OVEP..SZ ARCH AC 808.2 T3 1992 oo.62

MD.ZAIN

BANDAR SULTAN SULEIMAN PORT KLANG, MALAYSIA

CIVIC CENTER

SULAIMAN MD.ZAIN ARCH 4395 THESIS RESEARCH AND PROGRAMMING SPRING 1992

GEOMETRY AND SCALE IN ARCHITECTURE

BANDAR SULTAN SULEIMAN CIVIC CENTER PORT KLANG

by SULAIMAN MD.ZAIN

A THESIS IN

ARCHITECTURE

Submitted to the Architecture Faculty of the College of Architecture Texas Tech University

in Partial of Fulfillment for the Degree of

BACHELOR OF ARCHITECTURE

Chairman of the Committee

Programming Instructor (Arch 4395): Prof. Robert Perl Design Critic (Arch 4361):

Accepted

Texas Tech University · Architecture Library

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DEDICATION

To my mother and father thank you for being there when I need you, with your unmatched love and support. I love you more than I can ever express.

To my brothers and sisters, thanks for keeping it in the family. I wish you peace and happiness.

To everyone for being a part of something so special and important to me. I appreciate your giving me opportunities to be parts of your lives.

TABLE OF CONTENTS

Abstract. .......... ................ .... ............ .. .. ............... ......................... i

Chapter I: Thesis Research i) Geometry ............................. .... .......................... 1 - Fonns ............ .................................................... 2 - Islamic Art ......................................................... 2 ii) Scale ........... ...................................................... 4 - Physical. ............................................................ 6 - Proportional .... ................................................... 8 - Human ... .......................................................... 11

Thesis Synthesis & Statement.. ........................... .15 Annotated Bibliography ....................................... 18 Thesis Case Studies - Solomon R. Guggenheim Museum ....... ...... .... .. 21 - Great Neck Child Development Center ............. 23

Chapter Il : Context Issues -Cultural Context and Potential Response ........... 26 -Psychological Context and Potential Response .. 28 -Built Context and Potential Response ..... .... ........ 29 -Natural Context and Potential Response ............ .31 -Context Issues Case Studies

-Traditional Malay House ...... .... ............. 33 -Kimbell Art Museum ...................... ....... .34

Chapter ill : Facility Program Analysis of Activities - Definition of Activities .................................... .36 - Overview .......................................................... 37 - Primary Activities and Participants ..... ............... 40 - Secondary Activities and Participants ............... .42 Analysis of Spaces

- Typical Requirements and Characteristics............ 45 - Unique Reqriirements and Characteristics .......... .. 52

Relationships of Spaces - for Adjacency/Separation ........................... .......... 54 - for Community/Privacy .................. .................. .... 55 - for Construction ........ ................ .. ........... .... .... ...... 56 Facility Case Studies - Orland Park Village Center, Orland Park, Illinois .... 56 - Civic Center, West Hollywood, California ................. 59

Chapter IV : Summary of Spaces................................ .. ................ 61

Chapter V : Economic Analysis -Building Costs ..... .. .............. .. ... ................ .. .. ............ .. 70 -Project costs and Income ............... , ............................ 73 -economic Justification & Method........................... 74

Bibliography ..... ... ......... .................... ................................... ........ 76

ii

ks TRACT

ABSTRACT

Thesis vehicle :

Site

Area Location

Thesis Idea

(

Climate

Thesis Mission :

Thesis Research:

Bandar Sultan Suleiman Civic Center. Will consist of Administration, Gymnasium, Auditorium, Cafeteria and Public Courtyard Riverside of Klang River. (Bandar Sultan Suleiman, Port Klang, Malaysia.) About 30 hectres. Port Klang, one of the major ports in Malaysia, is located in the state of Selangor which is on the west coast of peninsular. It is about 3 ° north of equator. It is 56 miles from Subang International Airport and 72 miles from Kuala Lumpur, the capitol city of Malaysia. Hot and humid. Exploration in the use of scale and geometry in relationship with human, space, and environment. This Civic Center will facilitate the community in providing the residents and workers as well as the public, education, entertainment, and recreation which will bring fitness and health to their body and mind. Geometry, Application of Scale Systems; Physical, Proportional, and Human.

A N

11•1 ,,.----

, .. , ..

SITE CONTEXT

I- Industrial Area R-Residential Area ff-Major Highway S-Proposed Site

.. ..

CHAPTER I: -THESIS RESEARCH -THESIS STATEMENT -THESIS SYNTHESIS -ANNOTATED BIBLIOGRAPHY -CASE STUDIES

.,......_ ___________ ____,,.

THESIS RESEARCH

GEOMETRY

The origin of the discipline we call geometry is clearly evident in the name itself, which derives from the Greek words ge, meaning the earth, and metrein, meaning to measure1• In the beginning geometry was indeed, the art of earth measurement and consisted of a disorganized collection of rules for computing simple areas and volumes and carrying out a few elementary constructions. Then, in the millennium immediately preceding the Christian era, geometry underwent a remarkable change. The Greeks, inclined by temperament toward philosophy and abstraction and blessed with security and leisure to follow this inclinations, took the geometry of the Egyptians and recast it in the form of deductive science .

The first philosopher and scientist, Thales of Miletus ( 640-546 B.C.), was the first man to try to solve problems concerning the structure of space by approaching them in a genuinely mathematical way. It was then carried out by his Greek followers such as Euclid, Plato, and Pythagoras whose later developed a remarkable mathematical sophistication. Euclid's (365-275B.C.) "Elements" permanently established the character of geometry as a deductive science and also exemplified a pattern of logical organization so effective and so elegant that today most of mathematics is constructed according to the same plan2 .Through the use of geometrical knowledge, which is largely concerned with the concept of number, line, order, and continuity, the secret of the universe have been revealed. For example, a triangle is very

1 C.R. Wylie, JR. Foundation of Geometry, McGraw-Hill Book Company, New York, 1964,p. 1 2 Ibidp.2

Figure 1. The New Jerusalem diab'l·am of ancient cos-moloi.'Y·

important in the field of navigation. By applying Pythagoras' theorem sailors could measure the distance between two points, and therefore, could find the shortage route to get to a place.

Actually, there are no limitation geometry has to offer. As we go deeper into the world of geometry, we will discover more fragmentation and branches of this particular science. For now, let us look at geometrical forms that are being applied in architecture.

Geometrical Form Basically, the organized geometry that is exercised in

architecture depends greatly on the basic geometrical forms such as square, circle, rectangle, and triangle. Then, three-dimensional shapes such as cube, cuboid, octagonal, and sphere, are developed through the merge of those basic shapes.

Geometrical Form in Islamic Art The Dome of the Rock in Jerusalem

By nature, the Islamic religion is both static and dynamic. The static is -symbolized by the fact that all locations of prayer are considered equivalent with respect to the unity of the center (at Ka'ba) while the dynamic is manifested by the requirement that all Muslims carry out a pilgrimage once in their lifetimes to the Ka'ba where they must circumambulate the temple in a symbolic circle3 .It is constructed with practical and basic geometrical; square and circle concerns. Burckhardt feels that in the structure of the sacred

3 KappratT, Jay. Connections: The Geometric Bridge Between Art And Science, Mc­Graw-Hill Inc., San Francisco: 1991, p. 200

2

... ..... ·w (b )

plan view;

Perspective view;

Cc l

geometric scheme.

-Dome lie the philosophical underpinnings of Islamic religion and art.

The Dome of the Rock, which was built in 688 by Abn Al Malik, is designed to shelter this sacred site beneath a central cupola and an octagonal deambolatory (Fig. a) in a style that can be traced back to the architecture of Byzantine times and is found in many of the sanctuaries of that period. The Dome is supported by 12·columns and 4 pillars shown by the central area of Figure b. The columns are arranged with 3 each to the north, south, east, and west as in the New Jerusalem diagram (Fig. 1). Surrounding this circle is a second series of 8 pillars and 16 columns arranged octagonally. The columns of the second set are spaced with relation to the inner ones in such way that they radiate into the center through the intersection points of two squares inscribed in the inner circle that form the star octagon (Fig. c ). The octagonal columns themselves form another star octagon. The complete set of 12 columns connects to form a grid of rectangles and squares. The circular cupola again represents the celestial domain contrasted with the earthly crystal of the octagon. Burckhardt explains that the 40 supporting columns and pillars correspond to the number of saints who, according to Mohammed s.a.w, constitute the spiritual pillars of the world in every age. The cube or square symbolizes the earthly with its duality of hot and cold, moist and dry, and axes of spatial orientation. The circle symbolizes the realm of the celestial surrounding the source of all 1 being dominated by the element of time in the form of the zodiac.4

4 Ibid, p. 204

3

SCALE

A scale is a measuring instrument, marked off in centimeters, inches, pounds, or whatever the units to be measured happen to be5 . As a device use to accomplish unity, scale is proved to be a major consideration in achieving a desirable quality in architecture. Moreover, scale and unity are the two important elements for a building's or a space's expression. This expression is vital for the observer to understand what is happening to the building or space and why it is happening. In other words, scale possesses a great ability to establish a sense of communication with the observer and the user.

11 .. .if design is to be a language of communication for the

expression of subconscious ideas, then it must have its own elementary codes of scale .. 11

(Walter Gropius, Magazine of Art, 1947)

In architecture, then, the problem of scale is that of facilitating the orientation of the observer with regard to the structure. It is not the matter of making the sizes and distance apparent. They must be made apparent easily and agreeably. Scale is also involves with the user's emotional responses and sense of security<'. Psychologists tell us that what they mean by a "sense of security" is an acceptance by the individual of his relationship with his environment.

