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Name of Subject : Architecture Culture and History 2
Subject’s Code : ARC 60203
Title : Menara Dayabumi
Submission Date : 18th November 2015
Tutor’s Name : Miss Balkish
Group Members’ Name :
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1. Nurina Aida Bt Ghizan 0320035
2. Pablo Idris Bin Badrul Ilahan 0321895
3. Rozanna Farah Ibram 0317967
4. Sia Hong Jie 0323506
5. Tan Jo Lynn 0318518
MENARA DAYABUMI
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Content Page
3
IntroducVon 4
The Architect 6
Site Context Analysis (Pablo Idris Bin Badrul Ilahan 0321895) 7
Architectural Layout (Nurina Aida Bt Ghizan 0320035) 10
Architectural Style Analysis (Tan Jo Lynn 0318518) 17
Building ConstrucVon, Structure & Materials Analysis
( Sia Hong Jie 0323506) 24
Architectural Elements & Components Analysis
(Rozanna Farah Ibram 0317967) 27
Conclusion 36
References 37
Introduc8on
Address
Dayabumi Complex, Kuala Lumpur City Centre, 50050 Kuala Lumpur, Federal Territory of Kuala Lumpur, Malaysia
LocaVon
Dayabumi Complex is set along Jalan Sultan Hishamuddin, south of Merdeka Square.
4
Designed by: BEP+MAA
Contractor: Takenaka CorporaVon & Kumagai Gumi Co. Ltd
Client: UDA
CompleVon Year: 1984
Value: RM 320 million
Area: 150,000 sq.m
ConstrucVon stared: 14 February 1982
Opening: 5 May 1984
Type: Commercial offices
LocaVon: Jalan Sultan Hishamuddin, Kuala Lumpur, Malaysia
Height: 157m (515d)
Floor count: 35
One of the earliest skyscrapers in Malaysia
Neo Islamic architecture
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The Architect
Arkitek MAA Sdn Bhd (MAA)
In 1965, the pracVce of Arkitek MAA Sdn Bhd (MAA) was established under the style of
Malaysian Associate Architects. Their architectural works included large scale housing, commercial,
industrial and insVtuVonal projects were iniVally centred around Kuala Lumpur.The core of Armtek
MAA’s philosophy is the focus on design excellence.
With the firm's long, established history and award winning track record, Arkitek MAA has
the depth of professional talent to respond to projects of any size and complexity. The firm's
versaVlity arises from its mulV-‐disciplinary organisaVon. Since solving today's complex design
problems demands the integraVon of many service capabiliVes, including highly specialised science
and technologies; Arkitek MAA's structure integrates the required disciplines and staff consultants
under one roof.
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Figure 0.0: Picture of Menara Dayabumi taken from MAA’s official website.
Site Context Analysis (PABLO IDRIS BIN BADRUL ILAHAN 0321895)
LocaVon
Dayabumi Complex is a 35 storey building close to Jalan Sultan Hishamuddin, where the
south of Melaka Square is. This building was built id 1970, it was the first modern building in KL to
incorporate the very basic principles of the islamic design into its architectural structure. It was one
of the first skyscrapers in the city of KL. From the building 30th Floor visitors will see a panoramic
view of the city.
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Figure 1.0: LocaVon of Menara Dayabumi screenshot from Google Maps.
TransportaVon
The building is accessible within walking distance north of Pasar Seni LRT StaVon.
The locaVon of the structure is in Jalan Sultan Hishamuddin.
Site Response
The building was purposely designed to blend in with the pervading Moorish and ByzanVne
atmosphere of the structures that surround it namely the sultan Abdul Samad Building and Railway
StaVon Building. With Islam being the official religion of Malaysia since independence, there are
many Islamic architecture featured buildings that resides in Kuala Lumpur. Kuala Lumpur’s central
business district today has shided around the KLCC where many new and tall buildings with Late
Modernism and Postmodern architecture fill the skyline. The shopping arcade and complex
houses, city point offices and the General Post Office.
