PLANNING MALAYSIA:

Journal of the Malaysian Institute of Planners

VOLUME 18 ISSUE 2 (2020), Page 59 – 72

IDENTIFYING THE PARAMETERS OF THE MALAY CLASSICAL

ARCHITECTURE

Tengku Anis Qarihah bt Raja Abdul Kadir1, Puteri Shireen Jahn Kassim2,
Nurul Syala Abdul Latif 3 , Harlina Md. Shariff 4
1,2,4
Kulliyyah of Architecture and Environmental Design
UNIVERSITI ISLAM ANTARABANGSA MALAYSIA
3
Faculty of Architecture
UNIVERSITI SAINS ISLAM MALAYSIA

Abstract

As modernization and urbanization grow, there has been a rising interest in

townships with historical elements in their urban landscape. The identification
and classification of Malay architectural language are crucial to architects seeking
to instill history and culture into the new design. The paper traced the
characterizations of classicality in Malay architecture through a thorough study
of palaces and aristocrat buildings in Malaysia. Morphological analysis of 50 case
studies was mapped but only six palaces from different sites and eras were
marked as samples in this paper. The focus of the study not only on their origins,
typology, history, and stylistic characters but also on the proportions and
elemental attributes of the frontal façade. These case studies were selected as
sentinels or samples of successive evolutionary phases in classical Malay
architecture which had a huge gap and carried different historical evolutions. It
was argued that while the earlier palaces reflected all Malay style attributes, the
later expression reflected the cultural pressure of globalization via colonialism
diffused from colonial institutions. The study extracted the five parameters of the
Malay classical architecture, whereby it was found that even under such pressure,
certain features were still maintained to root the identity of the Malays and later
developed as new city urbanscape.

Keywords: Classical Malay, Malay Identity, Malay architectural language

1
Postgraduate Student at International Islamic University Malaysia. Email: nuhadirah@gmail.com
Tengku Anis Qarihah Rj. Abd Kadir, Puteri Shireen Jahn Kassim, Nurul Syala Abd Latiff, Harlina Md. Shariff
Identifying the Parameters of The Malay Classical Architecture

INTRODUCTION
As modernization and urbanization grow at a rapid rate in developing tropical
Asian cities, there has been a rising interest in townships that use historical
elements of language in their urbanscape. Recent townships by renowned
Malaysia developers have utilized imported Classical language to add historical
interest to the new township and adorn their commercial and institutional facades.
The rise of using ‘Classical’ stylization is due to the homogeneity of modern
‘bare’ styling. Mohamad Tajuddin Mohamad Rasdi (2001) stresses that there is
local language that can add historical interest to commercial urban landscape,
urban forms, and frontages, rather than cut-and-paste solutions. Zhang et al.
(2018) said the issues of scale, proportion, what constitutes the essences of local
aesthetic characters and parameters that can be used to interpret traditions to the
modern building are challenging issues. Global expression and stylistic in public
large modern multilevel structures in the Asian city are increasingly modeled
upon the Western model or the Arabised-Islamic template. Concerning Malaysia,
for example, the interest in the vernacular is due to the dominance of Modernist
style public buildings which had spurred a counter-movement.
The identification of Malay templates and resources is also crucial for
architects and urban designers seeking to instill history and culture into new
building design and development. Within this area, architects are also searching
for resources and broad principles and models that can guide them. Within this
area, the evolution of construction techniques and works have a dual criticality in
Asian tropics, as the materials range from the fragile timber into the modern
masonry techniques. Hence classification would not only allow one to recognize
the overall stylistic tenor of the work but to gain quick access to technologies and
techniques of conservation specific to the material at hand. The aspect and
demand for authenticity have additionally highlighted the importance of
architectural heritage classification. Llamas et al. (2017) for example, concludes
that typological assessment and assessment of heritage into specific
classifications is crucial to the preparation of vulnerability analysis and
diagnostics, and differentiate building stock according to specific eras and
periods, as different classification may require a different approach to the
definitions of guidelines and strategies. To provide a cutting line between the
Malay architectural language ‘from the roots of Malay architecture; from the
external Colonial ‘tree’ of style; one must outline the parameters of the Malay
architectural style and its defining character from the roots and branches evolved
under the specific cultural and climatic tropical conditions of the Malay
architectural tree which is a distinctive vernacular architecture with identifiable
features such as layered ventilated roofs, large windows, wide verandas, and
ventilated gables. (Ju, Kim, & Ariffin, 2015)

