e2a2b04776a73111855.jpg)



In short, the prospect of a context-sensitive architecture in the heart of a commercial

business centre has shown that 1 Undershaft design has successfully applied Critical

Regionalism. The building has brought in principles of modernism and has responded to

surrounding formal and cultural factors, allowing it to compete with its surrounding skyscrapers

yet maintaining the sense of place within the London skyline. Although the proposal fell

through in the last minute due to new ownership, it undoubtedly would have been the first

skyscraper in the world to attempt Critical Regionalism in this scale and context.

Case Study 2:

Singapore – Oasia Hotel Downtown

By WOHA

Figure 3.6: (L-R) Oasia Hotel Downtown among Singapore’s Central Business District, View of Hotel from Gopeng Street, Carved-in skygarden viewed up close.

(Source: http://www.woha.net/#Oasia-Hotel-Downtown)

Figure 3.5: Section and diagram of 1 Undershaft

(http://www.skyscrapercity.com/showthread.php?t=1791935)



Oasia Hotel Downtown is one of the few skyscrapers that eschew the International

Style of a sealed glass box. The building design has taken into consideration its tropical

climate based on its context. The double-skin façade system functions as an environmental

buffer, shading against harsh tropical sun from warming up the hotel rooms and sky terraces

(Figure 3.6). It also visually blurs out the transition between the air-conditioned interior from

the naturally ventilated public space and the building exterior (Furuto, 2012).

WOHA has adopted the club sandwich approach by splitting the building into 3 different

strata, each with its own sky garden. This creates generous public areas for recreation and

social interaction within the hotel. The open sky terraces also allows good cross-ventilation

apart from allowing visual transparency, ultimately ensuring thermal comfort (WOHA, 2016).

This way, the hotel has successfully incorporated open, functional and comfortable public

space in contrast with the typical hotel design typology which is enclosed air conditioned

spaces.

In short, Oasia Hotel Downtown was designed to combat the generic, International-

Style skyscraper by creating open spaces throughout the high-rise. The design also caters to

its tropical climate where ventilation is prioritized in order to achieve thermal comfort. Its unique

façade has also stood out among neighbouring skyscrapers in Singapore’s Central Business

District, providing a fresh look to the area.



4.0 Similarities & Differences between Menara Mesiniaga and

Generic Skyscraper

The “generic skyscraper” is a misnomer, as it implies there exists a “standard template”

of which all skyscrapers around the world follow. While effectively this may be true, we first

have to understand that the modern stereotype of a skyscraper being a tall, narrow, glass

covered box did have its roots influenced by cultural and climatic situation in the place where

it was first designed.

The problem arises when this climatic and cultural response is assumed to be the

same the world over, and thus the design is exported all over the globe (thus the term,

International Style, a term which was not coined by any of the Modernist architects) with this

very assumption, resulting in the general population assuming that there exists a “generic

skyscraper”.

Thus, we can now define the “generic skyscraper” as a tall, office building built

according to the International Style of architecture, and would then exhibit characteristics

common to it.

Figure 4.1: Typical characteristics of an International Style skyscraper

(Source: Bill Zbaren, 2015)



4.1 Menara Mesiniaga As Compared to the International

Style

In general, Menara Mesiniaga exhibits the Structural Expressionism style of

architecture, a contemporary approach during its construction period that, as its name

suggests, exhibits its structural systems and expresses it as a part of the building’s form. This

style can be traced back to the Modernist style of architecture, where buildings have a certain

degree of expressing its structure, although it was largely hidden away in the building’s walls.

However, though Menara Mesiniaga does seem to tick all of the boxes for being an

International Style building, the beauty of the Critical Regionalism approach is that, while it

may have the physical characteristics of an International Style structure, the method and

deployment of these characteristics define the Menara Mesiniaga as a contemporary example

of Asian architecture.

4.2 Menara Mesiniaga Similarities to the International Style

At first glance, the Menara Mesiniaga does seem to have large International Style

influences (unsurprisingly considering its origins). While it may not have a rectilinear form, it

does have a central, cylindrical massing. It has no ornamentations, and has a lot of planar

surfaces. Interior spaces are relatively open, with very little structure obstructing circulation or

views. There is a heavy usage of glass and steel, and cantilever construction could be found

on the ground floor’s foyer.