It houses several commercial faciliVes and is one of the earliest skyscrape in the city. Also
located near the NaVonal Mosque and the Federal House. Close to many tourists spots, the
approximaVon to places like hotels and commercial block have an asseveraVon to the relaVveness
to the Central Market of the City. One of he most visible structures from the field above
highlighted is the Dayabumi.
The cheapest way to get to the Complex is by public transport, by taking the KL City bus
which takes a look around the city. There are four routes of which one asses in front of the
complex.
Many of the early buildings which are built during the first decade of independence were
designed white respond to the hot humid tropical climate of Malaysia. But with the introducVon of
air condiVoning systems, the situaVon( designing in response to the climate) has changed.
Meanwhile the accessibility to energy resources such as fuel and electrical power had changed the
form and style of architecture to the construcVon of the buildings. Architects and contractors
preferred not to implement the the tradiVonal climaVc design principles and favour the new
materials evacuees it is a symbol of progress and wealth. How ever the amempt to make invenVve
design which appropriately response to our climate and culture is very few. The issue in the
Dayabumi Complex, due to the tropical climate’s string effect on basic raw construcVon materials 8
deterioraVon, intensive experiments on new materials and properVes were also made by the US
Naval Research and thermal comfort became the main issue.
Several writers did also discuss on the change in architectural traits which gives negaVve
impact on the working environment. This change is causing energy to be a wastage, have an
incrementaVon on the cost of the building maintenance and operaVon, psychological stress,
security and fire safety.
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Figure 1.1: View of Menara Dayabumi from below.
Architectural Layout (NURINA AIDA BT GHIZAN 0320035)
Plan and ElevaVon Analysis
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Figure 2.0: First floor floor plan.
Figure 2.1: Sketched elevaVon.
CirculaVon
CirculaVon refers to the way people move through and interact with a building. It also
refers to how the spaces of a building links to each other. There are a few components and
structures of a building’s circulaVon such as entrance, elevators, escalators, and staircases
which are oden referred to as circulaVon elements, as they are posiVoned and designed to
opVmise the flow of people through a building. These things affect our percepVon of the forms
and spaces of the building.
The first component would be:
ENTRANCE
Entrance is a component that connects the outside and the inside of the building. It
provides the act of entering which differenVates one space from another and idenVfies from
where you are to where you are going. Usually, a wall is used to create enclosed spaces but an
entrance is made by having openings in the plane of the walls. Although, the form of openings can
just be a simple hole in the wall or even a disVnct gateway.
There are three types of entrances which are flush entrance, projected entrance and
recessed entrance. As for Dayabumi, it has 4 entrances and all of them are recessed entrances. A
recessed entrance is an entrance that provides shelter and receives a porVon of exterior space into
the realm of the building.
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Figure 2.2: Entrances of the tower.
The locaVon of the entrance relates to the form of the space being entered will determine
the configuraVon of space and the pamern of the acVviVes within the space inside the building.
CONFIGURATION OF SPACE
ConfiguraVon of space is the sequence of the spaces that links to one another and
influenced each other. It can have a paralleling pamern or it could be contrast with the form of the
spaVal organisaVon.
There are six types of configuraVon of spaces and they are linear, radial, spiral, grid,
network and composite. Menara Dayabumi has a grid configuraVon which consists of two sets of
parallel paths that intersect at regular intervals and create square and also rectangular fields of
space. The parallel path starts from the four entrances, to the lobby, going through the food court
and straight to the exit.
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Figure 2.3: Recessed Entrance at Dayabumi.
Figure 2.4 (a)
PATH – SPACE RELATIONSHIPS
Path may be related to spaces they link in 3 ways which are pass by spaces, pass
through spaces and terminate in a space. In Dayabumi, the type of path – space
relaVonship is pass through spaces. Pass through spaces means the path may pass through
a space axially, obliquely or along its edge. It cuts through the space and the path creates
pamern of rest and movement within it.
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Figure 2.4 (b)
Figure 2.4(a) and (b): Grid configuration.
