Haziq Ariffin / Asian Architecture

A case study paper written based on the significance of spatial poetics in the implementation of sustainable architectural design as seen at Belum Rainforest Resort.

SIGNIFICANCE OF SPATIAL POETRY

The study of a particular street to understand the historical and social aspects of a city. Upon choosing and visiting the street, we examined the development of tradition, modernization and globalization of streets. The works were then presented in the form of a map, photography work as well as through literature.

JONKER:

BODY, MIND, SOUL & HEART

Sustainability in architecture has recently become a prime priority in the field as we progress to an age where the environment is extremely fragile. The purpose of this paper is to investigate the significance of spatial poetics in relation to sustainable architecture. It highlights the development of spatial poetics achieved at Belum Rainforest Resort (Phase 2) and how they are established as solutions to current issues of sustainable architecture such as feasibility, functionality and longevity. The research is conducted through an analysis of how the architect has approached the design in relation to the site’s topography, ecosystem and microclimate to achieve sustainable yet poetic spaces. As an architecture student, it is important to understand current issues in the field and possible solutions.

To conduct a thorough research into the subject, literature reviews of spatial poetics as well as contemporary sustainable architecture are essential. Photographs and experiential analysis through a site visit to the case study were the main sources to validate the research.

“We are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.”

- Gaston Bachelard

THE SIGNIFICANCE OF SPATIAL POETICS IN THE IMPLEMENTATION OF SUSTAINABLE ARCHITECTURAL DESIGN AT BELUM RAINFOREST RESORT

Within Phase 2 of Belum Rainforest Resort exists a rather contradictory design approach towards the site’s topography. The deluxe suites can be said to be less sustainable due to its large scale whereas the traditional chalets and Villa Tanjung Wan tread lightly on the land. In terms of poetics, one may feel more in power standing on the roofs of the deluxe suites whereas a sense of humility is established when one experiences the other two structures. In designing with the ecosystem, the whole project is placed on a rather sensitive and fragile natural land. However, the project is relatively successful in coexisting with the environment. On site arborists are employed to maintain the age-old trees. Perhaps the most looked at aspect of sustainability is the approach to addressing issues of ventilation and lighting. The project is able to achieve most of its thermal comfort and lighting without much need of mechanical energy. Passive design strategies are used skillfully to achieve not only sustainability but also spatial poetics.

In conclusion, sustainable architecture is not enough. Ultimately, architecture will not sustain if not for the people using the space and the people must be able to enjoy and have an emotional response towards the architecture. This not only justifies the realization of the project but also ensures protection and conservation of the environment

ABSTRACT

JONKER:

BODY, MIND, SOUL & HEART

Jonker Street has definitely evolved over the years from being a historical street known for its antique shops to a well- known bustling tourist spot. Situated in close proximity to various landmarks such as A Famosa, the Dutch Christ Church and the Kampung Hulu Mosque, it remains an important street in Melaka and Malaysia as a whole. Old shophouses which line the street are unique symbols of what it once was and what it is now.

The year 2000, Jonker Street was reborn as a tourist spot. The state government decided to close the street from traffic on the evening of every Friday, Saturday and Sunday. Hawker stalls which collectively served as a night market were put up along the street selling various items - mostly local food.

DUTCH

EARLY STRAITS ECLECTIC

LATE STRAITS ECLECTIC

ART DECO

HOKKIEN

Typically, Dutch shophouses and townhouses are either one or two storey height with a simple façade design, limited openings on the upper floor, normally with only one centralized or at most two symmetrical windows. The ground floor has a symmetrical façade design of centralized door and two side windows The five foot way is not connected to the adjacent buildings therefore this type of buildings have a private entrance porch. Structurally the walls are of dutch brick and plastered with lime whereas the roof structure is of timber.

Usually with a decorative facade consisting of a mixture of Malay, Chinese and European ornaments. The color tone of building facade is normally light indigo blue, ocre and white. However, several of the buildings of this style on Jonker street has been renovated and the color has since been changed from the original.

This the most spectacular style particularly in the use of ornamentation. The tripartite arrangement of three windows on the façade minimalizes actual wall space and provides maximum ventilation. In later examples, the wall surface is replaced by columns or pilasters framing the windows. Structurally, buildings of this style incorporate extensive use of masonry with first floor timber fenestration and tiled roof.

The style is characterized 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 in the structure. Structurally, buildings of this style are of reinforced concrete masonry rendered or Shanghai plastered.

One of the characteristics of Hokkien style is finial ends of the curved roof ridge which sweeps outwards like ‘swallow tails’ with twining weed decoration. Splendor ornamentations and rich color tones are used for the facade and interior design. Hokkien style buildings havered or orange-colored unglazed clay roof tiles in addition to the red and black color structural elements such as columns, beams and wall.

CONCLUSION

To conclude, sustainability in architectural design is a holistic approach and should not be looked at just in terms of its appropriate application of passive design. It is every architect’s social responsibility to create architecture that is sustainable, and thus perhaps the concept of sustainable or green architectural is a misnomer. Sustainability in architecture does mean that minimal energy is used in all three stages of construction and minimal destruction is imposed on the natural landscape but it is not and should not be limited to just that. The architecture should express a unique emotion and experience which can be a main factor in prolonging the lifespan of a structure. Exemplified through Vitruvius’ three principles, beauty and delighting people plays an equitably important role as durability and utility. Longevity is perhaps the most important aspect of sustainability as it means minimal wastage of precious land space and thus justifies the conception of the building. A driving force in today’s architectural world is Bjarke Ingels of BIG with his exciting ideas and concepts behind what he calls ‘Hedonistic Sustainability’. It is a movement which is rapidly changing the way one looks at sustainability, as an inspiration to revitalize architecture and not hinder it. Although the architectural design of Phase 2 of Belum Rainforest Resort ticks the conventional points of sustainable and poetic architecture, the intention of building a project like Belum Rainforest Resort is questionable. It is perhaps still too soon to see whether it will act as a catalyst for a betterment of the site or perhaps serve as unknowing frontlines for further destructive developments.

“Sustainability in architecture does mean that minimal energy is used in all three stages of construction... but it is not and should not be limited to just that.”