Figure 4.2.1: Similarities to the International Style of skyscraper

(Source: Aga Khan Development Network, 1995)

4.3 Menara Mesiniaga Differences As Compared to the

International Style

As discussed in the previous Section (4), the employment of the Critical Regionalist

approach to architecture has resulted in the adoption of vernacular architectural tectonics,

technologies and approaches in the Menara Mesiniaga. This has resulted in the Menara

Mesiniaga displaying the following principle differences:

Figure 4.3.1: Principle differences between Menara Mesiniaga and International Style skyscrapers

(Source: Aga Khan Development Network, 1995)



Broken Up Massing

Description: In stark contrast to the smooth

homogenous surfaces of the International Style

skyscraper, the Menara Mesiniaga’s smooth

cylindrical form is highly punctuated by apertures

that appear to have “penetrated” into the building in

an upward, spiralling pattern.

Rationale: This broken-up massing is done for

principally for the usage of greenery as well as

introducing permeable interior spaces. Similar to a

vernacular Malay house.

Figure 4.3.2: Instead of a smooth, homogenous massing, Menara Mesiniaga has created voids in its

cylindrical form, allowing for the use of passive design elements.

Usage Of Greenery

Description: The usage of vegetation in any building

as a thermal control strategy is concept employed by

the vernacular Malay house. While International Style

skyscrapers seem to be extremely reluctant in the

employment of any vegetation, the Menara Mesiniaga

uses it liberally to cool and shade the interior from the

sun.

Rationale: It can be argued that it is a necessary

approach given its climatic context.

Figure 4.3.3: Use of vegetation in Menara Mesiniaga highlighted



Permeable Spaces

Description: International Style skyscrapers are known to

have relatively airtight environments. In fact, the rise of sick

building syndrome cases can be directly linked to the

increasing use of HVAC in office buildings. Menara

Mesiniaga, in contrast, employs the use of permeable

spaces (i.e. allowing outside air to flow inward).

Rationale: This is a form of cross ventilation that is also

used by the Malay house, an effective form of passive

design for the climatic situation.

Figure 4.3.4: Wind enters through permeable façade and into the interior, ventilating and cooling the

internal environment.

Emphasis On Sunshading

Description: Menara Mesiniaga is renowned for its

expressed use of large, sun shading louvres that are

hung. This creates a visual depth compared to the

relatively flat surfaces of International Style skyscrapers,

and proves the local context’s importance on the usage of

sunshading devices due to the existing climatic condition.

Rationale: The local climatic situation requires extensive

sunshading devices to minimize solar gain.

Figure 4.3.5: Large sunshading louvres are expressed

While Menara Mesiniaga already bears a rather obvious difference to the “generic

skyscraper”, it is worth bearing in mind the reasons, rationale and justifications for this. Ken

Yeang did not design Menara Mesiniaga just so he could put Malaysia on a map with its radical

form; rather, it is an exercise in necessity – a design specifically for the given site conditions.



5.0 Vernacular and Malay Architecture

5.1 Introduction to Vernacular Architecture

According to an analysis by Connor Janzen (2015), in terms of architecture, vernacular

defines the built environment as structures created by untrained individuals, suited for

particular needs of the individual who built the structure. For example, macro climate of an

area is a significant influence on vernacular architecture. In Malaysia, the hot and humid

climate affect the use of low thermal mass materials and application of cross-ventilation.

Characteristics of vernacular architecture is also governed by local environment and

construction materials. For instance, Malaysia – being covered in rainforest and abundant in

trees and timber as building materials, developed a wooden vernacular. In other words,

vernacular architecture can be seen as designing based on local needs, availability of

construction materials and reflecting local traditions.

Apart from that, the way of life of users and the use of the building heavily influence

the building’s form. Interaction between users and cultural aspects also affect the layout and

size of buildings in vernacular architecture.

Vernacular is meant to be sustainable – thus not exhausting the local resources

available. Unsustainability of the local resources makes it unsuitable for local context, hence

it is not considered as vernacular.

Vernacular architecture in any region creates a connection between both culture and

architecture, and people in the region. Vernacular architecture is not stringently limited to any

specific region, but it is becoming more popular as a design strategy in modern day urban

planning and building.

Vernacular architecture is inclined to develop in order to reflect the environmental,

cultural, technological, economic and historical context. Specifically to Malaysia, some of the



ideals in vernacular architecture include sustainability, cultural significance and adaptability.

