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PROJECT 2<br />
ARCHITECTURE HISTORY & THEORY<br />
ARC (60804)
T E A M M E M B E R S<br />
TANIA AGGRIPPINA SALIM 0340835<br />
ANSON THIEN YUNG KHONG 0339976<br />
WONG ZU ER 0339999<br />
PANG JING YI 0338498<br />
LAU WEN QI 0341330<br />
CHOK JIA YUE 0340286<br />
LIAU RUO LAN 0340317<br />
LIM EE JUARN 0340702<br />
ANNE CHUA ANN YII 0335301<br />
WONG YOON LING 0340190
01<br />
INTRODUCTION<br />
02<br />
ARCHITECTURAL STYLE<br />
03<br />
SPATIAL ORGANIZATION<br />
04<br />
CONSTRUCTION & STRUCTURE<br />
C O N T E N T S<br />
DESIGN ANALYSIS<br />
06<br />
ISLAMIC ARCHITECTURE<br />
07<br />
CONCLUSION<br />
08<br />
REFERENCE LISTS<br />
05
I N T R O D U C T I O N<br />
T<br />
he Petaling Jaya Civic Centre, also known as PJCC or<br />
Dewan Sivik, is a municipal building of Majlis Bandaraya<br />
Petaling Jaya. It is located at Jalan Yong Shook Lin, 46675<br />
Petaling Jaya. The iconic brutalist building is assumed to be<br />
designed by Dato' Kington Loo and serves as a multifunction<br />
hall for musicals and cultural events. The<br />
construction of the building started in 1973 and ended in<br />
March 1978 spending a total of RM 4 million.<br />
OF CIVIC CENTRE PJ
The facilities include a 1028-seating air-conditioned<br />
auditorium, a 72-seating conference hall and originally, six<br />
badminton courts. In 2004, renovations took place, and the<br />
badminton courts had turned into a 16,692 square feet<br />
banquet hall that can it up to 1000 people. The main lobby<br />
was redesigned with a pointed-star layout. Refurbishment<br />
of the building had given the exterior a sleek, black<br />
appearance.
ARCHITECTURE<br />
B<br />
rutalist architecture, also<br />
known as Brutalism, is an<br />
architectural style that began in the<br />
mid-20th century. It was introduced<br />
by French-Swiss architect Le<br />
Corbusier and it gained popularity<br />
in the late 1950s and 1960s.<br />
Brutalism was commonly<br />
characterised by its rough,<br />
un inished surfaces, unusual<br />
shapes, heavy-looking materials,<br />
massive structure, straight lines,<br />
and small windows. Examples of<br />
Brutalist architecture in Malaysia:<br />
Bank Negara Malaysia, University of<br />
Malaya, Australian High<br />
Commission, Wisma Equity.
STYLE
AXIS AND RELATION TO AXES<br />
T<br />
he diagram conveys a sense of<br />
balance that is created around the<br />
center axis of the loor plan. The<br />
compositions of each side are equally<br />
distributed, with equal weight balanced<br />
around the center axis as seen from the<br />
loor plan.
A X I S A N D R E L A T O N T O A X E S
CIRCULATION & PATH-SPACE RELATIONSHIPS
CONFIGURATION OF THE PATH<br />
The con iguration of the path is radial which has linear paths extending from<br />
or terminating at a central common point. The central common point would<br />
be the lobby, which then leads the con iguration to the auditorium, banquet<br />
hall or conference room.
FORM OF THE CIRCULATION SPACE<br />
The circulation space is open on both sides. When entering the building, on<br />
the le t would be the entrance to the auditorium whereas on the right is the<br />
entrance to the banquet hall.
PATH-SPACE RELATIONSHIPS<br />
Path-space relationship is used to approach and enter functionally or<br />
symbolically to important spaces. Therefore, the path only leads to either<br />
auditorium, the theatre or the banquet hall.