Recently, stimulated by a growing awareness of the dependence of man's experiences upon his own aptitudes and

S Raskin, Eugene. Architecturally Speaking. Reinhold Publishing Co, New York: 1954, p.38 6 Ibid, p.42

4

limitations, the study of architectural scale has been consciously undertaken. Generally, there are four kinds of scale (size interpretations) used in architecture: 7

1- True and natural scale in which sizes turn out to be those which one anticipated. 2- Intimate scale in which .sizes are slightly (but perceptibly) smaller than one expects them to be. This tends to give the observer a pleasant sense of ease; he feels that his environment is readily manageable and that he can relax. Intimate scale can be used to good advantage in theaters, particularly legitimate theaters. Observer should not feel far away from the stage. Example, Center Theater at Rockerfeller Center. 3- Heroic or monumental scale in which everything is somewhat larger than the eye normally expects. The designer wants his observer to be impressed, to have a feeling of awe, but not a sensation of oppression of fear, such as he might well have if he sense his own relative smallness and fragility too keenly. The sense of awe must be mixed with pride at being part of, belonging to, or contributing to important of a business. Example, Lincoln Memorial in Washington D.C. 4- Shock scale in which everything seems to be "out of scale". It can be used to startle and excite observer in fun. Designer often save his "shocks" for his entertainment value and use them where

· entertainment is his purpose-a night club, an

7 Ibid, p.45

5

amusement park, an exposition building, a merchandising display. Example, fifty-foot Mickey Mouse at Disneyland, Los Angeles.

To pursue my research I will now explore the scale approach in experiencing architecture in term of physical scale, proportional system and especially human scale.

Physical Scale Physical scale has to do with the practical arrangement of a

building8 • Each part of the building has a size determined more or less by convenience in construction, by its function, by the manufacturing process, or by the nature of the material that it is made from.

The discipline of planning is as exacting as that of construction9 . It is tangibly expressed ill the walls, partition, floor levels, and· furniture arrangements of a building; and it invisibly measures and allocates the useful space. The intimate dimensions .of human use, for example those of stair treads, railings, doors, and furniture, form a special class. If stair risers, railing, or cabinets are too high, the occupant not only may be surprised at their appearance, but in order to use them he will be required to stretch himself uncomfortably. Thus the dimensions that people actually touch are not only seen but are also intimately felt. Where a work space is custom-fitted, as is the modem kitchen or bath room, the accommodation of people's bodies and bodily movements fill the room with dimensions that-within an inch or

8 Licklider, Heath. Architectural Scale, George Braziller Inc., New York:l 965, p.101 9 Ibid, p.103

6

two-are determined by use. And combination of these dimensions set the efficient over--all dimension for the room. The more intimately and carefully a building is designed for the activities of its occupants, the more these measurements determine its minimum dimensions. to

To build well, the designer must find a way of building that synthesis them, so that each elements of the design meets several of the requirements. In a good design the structural system, for example, may not only be efficiently designed in itself, but it also may help in the division of the useful space and may be especially suited to the building material that is used11 •

In the purely practical designed of buildings, the many physical divisions that are established and co-ordinated into practical synthesis provide a measure of a design that - when it is seen - is likely to be emphatic. Often the visual scale of a building will be based· upon these divisions. The unit of size that engages with the eye can also tell the spectator about the materials and method of fabrication, and even about the life that goes on within the building. Thus the clapboards of a colonial house, the lichened stones of a medieval church, and the corrugations of a cement­asbestos roof furnish the visual scale of the building with small divisions, and at the same divisions help to convey the nature of the materials. The flying arcs of concrete shells and the neat sweeps of steel girders not only provide vigorous divisions for the eye, they illustrate very different principles of construction.

It is clear then that practical designing is constructed within a framework of preordained sizes of plan arrangement, of materials, and of structural elements.

IO Ibid, p. 106 11 Ibid, p.112

7

Physical scale is usually expanded to include additional conception of scale, . which attempt to control a spectator's impressions of size through a system of proportions.

Proportional System The intent of all theories of proportion such as the Golden

Section, the Orders, and the Modulor are to create a sense of order among the elements in a visual construction. According to Euclid, a ratio refers to the quantitative comparison of two similar things, while proportion refers to the quality of ratios. Underlying any proportioning · system, therefore, is a characteristic ratio, a permanent quality that is transmitted from one ratio to another. Thus, a proportioning system establishes a consistent set of visual

·relationships between the parts of a building, as well a between parts and their whole. Although these relationships may not be immediately perceived by the casual observer, the visual order they create can be sensed, accepted, or even recognized through a series of repetitive experiences. Over a period of time, we might begin to see the whole in the part, and the part in the whole.

Proportioning systems go beyond the functional and technical determinants of architectural form and space to provide an aesthetic rationale for their dimensions12 • They can visually unify the multiplicity of elements in an architectural design by having all of its parts belong to the same family of proportions. They can provide a sense of order in, and heighten the continuity of, a sequence of spaces. And, they too can establish relationships between the exterior and interior elements of a building. Therefore, these systems enable the spectator to recognize the emotions in the shapes and in their relationships to each other.

12 Raskin, p.55

8

· In his book, The Theory of Proportion in Architecture. P.H. Scholfield shows that proportional system may be analyzed as mathematical and geometrical systems. So does Le Corbusier through his Golden Section which is the basis of his Modulor. From the application of number and geometry they show the way to generate forms in architecture. Moreover, both Scholfield and Le Corbusier look to mature proportional systems to supply unity, which is conceived to be necessary to beauty.

" .... proportion seem in effect, to be beauty and excellence." (Plato, Philebus, 64e)

Nevertheless, it is necessary for us to consider proportion not merely as a matter of relative dimensions but as a composite result of function, construction, materials, scale and in certain cases, time13 •

First, function. Let us take a door as an example. The function of a door is to swing open, when required, to allow ·human being to pass through a wall having a gap which at other times· the door covers. The proportions of the door, the relationship of its height to its width, obviously cannot be thought of in terms of abstract rectangles; both the width and the height are conditioned by the size of the object, in this case a person. While a garage door, since it is meant to admit cars, must be quite differently shaped.14

Secondly, construction. Certainly a concrete column which supports a very heavy load will have a different height­width relationship than a post of wood, carrying a light load. The spans will be different, as will the column spacing, the shape of the

13 Ibid, p. 79 14 Ibid, p.81

9

bays. Good proportion, for a specific column, will be to a great extent determined by the nature of the material and the rationale of the structure15 •

Third, there is scale. There is a close connection between scale character expression. Thus, a room whose proportions are pleasing at, say, intimate scale, would be disastrous if the same proportions were duplicated at monumental scale. To feel the impact of this disastrous, just imagine your neighborhood Cozie Tea Shoppe, with its low ceiling and narrow doorways, blown up to the dimensions of Grand Central Station! 16

. The fourth factor, times, enter when one deals with higher level proportions, the size.of one volume in relation to another, for instance. A certain amount of time is involved in the perception and appreciation of a new environment. Let say we are designing an auditorium and its lobby. The sizes are initially conditioned by purely mechanical considerations such as seating and traffic capacity. We will realize that the time spent in the passing through the lobby serves to erase from the mind's eye of the observer the picture of the street outside and his view of the facade of your building. It also prepares his eye for his impression of the auditorium. At this time we also adjust other factors such as color, light level, circulation patterns and other considerations of sequence.17

Another aspect of the time factor is that changing taste with changing time. At the turn of the century, to get back to buildings, when multi-story structures became more usual, people found the proportions of a building that was higher than it was wide some

lS Ibid, p.81 16 Ibid, p.82 17 Ibid, p.82

10

what painful. It is easy to see in the facades of that period how hard they tried to cut. the visual heights of their buildings with strong horizontal moldings at every story or two and the heaviest possible cornice weighting down the whole.

Tberef ore, building should be built proportional to its function, construction, material, time, and to human scale.

This situation leads to the third concept of scale in my thesis exploration which is the hwnan scale.

Human Scale Human scale in architecture is based on the dimensions and

proportions of the human body18 . Human dimensions are vary from individual to another individual which mean they cannot be used as an absolute measuring dense. We can, however, measure a space whose width is such that we can reach out and its walls. Similarly, we can measure its height if we can reach up and touch the ceiling plane overhead.

Buildings usually have people in and around them; and we are so familiar with. our own genus that a human figure that is exceptionally short, or tall, or immature, is quickly recognized for what it is. Because of this, the human figure must be taught of as a kind of measuring rod that, at any time, may appear with the parts of the building, applying a standard size to theml9 . But even when the observer is alone and sees no people, the height of his eyes from the ground, the perspective angle of his views, and his focusing for distances, enable him to judge sizes and distances relative to hi~ own size and position. Thus, a small room will be

18 Ching, Francis D.K. Architecture: Form, Space, and Order, Reinhold Company Inc., New York: 1979, p.328 19 Licklider, p.66

11

'measured' for the spectator by the people standing and walking about in it, by relatively flat angle at which the ceiling is seen, and by the exclusively near focus of his eyes. In a large room the people would appear relatively small, the ceiling would be seen at more acute perspective angles, and the spectator would use a focusing for distances that was not needed in the smaller room. Thus, a small-scale design may make the observer fell a little more important than usual, and at the same time it may cause him to attribute friendly emotions to the building. Large-scale treatment, on the other hand, may both cause the observer to feel somewhat removed from low egotism, and cause him to attribute more than human power to the structure2° . The expressive value of these effects has a powerful basis in the shifting of fundamental relationships between human and his environment.