Hallway Lobby Foodcourt
Figure 2.5
Figure 2.6
FORM OF THE CIRCULATION SPACE
The form of a circulaVon of space varies according to how its boundaries are defined, how
its form relates to the form of the space it links, its qualiVes of scale, proporVon, light and view are
arVculated and how the entrances open onto it. A circulaVon of space could be enclosed, open on
one side or open on both sides.
For Menara Dayabumi, the circulaVon space is open on both sides and it is wide. It forms a
colonnaded passageway that becomes a physical extension by merging with the spaces it passes
through.
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Figure 2.7
Figure 2.8: Open on both side.
The structures of the Dayabumi building’s circulaVon are:
ESCALATORS, ELEVATORS AND STAIRCASE
Escalators, elevators and staircase provide verVcal circulaVon between the levels of a
building. It determines the direcVon of our path as we ascend descend its steps.
Since this Dayabumi building has 37 floors, it mainly uses escalators and elevators but there are
sVll staircase to be used during emergency and so on.
OrganisaVon Analysis
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Figure 2.9
Figure 2.10 (a) Figure 2.10 (b)
Symmetry and Balance
Symmetry finds its ways into Dayabumi’s architecture at every scale, from the overall
external views of the building, through the layout of the individual floor plans, and down to the
design of individual building elements such as the Vle mosaics. Its architectural style is modern
Islamic architecture and Islamic buildings make elaborate use of symmetry both in their structure
and in their ornamentaVon.
Geometry
The whole Dayabumi building is actually made up of geometrical shapes. As we can see
from the top view of the roof, the overall exterior is actually consist of a combinaVon of squares
and triangles including the interior as well. However, only for the first floor of Dayabumi, the plan
shows that it is made out of combinaVons of squares, triangles and also rectangulars.
SpaVal RelaVonship
SpaVal relaVonship is a connecVon between rooms to the buildings, buildings to the site.
The pamern of how each space corresponds to the others may be a visual pleasing or a reflecVon
of its funcVon. There are four types of spaVal relaVonship which are space within a space,
interlocking spaces, adjacent spaces and spaces linked by a common space. The spaVal relaVonship
for Dayabumi building is ‘Space within a Space’ which is defined as a large space that contains a
smaller space within its volume. Visual and spaVal conVnuity between the two spaces can be easily
accommodated.
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Figure 2.11: Space within a space.
Architectural Style Analysis (TAN JO LYNN 0318518)
IntroducVon
All buildings are sure to consists of one or more architectural style. The style of a
construcVon and their details provide important clues to their age and much more. It expresses
the frame of mind of the community who designed and commissioned the building and the
decoraVve programs.
An architectural style is defined by the elements that make a building or a structure
illustrious and historically idenVfiable. A style may include such features as form, building
materials, local character and manner of construcVon.
Islamic architecture style
The most evident architectural style of the building is the Islamic architecture. Islamic
architecture is in part comprised of those buildings and built environments intended for use in
Islamic commemoraVon, instrucVon, worship and etc. Mosques, madrasas or schools,
mausoleums, and shrines are examples of this architecture group. Islamic architecture may also be
recognised as the establishment of builders and patrons who avow Islam or ones that live in a
region ruled by Muslims. In a Muslims ruling district, these buildings can generally be described as
secular, which include marketplaces, office buildings, houses etc. One of the essenVal concepts of
Islamic architecture is that of privacy, and for this reason it is referred to as "architecture of the
veil."
Although Islamic architecture is infinitely varied in plan, elevaVon, building material, and
decoraVve elements, there are several recurring forms found in all types of construcVon, be they
secular, public, private, or spiritual. These central components are the domes, the arches, and the
vaults.
However, the Islamic architecture that is seen on the outer appearance of the building is to
be clarifies as Modern Islamic architecture style. Islamic architecture has tended to sVck to
historical tradiVon with limle changing in house or mosque design over the centuries. However, the
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Middle East oil boom and the emergence of ciVes such as Dubai as major trading places for the
whole world has introduced a new approach to Islamic architecture.
For example, the Burj Khalifa tower in Dubai may look like a typical 21st Century glass and
steel construcVon shooVng up into the sky like a glass shard, but its design is based on a desert
flower called the Hymenocallis (refer to Figure 3.0). This reflects the tradiVonal Islamic principle of
converVng vegetal shapes into geometric designs.