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LITERATURE REVIEW
Development of policies and strategies and guidelines towards refurbishment,
restoration, and enhancement of architectural heritage inherently requires not
only a morphological analysis on the evolution of site features of the place but a
process of architectural identification and classification. Lee (2015), Llamas et
al. (2017) and other summates of the identification of specific styles and
classification as part of the conservation process. In architectural design, similar
classifications are needed to identify certain approaches to design, without going
into the separated elements. Hence according to Lee (2015) and Zhang et al.
(2014), one must uncover specific intrinsic yet shared characteristics of
architectural heritage to classify them. The southeast Asian tropical region is
indisputably rich in diversity of traditions, heritage structures and traditions.
Amongst the most characterizing structures are palaces and aristocratic mansions,
yet there is a lack of effort to classify and identify common categories of the
architectural language of our Malay identity. The difficulty lies in its diversity
and transcending such diversities. Thus, the aim must be to identify common
identities. Architecturally, Sabrizaa (2014), Mohamad Tajuddin Mohamad Rasdi
(2001) and others have debated and discussed in depth the diversity of vernacular
houses focusing on traditional houses and also mosques of this region and
particularly within the Malay world, there is a rising interest due to the need to
establish frameworks of place-making and cultural identity.
An architectural style is characterized by the features that make a
building historically identifiable. (Baker et al., 2002) said a style may include
elements such as form, method of construction, building materials, and regional
character. The evolution of architectural form can be classified as a chronology
of styles that had changed over time. (Ju et al., 2015) These changes, at times, are
gradual and at times, are abrupt - reflecting changing fashions, beliefs, and
religions, or the emergence of new ideas, technology, or materials globally. As a
typology, ‘palaces’ hold a significant position in the Malay community and
civilization. They not only represent the center of past socio-political life but are
locations of the public life of the past in spatial and temporal terms. Physically
and architecturally, they represent the peak of aesthetic sensibilities and
capabilities of Malay populations, and collectively represent the identities of
these regions of its ‘Classicality’. On the definition of Classicality, Frampton
(1992) has elaborated: The ‘classical’ is always conceived as a ‘continuous
tradition from ‘antiquity’, and by the mid-18th century, the Classical was a
historicist style. ‘Classicality’ can thus be argued as a temporal attribute related
to a kind of refined level and the epitome of civilizational taste, including its
styles and symbols, simple in form and comprising a simple hierarchy of formal
elements.

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Tengku Anis Qarihah Rj. Abd Kadir, Puteri Shireen Jahn Kassim, Nurul Syala Abd Latiff, Harlina Md. Shariff
Identifying the Parameters of The Malay Classical Architecture

