Sultan Abdul Aziz Royal Gallery Analysis

PROJECT:
ARCHITECTURE HERITAGE BUILDING
ANALYSIS
Architecture Culture and History 2 [ ARC 1323 ]

SULTAN ABDUL AZIZ
ROYAL GALLERY

Surayyn Selvan | 0309818
Sharifah Diyana | 1006AH78373
Soh You Shing | 0308010
Meera Nazreen | 0309630

CONTENT PAGE

1.0 INTRODUCTION
pg 1

2.0 CONTEXTUAL CONDITION
pg 9

3.0 BUILDING INVENTORY
pg 17

4.0 CONCLUSION
pg 24

5.0 REFERENCE LIST
pg 25
Sultan Abdul Aziz Royal Gallery, Klang | ARC 1323 | i !

1.0 INTRODUCTION
1.1 KLANG!
3
4

5

6

1

Some of the important buildings located near The Royal Gallery.

Year of construction: 1909
Function: - Initially a British Administration office
- Later used as a Japanese Military
Headquarters
- Was used a the Royal Malaysian Police
Contingent
- Now functions as Sultan Abdul Aziz’s
Royal Gallery
1. The Royal Gallery, Klang

Function: - Built to replace the Bukit Kuda train
station
- Functions as a stop for the Kuala Lumpur
commuter lines (KTM)
2. Klang Railway Station

Sultan Abdul Aziz Royal Gallery, Klang | ARC 1323 | 1!

1.0 INTRODUCTION
1.1 KLANG!

Function: - Protects the town from sudden fires
- Underwent renovation to keep up with the
modern times whilst maintaining its
original look

3. Klang Fire Station

Function: - Place of worship for the Indian Muslim
population which is one of the major
communities in Klang

4. Indian Muslim Mosque

Year of construction: Function: - Hosts an abundant number of textile
shops, Indian cuisine restaurants and
goldsmiths

5. Little India Klang

Sultan Abdul Aziz Royal Gallery, Klang | ARC 1323 | 2 !

1.0 INTRODUCTION
1.2 BUILDING DESCRIPTION!
Klang is known to be the Royal town of Selangor, filled with historical buildings and
streets. Recently, a project known as Klang’s Heritage Walk was implemented to conserve
the historical buildings. One of these building’s and one of Klang’s top attractions is the
Sultan Abdul Aziz Royal Gallery that is located nearby Klang Railway Station and beside
Little India.
The Royal Gallery is located in the Sultan
Suleiman Building, which was beautifully designed by a
well-known architect back then, Arthur B. Hubback in the
year 1909 during the British colonization (Malaysia
Traveller, 2011). He worked alongside Public Works
Department of the Federated Malay States on designing
the Sultan Suleiman Building (Oxford Dictionary of
National Biography, 2004). He is also recognized in
designing some of his previous works such as the Kuala
Lumpur Railway Station, Masjid Jamek Mosque and
Carcosa City Hall with a Neo-classical essence (Muthiah,

i) A.B. Hubback

2012).
The building itself had gone through multiple changes of function since it was
completed. It was firstly used as a British Administration Centre, and then as a Japanese
Military Headquarters during the Japanese occupation (Malaysia Traveller, 2011). After the
war had subsided, the building was passed on over to the Klang District Office which dealt
mostly with land matters of the area. From 1973 onwards, it was known to be the Royal
Malaysian Police Contingent. The Klang Municipal Council then made it their office. Few
years later, Sultan Sharafuddin Idris Shah decided to house the Royal Gallery to
commemorate his father’s legacy Sultan Salahuddin Abdul Aziz Shah, and hence the
gallery was named after him (Zureuel, 2008). The gallery provides a fascinating glimpse
into the history of the Selangor sultanate and the life of the eighth Sultan ( Zureuel, 2008).


1.0 INTRODUCTION

Roof plan of the site

West elevation


1.0 INTRODUCTION

North Elevation

North Elevation

South Elevation


1.0 INTRODUCTION

Ground Floor Plan

First Floor Plan


1.0 INTRODUCTION
1.3 BUILDING CONCEPT!

The Sultan Abdul Aziz Royal Gallery
was also called the ‘White House’ by the local
people (Muthiah, 2012). This was generally
due to the exterior colonial white facade of the
building which is relatively similar to the White
House in United States (Zureuel, 2008). The
building was designed by Arthur B. Hubback
A sketch of the building before renovation

with the design concept of a hybrid Neoclassical and British Colonial architecture.