B U I L D I N G<br />
C O N S T R U C T I O N , S T R U C T U R E<br />
& M A T E R I A L S A N A L Y S I S<br />
c<br />
oncrete was the main material of<br />
the building. It produces a wide<br />
variety of forms and it is an ideal<br />
working material for large scale<br />
buildings. With its limited tension<br />
resistance, reinforcement steel bars<br />
were embedded in the concrete in<br />
order to improve the compressive<br />
strength.
The foundation of the Petaling Jaya Civic Centre was constructed with the method of pre-cast<br />
reinforced concrete pile foundation. Pre-cast reinforced concrete pile is cast and cured in a<br />
casting yard and transport to the site. The pile will be driven into the soil until a certain level or<br />
reaches the rock bed by using a hydraulic hammer.<br />
FOUNDATION
WALLS<br />
Due to the extremely thick and heavy roof, the walls of the Petaling Jaya Civic Centre was<br />
constructed speci ically to support such heavy loads. The result of this was the appearance of a<br />
large thick load bearing wall. As the concept of the building is mainly focused on the<br />
functionality, the raw appearance of the structure was le t as it is.
ROOF<br />
The roof was strongly inspired by Le Corbusier’s Ronchamp loating roof which made it<br />
become the most signi icant part of the Petaling Jaya Civic Centre. The use of concrete for the<br />
roof is suitable in Malaysia’s tropical climate as it helps with the cooling of the building and<br />
insulation from the outside heat. The concrete roof can also withstand harsh rains and winds<br />
during the monsoon season.
AUDITORIUM<br />
T<br />
he auditorium was constructed for<br />
better transmission, projection and<br />
ampli ication of sound. A large amount<br />
of curved elements were used to<br />
amplify sound across the auditorium.<br />
The concrete ceiling was made with<br />
curves and with a step decline from the<br />
entrance to the stage. The auditorium<br />
loor was constructed with a decline<br />
towards the stage to enhance the view<br />
of the audience. So t felt was used as<br />
the looring to reduce the amount of<br />
echoing. The backstage walls were also<br />
constructed with panels to re lect<br />
sound towards the audience.
ORGANIZATION OF FORM<br />
SYMMETRY AND BALANCE<br />
A<br />
symmetrical balance on both sides of the structure are di ferent,<br />
but with similar elements presented on the frontal elevation of the<br />
structure which gives a sense of unity. Both the frontal elevation and the<br />
loor plan of the building are asymmetrically balanced.
"Don't confuse symmetry with balance."<br />
- TOM ROBBINS
GEOMETRY
The diagram shows the massing plan layout of the<br />
building. It is made up of angular along with regular<br />
geometrical patterns in order to utilize most of the space.<br />
ORGANIZATION OF FORM
ORGANIZATION OF FORM<br />
HIERARCHY<br />
H<br />
ierarchy conveys an<br />
organizational structure in which<br />
items are ranked according to the<br />
levels of importance. The volume of<br />
space adopts the feeling of descending<br />
as seen from the west to east of the<br />
building. The most important space<br />
will be the auditorium followed by the<br />
banquet hall and lastly the conference<br />
room.
S<br />
patial relationship is the space linked by common<br />
space. This is a relationship where two spaces are<br />
separated by a distance that can be linked to each other<br />
by a third or intermediate space.<br />
O R G A N I Z A T I O N<br />
O F S P A C E<br />
T<br />
he openness of the hall gives a sense of welcoming<br />
and grand feeling which drives users to enter the space<br />
irst. Aside from that, it gives o f a sense of ‘open to<br />
public’ feeling where people can enter freely.
LOBBY<br />
SPATIAL RELATIONSHIP BETWEEN THREE SPACES<br />
The common space is the lobby. The linking<br />
auditorium, banquet hall and conference room act as<br />
the intermediate spaces in a linear form.
RHYTHM & REPETITION<br />
Multiple vertical beams on the exterior are arranged together in a linear form creates a<br />
sense of repetition and rhythm which ties the overall appearance of the building.