METHODOLOGIES
The methodology adapted to this research is through mapping based on frontages,
comparative analysis, and literature reviews. Over 50 case studies of palaces and
aristocratic buildings built from the 1700s to 1930s throughout the Malay region
were mapped and identified as local evolutions, common parameters and
classifying milestones were observed. All of the regions are sharing similar styles
and attributes, either the same historical sultanate/ patrons, intermarriage between
regions, craftsmen and skill workers, cultural influences and others. The mapping
of the Malay palaces and aristocrats helped to categorize the buildings into a
group for characterizations. In analyzing this essence, the methods of (Clark &
Pause, 2012) are adapted. The research is not exhaustive; instead, examples are
designed to illustrate the nuances of the idea and theory. The analysis of the
building frontal façades and forms derived from the consequence of multiple
interpretations, dominant patterns and formative features of the buildings by
extracting the similar styles/ character of each case study. Sir Banister Fletcher
which was known as his Book of History of Architecture had ruled up the
importance of categorizing the architectural elements and history through its
origins, timeline, and styles.
The subsidiary attributes of culture, politics and others will not be
discussed further in this paper as the focus is more on developing the parameters
of architectural languages. These will include the building’s style, type,
proportion, scale, and design principles. The aesthetic styles and functions which
focus on the frontage form and façade are defined as the front portion with public
spaces. Another main reference for developing the parameters is Palladio from
his Ten Book of Architecture. The theory of architecture developed by numerous
scholars had clearly shown how to characterize architecture according to groups
and clusters. The studies help to convey essential characteristics and relationships
of a building frontage which classified a style with specific physical attributes
between type, proportion, scale, and composition (Llamas et al., 2017). A
parameter or milestones had been developed from the mapping and to be
discussed as a comparative analysis between six selected case studies. The
attributes to measures the characteristics of the Malay architectural language in
this context derived from literature reviews, interviews with craftsmen, designers
and historians. The case studies were selected accordingly to represent different
major periods, i.e. the early 1700s, late 1700s, late 1800s, early 1900s and
eventually the 1930s, consist of Istana Rokan Sumatera, Istana Balai Besar
Kedah, Istana Hulu Perak, Baitul Rahmah Perak, Istana Sepahchandera Kedah
and Istana Woodneuk, Singapore represent the temporal and geographical
differentiation were compare in table 1.

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Table 1: The Comparison of Case Studies

Case Studies
Istana Rokan, Sumatera, Indonesia.
Built-in the Year 1770
Rokan Palace is a relic of the 200-year-old
‘Nagari Tuo” sultanate has a unique collection of
Royal Rokan IV Koto carving, with dragon-
carved engravings, plants ornamentations, and Side Elevation of Istana Rokan
unique form of building.
Istana Balai Besar, Kedah, Malaysia.
Built-in the Year 1730
The form survived through the tumultuous era of
the late 1800s and early 1900s of external
attacks, fire, and colonization but still retained
the essence of Malay architecture even though
Side Elevation of Istana Balai Besar
with infusion of masonry and technology of cast
iron.
Istana Hulu, Perak, Malaysia.
Built in the Year 1903.
It was believed that Captain Maurice Alexander
Cameron, the Deputy Colonial Engineer (1883
and 1892), was the one who designed the art
forms and construction of this castle but with Side Elevation of Istana Hulu
orders by Sultan, the essence of Malay
architecture still can be found.
Baitul Rahmah, Perak, Malaysia.
Built-in the Year 1911
It is an example of a Malay-Perak variation of a
Classical vernacular language. At the corner part
of the roof fascia of the villa are elements
decorated with carving inspired by the character
of honey bees. It was designed to complement the Side Elevation of Baitul Rahmah
'buton' woodcarving elements.
Istana Che Sepahchandera, Kedah, Malaysia.
Built-in the Year 1911
The Sepachendera Palace was built for the wife
of Sultan Abdul Hamid Halim Shah (1882-1943)
Che Sepachendera. The palace is built with three
floors and has a flat roof. On the ground floor is
the public area while upper floors are for royals. Front Elevation of Istana

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Tengku Anis Qarihah Rj. Abd Kadir, Puteri Shireen Jahn Kassim, Nurul Syala Abd Latiff, Harlina Md. Shariff
Identifying the Parameters of The Malay Classical Architecture

Istana Woodneuk, Singapore.

Built-in Year 1930s.
Istana Woodneuk was built for the Sultan’s
fourth wife Sultana Khadijah in 1890 and took
two years to complete. The blue-roof palace
consisting of the main building with two smaller Side Elevation of Istana Woodneuk
houses by its side. Source: Battalion AIF Association