Human size also leaves its imprint on ali the parts of a building that are designed to be intimately used by people. Stairs, for instance, may have riser heights as low as four inches, or as high as eight inches; but they must be designed to fit the human stride. Consequently, whether they have low riser and broad tread, or high riser and narrow tread, they provide a fairly reliable indication of size that can be recognized when it is seen. Railings also normally vary within height limitations that make them a reliable tip-off to size. Cabinets, counters, shelves, door knobs, light switches, and to some extent window sash and doors, take their dimensions from bodily positions that have been found convenient and comfortable.

Practically, of a room's three dimensions, its height has a greater effect on its scale than either to width ·or length. While the walls of the room provide enclosure, the height of the ceiling plane

20 Ibid, 101

12

overhead detennines its qualities of shelter and intimacy. Raising the ceiling height of a · 12 x 16-foot room from 8 to 9 feet will be more noticeable, and affect its scale more than if its width were increased to 13 feet, or its length to 17 feet. While the 12 x 16-foot room with a 9-foot ceiling would feel comfortable to most people, a 50 x 50-foot space with the same ceiling height might begin to feel oppressive21 .

In addition to the vertical dimension of a space, other factors that will affeci its scale are:

• the shape, color, and pattern of its bounding surface,

• the shape and disposition of its openings, • the nature and scale of the elements

placed within it.

All in all, the human figure is a unique module of architecture "the common measure of the ensemble'122 . Where people are seen in or near a building, where the parts of the building that they touch and reach are seen, and where the spectator carries his personal estimate of sizes and distance relative to himself, a uniform standard of measure is introduced into architecture.

21 Chiing, p.329 22 George Gromort, Essai sur la Theotie de l'Architecture, Paris: 1946, p.111

TEXAS TECH LIBRARY 13

Hwnan scale can reflect our individual existential being. Its presence in the environment makes us feel "at home" and can encourage us to interact with the environment. One important psychological effect of hwnan scale in an image is that the beholder feels the hwnan being is in control of his environment. Human scale reveals that hwnan action has been taken to · make building materials into sizes man can handle. When man's dimensions are impressed into openings and other forms that suggest his presence, the sense of manageability and human intercession awakens feelings whose roots extend into the unconscious. Such feelings speak to us with messages that say the building is "like us," that it is "human".

Herb Green, Mind and Image

14

THESIS SYNTHESIS & STATEMENT

The close relationships between science and mathematics has been proven to bring new technologies and perfection in life since the early human civilization. Science is known as a set of ideas and theories while mathematics is a set of numbers which is use to proof the truth of those ideas and theories. The interaction between ideas and numbers has given the world new discoveries such as geometry, scale, and proportional systems.

"And it was then that all these kinds of things thus established received their shapes from the ordering one through the action of ideas and numbers. 11

(Plato, Timaeus)

Apparently, according to those theories, every single existing particle has a relationship or connection to each other; a particle is a part of another particle. Fonn, space, function, material, and structure are all connected with each other. Thus, the world exist from the relationships of its substances and organisms that create the whole.

· It is now not the question of where architecture should stand in this world, but it is the question of why it is there - the association it creates in the system; the relationship between humans and environment, between humans and space, and between space and environment.

Through this thesis I will explore the use of geometrical articulation in accordance with human scale in order to build a building and a space in regard to the built environment which are more responsive to human needs and desires. There are three conceptions of scale; physical, proportional, and human. Of the three, human scale fully allows for the subjective experiencing of architecture.

15

Jay Kapproff once stated that the proportion of humans scale reflects the desire of humans to feel personally connected to their dwellings. This statement indicates that scale has a significant role in the relationship between architecture and humanity.

It has seemed self-evident that the fundamental principle of architectural form must be numerical and geometrical since Greek times. As the consequences, the proportional scale system that is based on nwnber and geometry also provides ways of generating forms.

How proportion of space and building_ parts are integrated into harmonious whole will also create a sense of beauty. " .. .. in every case, however, moderation and proportion seem in effect, to be beauty and excellence." (Plato, Philebus, 64e)

. Nevertheless, although one might think that geometry is merely concerned about the aesthetically value-the architectural forms and beauties, this branch of science is also has something to do with social value. The social value such as religion, culture, and tradition could be expressed through the proper articulation of geometry symbols and forms. For example, the art of Islam contains so graven images but is well known for its arabesque and polygonal forms. Thus, it is capable of reflecting the high spiritual of Islamic religion and offering the way to understand human world. As Titus Burckhardt, a well-known scholar of the art describes:

" .... study of Islamic art, or any other sacred art, can lead to a profound understanding of the spiritual realities that lie at the root of a whole cosmic and human world." (Burckhardt, 1976)21

23 K.appraff, Jay. Cinnections: the geometric bridge between art and science, McGraw­Hill Inc. , San Francisco, 1991, p. 200.

16

Evidently, the science of geometry through the use of proportion based on scale; physical, proportion, and human, has a very dominant role in integrating the relationships among humans, spaces, and built environment.

Therefore, I believe that all the three important elements; humans needs, beauties of forms and social values, could be achieved, and unified through the use of scale and geometrical form.

17

.-;at r#~~ r5 \'(V~ .

\~%~xo(l)'\ ANNOTATED BIBLIOGRAPHY

1- Connections: The Geometric Bridge Between Art and Science by Jay Kappraff.

This book is an exploration of grammar of space, with the objection to show, by way of demonstration, that this grammar can be the basis of a common language that spans the subjects of art, architecture, chemistry, biology, engineering, computer graphics, and mathematics. This book is a collection of special topics in ancient and modem geometry. The author introduces many ways that geometry underlies the creation of beautiful designs and structures. He shows how geometry serves as an intermediary between the unity and harmony of the natural world and the capability of humans to perceive this order.

2- Foundations of Geometry by C. R. Wylie, Jr. This book presents a careful axiomatic development of

certain important parts of elementary Euclidean and non-Euclidean geometry, and to get reader or student closer to the understanding of the axiomatic method. The information contained include the technical aspect of this geometry method.

3- Architecture: Form, Space, and Order by Francis D. K. Ching. This book is about a morphological study of the essential

elements of form and space and those principles that control their organization in our built environment. The study emphasizes the element of form as the primary tool for the designer. A large portion of this book is devoted to images. It is also about scale in architecture in term of human and geometrical proportion.

18

4- Architecturally Speaking by Eugene Raskin. This book is an inquiry into the psycho-physiological

considerations involved in architecture. The author chose to use the technique of General Semantics in this study finding it highly appropriate for dealing with the many doctrinal and linguistic aspects of architecture.

5- Architectural Scale by Heath Licklider. This book examines physical, proportional, and human

scale individually and concentrate on the special values of each of these approach. The author tries to develop the conception of human scale further as the proper basis for an understanding of architectural scale.

6- Order in Space by Keith Critchlow. This book represents a way to approach order in space

through the articulation of geometrical forms. First, as a tool of orientation, the "where" of things, and eventually becoming the "how" inherent in things. It also determines the conditions of space in enabling the existing universe to acquire a structure of position, size, and relative motions. The author shows the command of the functions possible in space becomes progressively more necessary in a shrinking planet, which points to the real problems; between man and man, man and his universe, and man's continued · existence.

19

7- The Reasoning Architect by Garry Stevens. This book shows the birth of geometry through the

integration between mathematical theories and science philosophies. It shows geometric constructions, base on direct sight lines and reflections, were the basis of Greek and Roman acoustic design, the only "architectural science" that existed before the 17th century. The author demonstrates geometry as the basis of both architectural design and construction for a large part of its history.

8- A Comparison of the Traditional Malay House and the Modem Housing Estate House by Lim Jee Yuan.

The study contained in this book compares qualitatively the traditional Malay house and the typical housing-estate house such as is sprouting up in urban and suburban areas throughout Malaysia. It considers their contexts, their advantages and disadvantages, and their applicability to improving housing quality, with a view towards re-educating the public, professionals, government officials, and academics on the values and qualities of the traditional Malay house and re-appraising the actual values and needs in housing.

9- Introduction to Community Recreation by George D. Butler. This book describes the nature and significance of

community recreation. It shows the development in recreation and related areas since 1959, brings important statistical information up to date, and describes trends in cooperative planning, leadership standards, legislation, organization methods, and other aspects of community recreation.

20

THESIS CASE STUDIES

;

' ... , u ~

i j .

• r:-: .... · .... ' ...

4' ' .~· I

i i i

r· ..

Axonometric Analytic Study

Ground Floor

The Solomon R. Guggenheim Museum

Architect Program

Structure and material Cost

:Charles Gwathmey and Robert Siegal :An eleven-story block comprising 28,935sq. ft(new construction) and 5,637 sq. ft (renovation annex) for gallery and support space. In addition, renovation of 4,790sq.ft for galleries in existing Wright-designed museum. :Cream and terra cotta concrete, beige quarry tile, gray-green porcelain tiles, on a steel frame. :$10m. estimated.

In order to meet the requirement of the program, the architects have done some analysis about the existing museum. They are very concerned in maintaining a good relationship between the museum and their new construction. Their analysis is more toward to the spatial relationship. From their analysis, it is found that the Guggenheim Museum was designed based on the basic geometrical forms like circle and cube. This geometric analysis shows that the large rotunda is basically a 96-foot-diameter circle inscribed in the a 96-foot square, which is the primary site; the smaller rotunda is 48ft. in diameter. The height of both rotundas are the

· same as their diameters. Overlaid on the rotundas are two squares of 96ft, with the entry to the museum located where the two squares overlap. The large 96-foot squares· breakdown into a four-foot-square orthogonal grid that is relentlessly extended through the building. This organic design moreover; is structured by an orthogonal grid that matched the city street grid.

