Picc theorizing architecture finalized

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Theories of Architecture and Urbanism [ARC 3233]
PROJECT: Analysing and Theorizing Architecture
Putrajaya International Convention Centre
NAME: NG YOU SHENG
STUDENT ID: 0309997
LECTURER: Ms. Ida Mazlan
SUBMISSION DATE: 22-06-2015

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Table of Contents Page
1.0 Introduction …………………………………………………………………………………………………….. 2 – 3
2.0 Theory on Architecture ……………………………………………………………………………………………….. 4 – 5
3.0 External Contributing Factors
3.1 Geographical Factor ……………………………………………………………………………………….. 6 – 7
3.2 Climatic Factor ……………………………………………………………………………………………….. 8 – 9
4.0 Conclusion …………………………………………………………………………………………………………………… 10
5.0 References ………………………………………………………………………………………………………………….. 11

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1.0 Introduction
Putrajaya International Convention Centre by Hijjas Kasturi Associates
Putrajaya is a Garden City and the federal administrative capital of Malaysia, located
20 km south of the country capital Kuala Lumpur. Around 40% of Putrajaya is natural,
the greenery and botanical gardens are located across the landscape along with
large wetlands and lakes.
The city was developed in 1995 referring to the theory of ‘The Three Magnets from
Garden Cities of To-Morrow by Howard Ebenezer’, coming with the advance
technology today, synchronizing with the natural environment, built environment and
the social community. The concept of Howard’s theory is to incorporate the
advantages of the traditional country side together with the advantages of the town.
A new kind of settlement called ‘Town-Country’ was proposed to settle down the
essence of town and country, an ideal place where the human society and the
beauty of nature can be enjoyed together.
Diagram 1.1 The Three Magnets

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The Putrajaya International Convention Centre designed by Hijjas Kasturi Associates,
it is a significant building located along the central axis of Putrajaya, it is a mini
garden city that located in the big garden city since the concept of the building is to
preserve the original landscape of the site as public parks and garden while the
architecture footprint only takes up very little land area. The design of PICC allowing
the users to appreciate both the architecture and the nature, the spaces are
surrounded by greeneries and welcoming the natural elements to enhance the
spatial experience.
Hijjas Kasturi was born in Singapore in 1936, studied at the University of Adelaide
and the University of Melbourne (Bachelor of Architecture 1965, Graduate Diploma
of Town and Regional Planning 1966). Hijjas Kasturi then moved to Malaysia in 1967
where he founded the School of Art and Architecture at MARA Institute of
Technology. The practice of Hijjas Kasturi Associates was formed in 1997. Hijjas
involved in designing some well known buildings in Malaysia like Menara Maybank in
1989, Tabung Haji in 1986, Putrajaya International Convention Centre in 2003 and
etc.
Diagram 1.2 Portrait of Hijjas Kasturi

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2.0 Theory on Architecture
Theory: Semiotics
The Putrajaya International Convention Centre (PICC) was designed to host the 10th
OIC summit, it is a convention centre located in Precinct 5 of the Federal
Administration Centre of Putrajaya. Multiple application of theory of semiotics in
architecture can be found in the building. The PICC is representing Putrajaya and
Malaysia as a sign that it is on the track of moving towards a developed country, by
showing the advance technology of engineering used in the building such a
complicated and high engineering skills required structure. Apart from that, being
able to complete such a complicated project within 22months and hand over on time
and on budget has also shown the capability of local contractors and engineers.
Other than the structures, PICC also installed some the of most advanced facilities
such as fibre optic communication systems, satellite video conferencing,
broadcasting & television studio, data centre, audio visual equipment and etc. It is
indirectly conveying a message to the users that Malaysia is a country that has the
advance technology while the users are utilizing the facilities available in the building.
The form of PICC is circular, representing the strongest form of symbolic unity.
Interprets a greater level of unity among the differing cultures in Malaysia. By
integrating the theory of semiotics, Hijjas’s wanted to express the circular form of
PICC in the centre of the site to mimic the shape of traditional Malay warrior belt
buckle, the building is sited in the middle of the buckle, representing the jewellery on
the belt. In South East Asia, jewellery is a symbolism of wealth. In other words, the
client intended to showcase the wealth of the country. Nevertheless it is in a low
profile kind of presentation because this can only be seen in the aerial view, plus not
all people know about the meaning behind a warrior belt buckle.
Diagram 2.1 The Malay Traditional Warrior Belt Buckle