FINDINGS AND DISCUSSION

The Malay Frontage Character
Throughout the mapping of the 50 case studies was observed, the parameters of
the Malay evolving style to differentiate from the colonial tree of style had been
developed. The frontages may evolve into masonry versions, yet still be identified
as Malay, if it complies with essential rules of character based on parameters of
identification. These can be used to assess a language despite the pressure or
evolution of change. These variations are rooted in a series of ancient models
which is also the highpoint of aesthetic language. From the 50 or more case
studies, the Five parameters of defining a classical Malay Architectural language
rooted in Malay world summarised as follows:
1) Origins and Typologies
2) The Stylistic Grammar
3) The Building's Shape and Form; Ratio and Proportion
4) Expression of Structure and Construction
5) The Detailing of Decorative and Architecture Elements

a) The Origins and Basic Typologies

To define whether a frontage is Malay Classical, one must refer back to the theory
of origins as the center of its culture. In the Malay world, the center of its culture
arises from its history which is rooted back into the Riau Srivijaya region and
these sites have been mapped and documented where their expressive language
traced (Reid, 2004). Its rootedness must be traced towards the point of its
dissemination into the neighboring region, diaspora and other parts of the region
(Shireen, Kassim, Hanita, & Majid, 2017). Many historians (Andaya, 2008;
Milner 2011) support the views that the Southeast polities of Sumatera are
primarily the Malay ancestral homeland. Thus, a Malay Classical architecture;
can be traced back to the roots of its style. Its patron or proponent must have
originated and located within the Malay Kingdom or ‘Nusantara Land’. The
buildings should be owned or built by Malay aristocrat or patron or owners
and dominated by decisions by a Malay patron who is instrumental in
asserting Malay architectural identity.

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Table 2: The Origins and Typologies Characteristics: The Six Case Studies
Case Istan Is. Balai Istana Baitul Istana Istana
Studies a Besar Hulu Rahmah Sepachendra Woodneuk
Roka
n
Location Riau Kedah Perak Perak Kedah Singapore
Years Built 1750 1735 1903 1911 1882 1890
Built For Sulta Sultan Sultan Sultanah Sultanah Sultanah
n
Built By Local Local Local Local Siamese & Local &
peopl People people People Local Chinese
e
Designed Sulta Sultan & Sultan & Sultan & Sultan & British
By n Artisan British Artisan Artisan
Though located within the ‘Malayness territory’ (Reid, 2004) certain designs and
forms were initiated by foreign architects or advocates although the patron is a
Malay. As refer to table 2, for Istana Sepachendra and Istana Woodneuk, although
these seem eclectic or British, the advocates or patrons are Malay and design
administered by a Malay. For Istana Hulu, the frontage is designed by a British
officer, but the Sultan had asserted a degree of the identity of Melayu in the
design. A sample of this identification is in Table 4 below. The attributes below
marked how the palaces were being designed as such and how it is carried out.
All of these attributes and influences lead to the authenticity of the architecture.

b) The Stylistic Grammar

An architectural style is characterized by the grammar of language
whose elements make it notable or historically identifiable. A grammar is a set of
elements or technique which may include such elements as form, a method of
construction and regional character. Any local decorative style can be influenced
by the design style such as Neo-Gothic, Baroque and Neoclassical, Dutch
Patrician, Art Deco and International Style (SeoRyungJu & Omar, 2011).
Malay architecture cannot avoid certain evolutions and hybridization. Although
a Malay style can be infused by Colonial or ‘global’ elements, if a case contains
more than 50% of the Malay detailed elements, then it is classical. From a range
between the poles of ‘Malay to Globalization’ and ‘Globalization to Malay’,
the degree of Malayness is the more than half -fulfillment of these elements to
define the dominant style of Malayness in the overall language of the building.
Table 3 shows the stylistic characters of the case studies. For Istana Hulu’s
conflicting character i.e. the roof form, fascia, and finial but lack the Malay
columns, thus the front part of its elevation is essentially colonial while the side
elevations are Malay Classical. Istana Sepachendra has foreign influences with
elements of the Corinthian grammar; thus, it is not Malay Classical but essentially
an eclectic language with a Malay form due to its central portico and the
65 © 2020 by MIP
Tengku Anis Qarihah Rj. Abd Kadir, Puteri Shireen Jahn Kassim, Nurul Syala Abd Latiff, Harlina Md. Shariff
Identifying the Parameters of The Malay Classical Architecture

triangular shape of gable end with slender columns. The building's architecture
can be deemed as essentially an eclectic language due to the influence of the
reigning Jawi Peranakan style in British Penang at the time with a Moorish-
shaped déco and features of local ornaments found at the railings.