When one flips the plan and make it an elevation, he will see that the same 96-foot-diameter circle inscribes the elevation of the large rotunda., and the 48-foot circle inscribes the elevation of the small one.

21

The architects realize that geometry plays a vital role in uniting the whole composition of various spaces of the. museum complex. Therefore, the addition (which is the small rotunda) is cantilevered to the existing building so that they can expand the building horizontally for extra space. It relates to the existing complex in the same geometric proportion because it uses the four-foot grid and the 96-foot height. Another geometrical element being used is a glass cylinder stair that connects the fifth and sixth floor. It gives a sense of vertical continuity to the gallery space.

Finally, the new object-28,935sq.ft for offices, galleries and storage have been successfully blended to the existing composition creating a new one without distracting the original composition.

Geometrical solution allows a maximum flexibility and in the same time provides a sense of unity which is one of the main principle in creating a beautiful composition.

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22

,.

Great Neck Child Development Center Great Neck, New York.

Architects : Gordon & Meltzer

The objective of the design is to develop a concept that outlines the needs, constraints, and other elements indigenious to an interior play environment; qualities that capitalize the learning potential of the young child. Here, the concept of scaling down the environment to children size is clearly exhibited. Architects want to create "a setting that suggestive and responsive; a variety of experience and exposures that offers bodily, sensory, and imaginative interaction on a personnal or group level".

The approach of the design is . to look at the building through the children's eyes and to design a structure that is not to overwhelm them. Therefore, the scale of the windows and doors is reduced to the children's scale.

The structure which is non-monumental, is designed in such a way that the children's feeling of fear can be avoid. Therefore, they will feel more secure and comfortable to be there. It also help to create the feeling of homelike in the children.

Therefore, the application of an appropriate scale according to the size of human being is very vital. Human seal@. plays a great role in reflecting an individual existential being~ ·. The feeling of "at home" can encourage us to interact with the environment.

CHAPTER II: CONTEXT ISSUES -CULTURAL CONTEXT -PSYCHOLOGICAL CONTEXT -BIDLTCONTEXT -NATURAL CONTEXT -CASE STUDIES I ____ ___.

CULTURAL CONTEXT

MALAYSIA

Malaysia is a relatively small country which is consists of two parts: the Peninsula Malaysia and the Borneo Island. It is located in the heart of Southeast Asia between latitudes 1° and 7° North and 100° to 119° East. Its total land area is about 330,000 square miles, of which the peninsula accounts for about 131,000 square miles. The peninsula terrain is generally hilly and the coast is intended from 5 miles to 40 miles by flat, often swampy alluvial plains.

Climatically, it is hot and humid. ·Kuala lumpur (capital state) is about 3° north of the equator. Rainfall is heavier along the east coast than the west coast. Most urban and agricultural land is on the west coast, and consequently so is most of the population. The country has no distinct winter or summer; the temperatures are more or less consistently somewhere between 20°C and 40°C and relative humidity is high all year along. Rainfall is heavier during the winter months, but solar radiation and sunshine are more · or less constant. Malaysia does not contend with earthquarkes as Japan does, or typhoons as do the other parts of Asia.

Malaysia, which has the total population of 17 million, is a multi-racial country. There are three distinguisable major races; Malays (50%), Chinese (35%), and Indians(l0%).(est. 1980). The indigenous people such as Dayaks, Ibaris, Bajaus, and Kadazart.s made up the rest of 5%.

26

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Klang, richly-mentioned in the historical annals of the Sri Vijaya, Majapahit and Malaccan Malay Empire. With noted dwellings since the 3rd century, the history of modem Klang only began when mining became the main occupation of the people in Klang Valley and Klang Town. These two places were then transformed into the heart of the commercial and governmental activities.

The mouth of Klang River was known as Port Swettenham, the doorway from the Straits of Malacca to Klang, the whole of Selangor and Peninsular Malaysia. This progress brought in the infrastructural development where the first fruit of success was the completion of the railway which hails from Kuala Lumpur to Klang in 1886. In 1889, the railway from Klang to Port ,Swettenham was built. As a result of the vast development, the town of Port Swettenham became the commercial center in the West Coast of Peninsular Malaysia. This was the stepping stone to a growing town to become the most important port in Peninsular Malaysia of yesterday and today. Port Swettenham was then renamed Port Klang in 1973.

Port Klang is strategically divided into North Klang Straits and South Port. Today, North Klang Straits together with the North Port is known as Bandar Sultan Sulaiman - The Harbor City of Tomorrow.

Therefore, the population growth in this area has suggested the need for a place which will serve the community in term of entertainment, socialization, and health improvement.

27

PSYCHOLOGICAL CONTEXT

Geometry has been proven as a way in achieving a beautification of form, Psychologically, people tend to like being in a beautiful environment whether it is natural or man-made. In addition, social value such as religion, culture, and tradition can be expressed through the use of geometry symbols. These symbols will create a sense of realization of relationship between the beholder and his environment.

Therefore, the design of the Civic Center will be based on geometrical layout.

Scale is also very important to the beholder's perception. For example, monumental scale tends to make everything seems larger than the eyes normally expected. This could create a feeling of awe and fear to the beholder. The new environment of scale should be based upon people's actual modes of perception in order to reflect accurately the relationship between architecture and human beings that we find emotionally satisfying.

Therefore, the design will be based on human scale because it can reflect our individual existential being.

Socialization and recreation are the best ways of releasing stress and tension in one's mind. This is very important in order to develop mental and emotional balance for community. Those activities can lead to satisfaction of one's morale and spirit, as well as guide one's goals of self-realization. It also develops one's personality, attitudes, and habits which interact with his or her growth process.

Therefore, the design of the Civic Center will include activities for recreation and socialization.

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BUILT CONTEXT

5-story Apartment

Strategic Location. Bandar Sultan-Suleiman is the ideal harbor city of the

future that's here today. Planned on an area of 1,418.33 hectares, it will be Malaysia's biggest harbor city and one of the largest in Asian region.

Situated just 28 km. from Subang International Airport and within minutes of travel from Port Klang - Malaysia's largest port, it is also easily accessible from all directions - from nearby Shah Alam, Petaling Jaya and the city of Kuala Lumpur.

Transportation Conveniently, there are railbus services which connect

busy towns like Sentul, Sungei Way, Subang Jaya, Batu_Tiga, and Klang to Port Klang. Besides the existing Federal Highway that is linking Kuala Lumpur and Klang, the second highway adjoining these towns is scheduled to be completed by 1992.

Housing Housing is comprehensive and varied with the allocation of

224.60 hectares. PKNS, the developer of this town has planned to build 7,636 units of low-cost, medium cost and extravagantly beautiful houses together with 5-story apartments in consideration for people of different incomes in this town.(Source: Selangor State Development Corporation; 1991). About 40% has been built and occupied (mostly apartments).

Recreation Recreation is a major consideration in the balanced

planning of this township. A captivating view of the beautiful islands with the ability to provide interesting activities such as fishing, swimming, picnicking and surfing is one of the many

29

assets of Bandar Sultan Suleiman.

Industrial/Commercial There are about 566.7 hectares of land allocated for

industrial activities in this town. From that figure, around 170 units of individual industrial lots and 48 units of twin industrial lots are in Phase I. It is one of the efforts of the local government to transform this town into a successful industrial township.

Therefore, Bandar Sultan Suleiman is not just a residential township but also a commercial and industrial township. It will create job opportunities, investments, commercial activities and overcome the demand for space in the Klang Valley. Hence, this township will indeed need a place as one-stop facility for residents, investors, and public which in this case a civic center.

30

NATURAL CONTEXT

Rain The average rainfall varies from 80in to lOOin per year.

The Northeast Monsoon which prevails from October to February brings the heaviest rainy season in the year. During May to September, the Southwest Monsoon dominates.

Temperature The temperature ranges from 21°C to 32°C ( 70°F to 90°F)

From the point of view of human thermal comfort, afternoon temperatures in the forests are closest to ideal-about 4°C lower than those in the open fields.

Vegetation Along the edge of the site are Cempaka trees (about 15 to

20ft), placed about 5 to 1 Oft from one another but get more cluttered on the eastern and northen edges. 90% of the site itself is covered by grass.

Humidity The relative humidity is very high ( 80 % to 100 % ). For

the normal day, the maximum humidity is reached around 6.00 a.m when the temperature drops to below dew point. This. causes the deposition of dew and fog.

Wind The two major wind systems are the Northeast and the

Southwest winds. This winds bring a lot of precipitations to the area and thus give a cooling effect on the land. The average wind speed is around 25 miles per hour.

31

Therefore, architecture in this area ; i) the building.envelope has to act like an umbrella that

(

keeps the rain and the sun out but let the wind through. ii) the building position and orientation should be used

to help control thermal level. The solar path throughout the year along the equator requires protection at an angle of

iii) the building oor plan is recommende to have a 1, ·(around 69°. fl d

north/south orietation to keep out the hot western sun. l iv) the quality of light entering the building and

protection from intense sunlight are important. Windoes are often recessed for that purpose.

v) the planting of shade trees will perform the dual function of beautifying the area and moderating its afternoon temperature.

vi) the drainage system also should be highly considered since the average rain fall is very high.

32

CASE STUDIES

The Traditional Malay House

The traditional Malay house is an indigenous solution to housing for the Malays evolved and built through the generations by the Malays themselves, adapting to their own needs and environment, using local materials which were oncely freely available in their natural surroundings. The traditional Malays house owes little or nothing to conscious design and shows good instinctive use of materials. Materials are used according to their nature, simply and effectively.

