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.
No comments:
Post a Comment