Through understanding and analyzing these ideals, they can be utilized to further improve

schemes and design regarding architecture.

Figure 5.1.1 Example of a Malay House (Yuan, 1987)

5.2 Characteristics and Adaptation of Vernacular Malay

Architecture in a Tropical Climate

Among the characteristics of vernacular Malay architecture is that there is an extensive

comprehension and consideration of nature. As villagers were highly dependent on nature to

provide for their needs, a deep understanding of the study of ecology was widespread. Their

daily necessities including building materials were acquired directly from nature. The

traditional Malay house is designed directly with nature in its approach through its climatic

design. In order to grasp the adaptation of the traditional Malay house, the environmental

conditions of the tropical climate must be understood.



Set up wholly by the villagers themselves, the traditional Malay house is an outstanding

house form which takes the local climatic conditions as well as the social life of the inhabitants

into consideration. It is designed to adapt to the warm and humid climate of Malaysia as well

as for functional purposes. Its flexible design meets the various needs of the users.

Design for Climatic Control

Figure 5.2.1 Climatic Design and Considerations in a Traditional Malay House

The design and form of the traditional Malay house illustrates several characteristics that

equips its house form with the suitability to adapt to the hot and humid climatic conditions in

Malaysia.

(a) Ventilation for passive cooling and humidity control;

(b) Direct solar radiation control;

(c) Control of glare from the surroundings and open sky;

(d) Protection from rain;

(e) Natural vegetation in the surroundings for a cooler environment;

(f) Building materials of low thermal capacity (for minimal heat transmission into the house



The traditional Malay house is mainly focused on the ventilation and solar radiation control for

the climatic comfort for the inhabitants in the house as these are the effective criteria for

climatic comfort in a hot and humid environment.

Design Approach for Ventilation

Figure 5.2.2: Design Approach for Ventilation in a Traditional Malay House

Ventilation in a traditional Malay house consists of three strategies: top, bottom and

cross ventilation at an appropriate body height. With these approaches, appropriate design

features and adaptive devices are practised.

1. Planning Layout/ Site Planning

Figure 5.2.3: Random Arrangement of Malay Houses



a) Random arrangement of houses

This is to ensure that the wind has a comparatively unrestricted passage through the

community.

b) Orientation

Due to religious purposes, traditional Malay houses are oriented to face Mecca (in an east-

west orientation). This minimises exposure to heat from solar radiation. The direction is also

appropriate for the wind direction in Malaysia (north-east and south-west).

Figure 5.2.4: Ventilation Aided by Raised Floor in a Traditional Malay House

c) Raised Floor

The traditional Malay houses are raised on timber stilts or pile to elevate the building for natural

ventilation as well as a form of protection from floods.

d) Vegetation

The compound of the Malay house is often heavily shaded with trees and covered with

vegetation. This sets the house in a cooler environment as well as reduces glare from the

surrounding environment with the less reflective natural ground covers.



2. Building Layout

Figure 5.2.5: Floor Layout of a Traditional Malay House

a) Elongated open plans to allow easy passage of air and good cross ventilation.

b) Minimal partitions for natural lighting and air circulation within the whole interior space.

3. Openings

Figure 5.2.6: Ventilation Openings of a Traditional Malay House

a) Full-length fully openable windows and doors (due to the body level being the most vital

area for ventilation) to achieve cross ventilation. Exterior winds are also encouraged to

ventilate the spaces in the house.



b) Decorative elements (intricate carved wooden ventilation grilles and panels – tebar layar)

for air passage through roof area.

4. Roof Elements

a) Ventilation joints and panels in the roof construction (tebar layar) to trap and direct air for

roof ventilation.

b) No ceiling panel to assure no air blockage.

c) Ventilated roof space for cooling of the house.

d) Large overhangs for provision of good protection against heavy rainfall, solar radiation and

to allow for windows to be left open most of the time for ventilation.

e) Construction materials with low thermal capacity for minimal heat retention.

5.3 Adaptation of Malay Architecture’s Bioclimatic

Strategies in Menara Mesiniaga

Bioclimatic high-rise is a skyscraper with designs and spaces which provide passive

low energy benefits. Connections with Malay architecture are evident in the case of the design

of the Menara Mesiniaga. The architect’s intention in taking the Malay sensitivity to comfort,

climate and nature is encapsulated in the building. The principles and technologies of shading,

openness, permeability to air movement, linkages to water and the garden are abstracted and

applied to high-rise office towers. Besides that, an extensive use of natural ventilation and

natural light reflected of open and permeable Malay house forms are prominent in the building.

