Final Report

For your viewing pleasure.

Final Model Pictures!

The fruition of your hard work!

21.02.16 - DRAWINGS - INTERIM

Report Structure and Content

Dear Editor and Writers, It's essential at this stage to put together a DUMMY REPORT, or DRAFT REPORT VERSION 1, if you like, so that you can SEE the document as a developing entity.

So the thing is for the editor to receive all your individual pieces and slot them into the Draft Report (which should be one soft file) as best as he sees how the contents might fit in. Obviously at this first stage it won't fit nicely - there'll be overlaps and repeats and moles and wart, zits basically. But it's all good. Just detect the main point of each piece of writing and slot them in according to how they answer the sub research questions (which I shall suggest to you) that guide each chapter.

The format given in the module outline is this:

i. Cover page with Taylor’s University logo 

ii. Declaration of submission 

iii. Acknowledgement 

iv. List of figures / plates / illustrations v. 

Table of content 

vi. Introduction to research – to include abstract and methodology 

vii. Chapter One – Introduction to the Building 

viii. Chapter Two onwards may be laid to suit your research areas

 ix. Final Chapter – Discussion and conclusion (of what the group has gained from the exercise) 

x. The complete set of drawings scaled to A4 landscape 

xi. Glossary or terminologies 

xii. Reference / bibliography

 xiii. Appendix (if any)

Expanding on it and appropriating it to our concept and Parent Research Question it will begin to look something like this:

Cover page with Taylor’s University logo
Declaration of submission i
Acknowledgement ii
Abstract iii
List of figures iv
List of diagrams and tables v
List of drawings vi
Table of content vii
Glossary viii
Preface ix (to be written by Suchi and Ian)

CHAPTER 1 Introduction
CHAPTER 2 Module and Methodology
CHAPTER 3 Bloodline- from history to legend to faith
CHAPTER 4 Lifeblood - rituals and activities
CHAPTER 5 Conduits -  the spatial articulation within the temple
CHAPTER 6 Pulmonaries - the architectonics of the temple
CHAPTER 7 White Blood - the social value of the temple
CHAPTER 8 Conclusion (Discussion and conclusion of what the group has gained from the exercise)

References

Bibliography

Appendix 1. The Measured Drawings (A4)
Appendix 2. Translation of Temple Book
etc.

Please note that:

1. Introduction should be introduction to the report and not to the building. Obviously you will name and identify the building in the introduction but will not be describing and analysing it. All the description and analysing comes in the later chapters. RQ: What is this report all about and how is it laid out, chapter by chapter?
2. Module and Methodology answers the RQ: What was our programme instruction and how did we plan (with reasoning) how to do the work to meet the programme learning objectives? Should show how and why you ended up with your Parent Research Question.
3. Bloodline must mention the uniqueness of the myth/folklore/history surrounding the white blood legend (truth?), all the main players involved and how the temple came to be built to mean what it means to the local Taoist community to this day. RQ: In what way did the legend of White Blood grow into the very lifeblood and belief system that sustains the identity and existence of SSSY?
4. Lifeblood is self explanatory. This is the exposition of all the rituals and practices and life activities, deities, etc. You have to be careful not to overload here. Just follow the RQ: What are the essential rituals and core beliefs that give SSSY its unique and differentiating characteristic?
5. Conduits is about spatial articulation from our modern eyes. RQ: In what way does the spatial articulation accommodate both order and chaos in the life of the temple?
6. Pulmonaries - this is the body of the temple: structure, construction, materials, floors walls ceilings, etc. RQ: In what way does this temple architecture reflect it's location while maintaining its Chinese culture?
7. White Blood. RQ: What is the social value of this temple and what could its future social value be in our rapidly changing world?
8. Conclusion: We need to discuss later, but start by each 27 of you inserting what you personally have gained from the exercise. That will form the material for a group conclusion.

PLEASE BEGIN TO DO THIS NOW.

I gotta go have dinner.

draft report- location/context

Preface, Foreword, Introduction

http://www.bpsbooks.com/BPS-Books-blog/bid/21727/What-s-the-Difference-Between-a-Foreword-Preface-and-Introduction

A neat and simple explanation on what could go in the front end of your report.