ISLAMIC<br />
ARCHITECTURE<br />
The interior of Petaling Jaya<br />
Civic Centre was mainly<br />
in luenced by local<br />
architecture which is the<br />
Islamic architecture.<br />
For instance, the twelve<br />
pointed star loor plan layout<br />
at the lobby and the foyer of<br />
the banquet hall are one of the<br />
Islamic symbols.<br />
ARCHITECTURAL STYLE
CONCLUSION<br />
Petaling Jaya Civic Centre is constructed to be used by the public. The<br />
building is a mix between Brutalist style architecture and Malaysian<br />
Islamic culture. The incorporation of Malaysian culture has made PJCC<br />
stand out from the other Western architecture. Through the design<br />
principles, the organisation of space and form, it is able to communicate<br />
with di ferent styles of architecture. This spectacular landmark, has made<br />
a step forward in Malaysian Architecture through the incorporation<br />
between western and local style of architecture. Therefore, the preservation<br />
of PJCC building is of utmost importance for our future generations.
01<br />
INTRODUCTION<br />
02<br />
SITE CONTEXT<br />
03<br />
SPATIAL ORGANIZATION<br />
04<br />
CONSTRUCTION & STRUCTURE<br />
C O N T E N T S<br />
05<br />
ARCHITECTURAL STYLE<br />
06<br />
DESIGN ANALYSIS<br />
07<br />
CONCLUSION<br />
08<br />
REFERENCE LISTS
OF ST MARY CATHEDRAL<br />
INTRODUCTION<br />
N<br />
ot only a historical building<br />
123 years old today, it is also a<br />
place of worship for Anglicans<br />
and a famous tourist location.<br />
Lastly, St. Mary's Cathedral has<br />
signi icant<br />
historical,<br />
architectural and social value as<br />
it bears testimony to the<br />
chronicles of early Kuala<br />
Lumpur and the Anglican<br />
churches in Malaysia.<br />
This new St Mary's was the irst<br />
brick church in Malaysia and still<br />
maintains a small Anglican<br />
congregation. Furthermore, it is<br />
an Episcopal see of the Anglican<br />
Bishop of West Malaysia and the<br />
mother church of the diocese.
Construction of the current<br />
church commenced in 1894<br />
1958<br />
The back of the main Church was<br />
extended to accommodate a hall<br />
called the Jubilee Hall.<br />
1894<br />
The back of the main Church was<br />
extended to accommodate a hall called<br />
the Jubilee Hall.<br />
1968<br />
OF ST MARY CATHEDRAL
T I M E<br />
L I N E<br />
2016 - 2017<br />
Today, St. Mary’s still stands in its strategic location in the most<br />
historical and charming section of the nation’s capital. The<br />
congregation continues to minister the Gospel of Jesus Christ to<br />
the people of Kuala Lumpur and visitors to our city.<br />
Between 2006-2007 several renovations to the<br />
buildings took place. The Multi-Purpose Hall was built<br />
and in addition to new o ices, a library and an<br />
apartment was added.<br />
TODAY<br />
OF ST MARY CATHEDRAL
T H E A R C H I T E C T<br />
A.C. NORMAN<br />
A<br />
r t h u r C h a r l e s A l f r e d<br />
N o r m a n ( 1 8 5 8 - 1 9 4 4 ) , o f t e n<br />
r e f e r r e d t o a s A . C .<br />
N o r m a n , h e w a s a B r i t i s h<br />
a r c h i t e c t w h o w a s a c t i v e i n<br />
M a l a y a a t t h e e n d o f t h e<br />
1 9 t h c e n t u r y a n d t h e<br />
b e g i n n i n g o f t h e 2 0 t h<br />
c e n t u r y . S o m e o f t h e m o s t<br />
i m p o r t a n t c o l o n i a l - e r a<br />
b u i l d i n g s o f K u a l a L u m p u r<br />
b u i l t i n t h a t p e r i o d w e r e<br />
c r e d i t e d t o h i m , s u c h a s<br />
S u l t a n A b d u l S a m a d<br />
B u i l d i n g .<br />
1 8 5 8 - 1 9 4 4<br />
OF ST MARY CATHEDRAL
SITE<br />
ANALYSIS<br />
The church is accessible within walking<br />
distance north west of Masjid Jamek LRT<br />
Station. Exit Masjid Jamek LRT to Jalan Tun<br />
Perak and turn right to Jalan Kuching.<br />
Lastly, continue to gate to enter the church<br />
compound.<br />
OF ST MARY CATHEDRAL
ACCESSIBILITY<br />
Vehicular<br />
Vehicles can access St Mary<br />
Cathedral church via Jalan Raja.<br />
OF ST MARY CATHEDRAL<br />
Public Transport<br />
St Mary Cathedral church is an 8<br />
minutes walk from Masjid Jamek L T<br />
station. Exit Masjid Jamek L T to<br />
Jalan Tun Perak and turn right to<br />
Jalan Raja.