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However, the shape of PICC has another representation which is the shape of ‘WAU’,
a traditional Malay kite widely known in Malaysia. The semiotics of the building as a
signifier to WAU, reminds people of the rich culture in Malaysia, also reminds people
that the PICC is representing the country and the place as a landmark building, so
people will automatically think of Malaysia and Putrajaya when they see the building.
Other than that, the interior spaces of the conference rooms are decorated with the
flora and fauna of Malaysia. The walls and carpets are also implemented with the
patterns of local arts and crafts such as ‘songket’ and ‘mengkuang’ designs.
Diagram 2.1 Wau Bulan
Moreover, to make PICC a nationally significant architecture standing at the same
line with Petronas Twin Towers, Kuala Lumpur International Airport and etc. is the
aim of the client, by using the completion of this project as a symbol of successful
growing modern Islamic Nation. The PICC is also being marked as one key step
towards the vision 2020, the futuristic building technology is representing the era of
Malaysian professionals has come and It is projected as a building that symbolised
the combination of heritage, function, science and technology.
Despite the fact that the PICC has successfully become a landmark building in
Putrajaya by having such dominating form, the theory of semiotics used in PICC is
too difficult for the public to notice without having the explanation from the designers
or the client. For example, the semiotics of warrior belt buckle and WAU can only be
seen on the plan or aerial view of the building, which normally in human eye level
view is almost impossible to notice that.

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3.0 External Contributing Factors
3.1 Geographical Factors
The PICC is situated on one of the highest points of Putrajaya, at one end along the
central axis of the boulevard across Gemilang Bridge over the lake, which 4.2km
away at the other end of the boulevard is where the Putra Perdana is located, the
prime minister’s office. It is one of the most eye catching location to land a significant
building as a symbolic venue to host national and international events. The
geographical location perfectly fits into the client’s brief which is to make PICC a
landmark building in Putrajaya. The building automatically becomes a focal point as
the site is higher than the surroundings located at the highest point along the axis.
The steep of the site is increasing from 26 meters above sea level at the lowest point
to 55 meters at the peak.
Diagram 3.1.1 Front Elevation
The architect smartly utilized the original context by submerging more than sixty
percent of the spaces into the hill. By doing this, the hill can be preserved and the
huge building is making very less footprint on the ground. The remainder space of
the site are being left as public park and garden. Hijjas’s idea of submerging spaces
into the hill has very similar effect with one of the Le Corbusier’s five points of
architecture, the ‘Pilotis’. Le Corbusier’s theory was to lift the structure from the
ground, making less impact on the ground floor to allow vehicle movement and
green continuity. Whereas Hijjas’s move is actually reversing the theory of Le
Corbusier by bringing the structure underneath the ground, at the same time allowing
the original ground floor for vehicle movement and public gardens, also the contour
height of the site remain unchanged. In the end, the PICC only takes up 3 acre foot
print from the 51 acres site while the remaining are for the public parks and gardens.

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Diagram 3.1.2 Section showing the usage of spaces on the ground and underground
The circular form of the PICC was chosen for the integration into the site. The site
itself is an ellipse shape, while the architect decided to use the circle in the middle of
the site. However, by having a circular form is also a challenge for the architect to fit
in the spatial arrangements required into the shape, to create quality spaces is
always one of the main focus for architects. To save and fully utilize the spaces,
most of the facilities spaces have the flexibility to make changes and allow multiple
functions. There are three main halls located in the centre point of the circular form
including the Plenary Hall, Banquet Hall and the Head of States Hall, each of these
halls can house more than 3,000 users. Meanwhile the outer ring of the circular
consist of meeting rooms, suites, galleries and lounges.