Temple History & Yap Ah Loy

http://yapahloy.tripod.com/the_sin_sze_si_ya_temple.htm
This article is a very good account that explains the background and social significance of the temple

Draft- Activities

Format is according to Pn Hayati's requirements

HIERARCHY OF DEITIES

HIERARCHY OF DEITIES

Hierarchy of gods and immortals in Taoism exists. At the top of the hierarchy are the gods of the highest ranks the Celestial Worthy of Primordial Beginning, the Celestial Worthy of Numinous Treasure and the Celestial Worthy of the way and Its Virtue, who are the epitome of Tao or the Tao itself. Below them are the god of the lower positions, who are depended with the obligations as indicated by their fulfillments in Tao and Virtue.

The Three Pure Ones (三 清 , San Qing)  are the highest Deities in Taoism. It transcends the entire hierarchy of Taoist deities. The Three Pure Ones is known as the avatar of Taoism. The word “avatar” has come to signify “an embodiment, a substantial indication of the heavenly".

He organizes another divine being, Spiritual Heavenly Worthy or Reverend Ling Bao od Shang Qing. As of right now of time there are two forces called the “Yin and “Yang” represented as “Tai Chi” myriads things can be shaped b these forces. Therefore Spiritual Heavenly Worthy holds a “Ru Yi”, a wish fulfilling ornament.

Finally when all things are created Tai Shang Lao Zun descend and settles on the right, He the holds a mystical fan, symbolizing the consummation of the Universe, and the method for the Tao can be spread, and living beings can seek salvation.

The Jade Emperor (玉 皇 大 帝, Yu Huang Da Di) is the supreme ruler of Heavens, The hades and the protector of mankind according to the Chinese Folklore religion and the highest ranking deity of the Taoist pantheon. From the ninth century on wards, he was the benefactor divinity of the Chinese imperial family . The Jade Emperor directs Heaven and Earth generally as the earthly emperors once controlled over China.

His birthday is celebrated on the ninth day of the Lunar New Year commonly known as "Tian Gong Dan" ( Festival of the Heavenly God). It is an important festival to the community. Taoist temples throughout the world held gathering and prayers together to worship him, to entreat him to allow peace, flourishing , assurance from catastrophes for the whole year, positive climate conditions and plenteous harvest.

The Jade Emperor is normally portrayed situated on a throne in royal robes, his topped finished crown implanted with pearl necklaces that dangle from the front. He holds a short, level tablet in clasped in both hands before his chest with his flowing beard.

仙师爷，四师爷 

The Main god in Sin Sze Si Ya temple are仙师爷，四师爷  . Hence they are seated in the main hall center altar. 

Figure above shows the main altar sits two statue, on the left is Si Shi Ye(四师爷)  and on the right is Xian Shi Ye(仙师爷)

Sin Sze Si Ya Temple is dedicated to patron deities of Xian Shi Ye (仙师爷) and Si Shi Ye (四师爷 ). Through dreams , the deities has guided Kapitan Yap Ah Loy to defeat the enemies and defended Kuala Lumpur During the Civil War between 1870 – 1873.

Devotees will visit this place when the white tiger opens it’s mouth annually which is what the temple is famous for, The Tai Sui and The White Tiger Prayers.

The list of names of the deities below are also the devotees come to pray for.

太上老君 (Tai Shang Lao Jun)- The grand Supreme Elderly Lord , ( the Taoist Ancestor )

註生娘娘 (Zhu Sheng Niang Niang) – Goddess of Child Birth

福德正神 (Fu De Zheng Shen) – God of the soil and graves

关帝圣君 (Guan Di Sheng Jun)  -

观音菩萨 (Guan Yin Pu Sa)- Goddess of Mercy

天后圣母 (Tian Hou Sheng Mu) - God for wind and safety

文昌大帝 (Wen Chang Da Di) – Deity of Education Scholar and Properity

地藏王菩萨 (Di Zang Wang Pu Sa)-  the Bodhisattva of the Great Vow (to save all souls before accepting Bodhi)

大爷伯 (Da Ye Be) – Deity Of Prosperity

齐天大圣 (Qi Tian Da Sheng)

华光大帝 (Hua Guang Da Di) – Deity of Artistes and Craftsmen

太岁爷 (Tai Sui Ye)  - Master of Deities of Prosperity , Health and Goodluck

财帛星君 (Cai Bo Xing Jun) – Deity of Business

虎爷公 (Hu Ye Gong)

释迦牟尼 (Shi Jia Mu Ni) - the historical Buddha and founder of Buddhism

和合二仙 (He He Er Xian)- two Taoist immortals known as the "Immortals of Harmony and Unity"

谭公仙师 (Tan Gong Xian Shi) – Deity of Medicine and Health

地母娘娘 (Di Mu Niang Niang)