The exterior and interior design approach was mostly based on Roman architecture. One
of the visible Roman characteristics was the use of columns throughout the building. The
windows and doors are the typical British Colonial styles.

ii) Sultan Alauddin’s Palace in Banting

Upon further research, it can be seen that Sultan Abdul Aziz’s great grandfather,
Sultan Alauddin Shah’s Palace in Banting had a similar concept resembling the western
architectural style (Ismail, 2003). It has the same building elements in terms of the
principles of design as well as the characteristics Neo classical architecture has.


1.0 INTRODUCTION
1.3 BUILDING CONCEPT!
Before the Sultan Suleiman Building
housed the gallery, it was renovated with the
support of the State Government and opened
to the public with the building renamed, The
Sultan Abdul Aziz Royal Gallery (Zanna,
2008). The conservation and renovation
works on the building began in 2005 and
were completed late of 2007 (Zanna, 2008).

A sketch of the building after renovation

The refurbishment and conversion
works were conducted by Architect Laurent
Lim, whom was personally approached by
the Sultan himself, to join a design
competition to renovate and refurbish the
building, in which he won. (Ar. Lim,
personal communication, 2013). Laurent
Lim and his team did an amazing job in
preserving and maintaining the building
iii) Architect Laurent Lim

design and concept to its original that was
done by Arthur B. Hubback. The entire
project valued around RM3, 000, 000
(Laurent Lim Architect, 2006).


2.1 PHYSICAL CONDITION!
The Sultan Abdul Aziz Royal Gallery is a neo-classical building which was inspired
by the Western Classical style. Initially, the building consisted of three wings or sides,
connected to compose a ‘U’ shaped building. The north side of the building is situated on
the left side while the south side of the building is placed on the opposite of it. The western
part of the building is actually the largest front facing façade of the whole of the gallery.
Since the building was constructed
beautifully, with its symmetrical Westen
derived elements,, it was agreed that it was
to be kept that way in order to not destroy
the pure beauty of it. However, the need to
maintain the building is a must. The age of
the building is the main reason maintenance
is crucial. Being from the early 1900’s, there
tend to be problems which affect the building
such as water seepage, leakage, damaged
Condition of the plastered ceiling
before renovation

floor tiles and rain water pipes, as well as
parts of the original ceiling soffit on certain
area of the verandah were exposed.

Apart from that, the broken and
chipped parts of the roof tiles were replaced
with those which are the identical to the
original piece. Besides the roof tiles, the roof
trusses were repaired too. This is because it
had rotted over the past years. In addition to
the damages mentioned earlier, parts of the
roofs which leaked have also been replaced
with a new and steady components.
The chipped L-angled roof tiles

In the process of doing so, some plants and roots that grew over the years on all parts of
the building had been removed to make the building look new and clean.

The walls of this building were also
reconditioned. The brick walls were
refurbished in order to give out a better
image for the gallery. As for the old plastered
walls, they were plastered again with limebased plaster. Some of the walls were
removed or added as partitions. This is to
supply heat resistance along the verandah
as well as the front of the building itself.

The worn-out plastered walls of the building

In addition to that, there were
changes made to the doors and windows
too. Those that were not consisting of the
original designs had been removed. They
were then replaced by the ones that
corresponded with the original designs.
Besides the components which do not
have the original designs, doors and
The openings in the building
before renovation

windows which were damaged have been
restored, repainted or varnished.

As for the glass windows, UV films were installed at the exhibition area. It was also
installed to the entrance door in order to avoid and decrease the heat and light exposure.
The floor tiles on the ground floor
were all removed as they proposed new floor
finishes which is more suitable for the interior
of the gallery. As for the first floor, only
restoration and certain replacements were
made to the wooden floor boards.

The cracked floor tiles in the building hallway

The last renovation component that
occurred to the building itself was the
changes that were made on the exterior
façade, which was the restoration of the
wooden louvres by replacing the woods and
also repainting them. The columns were
restored too. All of the cracks found on the
columns were restored to match the existing
The cracks at the base of the columns

design which we can see currently.

Although there were no any additions or demolition to any parts of the Royal
Gallery, there is one addition to the site of where the building is located. The old garage
situated on the east part of the site was demolished and was replaced by a new building
which functions as the Administrative Building (AR. Lim, 2007).