The house is raised about 3 feet above the ground. During the rainy season, it is saved from cold and flood disaster. Also raised-house can protect them from ground insect and animal attacks. During the summer months where the temperature is quite high, it allows natural air to circulate through under the house and therefore, provide a natural 'air-condition' for the house. The stilts which hold the house are placed on stone footing. It is so practical because wood deteriorates easily if placed directly on the ground.

. Open layout is another common features of the Malay house. Very often, there is one large space which is known as the main house. Space for the kitchen is also a significant one. Apart from these two spaces, there is a space for bedroom regardless the size of the household. Important to note here, none of these spaces are totally fixed but dependent on the occasions. For example, during the religious garherings the main house is designated for the men, while their women congregate in the kitchen.There is no permanent partition or wall to define the specific area. The spaces are define by the changes in level that occur in the house, of the roof, and by the users of curtains. The Malay house is thus a good example of the flexible and optimal use of spaces. Openness and emptiness are the essence of the interior spaces in the traditional

33

Analysis of Malay traditional house.

Malay house. Another common feature is the pitch roof. This is response to the local warm climatic which is characterized by its heavy seasonal rainfall. In short, it is a house designed and built by the users themselves according to their own basic needs with a good underst~nding of nature and environment, incorporating and refiecting their way of life and culture.

34

Vault Gallery-Interior

Exterior

Kimbell Art Museum, Forth Worth, Texas

Architect Client

: Louis I. Kahn : Kay Kimbell

Here, Kahn relies heavily on the regional inspiration. The broad horizontality of the Texas plains is reflected in the low, flat character of the building. On its front is the ubiquitous Texas porch that doubles as the introduction to and explication of the building's spatial and structural system. To anyone familiar with Fort Worth, the long gray concrete vaults that form the building, draw an easy parallel to the cylindrical concrete grain elevators that dot the city and the surrounding countryside.

Kahn is not just dipping eclectically into forms he discovered along the highway and route from the airport. He demonstrates a deep and profound feeling for Texas-especially in his handling of color, texture, and light. The tawny grays and tans of the building are the colors of the native landscape with its parched grasses and limestone substrata. The tactile character of ~e building's materials sing out when placed in deep relief by the hard Texas sun. And everywhere light and shade are modulated with great finesse and understanding.

The design, material, and construction of this building shows a high degree of responses to the built context, culture, and climate of the area. Therefore, the building is truly resonant in its place.

35

CHAPTER III : FACILITY PROGRAM

-ANALYSIS OF ACTIVITIES I -OVERVIEW

-PRIMARY ACTIVITIES -SECONDARY ACTIVITIES

-ANALYSIS OF SP ACES -ASSOCIATION WITH ACTIVITIES \\ -TYPICAL REQUIREMENT I 'J -UNIQUE REQUIREMENT

-RELATIONSHIP OF SP ACES -FOR ADJACENCY/SEPARATION -FOR COMMUNITY/PRIVACY -FOR CONSTRUCTION

-CASE STUDIES

ANALYSIS OF ACTIVITIES

DEFJNITION OF ACTIVITIES

Primary Activities A Civic Center is a place where people can meet, socialize,

entertain, and exercise. It gathers most common types of facilities such as an auditorium, gymnasium, cafeteria, exhibition room and administration. The intention is to provide the public ease and access to those activities. Here, the public can experience the education and recreation facilities which as a result, the complex promotes a high level of interaction and socialization within the community.

Therefore, recreation, entertaiment, and socialization as the primary activities of this civic center should be the utmost importance to be stressed in planning. Public and private spaces should be clearly defined, especially if the spaces involved sound control(acoustical value) and security.

Secondary Activities Secondary activities are the activities that necessary to

accomplish the primary activities. The administration which is the backbone of this complex is the major secondary activities in order to ensure the efficiency of the facilities that this complex has to offer.

Therefore, offices and other administration spaces should not be as visible as the recreation or entertainment area. Sound (acoustic) control and good illumination of light are important consideration for these types of spaces. Service spaces need to have easy access and direct traffic patterns to participants and staffs, and to primary activities spaces.Security levels should be at maximum but not imply hostility to users.

36

OVERVIEW

AUDITORIUM The auditorium will be used as a center for community

affairs. It will provide a space for wide range activities such as concerts, plays, speeches, lectures, forums, and other forms of presentations. Before the performances, the audiences will and take their seats. During the performances, they will remain silent with occasional laughter, applause, or other expressions1• The auditorium will also requires easy accesses and exits with smooth circulation. Acoustics consideration is very important in creating a good quality of sound. Lighting is also vital in making the event successful. Supporting facilities would include dressing rooms, make-up room, storage, workshop, green room, rehearsal room, lounge, lighting booth, ticket booth, and restroom. Its lobby area will act as a transition space where one starting to build up his concentration in becoming an audience. '\

CAFETERIA . The space for cafeteria will include indoor and outdoor

eating areas, snack bar, and kitchen. The eating areas and snack bar will be open to the public, as an individual or as a group. Here, the activities such as eating, drinking, talking, sitting, and meeting are the major activities of the users. The chairs and tables arrangement should be flexible and comfortable as to give a pleasing and enjoying environment in the food areas. Shading devices will be provided for the outdoor eating area. Kitchen and food preparation areas should be adjacent to the dining areas. Supporting facilities will include storage/refrigerator, disarm, garbage-room, and restroom.

1 except during certain events such as rock concert where audiences might contribute more noise. 37

GYMNASIUM The gymnasium will act as a mini recreational center for

the community. It will provide a various program of sport activities in accordance to meet the needs of all people. Here, the users main activity is to play or to watch a game in progress. There also will be a multi-purpose hall which can be used for a variety of social activities, such as banquets and social dancing. Supporting facilities that will be provided are locker room, shower room, storage, and restroom.

GALLERY The gallery will provide the space for the local and

international display such as crafts, paintings, and sculptures. This area will be an open space with flexible interior partitions that are movable. Thus, the interior space might be changed from time to time. People who go pass through the gallery will have a chance to observe, to learn, and to enjoy the artistic value of the peoples' cultures and skills. Supporting facilities such as storage and information booth will be provided.

CONFERENCE ROOM This facility is provided for the outside (public or private)

organization. Here, activity mainly meeting and discussing will take place. Storage should be provided for the audio-visual equipment, displays, and furniture.

COURT-YARD/PLAZA This large open outdoor area will provide a space for social

and cultural activities such as night market2 and traditional displays. Area for people to seat will also be provided at certain spot of the plaza.

2 Night market is a way of life in Malaysia. Here, a variety of goods are sold such as cloth, foods, electronics, household items and etc.

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LOBBY The lobby will be located near the main entrance. This area

is an · open space basically used for circulation, pacing, and orientation. Some sitting area will be provided for people who are waiting for someone. Supporting facilities such as information booth, telephone booth, and restroom will be furnished for the visitors convenience.

ADMINISTRATION This area will include offices areas that will operate the

civic center. It consists offices for director, assistant director , general officers, secretary, security, and public relation. A meeting room for the staffs will also be provided. Thus, the main activities here are managing, talking, and typing. A small lounge will be provided as a waiting area and a place where the staffs can take a break and relax.

MAINTENANCE/SERVICE . Cleanliness and tidiness of a place is very important factors

to be considered. Some of the facilities might damage during or after they have been used. Therefore, services is needed to up date the facilities. This area is mainly provided for storage and an office as the center of service management.

39

. PRIMARY ACTIVITIES AND PARTICIPANTS

AUDITORIUM Activity 1 :singing, performing, acting Participants :actors, singers, musicians No. of participants at a time :20-25

Activity 2 :watching, listening, applauding Participants :audiences No. of participants at a time :900

CAFETERIA Activity I :eating, drinking, talking Participants :staffs, public No. of participants at a time :300

Activity 2 :cooking, serving Participants :cooks, cook assistants No. of participants at a time : I 0-15

GYMNASIUM Activity 1 :playing, exercising, running Participants :athletes, staffs, public No. o.f participants at a time : 150

Activity 2 :watching, shouting, applauding Participants :audiences · No. of participants at a time :250-300

Activity 3 :dancing, gathering Participants :staffs, public No. of participants at a time :350-400

40

GALLERY Activity 1 :exhibiting, displaying, talking Participants :artists, painters, organizations No. of participants at a time :5-10

Activity 2 :observing, asking, learning Participants :public No. of participants at a time :150-200

CONFERENCE ROOM Activity 1 :meeting, discussing, Participants :public/private organizations No. of participants at a time :40-50

COURT-YARD/PLAZA Activity 1 :selling/buying, eating/drinking, watching Participants :public No. of participants at a time : 1000-1200

Activity 2 :displaying, singing, Participants :artists, musician No. o_fparticipants at a time :10-15

LOBBY Activity 1

Participants No.of participants at a time

PRAYING ROOM Activity 1 Participants No. of participant at a time

:waiting, standing, askillg, sitting, walking, talking

:visitors/public :100

: praying, washing : public : 40-50

41

SECONDARY ACTMTIES AND PARTICIPANTS

AUDITORWM Activity 1 Participants No. of participants at a time

:managing, directing :managers, director :5

Activity 2 :crafting, painting, setting Participants :carpenter, painters, directors No. of Participants at a time :30

CAFETERIA Activity 1 :managing, organizing Participants :manager No. of participants at a time :2

Activity 2 :cleaning, dish-washing, garbage-handling Participants :staffs No. of participants at a time :10-15

GYMNASIUM Activity 1 :managing, maintaining, controlling Participants :manager, maintenance No. o_f participants at a time :5

Activity 2 :washing, showering Participants :athletes No. of participants at a time :20-25

GALLERY Activity 1 :managing, informing, organizing Participants :manager, staffs No. of participants at a time :3

42

ADMINISTRATION Activity 1 :managing, typing, informing, controlling Participants :manager, secretary, securities No. of participants at a time :15

MAINTENANCE/SERVICE Activity 1 Participants No. of participants

:maintaining, cleaning, up-dating :staffs :10

43

SPACES ASSOCIATION WITH ACTIVITIES

General Off. Secretary Counter Area Meeting Room Lounge Exhibitioij. Room Ticket Booth

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TYPICAL REQUIREMENTS AND CHARACTERISTICS

AUDITORIUM Access :Access between the various parts need to be as free

as possible, to pennit their full use by the audience before the show, between acts, and after the final curtain. Sounding deadening material will be required on the walls of approaching corridors or lobby, to prevent parallelism.