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Figure 3.0: Burj Khalifa tower’s Y-‐shaped plan. According to the design architect, Adrian Smith, the triple lobed footprint of the building was inspired by the flower Hymenocallis.
Figure 3.1: Arches and vault found on the lower exterior of Menara Dayabumi.
Moorish architectural style
Besides that, another the architectural styles that could be seen on the exterior of the
building is the Moorish architecture. It is a variaVon of Islamic architecture. It is developed by the
Moors in the later Middle Ages especially in North Africa and Spain and a style of architecture
common in Spain from the 13th to 16th centuries. The Moorish architecture consists of several
moVfs and repeVVon of pamerns.
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Figure 3.2: The picture above shows the use of conversion of vegetal shapes into geometrical designs that is common to be seen in Modern Islamic architecture.
Figure 3.3: Islamic 8 point star concept can be seen as a decoraVve component on the exterior on the building.
The Moorish architecture is greatly influenced by the Islamic architecture that developed in
the Middle East. Although mosques are the most familiar precedent of Moorish architecture,
featured moVfs spread to the design of homes and commercial places. One of the most disVnct
examples of Moorish architecture is the Mezquita or Grand Mosque of Cordoba, Spain, is today the
region's Catholic cathedral (refer to Figure 3.4(a) and (b)).
There are few central characterisVc elements of Moorish architecture, which are muqarnas,
horseshoe arches, voussoirs, domes, crenellated arches, lancet arches, ogee arches, courtyards,
and decoraVve Vle work.
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Figure 3.4 (a) Figure 3.4 (b)
Figure 3.4(a) and (b): Grand Mosque of Cordoba, Spain
Figure 3.5 (a) Figure 3.5 (b)
Figure 3.5(a) and (b): Clarifies just a few and exhibits an overview of the Moorish architecture moVfs: different styles of arches, calligraphy, vegetaVve design, and decoraVve Vles.
InternaVonal style of Modern Architecture
Other than Modern Islamic architecture and Moorish architecture, the style that appears
on the building is the InternaVonal architecture. The phrase ‘InternaVonal Style’ depicts a form of
design that developed mainly in France, Germany and Holland during the 1920s, before spreading
to America in the 1930s, where during the middle decades of the 20th century, it became the
dominant impulse in American architecture. Although it never became trendy for residenVal
buildings in the United States, it was especially appropriate for skyscraper architecture. This is due
to its features like sleek modern look, absence of decoraVve elements and use of steel and glass.
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Figure 3.6: Lancet arches found on the lower exterior part of Menara Dayabumi.
Figure 3.7: RepeVVve of geometrical vegetaVve design on the exterior of Menara Dayabumi.
The style became interchangeable with corporate modernism during the period 1955 to 1970. It
also became the essenVal architecture style of 20th century for insVtuVonal and commercial
buildings, and even superseded the tradiVonal styles for schools and churches.
The InternaVonal Style developed immensely as a result of rising dissaVsfacVon with
building designs that integrated mixture of decoraVve elements from different architectural
periods, specifically where the product design have no connecVon to the funcVon of the
construcVon. It was also caused by the need to build huge number of commercial and civic
buildings that served a promptly industrialising society. Besides that, other causes that have lead
to the existence of InternaVonal style is the evoluVon of new construcVon techniques involving the
use of steel, reinforced concrete, and glass; strong desire to create a modern style of architecture
for ‘modern man’.
The essenVal characterisVcs of InternaVonal Style buildings comprise recVlinear forms and
plane surfaces that are completely devoid of applied ornamentaVon. It also supports open and
even fluid interior spaces. This style could be said to be the early form of minimalism, which had a
peculiar modern look, reinforced by its use of modern materials, including glass for the facade,
steel for exterior support, and concrete for interior supports and floors. At the same Vme, the use
of marble is very favourable in this style. This is due to its simple yet very interesVng appearance.
Just like one of Mies Van Der Rohe’s work; he designed the Barcelona Pavilion and used planes of
marbles to make it more interesVng instead of adding ornamentaVons.