RELATIONSHIP OF BUILDING TO<br />
SURROUNDINGS<br />
T O U R I S T S P O T<br />
S<br />
t. Mary Cathedral was<br />
surrounded by many<br />
famous building such as<br />
Dataran Merdeka, Royal<br />
Selangor, Sultan Abdul<br />
Samad building and<br />
Panggung Bandaraya. The<br />
buildings surrounding has<br />
naturally made St. Mary<br />
Cathedral one of the must<br />
visit spot for the tourists.<br />
ST. MA Y<br />
CATHEDRAL<br />
OYAL SELANGO<br />
DATARAN<br />
MERDEKA<br />
OF ST MARY CATHEDRAL
ORGANIZATION OF FORM AND SPACE<br />
S<br />
t.Mary Cathedral church KL is formed by two<br />
rectangular and one semicircle.The horizontal<br />
rectangular is the nave of the church,which is the<br />
central part of the church,stretching from the main<br />
entrance or the rear wall. The nave is distinct from<br />
the area reserved for the choir and clergy. For the<br />
vertical rectangular,is the crossing part of a<br />
church, both sides of it is north transept and south<br />
transept. Lastly, the semicircle part of the church is<br />
the Apse which the altar place.<br />
O R G A N I Z A T I O N O F F O R M A N D S P A C E<br />
OF ST MARY CATHEDRAL<br />
SHAPES OF THE FORM AT ST MA<br />
Y
CIRCULATION<br />
c<br />
M A I N E N T R A N C E<br />
C I R C U L A T I O N R O U T E<br />
irculation is implicit in the movement of the visitors to St. Mary Cathedral which makes a<br />
living example of a simultaneously diagrammatic stasis and motion.<br />
The main entrance of St. Mary Cathedral is located in between the pew, which allows the access into<br />
the main hall of the building. Hence, there is only one main door for the visitor to enter the entrance<br />
hall.<br />
OF ST MARY CATHEDRAL
APPROACH<br />
The irst phase of the circulation system, which<br />
we are prepared to see experience and use the<br />
spaces within a building.<br />
OF ST MARY CATHEDRAL<br />
C I R C U L A T I O N
OBLIQUE APPROACH<br />
The St. Mary cathedral building’s front entrance<br />
is designed in an oblique approach to enhance the<br />
e fect of the perspective on the front facade and<br />
the form of the building as well as the threedimensional<br />
form of the building.<br />
It allows the visitor to have the visual to the<br />
perspective on the facade three-dimensional<br />
building. The path of the entrance prolongs<br />
the sequence of approach.<br />
PATH OF AN OBLIQUE APP<br />
OACH<br />
OF ST MARY CATHEDRAL<br />
C I R C U L A T I O N
Entrance<br />
Entrance is a space within a space of a de ined ield of<br />
exterior space, involves the act of penetrating a vertical<br />
plane that distinguishes one space from another and<br />
separates, where you are, from where you are going.<br />
OF ST MARY CATHEDRAL<br />
C I R C U L A T I O N
Projected entrance<br />
T<br />
he entrance forms a transitional space,<br />
which announces their function to the approach<br />
and provides shelter overhead.It was used for<br />
visual clarity of the entrance from an extreme<br />
angle. It was used for car drop-out projected<br />
entry is used as a shelter.<br />
This projected entrance was used generally in the<br />
composite climatic zone to provide shelter and<br />
receives a portion of exterior space into the realm of<br />
the buildingA.C Norman designed the entrance of<br />