Lobby :Here, the audience activities such as lounging, talking, smoking, meeting and waiting are great especially before the performance. Therefore, a necessary space should be design to meet the activities. Lounge, telephone booth, information booth are the utmost space to be considered. It also serves as the transition space between outside and inside activities. A total area of 1500sq. ft is recommended.

Ticket Booth :This should, if possible, both command the entrance to the inner lobby and at the same time permit the lines to form without obstructing it. Minimum of two ticket windows are necessary, one for reserved seats and one for current seats. An area of lOOsq.ft will be provided. .

Seating :The last seat is preferably not over 75 to lOOft from the stage. The front .balcony is preferably within 50ft of the stage. As far as the aisles concern, the straight radial aisles are better than aisles which curve or bend. A center aisle should be avoided because it wastes the most desirable seating area in the auditorium and inevitably causes the objectionable condition of seats near the aisle being directly in front of each other. An optimum view of the stage throughout the house depends on three

factors: Slope of the house, staggering of seats, and elevation of the stage. A total area of 9000sq.ft is recommended for the seating area.

Stage :The proscenium opening is usually 70ft and has a depth of 40ft and should be adaptable to changes in the arrangement of the acting area. The stage should always be below eye level of patrons sitting in the first row. Ideal height is between 2ft 6in and 3ft 6in from the floor at the first row of seats. Minimum of two entrance for actors form the backstage are necessary. An area of lOOOsq.ft will be provided for the stage.

Backstage :A large workshop is needed to prepare scenes for the performance. It should be at least 30ft long by 30ft wide by 20ft high. A large doors with most convenient to the stage is necessary. The dressing rooms should be located as near as possible to the stage without interfering in any . way with the backstage movement of scenery and actors. An area of 900sq.ft for the storage is needed for the workshop. Dressing room will occupy an area of 250sq.ft.

Office :An area of 150sq.ft will be provided for the management office.

Lighting Booth:The lighting booth should be located above the rain shelter high over the rear of the audience. It should allow the operator full vision of all acting areas which are to be lighted. A minimum of 85,000 to 100,000 watts will be required. An area of 200sq.ft will be required for the lighting equipment and activity.

46

CAFETERIA Dining area :It will provide an area of 16-18sq. ft per seat. A

medium size of table is adequate to accommodate 3-4 trays 14 by 18 in. Table should be space d 4 to 5ft to allow enough space for aisle. Diagonal arrangement of square tables will utilize space better than square arrangement and yield more trouble free traffic lane. Dining area approximately 2600sq.ft including 500sq.ft for snack bar and 500sq.ft for outdoor dining.

Kitchen :The satisfactory percentage of floor area covered by equipment should not exceed 30% of the total room area. This is important to allow more space for traffic. Kitchen area will occupy 500sq.ft .

Dishwashing :It is important to have enough space for dishes to be exposed to air for sufficient time to air-dry .before stacking. For basket-machines it is recommended that clean dish area occupy 60% of the total table space and soiled dish area, 40%. A table surface is desirable for sorting, treating, or inspecting silver and other tableware. An area of 150sq.ft will be provided for the dishwashing.

Storage :The amount of dry, refrigerator and freezer space required is determined by the. number of days of storage to be provide for. A recommended number of days for dry food is 2-4 weeks. 200sq.ft will de provided for the storage/refrigerator.

Serving area :The space required for straight-line counters may be estimated at 10-15sq.ft of floor space for each linear foot of counter. This provides room for the counters, servers, and back-bar equipment. Therefore, an area of 150sq.ft is recommended.

47

Garbage Rm. :A lOOsq.ft area is needed for garbage handling. This area sanitary is very important to guarantee the cleanness of the cafeteria. ·

Storage :IOOsq.ft of a storage is needed to keep the extra furniture.

Janitor closet :50sq.ft is needed to keep all the janitorial material for the cafeteria area.

GYI\1NASIUM Office : 15 x !Oft space for an office for administrating the

gymnasium will be provided. Storage : 10 x 20ft space for storage is needed to store

equipment and sport supplies. Janitor closet :A small space for janitorial supplies will consume

about 50sq.ft Multi-purpose :Ideally the size of the main gymnasium floor for an

enrollment of 1000 participants would be approximately 60 by 60ft which will consist of 3 (20ft x44ft)badminton courts. It is also can be changed to one basketball court(SOft x 84ft).

Squash-court :2(25ft x 45ft) squash court will be provided. Body-fitness :An area of 25ft x 25ft will be provided for body­

fitness equipment such as weight-lifting, benches, calf-race machines.

Seating :There will be an area of IOOOsq.ft for the spectators. Each person will occupy about 3sq.ft. And there will be about 300 spectators.

Locker :An average of 14sq.ft per person should be adequate. Sufficient mirrors, built-in drinking fountain will be provided. 12 xl2 x54in storage locker is recommended and there will be 30 for men and 30 for women.

48

Shower

Restroom

GALLERY Office

Storage Exhibition

Information:

: Shower area for 20 person at one time will consume about 200 sq.ft. Shower heads should be at least 4ft. apart. :A restroom to accommodate 5 person in one time will consume about 1 OOsq ft.

:lOft x15ft office area will be provided for the management of this facility. :20 x lOft area will be used as a storage. :An adequate space for visitors to move at different speed should be provided. Some will move continuously, while other will stop to examine particular objects in greater detail. An open space is important so that the visitors will have a maximum .freedom to decide what they want to see. lOOOsq.ft will be provided for this activity. In order to give a clear idea of the exhibition objective it is necessary to provide an information booth for the visitors. lOOsq.ft area will be provided.

CONFERENCE Conference Rm:The conference room will be .accommodated with

the air-condition facility since there will be no windows. 800 sq.ft area will be provided for this activity.

Storage :lOOsq.ft of area will be provided to store conference equipment and furniture.

49

COURT-YARD Plaza

LOBBY Lobby

:5000sq.ft of open area will be provided for outdoor activities such as night market, cultural events, and social activity. Water element like fountain or pool might be included as a cooling element along with trees to provide some shades.

(refer to overview). A large area approximately about 1600sq. ft will be provided. There will also an area of 50sq.ft for telephone booth, 150sq.ft for receptionist area and 200 sq .ft area for restroom.

PRAYING ROOM Praying Rm. :(refer to overview). An area of 500sq.ft will be

provided for visitors to pray. Washroom :lOOsq.ft area will be provided for visitor to make

. ablution before they pray. Restroom : 1 OOsq .ft area will be provided for restroom.

ADMINISTRATION Offices :(refer to overview) The administration area should

be located near the grand lobby. All offices in this area will have a close relationship to each other in order to work more effective as a team. Most off the offices will also have a opelling to the outside so that more comfortable working environment can be created. A small kitchen area about lOOsq.ft is recommended for the staffs to have some refreshment during their break time. The areas for offices are 250sq.ft for the director, 200sq.ft for the assistant director, 400sq.ft for the general officers, 150 sq.ft for the secretary, 250 for the security, 200 for the public relation, and 350sq.ft for the meeting room.

50

Lounge

Restroom

:It should be located within the administration area. An area of 300sq.ft will be provided for lounge. This area is .recommended to have a view to outside so that people who are in a waiting activity will feel comfortable enjoying the beautiful scenery of the nature. : 150sq.ft will be provided for restroom.

MAINTENANCE/SERVICE Maintenance :The area should be located far from the visitor

activity.An area of 150 sq.ft for office plus 200sq.ft for the storage/janitor will be provided.

PARKING Underground : Underground parking will serves 200 parking

spaces including 3 parking spaces for the handicapped and 10 parking spaces for the service vehicles. A total area approximately 35,000sq. ft will be needed. A series of elevator is recommended from the parking area to the ground level.

Ground level :Ground level parking will serves 150 parking spaces including 3 parking · spaces for the handicapped and 10 parking spaces for the services vehicles. A total area approximately 27 ,OOOsq.ft is required. Trees are recommended to provide shades to this area.

51

UNIQUE REQUIREMENTS AND CHARACTERISTICS

LIGHTING Auditorium

General

:There must be at least 2 lighting towers on each side of the auditorium. They should be close enough to the main stage to provide it with maximum spotlighting. Each tower should be able to let the light fall on stage at an angle of 45 degree. Lighting booth is also should not be so far away from the stage.