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Figure 3.8 (a) Figure 3.8 (b)
Figure 3.8(a) and (b): Usage of marble in Barcelona Pavilion’s interior as a feature wall and parVVon instead of an ordinary concrete wall.
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Figure 3.9: Decorated glass panel
Figure 3.10 (a) Figure 3.10 (b)
Figure 3.10(a) and (b): The accentuaVon of recVlinear forms is shown with the arrangement of Vles and clean simple linear lines.
Figure 3.11 (a) Figure 3.11 (b)
Figure 3.11(a) and (b): Usage of types marbles on Menara Dayabumi.
Building Construc8on , Structure and Materials Analysis (SIA HONG JIE 0323506)
Dayabumi tower was the tallest, and most expensive skyscraper ever built in 1984’s
Malaysia. It was completed in 1984 by two Japanese companies, Takenaka CorporaVon, and
Kumagai Gumi Co. Ltd. . Designed by Arkitek MAA and BEP Arkitek, the 35-‐storey building. It is
amazing that the building only took two and a half year, 1982 to 1984 to finish the construcVon,
which is a really short Vme. It required high-‐rise engineering, which at that Vme Malaysia not
familiar with. Building the Dayabumi Tower was a project of an unprecedented scale considering
the absence of digital and technological resources.
Both of the contractors they choosed were very reliable as they managed to complete the
building’s foundaVon within four and a half months instead of six months as scheduled, meaning
to say that the further stages of construcVon will speed up as well.
Dayabumi tower is the one of the building that introduced massive usage of steel structure
in the 80s of Malaysia. However, designers, architects, engineers, constructor at that Vme are not
really familiar with the new material steel.
Steel did not appear frequently in Malaysia unVl the mid 80s, mostly because there was no
shortage of cheap labor, and the scale of projects were generally small. Furthermore, steel was
considered as an expensive material. Moreover, construcVon speed, which steel can vastly
improve, was not considered as major problem.
Most of the steel were imported from Japan, and also Europe and US during the
construcVon of Dayabumi tower.
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Industrialised Building System (IBS) allowed every structural part (except cladding),
including supporVng steel frames, the five-‐storey high arches at the front of the tower, to be
precast and assemble on site, which really does save a large amount of Vme. Every floor of the
building is steel plasorm, laced with concrete, which requiring four-‐day cycle before the next floor.
Thirty months to erect the thirty-‐five storey building seemed like a impossible challenge, but steel
made it possible.
The original architectural design of the tower is actually similar to other high-‐rise structure
in other countries, but Tun Dr Mahathir wanted a uniquely Malaysian, and different from the
skyscrapers found all around the world, rather than just being a plain square based box. Other than
the Islamic moVf, the design should also harmonise with the exisVng Moorish surroundings, the
old Sultan Abdul Samad Building and the Railway staVon. The chosen materials helped bringing out
the characterisVc of Dayabumi Tower.
White mosaic Vles were the main finishing cover for the facade of Dayabumi. The choose
material has gentle, pure, and elegant white, which represents the purity of muslims. Although
steel is the main structure of the building, instead of looking like a steel giant, it is dressed with
elegant glass mosaic, sodening the sharp edges. The theme runs throughout the building with the
interior projecVng the same graceful ambience as exterior.
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Figure 4.0: Steel structure of Menara Dayabumi
Ornaments were used on the tower, such as the white powder coated aluminium grilles on
the exterior. Instead of being a funcVonless ornament, it actually act as sun screens. The sun
screen was designed to replicate the pierced marble characterisVc of Moorish architecture of the
Alhambra. Dust and Dirt would be impossible to clean with the complicated eight pointed stars of
islamic moVf pamerns on the grilles, so these grilles were subjected to aerodynamic wind tunnel
tests and affixed on the tower at an angle before the installaVon, to ensure that dust would not be
collected, only minimal cleaning is required.
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Figure 4.1: White mosaic Vles used on Dayabumi tower’s facade.
Figure 4.2: White powder coated aluminium grilles on the exterior.