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3.2 Climatic Factors
Being in a site with tropical climate condition, Hijjas incorporated several passive
designs approach to utilize advantages of local climate. The architect brings the
excessive daylight into the spaces by having louvered façade over the huge glazing
to illuminate the spaces in the building, the louvers are used to filter and prevent too
much daylight from penetrating into the building, reducing the solar heat gain yet
gaining sufficient natural daylighting to lower down the electrical usage required to
maintain thermal comfort and illuminance. Besides that, the glass façade of PICC
that goes around 360o of the building is also slanted in an angle of 15°to prevent
direct solar gain, it also creates a contrast between the slope of the hill and the
building that makes the building stands out from the neighbouring context as an
iconic building. The architect also designed sunken internal courtyards on the east
and west wings to bring in lights for the galleries below ground level, at the same
time providing the users inside the gallery the feeling of surrounded by gardens.
Diagram 3.2.1 showing the Natural Daylighting
The contrast created from the raked façade extends to the form of the roof, two sides
of the roof are elevated, mimics the shape of soaring flight at the front view, whereas
viewing from the side elevations, it is more implicit expressed that the roof is
attached at the front and back of the building, covering the building like a protective
shelter. The extraordinary form of the roof has large overhangs that response to the
local climate condition, created large shaded area underneath the roof overhangs to
reduce the building heat gain. In material wise, the dynamic roof was made by a type
of membrane material that is able to fit into the uncommon roof form and it is solar

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reflective and vapour permeable. Other than that, the roof was designed to have a
clerestory that allows the daylight to enter the building from above.
Diagram 3.2.2 showing the roof overhang and sunken courtyard
The greeneries and parks surrounding the building does not only function as
recreation and appreciation, it is also part of the contributor that controls the local
climate condition. A place with gardens and parks are quieter and cooler than the
surrounding urban areas. The natural vegetation nearby PICC is able to reduce the
energy usage of the building by cooling down the surrounding air and surfaces, at
the same time increasing the relative humidity in the air through providing more
shades to the surface and evaporative cooling that cools down the ambient
environment.

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4.0 Conclusion
The Putrajaya International Convention Centre has implicated the theory of semiotics
in architecture throughout several different aspects in the building. Though it does
make sense that the relationship of the signifier and signified are logical, but some of
the semiotics are not really obvious. The semiotics in architecture nowadays has
gone too abstract that most of the time the public would not be able to sense the
original intention of the designers or the client, therefore the message of symbolism
can only be delivered with the aid of clarification. The original purpose of semiotics
should be able to easily convey the message to the public. Even though the
architect interpreted it this way, I think the priority factor that forms the shapes of
PICC today is the geographical factor. Responding to the original contour and shape
of the site and creates an impact on the highest point to achieve the eye catching
prerequisite as an iconic building. In the bigger point of view, the PICC is going the
same direction as the concept of Putrajaya which is to create a garden city, providing
an environment with the balance between architecture and nature. By way of PICC
being such a significant building in Putrajaya, it is advantageous that the building
itself becomes a role model that follows the concept of Putrajaya, which will affect
the later developments around the site, to give a respect or take as reference of how
it creates functional space yet being able to preserve the landscape and greeneries.
Last but not least, I believe that neither a single theory nor a single external factor is
sufficient to form a good architecture, especially speaking of an iconic building that is
going to represents the country. It should response to several aspects, all the
theories and external factors are somehow linked together during the design stage,
every decision made has gone through lots of consideration, the building may not be
what it is without all the theories and factors connected and translated creatively by
the designers.

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5.0 References
ARCHITECTURE URBANISM. (n.d.). Retrieved April 6, 2015, from
http://architectureandurbanism.blogspot.com/2010/10/ebenezer-howard-garden-
cities-of-to.html
Archnet. (n.d.). Retrieved from
http://archnet.org/system/publications/contents/1583/original/FLS1827
Discovering Urbanism: Ebenezer Howard's Garden City concept. (n.d.). Retrieved
April 6, 2015, from http://discoveringurbanism.blogspot.com/2009/06/ebenezer-
howards-garden-city-concept.html
Howard, E. (1902). Garden Cities of To-morrow (2nd ed., p. 167). London: Swan
sonnenschein & co.
Hijjas Kasturi Associates Sdn. (n.d.). Retrieved from http://www.hijjaskasturi.com/
Putrajaya International Convention Centre (PICC). (n.d.). Retrieved from
http://piccweb.wix.com/newwebpicc#!dimension--capacities/c2fc
Putrajaya International Convention Centre (PICC). (n.d.). Retrieved from
http://www.picc.com.my/
Spartacus Educational. (n.d.). Retrieved April 6, 2015, from
http://spartacus-educational.com/Ebenezer_Howard.htm
World’s First Intelligent Garden City. (n.d.). Retrieved April 6, 2015, from
http://www.putrajaya.gov.my/tourist/green_city/
Retrieved from http://www.explorer-malaysia.com/beta/wp-
content/uploads/2012/09/Putrajaya-International-Convention-Center.jpg

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