Ranges of llluminance Type of Task or Activity

20- JO - 50 50-75- 100

100 - 150 - 200

200 - JOO - 500

JOO - 500 - 750

500 - 750 - 1000

750 - 1000 - 1500

' 1000 - 1500- 2000

2000

Outdoor entrance areas Circulation areas. simple orientation. or short temporary visits Rooms not used continuously for working purposes. e.g., industrial

surveillance, storage areas. cloakrooms. entrance halls Tasks with simple visual requirements. e.g .. rough machining lee·

ture theaters Tasks with medium visual requirements. e.g .. medium machining.

offices, control rooms Tasks with demanding visual requirements. e .g .. sewing. inspection

and testing, drawing offices Tasks with difficult visual requirements. e.g .. fine machining and

assembly. color discrimination Tasks with special visual requirements. e .g .. hand engraving.

inspection of very fine work Performance of very exacting visual tasks. e.g .. minute electronic

assembly. surgical procedures

52

ACOUSTIC For auditorium and conference room, it is necessary to provide . sound-reflective swfaces around the speakers' position and to make the rest of the room 's swfaces sound absorbent. In office room, the floor and ceiling can be relied on for sound absorption. Noise level of 50 to 55dB(A) are considered to be the maximum acceptable for casual, close-range communication, such as in the workshop (auditorium). In general office areas, 40dB(A) is recommended, and in conference room and auditorium, the level should be about 30dB(A).

53

RELATIONSHIP OF SPACES

SPACES FOR ADJACENCY/SEPARATION

SPACES Lobby Conference Director Off. General Off. Secre Counter Area Meeting Room Lounge Exhibition Room Ticket Booth Multi-purpose Co Squash Court Fitness Area Locker room

Praying Room Washin Room Phone Booth Food Court Info. Booth Kitchen Dining Area Storage Janitor Restroom

Key: .. () ~ High .

0 Low

' 54

L_

SPACES FOR COMMUNITY/PRIVACY

SPACES ··Lobb

Conference Director Off. General Off. Secre Counter Area

(

Fitness Area Locker room Shower room Stage Lightin Booth Dressin Room Backstage

. Praying Room Washing Room Phone Booth Food Court Info. Booth Kitchen

R tr om

Key: High Low

55

SPACES FOR CONSTRUCTION

H ..... cu -§ 0

u .:a .§ e ~ ~ :l :§1 t cu

~ .... ~ t a ';! ....:I 0 ~ ~ ~ i?;

.~ ·~ ~ cu

~ ·s I 1 ~ ~

i:l.l ~ ! j

! !+::

~ ! :s! 5 "'C

:! 00 g

~ ~ ~ 0 ,g

8 ~ 0 ~ SPACES u z u 0 v.i v.i 0 u Lobbv . . ' · x x rx ~ ronferen~P. x r>< x x Director Off. D< rx x x General Off. IX )< x Secretarv IX x x Counter Area IX x Meeting Room lX rx [X Lounge Ix I>< IX Exhibition Room I>< rx Ticket Booth I)< Multi-purpose Court >< r>< I>< rx

L Squash Court x x Fitness Area x >< x )< Locker room IX Shower room IX r>< x [X Stage [X IX Lighting Booth I>< IX I>< Dressing Room [)< Backstage [)< Praying Room t>< [)< IX >< ex rx Washing Room D< [)< rx Phone Booth rx D< Food Court IX l'X IX Info. Booth IX IX Kitchen rx D< )( [>( ~ rx Dining Area ~ x IX Storage x Janitor lX Restroom ~ ex [)< ~

56

CASE STUDIES

Entrance- perspective

Aerial-perspective

Civic Center, West Hollywood, California.

Architects Site

Program

Solution

Edmund Chang and Roger Sherman The current West Hollywood Park, a 7.75-acre parcel bounded by Santa Monica, San Vincente, and Robertson· Blvds. and Melrose Ave. Design a civic center to serve as symbol of the newly incorporated City of West Hollywood, with a city hall and council chambers (65,000 sq. ft.), civic auditorium (20,000 sq. ft.), library (15,000 sq. ft), and fire station (10,000 sq. ft.), parking and 5.5 acres of open space. Winner of a two-stage open design competition, this scheme organizes the site as a network of civic spaces that are defined by the terracing of the site and by the positioning of buildings in the park. Buildings are designed to address the scale and density of the surrounding neighborhood, while the landscape is treated ai a scale comparable in its expanse to the adjacent Pacific Design Center. The uppermost of four terraces serves as the theater entry court. The auditorium and the city hall face each other across the civic court, while the city hall bisects the site. A monumental portal cut through the city hall connects the civic court to a great lawn, flanked by grooves of palm and ficus trees planted in alternating rows. Beyond this "greensward" rise two observation and

56

lighting towers which illuminate a softball field on the lowest of the four levels, where a re~reation center, pool and fire station are located.

Comments Having to build many different facilities on an absurdly steep foothills, the designers have solved the problem by working with the contours of the site, and they have organized it in such a way that one can experience the whole place. Each piece has a connection to another piece. It has a good relationship with its context and has produced a distinguished piece of architecture. It's an assemblage of buildings that works on every street it borders. Their scheme uses hybrid building shapes to create a splayed and terraced garden, an enclosed civic courtyard, and two glass candle-shaped structures-one is a performance theater, for indoor image-making, and the second is a spiraling glass council chamber that . figuratively projects civic imagery. The city hall itself is a modest three story building­the most undersealed bWlding in the whole scheme. It is an example of an extraordinary civic without being heroic. According to Logan, who is one of the competition juries, " It does a really first-rate job of connecting to all its edges".

Therefore,. in order to produce a distinguished pie~e of architecture, one has to consider how his building will relate to its context whether it is natural or man-made. Every piece of his composition should has a relationship to the another piece.

57

Site Plan

Scale also should plays an important role in his scheme. No building should be monumental or gigantic which could be over dominant to the oth~r building.

~- :-/. .. ... . ..

58

Site Plan

Orland Park Village Center, Orland Park Center, Orland Park, Illinois.

Architect Client Site

Program

Costs

Comments

Perkins and Will, Chicago. Village of Orland Park, Illinois a 12.5-acre site on a 95-acre property owned .by the village and used for playing fields and a nature preserve. A 42,000-sq-ft village hall containing a board room and administrative offices; a 10,800-sq-ft civic center containing an exhibition hall, lobby, and dining room; and a 34,600-sq-ft civic recreation · building containing a gym, a track, locker room, meeting room, daycare, and offices. $10.5 million for the building ($120 per sq.ft); $1.5 for the site work.

Site. The site plan offers an alternate geometry to the curvilinear layouts of the typical suburban development. The three buildings around the water stand in a strictly orthogonal relationship. The site plan also makes manifest the underlying geometry of boundary lines and utility infrastructure that support the romantic landscape of the suburb. Orland Park's village center not only runs counter to the existing order, but reveals aspects of it that are unseen, suppressed. Functions. The clustering of diverse public functions in this one complex, based on a previously commissioned master plan, 1s

59

IO TRACK

thus unusual and enlightened. The most prominent building is the village hall, which houses the govenunent offices and board room. Adjacent to it is a civic center, containing exhibition space and meeting rooms. An auditorium is planned to occupy a site across the quadrangle from the village hall.

I COUNCIL CHAMBl!R 2WBBY 11 Ml!l!TING PAV.

Architecture. These three structures appear to bear little in the way of political symbolism. There is no Classical ornament, no figural sculpture, no temple front. The architecture here is intentionally non monumental. The village hall, for example, · has a symmetrical front, but that facade is

3FINANCI! \

) 12 DAYCARl!Cl!NTl!R

4ADMINS. SLAW

6 l!XHIBITION HALL 7 .AUDITORIUM 8 OUTDOOR AMPHI 9 DINING PAVILION

TOQrllS occul'J mcular pauilions; lobbUs art all columnar halls. Tiu site plan shuws the orthogonal geometry of tht buildings and spaces overlaying the irrtgular form of the laU. Tht spatial defi­nition of the compkx conlrasls with tht object buildings along the nearby commncial strip. Tht ar­chitects ha?M propostd com1tcti11g tht village ctnler to tht strip u•ith a widn1ed rotry road jlanlitd by rttail and offict buildi11gs. biit tht villagt of Orland Park has wt to act on tltt ithu. ·

turned 90 degrees to the approach road and parking lot, so that most visitors enter through a slot in the side wall.

Therefore, this project shows the Oexibilty of using geometrical layout in designing. It also shows a diverse public functions in one complex. In its overall composition, no monumental element has been introduced. The facade of main building is facing to the approach road in which it help to emphasize the major entrance of this entire complex.