Architectural Elements and Components Analysis (ROZANNA FARAH IBRAM 0317967)
The Dayabumi Complex design is mainly inspired by the Islamic architecture, integrated into
the modern architecture. The significant elements of the Islamic architecture inspiraVons are the
Islamic geometric pamern of the claddings, the arches and vaults, and the mosaic Vling for the
exterior walls. These elements are applied to the exterior of the building creaVng its
disVnguishable façade that separates itself from any other building in the context as well as the era
it was in. Even so, these elements are applied in the modern architecture is also the reason the
building fits into the context because the older buildings surrounding it are more prominently
inspired by Islamic architecture such as: the TexVle Museum; the NaVonal Mosque of Malaysia;
Kuala Lumpur City Gallery; Sultan Abdul Samad building and the Jamek Mosque that the Dayabumi
complex did not stood out like a sore thumb.
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Figure 5.0: NaVonal Mosque
Islamic Geometric Pamern (IGP) Cladding
The most significant element on the Dayabumi Complex is the geometric pamerned
claddings that covers the facade of the building. Architectural cladding is a layer of material applied
on the exterior of a building for the purposes of protecVon and aestheVc (What is Cladding, 2014).
Claddings comes in varied materials such as wood, stone, concrete, steel and syntheVc materials.
The tradiVonal intenVon for cladding is to provide protecVon from the environment such as
rainwater and wind. However due to versaVlity of manipulaVng cladding materials, most are used
to create aestheVcally pleasing exterior for buildings. The pamern on the cladding is one of the
basic Islamic geometric pamern that includes the interlacing polygons and the eight point star.
Islamic Geometric pamern has been implemented for a few centuries and is designed tradiVonally
with just a set of compasses and a straight ruler. The Islamic Geometric pamern has been dated
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Figure 5.1: Sultan Abdul Samad building
Figure 5.2: Jamek Mosque
back since the eighth century on Islamic arts and architecture. They are found on wood carvings,
glassware, leather, stone, metals, Vlework, secular and religious buildings, carpet weaving, texVles
as well as borders on illustrated manuscripts (Islamic Geometric Pamerns, 2012). Muslim arts are
not allowed to assume the role of God by creaVng humans or animal forms on arts and
architecture. Therefore most will turn to the art of calligraphy and vegetal pamerns. However not
all cradsmen were trained in arts or expert in calligraphy. As a result, creaVng pamern of geometric
designs where straight lines intersecVng each other with a center point as a basis. It was deemed a
more pracVcal way to cover and decorate expansive buildings with varied forms (Islamic Geometric
Pamerns, 2012).
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Figure 5.3: AestheVc cladding on building Figure 5.4: DecoraVve Cladding
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Figure 5.5: Kharaghan twin towers (1067 AD) exterior carvings.
Figure 5.6: Carvings found in Ibn-‐Tulun Mosque, very similar to the claddings on the complex.
The basis of the Islamic geometric pamern is draw a grid and draw the pamern design on
top of the grid and finally once the design is completed the grids are removed. The remarkable
mathemaVc elegance of these pamerns is no mamer how intricate the design is the basis is sVll
according to the iniVal gridlines.
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Figure 5.7: 8-‐point star and interlaced polygons.
Figure 5.8: Cladding covers the height of building.
Figure 5.9: Basic of obtaining polygons and stars used in Islamic pamerns.
The pamern on the Dayabumi complex is specifically simplified to accommodate and be
relevant to the modern style of the building, intricate flower design were avoided. The simple
overlapping polygon and eight point star design is repeated throughout the whole structure to
create the sense of uniformity and relevance. Many architecture in Malaysia are integraVng the
Islamic Geometric pamern into the building design due to the fact that Malaysia’s official religion is
Islam. Other famous structures that implements the Islamic geometric pamern is the Petronas Twin
Towers. The form viewed from plan view shows a shape of polygons overlapping.
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Figure 5.10: Overlapping polygons .
Figure 5.11: 8 points star.
Figure 5.12: The shape of the twin towers was developed from overlapping polygons and circles based on gridlines.