花粉夫人 (Hua Fen Fu Ren) – Deity Of Beauty

金花夫人 (Jin Hua Fu Ren) – Deity of Fertility

Draft Report Chapter One

 

An architectural study is never ever complete without studying form and function. Within the discipline, form and function almost always become two entities that co-exist with one another. Some argue that the former is more significant than the latter and vice versa. But we can always agree that these two aspects of architecture is derived almost always by its’ surroundings – a manifestation of a response. The solution to a question. Prior to building the form, an architect and his team goes through a cultivated process of design – deriving from the needs of the users, the needs of the surroundings, the urban fabric of the location, the weather, the required spaces, the materials of the building – the list goes on. So how does Sin Sze Si Ya is derived? What is the thought process that the unnamed team of designers behind the elegance showcased by this Taoist temple?

Situated in the middle of Central Market, a busy bustling city on Leboh Pudu, the temple immediately sets itself apart from other traditional Taoist temple. Sin Sze Si Ya Temple is sandwiched between a bank tower and colonial shoplots, causing the façade to be constraint to the template, in terms of the size of the entrance, again, following the likes of its’ neighbours with regards to the dimensions and the height. Yet, the architecture that partakes in the façade is purely traditional Chinese architecture – allowing the form to emulate the function of the temple being a sacred place, a temple. Referring to the location plan, we can observe a network of roads taking place around the temple – again determining the form of temple in terms of access where the façade acts as the main entrance, and the back alley houses the long stretch of gate, the temple’s back entrance.

The temple was initially built in honour of the patron deities of Sin Sze Ya and Si Sze Ya, where it was believed that the two deities has guided Kapitan Yap Ah Loy to defeat the enemies and defend Kuala Lumpur during the civil war (1870 – 1873). Again, the temple possesses a uniqueness that differs itself from other traditional temples where the deities that were worshiped were not of the traditional Chinese deities, rather it was for two people who were elevated as deities through their merit. Therefore, to accommodate the patron deities, the building’s component consists of two wings, the west and the east for the two deities and a main hall. From the design of the temple, exists a clash in the uses of modern materials, indicating that a few renovations and expansions that were made due to the increasing need of space within the temple.

The continuous changes of spatial configuration and the form of the building itself has been contributed by the cultural advancements and changes in the social, political and economy of Kuala Lumpur itself. Due to the dire needs of advancements in the social and economical success in the city, the temple has come to offer believers to cleanses, rituals for good fortune and charging for fortune telling sessions for a very low price. The outstanding interest for these activities has resulted in an increase of influx of visitors and staff which resulted in the expansion of the two wings of the temple to accommodate staff rooms, storage spaces and a brand new administrative office. The psychological reward in clearing the path for success proven to be an effective consolation to the believers of the temple. From the funds of the temple itself and families who becomes patrons of the temple, Sin Sze Si Ya has also became a charitable organisation, contributing their income to various charities in Kuala Lumpur. 

The form of Sin Sze Si Ya Temple itself has a degree of symmetry to the design. Cutting the section through the main hall, you could see that the essence of the building is based on symmetry, an element very commonly applied in sacred buildings. The very initial purpose of the building as a sacred place for Taoist believers has initiated the extensive use of traditional Chinese architecture, apparent in the ornamental design of the roof, the façade, the high volume of space constructed by a high ceiling and open spaces evokes a certain ambience to assist the emphasis on the spaces being a sacred place. Sin Sze Si Ya has also paid attention to its decor by relishing it in masterpiece paintings with symbolic meanings as it goes to the ornaments and details. The function of the spaces within the temple is also well defined by the play of proportions of spaces. 

Updated draft-feng shui

DRAFT INTRODUCTION (PROGRESS)

A VERY Rough Draft of " Social Value"

Here is my rough draft! Feel free to comment!

First Rough Draft-Feng Shui of SSSY

Will further edit the "sound" or "tone" of the writing to suit the report. There are certain parts which I'm not so sure about, such as the orientation, the gable roof,etc. They are bits and pieces found from online research and books which may not have substantial proof. Dr Suchi has already advised me on meeting Mr Kevin Mark Low to get more insights from him, probably by next week. I will also post more updates on the activities in the temple soon.

Report RQ & Chapters

RQ: ….. culture …..  Sin Sze Si Ya temple …..  architecture …..?

1.   To what extent does the SSSY temple successfully showcase Chinese Taoist culture?

2.   How do the architectural elements of the temple influence the use and atmosphere within?

3.   To what extent is culture manifested in the architecture of the temple?

4.   In what way does the architecture of the temple contribute to the overall essence of its surroundings in the duality between order and chaos?