60

CHAPTER IV: -SUMMARY OF SPACES

SUMMARY OF SPACES

SPACE SUMMARY

------------------------------------------------------------------~---------PRIMARY SPACES

AUDITORIUM

PRIVATE : -Office -Dressing Room -Backstage -Stage -Lighting Booth -Storage -Workshop -Lounge -Restroom -Janitor

PUBLIC: -Lobby -Ticket Booth -Seating -Restroom

N.S.F U.S.F G.S.F

A.S.F

150 250 900

1000 200 300 600 250 100 50

1500 100

9000 200

14600 14600 x 1.3 = 18980 18980 x 1.2 = 22776

PG#

45

61

-------------------------------------------------------------------------------PRIMARY SPACES A.S.F PG#

-------------------------------------------------------------------------------CAFETERIA

PRIVATE : -Office -Kitchen/Preparation -Storage/Refrigerator -Dishroom -Garbage-room -Serving Area -Storage -Janitor

PUBLIC: -Snack Bar -Dining: Indoor

Outdoor -Counter -Restroom

N.S.F U.S.F G.S.F

100 500 200 150 100 150 100 50

500 1600 500 100 200

4250 4250 x 1.3 = 5525 5525 x 1.2 = 6630

47

62

PRIMARY SPACES A.S.F PG#

GYMNASIUM 48

PRIVATE: -Office 150 -Storage 200 -Janitor 50

PUBLIC: -Multi-purpose Court ( 60ft x 60ft) 3600 -Squash Court (2@25ft x 45ft) 2250 -Body Fitness· 525 -Locker/Changing Room 500 -Shower Room 200 -Seating 1000 -Restroom (2@ lOOsq.ft) 200

N.S.F 8675 U.S.F 8675 x 1.3 = 11278 G.S.F 11278 x 1.2 = 13533

63

-------------------------------------------------------------------------------PRIMARY SPACES

GALLERY

PRIVATE: -Office -Storage

PUBLIC: -Exhibition Room -Information Booth

N.S.F U.S.F G.S.F

CONFERENCE

PRIVATE: -Storage

PUBLIC: -Conference Room

N.S.F U.S.F G.S.F

1450 x 1.3 =

1495 x 1.2 =

900 x 1.3 =

1170 x 1.2 =

A.S.F

150 200

1000 100

1450 1885 1794

100

800

900 1170 1404

PG#

49

49

---------------------~----------------------------------~--------------------

64

PRlMARY SPACES

OUTDOOR

PUBLIC : -Court-yard/Plaza

N.S.F U.S.F G.S.F

LOBBY

PUBLIC -Lobby -Telephone Booth -Restroom

5000 x 1.3 =

6500 x 1.2 =

( 2@ 100) =

A.S.F

5000

5000 6500 7800

1600 50

200

SEMI-PRlVATE/PUBLIC -Information Center/Receptionist 150

N.S.F U.S.F G.S.F

2000 2000 x 1.3 = 2600 2600 x 1.2 = 3120

PG#

50

50

-------------------------------------------------------------------------------

65

PRIMARY SPACES

PRAYING ROOM

PUBLIC: -Praying room -Washroom -Restroom

N.S.F U.S.F G.S.F

A.S.F

500 100 100

700 700 x 1.3 = 910 910 x 1.2 = 1092

PG #

50

66

-------------------------------------------------------------------------------SECONDARY SPACE A.S.F PG#

-----------------------------------------------------------------..... ------------ADMINISTRATION PRIVATE -Director Office -Assistant Director Office -General Office -Secretary -Security Office -Public Relation -Meeting Room -Kitchen

SEMI-PRIVATE/PUBLIC -Lounge -Restroom

N.S.F. U.S.F G.S.F

250 200 400 150 250 200 350 100

300 150

2350 2350 x 1.3 = 3055 3055 x 1.2 = 3666

MAINTENANCE/SERVICE PRIVATE -Office -Storage/Janitor

N.S.F U.S.F G.S.F

350 x 1.3 =

455 x 1.2 =

150 200

350 455 546

50

51

67

SUPPORTING SPACES A.S.F ~ #

----------------------~-----~-~----~-------~-------""?'\"~;""~-----~----PARKING l~\v\/o 1("') 1 \)W. \..... 51

~>0~ '· /' ~~ (. PRIVATE V ' -Under-ground 10@ 9ft x 18ft = 1620 -Ground-level 10@ 9ft x 18ft = 1620

PUBLIC -Under-ground 187@ 9ft x 18ft = 30294 -Ground-level 137@ 9ft x 18ft = 22194

HANDICAPPED -Under-ground 3@ 13ft x 18ft = 702 -Ground-level 3@ 13ft x 18-ft = 702

N.S.F 75132 U.S.F 75132 x 1.3 74272 G.S.F 59740 x 1.2 89126

68

GRANDSU1\1MARY:

SPACES

AUDITORIUM CAFETERIA GYMNASIUM GALLERY CONFERENCE OUTDOOR LOBBY PRAYING ROOM ADMINISTRATION MAINTENANCE/SERVICE PARKING (Underground)

TOTAL

GSF

22776 6630

13533 1794 1404 7800 3120 1092 3666 546

38245

100666

#OF USERS

960 332 883 213 50

1215 100 50 15 10

1000

4828

69

CHAPTERV: ECONOMIC ANALYSIS -BUILDING COSTS -PROJECT COSTS & INCOME -ECONOMIC JUSTIFICATION & METHODS

I f

BUILDING COSTS

BUILDING COSTS• : 1) AUDITORIUM

GSF COST/SQFT TOTAL COST

2) CAFETERIA GSF COST/SQFT TOTAL COST

3) GYMNASIUM GSF COST/SQFT TOTAL COST

4)GALLERY GSF COST/SQFT TOTAL COST

~-::·T ..

. q;J\L)f;; t

=22,776/ = $78.30 = 22,776 x $78.30 = $1,783,360.80

= 6,630 = $92.60 = 6,630 x $92.60 = $613,638.00

= 13,533 = $60.30 = 13,533 x $60.30 = $816,039.00

= 1,794 = $40.50 = 1,794 x $40.50 = $72,657.00

• Cost per sq. ft. is based on Malaysian currency: M$2.50 = US$1.00

70

5) CONFERENCE GSF COST/SQFT TOTAL COST

6) LOBBY GSF COST/SQFT TOTAL COST

7) PRAYING ROOM GSF COST/SQFT TOTAL COST

8) ADMINISTRATION GSF COST/SQFf TOTAL COST

= 1,404 = $84.10 = 1,404 x $84.10 = $118,076.40

= 3,120 \ = $40.50 ____.,,

= 3, 120 x $40.50 " = $126,360.00

= 1,092 ~ = $35.00 ...--­= 1,092 x $35.00 = $38,220.00

= 3,666 = $41.30 = 3,666 x $41.30 = $151,405.00

9) MAINTENANCE/SERVICE GSF = 546 COST/SQFT = $30.00 TOT AL COST = 546 x $30.00

= $16,380.00

\

71

10) PARKING (Underground) GSF = 38,245 COST/SQFT = $42.00 TOT AL COST = 38,245 x $42.00

= $1,606,290.00

BUILDING COST SUMMARY:

1) AUDITORIUM ... .... .. ........................ . 2) CAFETERIA ........... .. ......... .......... ... .. . 3) GYMNASIUM .... ...... ................ ....... . 4) GALLERY .... ... ....................... .......... . 5) CONFERENCE ............. .. .............. ... .. 6) LOBBY .. ... ......... .. ... ......... ........... ..... .. 7) PRAYING ROOM .... .. ...................... . 8) ADMINISTRATION ..... .................. .. . 9) MAINTENANCE/SERVICE ......... .... . 10) PARKING .......... ....... .. ............ ...... .... .

$1,783,360.00 $613,638.00 $816,039.00

$72,657.00 $118,076.40 $126,360.00

$38,220.00 $151,405.00

$16,380.00 $1 ,606,290.00

--------------------------------------__.___..~~~·-----------------------TOTAL ...... ..... .. .. .... .. ..... .................... . $10,865, 126.40

------------------------

72

PROJECT COSTS & INCOME

PROJECT COSTS:

1) BUILDING COST 2) LAND VALUE (Paid by govt.) 3) SITE WORK (5% of bldg. cost) 4) LOAN COST (Not applicable) 5) CONTINGENCY COST

(5% of bldg. cost)

TOTAL PROJECT COST ........ .. ..... .

PROJECT INCOME:

$10,865, 126.40 $0.00

$543,256.30 $0.00

$543,256.30

$11,951,639.00

GROSS SQUARE FOOTAGE (TOT AL GSF) X RENT VALUE ($/SFNEAR)

TOTALGSF RENT VALUE PROJECT INCOME

= 100,666 SF = $12.00/SFNEAR = 100,666 x $12.00/SFNEAR = $1,207,992.00

TOTAL PROJECT COST = $11,951,639.00 TOTAL PROJECT INCOME = $1,207,992.00/YEAR

73

ECONOMIC JUSTIFICATION & METHODS

ECONOMIC JUSTIFICATION AND METHODS:

TOTAL GSF = 100,666 SQFT PROJECT COST = $11,951,639.00 PROJECT INCOME = $ 1,207 ,992.00

PAYBACK= PROJECT COST I PROJECT INCOME = $11,951,639.00 I $1,207,992.00

=9.89YEARS

=IO YEARS.

74

BIBLIOGRAPHY

" .

,.

BIBLIOGRAPHY

1- Kappraff, Jay. Connections: The Geometric Bridge Between Art and Science, McGraw-Hill, Inc., New York, 1991.

2- Stevens, Garry. The Reasoning Architect: Mathematics and Science in Design, McGraw-Hill Publishing Co., New York, 1990.

3- Ching, Francis D. K. Architecture: Form. Space. and ~.Van Nostrand Reinhold Co., New York, 1979.

4- Critchlow, Keith. Order in Space, The Viking Press, Inc., New York, 1970.

5- Licklider, Heath. Architectural Scale, George Braziller, Inc., 1966.

6- Yuan, Lim Jee. A Comparison of the Traditional Malay House and the Modem Housing-Estate House, lnstitut Masyarakat, Malaysia, 1981.

7- Wylie Jr., C. R. Foundations of Geometry, McGraw-Hill, Inc., San Francisco, 1964.

8- Butler, George D. Introduction to Community Recreation, National Recreation Association, Inc., New York, 1968.

9- Raskin, Eugene. Architecturally Speaking, Reinhold Publishing Corporation, New York, 1954.

76

10- Stephens, Suzanne. Building the New Museum, The Architectural League of New York, New York, 1986.

11- Selangor State Development Corporation. Selangor. Malaysia, Selangor State Development Corporation, Selangor, Malaysia, 1990.

77