Table 3: Shows the Stylistic Grammar of The Case Studies

Case Istana Istana Istana Baitul Istana Istana
Studies Rokan Balai Besar Hulu Rahma Sepachendr Woodneu
h a k
Stylistic Malay Malay Malay Syncretic Anglo Malay Modern
Classic NeoClassical Colonial Malay
al
Malay To √ √ √ √ - -
Global
Global To - - √ - √ √
Malay

c) The Shape, Form, Ratio, and Proportion

Figure 1 below represents the Generic and Variant Forms of Malay architecture,
essentially derived from the five ‘generic’ Classical formal typologies of Malay
aristocratic frontages and facades (Anis et al., 2018). The work of Clark, & Pause
(2012) was used to identify essential types of the Malay façade based on
aristocratic compositions and elevations. All frontage can be classified and
organized according to the five types, despite variations due to neighboring
influences and variations according to evolution or dominant material (Refer to
Figure 1 and Table 1). Example of Istana Baitul Rahmah Perak has a binuclear
form with the ‘double’ extended portico or verandah organized with roof finials
and decorative panels, similar to Istana Hulu with two vertical towers on the left
and right side of the building.

Figure 1: Observed Typologies of Classical Malay Forms

Sources: Anis et al., 2016

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 PLANNING MALAYSIA
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While the Colonial Classical is defined by Greek-based proportions

such as 1: 7 in defining column proportions, the Malay column proportion
exceeds this ratio. Anis et al. (2018) and Sabrizaa (2014) has discussed the ratio
of solids and voids. Similarly, the Malay classical style would have its specific
ratio of the proportion of ground floor to the upper floor, roof and wall and
openings and wall. Table 4 below highlights a certain ratio found. The form
description refers to Figure 1.

Table 4: Form, Ratio, and Proportion of six Frontages

Case Istana Is. Istana Baitul Istana Istana
Studies Roka Balai Hulu Rahmah Sepachendra Woodneuk
n Besar
Form Axial Peristyle Binuclear Binuclear Axial -
Proportion 1:1 1:1 1:1 1:2 0.5:1 1:2
Roof: Wall
Column: 1:16 1:25 1:7 1:7 1:11 1:7
Diameter
Openings: 1:1 1:1 1:2 1:1 1:2 1:3
Wall
External √ √ √ √ √ x
Ornaments
-The Malay Sense of Aesthetic Proportion
Despite differences in formal typology, the sense of proportion still exists as
frontages fit into the Golden ratio. Table 5 below highlights how the Malay
frontages reflect an innate sense of proportion by the Malays who are consistently
building based on the human proportion. When assessed using the Golden ratio,
it is found that many facades obey the essential parameters of the Golden ratio
i.e. 1.618. As the case studies were tested on a series of these Malay frontages,
the anthropocentric and balance composition were found. It can be deduced that
due to the Malay anthropocentric way and method of measurement. Certain
findings by the Western cannot necessarily be generalized across cultures but can
be the reference for the Malays to have one.

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 Tengku Anis Qarihah Rj. Abd Kadir, Puteri Shireen Jahn Kassim, Nurul Syala Abd Latiff, Harlina Md. Shariff
Identifying the Parameters of The Malay Classical Architecture

Table 5: The Malay Frontage Reflects Sense of Proportion – Golden Ratio Survived through
the Evolution of Malay Frontage
Case Studies
Sense of
Beauty Partly
Innate. The
dotted lines
show the
anthropocentr
ic found in
Malay
Classical
style Elevation of Istana Balai Besar Elevation of Baitul Rahmah
Source: Heritage Lab, KAED, IIUM Source: Heritage Lab, KAED
The intuitive
sense of
beauty and
proportion of
two diffrenet
compositions
but still
portrays
balance. Istana Leban Tunggal
Elevation of Istana Tanjung Pura Source: Heritage Lab, KAED