FINAL FOCUSSED RESEARCH QUESTION:

In what way does the temple respond to the need for order and “chaos” of contemporary users?

CHAPTERS:

a.   Introduction

b.   “Social Value”

c.    Spatial  articulation

d.   Activities – rituals and non-rituals

e.   Architectonics

f.      Conclusion

Appendices

1.    Translation of the Temple Book

2.    Old photos of the temple

3.    Etc.

 cul·ture

noun

the arts and other manifestations of human intellectual achievement regarded collectively.

"20th century popular culture"

synonyms:		the arts, the humanities, intellectual achievement; More

Manifestations

Intellectual      

Collectively

Arts

Search and Research

Detail About Sin Sze Si Ya Temple

http://www.angkongkeng.com/templess/1219-%E5%90%89%E9%9A%86%E5%9D%A1%E4%BB%99%E5%9B%9B%E5%B8%88%E7%88%B7%E5%BA%99-kl-sin-sze-si-sze-ya-temple.html

地区(Area)	:	Kuala Lumpur
庙名(Temple Name)	:	吉隆坡仙四师爷庙 (KL Sin Sze Si Sze Ya Temple)
地址(Address)	:	113A, Jalan Tun H.S.Lee, 50050 Kuala Lumpur.
社团注册名称(Registered Name)	:	The Sin Sze Si Sze Ya Temple.
社团注册号码(Registered No.)	:
成立年 (Established Year)	:	1864
主要供奉神明(Main God)	:	仙师爷，四师爷 (Xian Shi Ye, Si Shi Ye)
供奉神明(Sub Gods)	:	太上老君 (Tai Shang Lao Jun) 註生娘娘 (Zhu Sheng Niang Niang) 福德正神 (Fu De Zheng Shen) 关帝圣君 (Guan Di Sheng Jun)  观音菩萨 (Guan Yin Pu Sa) 天后圣母 (Tian Hou Sheng Mu) 文昌大帝 (Wen Chang Da Di) 地藏王菩萨 (Di Zang Wang Pu Sa) 大爷伯 (Da Ye Be) 齐天大圣 (Qi Tian Da Sheng) 华光大帝 (Hua Guang Da Di)  太岁爷 (Tai Sui Ye)  财帛星君 (Cai Bo Xing Jun)  虎爷公 (Hu Ye Gong) 释迦牟尼 (Shi Jia Mu Ni)  和合二仙 (He He Er Xian) 谭公仙师 (Tan Gong Xian Shi) 地母娘娘 (Di Mu Niang Niang) 花粉夫人 (Hua Fen Fu Ren) 金花夫人 (Jin Hua Fu Ren)
开放时间(Operating Hours)	:	7:00a.m. - 5:00p.m.
服务(Services)	:	安太岁 An Tai Sui 点灯 Lighting 祭虎爷,打小人 Worship Tiger
庆典(Events)	:	观音菩萨千秋宝诞 (六月十九) Birthday of Guan Yin Pu Sa (Month 6 Day 19) 关帝圣君千秋宝诞 (六月二十四) Birthday of Guan Di Sheng Jun (Month 6 Day 24) 四师爷千秋宝诞 (七月初七)  Birthday of Si Shi Ye (Month 7 Day 7) 仙师爷千秋宝诞 (十月初三) Birthday of Xian Shi Ye (Month 10 Day 3) (The Birthdays are in Chinese Lunar calendar format)

'' God is in the details ''

Somehow over the years, Van der Rhoe’s great quote has been changed to the devil is in the details and is used to describe the difficulty of work. It has attained such a pejorative meaning now, especially when applied to the realm of negotiations or politics.

The original quote, God is in the details, is such a positive anthem that speaks to the poetry of the minutiae and the artistic focus and follow through required to achieve anything of worth.

I do not know the etymology of the misquote but the fact that it changed from a message dealing with spirituality and aesthetics to a verbal shortcut describing the burden of work is fascinating and bizarre to me.

Every physical element has been distilled to its irreducible essence. The interior is unprecedentedly transparent to the surrounding site, and also unprecedentedly uncluttered in itself. All of the paraphernalia of traditional living –rooms, walls, doors, interior trim, loose furniture, pictures on walls, even personal possessions – have been virtually abolished in a puritanical vision of simplified, transcendental existence. Mies had finally achieved a goal towards which he had been feeling his way for three decades.