The façade of the Dayabumi Complex is majorly covered by the Islamic Geometric pamerns as to
assimilate the Islamic architecture into the modern skyscraper design of Kuala Lumpur, the center
of development in Malaysia and where many skyscrapers were being built at the Vme. To
accommodate to the Islamic culture and tradiVon emphasized in the country, the architect
designed the building into the context of Islamic influenced development area.
Arches
On the exterior of the ground floor stretching up to the first floor, the architecture design
showcases a series of arcades that extends at every sides of the building. The arcades consists of
arches that are supported by columns. Arches are relevant to early architecture where the Romans
and ByzanVne developed from Greeks’ and EgypVans’ use of lintels to semi-‐circular arches instead.
In a basic arc, the thrust is exerted verVcally by the weight of loads imposed above the arch, and
exerted horizontally by the cumulaVve wedge acVon of the voussoir (Saud, 2015). This acVon of
corresponding thrust gives the arches it elasVcity. The arches have been used in Muslim
architectures for centuries and has been using arches more than other civilisaVon. They imitated
the graceful curve of the palm trees branches in their construcVons. Furthermore, the arch was
also derived from the mysVc meaning behind the spherical nature of the universe and it’s divine
symbolism. It is also their understanding and advancement in the geometry knowledge played a
part in arches as an essenVal element in their architecture. Arches were iniVally constructed for
strictly pracVcal and structural means. However as Vme passes it has been realised the arches are
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Figure 5.13: National Planetarium has incorporated Islamic Geometric patterns as well as the overall structure, domes and minarets.
able to provided aestheVcs values to buildings and furniture. There many types of arches designed
throughout the history of Muslim architecture such as: The horseshoe arch, the transverse arch
and the pointed arch. The arch that is used for Menara Dayabumi complex is the pointed arch.
History resources shows evidences of Sicily playing the role of middle transmission for many
Muslim moVfs, the pointed arch included. Amalfitan merchants from Sicily who has trades with the
Egypt established connecVons. Egypt is home to the Ibn Tulun Mosque has pointed arches. Pointed
arches were first used in Gothic architecture as their means to overcome the problems with
Romanesque barrel vaulVng. Arches and columns erected for Muslim architectures are
tradiVonally ornamented and pamerned, however Menara Dayabumi colonnades are simplified
and modernised lined and covered with white mosaics. It is to establish the modernisVc design to
match the concept.
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Figure 5.14: Al-‐Aqsa Mosque, PalesVne.
Figure 5.15: The great mosque of Kiarawan, Tunisia.
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Figure 5.16: The grand mosque of Sheikh Zayed, Abu Dhabi.
Figure 5.18: Cross vault.
Figure 5.17: Arches and column of Dayabumi Complex.
Conclusion
Through this project, we have learnt that buildings and structures subsist of one or more
architectural style. It is essenVal for a monument as the details defines its age, theme, character
and etc. As for Menara Dayabumi, it is to be classified as one of the modern architecture in the
Kuala Lumpur centre. Architectural styles that could be seen on the building are Modern Islamic
architecture, Moorish architecture and InternaVonal architectural style.
Besides that, we have understood that the overall design of Menara Dayabumi admits to
modernism and of its simplicity, however the design also complies its inspiraVon on Islamic
architecture. The ornamented and pamerned elements of the tradiVonal Islamic architecture is
reduced to simple lines and polygons on the cladding as well as the arches of Menara Dayabumi.
Moreover, although internaVonal style’s pracVcal manner saves materials and Vmes, but
instead of being a giant steel box, Menara Dayabumi gives reason why people can sVll find
inspiraVon from precedents. At the same Vme, it also proves the importance of using the newest
construcVon technology during the era.
Moving on, as a team of 5, we managed to pull through even though it took a lot of
teamwork. Individually, we have improved ourself in wriVng skills and also learned a lot in
modernism styles building through the process. We were quite happy with the staff that guide us
through the building although the permission for the guide was hard to get. They were really
friendly, helpful and informaVve. With only few informaVon on the internet and library, we felt a
sense of achievements compleVng the report on the Menara Dayabumi.
36
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