d) Expression of Structural System and Construction

The origins of the Malay architectural language is typically discussed as a timber-
based vernacular style (Said, 2005), which had to absorb other influences
evolving into a hybrid language of timber, masonry and cast iron (Jahn Kassim,
Puteri Shireen, Abdul Majid, Noor Hanita, Nawawi, 2017). The Malay vernacular
tradition then had undergone a transposition of such forms and principles onto
fundamental functions, typologies, construction, and methods (Zumahiran
Kamarudin & Ismail Said, 2008). There is a synchronization between the
Colonial language and the Malay language, infused with elements of neighboring
influences. Figure 2 below summarises the five evolving hybrid types of materials
and constructions of Malay frontages in palaces. The Malay essential style
expresses its structural system rather than cloaking it. As discussed by Zhang et
al. (2018), a vernacular style will evolve from timber into a total masonry
expression. The Malay Classical style would assert its tectonic expression as it
evolves into masonry. The Malay character evolving hybrid style, with different
extents of timber and masonry. Although it has the essential hybridity identified
in Table 6, the Malay Classical style would assert its tectonic language that
expresses its structure and constructional system (Frampton, 1981).

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M-T1 M-T2 M-T3 M-B1 M-B2

Figure 2: Observed Five hybrid models based on Construction Methods of the palaces

Table 6: shows the coding for the materials according to the case studies
CODING Materials
M-T1 All Timber
M-T2 All Timber Except Staircase and Ground Column
M-T3 Ground Column and Wall Are Bricks, Others Timber
M-B1 Only Ground Fl. Brick, Others Timber
M-B2 All Brick Except Roof Components
Case Istana Balai Istana Baitul Istana Istana
Studies Rokan Besar Hulu Rahmah Sepachendra Woodneuk
Materials M-T1 M-T2 M-B2 M-T1 M-B2 MB2

e) The Detailing of Decorative and Architecture Elements

There is a controlled ornamentation in the definition of the Malay character in its
visual form. The Malay ornamentation is essentially art formed from a specific
pattern and environment with a specific composition of motif which links the
Malay style back to an essentially ecological style of nature’s vegetal and flora
patterns (Ismail Jasmani et. al., 2019) whose elements adorn the edged of
functional elements of frontages and roofs. These are an essential part of the spirit
of the Malays who had observed and coordinated their designs by specified
principles and ornamental expertise usually produced for a particular local
identity and to sustain the aesthetic elements in establishing a local identity. Table
7 below highlights the presence of these elements in each case study mentioned.
List of stylistic characters and attributes were collected from literature reviews,
interviews with wood craftsmen and historians.

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Tengku Anis Qarihah Rj. Abd Kadir, Puteri Shireen Jahn Kassim, Nurul Syala Abd Latiff, Harlina Md. Shariff
Identifying the Parameters of The Malay Classical Architecture

Table 7: Some of The Crafted Detailing of Malay Decorative Architecture Elements

Istana Woodneuk does not have any of these attributes. This stylistic
character’s table/chart helps to measure the authenticity of a Malay building with
stylistic elements that are supposed to be found in Malay buildings.

CONCLUSION
Despite the huge gap in time and changes in architectural evolution and style,
there are common parameters that survive. The characters and the main elements
of the Malay Classical style are also highlighted due to their consistent
appearance in the public aristocratic architectural language. The study helped to
identify and classify, which were genuinely Malay architecture and have gone
through assimilation and changes. It was until at certain parameters or milestones,
that a building could no longer be accepted as classical Malay architecture. From
the findings, now people can measure the levels of authenticity of Malay
architectural language, the attributes and principles a Malay architecture building
should have. The principles of the character from the root to the last branch of the
Malay essence can be discovered by following the five parameters. Classical
Malay architecture can be very well transmuted with modern technology as long
as we know which character should be highlighted in the design. Amidst the
disappearing of identity in the modern world, this can be developed and become
the public language for the new cities and urbanscapes, which must go beyond
any cosmetic or cut-and-paste architecture and reflect the region. These
architectural styles will be the benchmarks in society, leaving a lasting legacy
that continues the future.

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ACKNOWLEDGMENTS
The authors would like to acknowledge the Transdisciplinary Research Fund
TRGS/1/2016/UIAM/01/5/2 from the Ministry of Higher Education for the
support of this research.

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Received: January 2020. Accepted: 1st April 2020

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