The garage at the back of the site was renovated into the gallery’s administrative block.

New west elevation of the building with the wooden louvers

2.2 SOCIAL & CULTURAL CONTEXT!
10 9

8 7 6 5

4

3
2

1

No

Name of business

Type of Business

1

Klinik Shape

Clinic

2

FAMISTA Trading

Furniture Shop

3

Kedai Emas Hongke

Goldsmith

4

Kopitiam Chong Kok

Coffee Shop

5

Kedai Emas Win Sen

Goldsmith

6

Kedai Jam Hwa Sing

Clock Shop

7

Syarikat Adik Beradik Wah Seng

Clock Shop

8

Pusat Timbang dan Sukat Wing
Lee Seong

Weights and Scales
Trading

9

Kedai Emas Kee Cheong

Goldsmith

10

Syarikat Yen Woh

Chinese Herbal Shop


In order to identify the social and cultural context of The Royal Gallery, a survey
was carried out in the area to understand which business contributes the most to the
gallery. Through the information gathered we can understand the importance of the
building, socially and culturally.

1. KLINIK SHAPE
The nurses working in the clinic were available at the time and they had stated that they
are aware of the function of the gallery but they’ve never been inside. When asked why,
they responded by saying that they haven’t had the time.

2. FAMISTA TRADING
The worker in the shop was unaware of the building’s presence as well as it’s function.
The shop has had no relationship with the building whatsoever.

3. KEDAI EMAS HONGKE
The owners of the shops were aware of the building but like many of the people, they saw
no reason to visit the gallery. When asked if they had any relationship with the gallery,
they said none whatsoever.

4. KOPITIAM CHONG KOK
The owner of the shop was aware of the gallery’s function and the owner has only been in
the building a few times back when it was the Klang Municipal Council building. The
business has had no relationship with the gallery.

5. KEDAI EMAS WIN SEN
The owners of the shop were aware of the building but have never been inside. Much like
the previous businesses, the shop has no relationship with the gallery.


6. KEDAI JAM HWA SING
The owners were very well informed of the building. However when asked if they have
been inside the building, they said that they haven’t had the time to visit the gallery. The
business is also unrelated to the gallery.

7. SYARIKAT ADIK BERADIK WAH SENG
The owner was very well informed of the building as he has been offering his services to
the gallery. He helps to maintain the Sultan’s collection of watches and clocks. This was
the most relevant shop in response to the gallery.

8. PUSAT TIMBANG DAN SUKAT WING LEE SEONG
The owner was unaware of the building as well as its function.

9. KEDAI EMAS KEE CHEONG
The owners were aware of the building but are unaware of its function. Thus, they have
never been inside the gallery.
10. SYARIKAT YEN WHO
The owners were unaware of the building as well as its function.


The construction of this gallery has had many different views and perspective by
the society in Klang. In the early years, the residents of Klang have a highly positive view
on it. They very much appreciate the building whether it was the physical look itself as well
as the purpose of why the building was being built in the first place. However those
opinions changed over the years especially in this modern world where people under
appreciate the significance of such historical buildings.
Some of the locals do not even know that such beautiful building exist in their
hometown while only a few know about the building’s history and the purpose of its
existence. This can be seen through the brief survey that was carried out. Despite all that,
there are locals who do know and still do appreciate the beauty of this building. Mostly the
watch and clock shop business owners. This is because the Sultan had a wide collected
of clocks and watched in the gallery that all need intricate maintainence work and what
better way to seek for help then from the locals themselves. It makes them proud to have
a meaningful and historical structure still strongly erected in the centre of their hometown
and it gives them a sense of accomplishment to contribute to such a historical building.
Ocassionally, The building brings in tourists from all over the place such as sailors who
dock at Port Klang.


2.3 POLITICAL CONTEXT!

iv) Sultan Sharaffudin Idris Shah

v) Sultan Abdul Aziz Shah

The current building of Sultan Abdul Aziz Royal Gallery was initially used as the
British administrative centre when it was first built in 1909. However, during the World War 2
when the Japanese invaded our land, this particular building acted as the Japanese army
base. Soon after the war ended, the army base was used as an office. It was to attend to the
land administration matters in Klang. During 1973 up until 1985, the building was being
occupied by the Royal Malaysian Police Contingent of Selangor. The changes occurred right
after the previous office was relocated to Jalan Kota. Two years later, Klang Municipal
Council had decided to use the building as their office until the year 2002. Unfortunately, the
building was abandoned for several years later due to the relocation of the council. That was
until his Royal Highness, Sultan Sharafuddin Idris Shah Alhaj, turned it into a gallery to
commemorate his late father. Currently, the building functions as a galerry named after the
late sultan, Sultan Abdul Aziz.