St. Mary Cathedral according to the climate in<br />
Malaysia which was hot and humid throughout the<br />
year.<br />
P<br />
OJECTED ENTRANCE<br />
OF ST MARY CATHEDRAL
FUNCTION OF SPACE<br />
H<br />
owever, the entrance is located at the very far end of the<br />
nave, allowing access into the nave and altar. Through the nave, is<br />
a single long hallway walking down towards the transept having<br />
seating areas for the laity, separating the altar, choir, sanctuary,<br />
apsidal and office with the nave.<br />
OF ST MARY CATHEDRAL
PATH-SPACE RELATIONSHIP<br />
T<br />
he path at St. Mary<br />
passed through space<br />
axially, the cutting<br />
through a space, the path<br />
creates a pattern of<br />
movement within it.<br />
ENTRANCE<br />
PATH OF ST. MA<br />
Y<br />
OF ST MARY CATHEDRAL
F O R M O F T H E C I R C U L A T I O N S P A C E<br />
VERTICAL CIRCULATION<br />
T<br />
he vertical circulation at St. Mary Cathedral consists of public circulation spaces and restricted<br />
access private circulation spaces. The public circulation spaces was for the visitor and congregation and<br />
the restricted access private circulation spaces was for the clergy.<br />
`<br />
OF ST MARY CATHEDRAL
ARCHITECTURAL<br />
STYLE ANALYSIS<br />
Early English Gothic<br />
OF ST MARY CATHEDRAL
TERMS RELATED TO GOTHIC ARCHITECTURE<br />
TRACE Y<br />
Stonework that surrounds and<br />
separates sections of stained<br />
glass windows or a series of<br />
windows.<br />
BUTTRESS<br />
Stone supports placed one outside<br />
walls of a church to help support<br />
the walls.<br />
VAULT<br />
Structural element made from<br />
an arrangement of arches and<br />
usually found in ceilings.<br />
OF ST MARY CATHEDRAL
KEY FEATURES<br />
LANCET WINDOWS<br />
The most characteristic element in<br />
Early English church architecture is<br />
the lancet window, named for its tall,<br />
narrow shape and sharply pointed top<br />
resembling a lance.<br />
FLYING BUTTRESS<br />
Distributed the weight and thrust of<br />
roofs and walls right down to the<br />
ground. These lying buttresses may be<br />
visible over the aisles, but just as o ten<br />
were concealed in the aisle roof.<br />
POINTED A CHES<br />
Arches could span greater distances,<br />
allowing vaults to be taller and wider.<br />
It could support greater weight,<br />
allowing walls to be thinner and<br />
pierced by wider window openings.<br />
OF ST MARY CATHEDRAL
KEY FEATURES<br />
TOOTH ORNAMENTATION<br />
Mouldings with alternating<br />
illets and rolls, by the<br />
decoration of the hollows with<br />
the dog-tooth ornament.<br />
FOLIAGE<br />
Circles with trefoils or<br />
quatrefoils were molded and<br />
used on arches, doors and<br />
windows.<br />
TALL PIERS<br />
Columns were o ten composed<br />
of clusters of slender, detached<br />
sha ts ,o ten made of Purbeck<br />
marble surrounding a central<br />
pillar, or pier.<br />
OF ST MARY CATHEDRAL
SALISBURY CATHEDRAL<br />
E<br />
arly English is no doubt to be seen in this church<br />
located in England. An example of lancet windows with<br />
no stained glass in them, also very visible in the tall<br />
tower and tapering spire.<br />
OF ST MARY CATHEDRAL
LINCOLN CATHEDRAL<br />
Interior view of Lincoln Cathedral, notice the large<br />
stained glass windows and elaborate vaulted ceiling,<br />