Menara Mesiniaga has adapted a few of the traditional Malay house features which have

created excellent bioclimatic designs with both internal and external features to produce a low

energy building ideal for the tropical climate.



The traditional Malay house is raised up by silts. The space between the ground and

the house is well shaded with minimum blockage by structures. Besides to protect the building

from flash flood, this allows cross ventilation (Figure 5.3.1) to occur in between the space,

creating a cooling effect at the bottom of the house.

The exoskeleton of Menara Mesiniaga has exposed steel and reinforced concrete

structure (Figure 5.3.2) that wraps around the curtain wall to block the sunlight off. It is useful

as a heat sink component and to minimize heat absorption. The sloped berm and open

mezzanine floors (Figure 5.3.3) which circles the circumference of the building allows air

movement underneath the building. This has created a well-shaded and ventilated lobby

entrance without mechanical systems.

The random arrangement of tall trees in the kampong provides shade and also does

not block the flow of winds into the house. With adequate natural vegetation in the

surroundings, this can create a cooler environment of external and internal of the house.

(Figure 5.3.4)

Menara Mesiniaga has stepped terraces (Figure 5.3.5) which can be seen spiralling

up and away from the berm, generating an atrium which not only provides transitional spaces

and natural ventilation but also the planting enhances the shade and increases the oxygen

supply into the building.

Figure 5.3.3

Figure 5.3.2

Figure 5.3.1



Besides that, the traditional Malay house has minimum amount of partitions used to

create open interior spaces. This promotes good ventilation throughout the interior spaces.

Body level is the most important area for ventilation, thus full-length fully openable windows

are important in the house. (Figure 5.3.6)

In Menara Mesiniaga, besides reflecting the sun rays, the exposed columns and

beams are open to encourage air circulation within the building. (Figure 5.3.7) Also, all office

floors terraces are provided with full-height sliding glass doors that allow fresh air in.

Internal enclosed rooms are placed as a central core which provides natural lighting and

a good view of the surrounding context around the building.

In traditional Malay house, attap roof is used as thermal insulator and to provide shade.

It has low thermal capacity which holds less heat and cools down at night. (Figure 5.3.8)

In Menara Mesiniaga, a cantilevering rooftop pool is designed to ‘green’ the rooftop

by insulating and reflecting the overhead sun. Ken Yeang has also adopted and implemented

Figure 5.3.5

Figure 5.3.4

Figure 5.3.7

Figure 5.3.6



the idea by making the central core as extensive passive heating and cooling strategies

(Figure 5.3.9) of the building. The concrete core of the building is situated on exterior of the

east side of the tower. This creates sun shading for the building and its material construction

allows it to become a heat sink that will reradiate absorbed heat into the interiors at night.

Furthermore, large roof overhang and the low exposed vertical areas (windows and

walls) are essential to traditional Malay Houses to provide protection against driving rain, good

shading and allow the windows to be left open most of the time for ventilation.

In Menara Mesiniaga, the curvilinear overhang roof (Figure 5.3.11) minimises the

south façade from exposing to solar radiation from the high angled sun. On north and south

façade, double-glazed curtain walls are used to control solar gain whereas on the east and

west façade, aluminium fins and louvers (Figure 5.3.12) are installed to provide sun shading

for the interior spaces.

Figure 5.3.9

Figure 5.3.8

Figure 5.3.11

Figure 5.3.10

Figure 5.3.12



6.0 Conclusion

Critical regionalism is an approach to architecture that seeks to mediate between the

global and the local languages of architecture, in addition to regionalism in vernacular

architecture. The term typically denotes an architecture that is derived from its local setting,

ultimately becoming inherently site specific, while responding to the local climate and culture.

It places emphasis on the reflection of local tradition and culture of a building’s site through its

design and material to prevent the lack of identity and placelessness in the building.

The influence of critical regionalism in skyscraper typology and in the Malaysian

context has significantly affected the design of Menara Mesiniaga, as did the adaptation of

vernacular Malay architecture.

These design approaches and bioclimatic principles implemented were not only

quintessential to make a mark in the world of architecture, but also vital in order to create a

sustainable built form which responds fittingly to the site context.



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