3.1 FAÇADE!

DETAILS
-  Masonry wall coated in plaster, finished in Kansai Pure White 001
-  Main lobby flooring consists of white Ipoh marble and Nero Galaxy
marble to give a regal appearance
-  Wings extending towards the side porticos are made of pebble
wash finish with groove lines at 1200mm2
-  Lined with colonnades of the Roman Classical Order
-  Openings are intersected with wooden louvers for shading and
weather protection
DESCRIPTION
Due to it being constructed by the British, the building was based off
neoclassical architecture. Much like most Neo-classical architecture,
the façade of this building is symmetrical in it’s design. The central
portico is the main focus of the building with it being the tallest of the
porticos and functions as the Grand Entrance to the space inside. The
building is painted white to resemble the white washed brick walls that
are common in neoclassical architecture.


3.2 PEDIMENT AND ENTABLATURE!

Pediment
Entablature
Columns
Base

DETAILS
-  Constructed out of bricks and coated in plaster and finished in
Kansai Pure White 001 paint
-  Contains triangular shaped and a rectangular shaped wooden
louvers to allow ventilation into the building
DESCRIPTION
Based off Roman temples, the pediment is a triangular shaped gable
on a horizontal cornice that is support by colonnades. The pediment is
extruded from the main building to further enhance it’s focus. There are
no major ornamentations on the tympanum of the pediment as
neoclassical architecture buildings do not have exaggerated
ornaments.


3.3 COLUMNS!

DETAILS
-  Columns are made out of precast concrete in the High Colonial
Indian Order also known as the Roman Tuscan Doric Order
-  Coated in the same Kansai Pure White 001 paint
-  The capitals of the columns are ornamented in repeated circular
patterns
-  The shafts of the columns, like the Roman Tuscan, are bare and
plain
-  The columns are rested on simple cuboidal shaped bases
DESCRIPTION
The columns used in the main building are used as structural support
as well as to enhance the aesthetic view of the building. The repetition
of columns give the building a sense of order and balance. Similar to
Greek temples, “entasis” was used in visually correcting the
appearance of the columns. The corners of the porticos were visually
strengthened by groups of three columns. In contrast to the main
building, the administration building used the columns as
ornamentation instead of structural support much like in Michelangelo’s
Laurentian Library.

3.3 COLUMNS!

COLUMN DETAILS
The columns used in the building were of a Roman Tuscan and
Roman Doric combination. The shaft of the column is based of the
Roman Tuscan whilst the capital of the column is based of an
Ornamental Roman Doric column (“Roman Column”, n.d.).
ENTASIS
According to Penrose (1888, p. 39), it is the ‘swelling given to a column
in the middle parts of the shaft for the purpose of correcting a
disagreeable optical illusion, which is found to give an attenuated
appearance to columns formed with straight sides, and to cause their
outlines to seem concave instead of straight’.


3.4 COURTYARD!

DETAILS
-  The pathway consist of gravel laid on a concrete layer
-  Carpet grass was used to add greenery to the landscape
-  2 Imperial Guardian Lions made out of marble face the back of the
main building
-  Low leveled shrubs and minimal trees were used as part of the
landscape
-  The water feature lining the main building contains pots filled with
water and lotus plants
DESCRIPTION
The courtyard was added to enhance the design of the building. Like
most British architecture, the landscaping played a huge influence in
the design of a building. Very minimal foliage and plants were used so
that the building would not be overwhelmed by greenery and will be
appreciated for it’s aesthetics. The garden contained eastern
influences such as the guardian lions to add an Asian essence to the
space. The combination of the gravel, grass and water feature created
a tranquil space as a sense of repose from exploring the gallery.

3.5 CENTRAL LOBBY!

DETAILS
-  Accessed through an arch made out of precast concrete and
finished in the same Kansai Pure White 001 paint
-  Double Quarter Landing staircase made out of Ipoh white marble
and Nero Galaxy
-  Balustrades are made out of precast concrete and finished in white
paint
-  A glass chandelier hangs over the space
-  An elevator for the handicapped is fitted near the staircase
DESCRIPTION
The usage of marble and white paint gives a sense of grandeur to the
space. Because it it the first space you enter, the intention was to
impress the user. The reflection of the staircase and walls on the
marble makes the space looks bigger than it is.


3.6 ARCHED WINDOWS!

DETAILS
-  Wooden frames treated with anti-fungal
-  Frames are coated in weather resistant white paint
-  Glass panels are tinted to prevent UV light from entering the
building and also to prevent visibility from the outside
DESCRIPTION
The interior spaces are very somber and regal thus coming off as very
dark. These windows were located near the stair well accessing the
upper floors. Whilst allowing light to enter the space, it gives a sense of
enlightenment upon the users. The windows are arranged in an
organized manner when viewed from the exterior of the building.


4.0 CONCLUSION
The Royal Klang Gallery is, without a doubt, one of the most symbolic buildings in
Klang. First constructed and designed by the British, architecturally, it symbolizes our
diverse and beautiful nation. The British were one of the many reasons Malaysia has one
of the most colourful cultures in the world. Having undergone several function changes,
this also proves that the building is able to cope with the changing of the times. Politically,
the building is a royal symbol to Sultan Abdul Aziz as well as Sultan Sharaffudin Shah.
This is because the building functions as a time capsule for the late Sultan Abdul Aziz’s
life, preserving his past.

The effort taken to refurbish the building proves initiatives were taken to ensure
that historical buildings are in their top form for our future generation. During the
refurbishment, the gallery helped form a close bond between the architect, Ar. Laurent
Lim, and Sultan Sharaffudin Shah. The architect had to dwell into the Sultan’s late father’s
life and this opened a door in his heart for the Royal family.

However, despite all these efforts to preserve our culture and history the building
will remain just a building if no effort is taken from a citizen’s point of view. Through the
survey, it can be seen that very little awareness is known about the building. The fact that
some of the residents are unaware of the gallery is unfortunate. All these initiatives and
efforts taken would all be in vain if we do not change our mindset. We should embrace
buidling’s like this as they hold many keys to unlocking our nations culture. Hopefully, the
Royal Klang Gallery will be loved for it’s architecture and symbolism somewhere in the
near future.


5.0 REFERENCE LIST
INFORMATION
AR. A. G. Lim, L. (2007). The making of galeri diraja sultan abdul aziz (Powerpoint slides).
Ismail, A. S., & Tajuddin Mohd Rasdi, P. M. (2003). Traditional Muslim Architecture in
Malaysia (Volume 2 ed.). Kuala Lumpur: Pusat Kaji Alam Bina Dunia Melayu.
Laurent Lim Architect. (2006). Ar. Laurent A. G. Lim. Retrieved from http://
www.llarchitect.com.my/profileLaurent.html
Malaysia Traveller. (2011). Klang Walking Tour. Retrieved from
http://www.malaysia-traveller.com/klang-walking-tour.html
Muthiah, W. (2012). Steeped in history. The Star
Oxford Dictionary of National Biography. (2004). Hubback, Arthur Benison. Retrieved from
http://www.oxforddnb.com/templates/article.jsp?articleid=96296&back=
Palmer, A. L. (2011). Historical Dictionary of Neoclassical Art and Architecture. United
Kingdom: Scarecrow Press, Inc.
Penrose, F. C. (1888). An Investigation of the Principles of Athenian Architecture; or, The
Results of a Survey Conducted Chiefly with Reference to the Optical Refinements
Exhibited in the Construction of the Ancient Buildings at Athens. Macmillan,
London, UK.
Roman Columns. (n.d.). Roman Columns. Retrieved October 29, 2013, from http://
www.tribunesandtriumphs.org/roman-architecture/roman-columns.htm
Zanna, E. S. (2008). A Royal Life Remembered. New Straits Times
Zureuel. (2008). Sultan Abdul Aziz Royal Gallery. Retrieved from
http://zureuel.blogspot.com/2008/04/sultan-abdul-aziz-royal-gallery.html

PICTURES
i) http://www.oxforddnb.com/templates/article.jsp?articleid=96296&back=
ii) Traditional Muslim Architecture in Malaysia (Volume 2 ed.).
iii) http://www.llarchitect.com.my/profileLaurent.html
iv) http://www.mdhs.gov.my/image/
v) http://upload.wikimedia.org/wikipedia/en/1/1a/Sultan_Salahuddin_of_Selangor.JPG


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