Also,the stonework on column tops and along the<br />
walls is more decorative.<br />
OF ST MARY CATHEDRAL
SUMMARY<br />
In general, Early English Style buildings were comparatively<br />
lighter and had distinctive features externally and internally.<br />
Externally, buildings were shaped to appear long and narrow,<br />
were lancet-shaped, had pointed windows, were bold, and had<br />
projecting buttresses and with pitch roofs. Internally, buildings<br />
had pointed arches supporting slender and lo ty pillars. Instead<br />
of heavy masses and horizontal lines along support structures,<br />
architects used light and graceful forms of vertical lines.<br />
OF ST MARY CATHEDRAL
OF ST MARY CATHEDRAL<br />
ARCHITECTURAL ELEMENTS<br />
ANALYSIS
Support the facade of the building and its<br />
BUTTRESS<br />
roof is of gable design. The original<br />
structure is shaped like a cruciform.<br />
NAVE<br />
Has an open-timbered roof constructed of<br />
merbau and seriah - two species of local<br />
hardwoods. Apex of the roof rises 132m from<br />
the floor. The chancel is paved with tessellated<br />
tiles and lit by three stained glass windows at<br />
the octagonal end.<br />
STAINED GLASS WINDOWS<br />
& DOORS<br />
Fitted onto the door glass on both sides of<br />
nave.All stained glass lancet windows were<br />
fitted with an additional glass panel.Adding an<br />
acoustic control glass piece on the outside of<br />
the doors and windows to protect the aesthetic<br />
and historical value of the original beautiful<br />
doors and stained glass lancet windows.<br />
OF ST MARY CATHEDRAL
TEMPORARY SCAFFOLDING<br />
Set up inside the building to provide a strong<br />
working platform for installing a layer of<br />
acoustic treatment on the ceiling and for<br />
changing the rotten timber battens on the<br />
roof.Selected scaffolding was known as<br />
Upright Lightweight Mobile Aluminium Tower<br />
Skybridge.<br />
ROOF STRUCTURES<br />
A-frame timber roof structures for both<br />
its main and Jubilee halls,with Marseille<br />
roof tiles.For energy efficiency and noise<br />
reduction,the roof structures were<br />
insulated with wire netting,rock wool and<br />
aluminium foil.<br />
OF ST MARY CATHEDRAL
OF ST MARY CATHEDRAL<br />
BUILDING<br />
CONSTRUCTION ANALYSIS
OF ST MARY CATHEDRAL<br />
WALLS
The characteristic thickness and density of a clay brick<br />
wall reduces noise transmission and de lects noise from<br />
the outdoors. Moreover, it does not burn and reduce the<br />
possibility of ire.<br />
OF ST MARY CATHEDRAL
OF ST MARY CATHEDRAL<br />
WINDOWS
OF ST MARY CATHEDRAL<br />
The windows around the church walls also act ash<br />
the source of lighting. The stained glass filters the<br />
light and emits warm coloured lights. This lighting<br />
effect creates a solemn and peaceful atmosphere.
OF ST MARY CATHEDRAL<br />
CEILING
METAL STRIP LINEAR CEILING<br />
The metal strip linear ceiling was painted with a shade of brown which was in harmony with the<br />
original timber frame of the church building. Linear appearance with square edge design which<br />
enhances the perspective of the building internally. Moreover, to lower unwanted noise levels from<br />
the outside.<br />
OF ST MARY CATHEDRAL
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ROOF
OXFORD CEILING TRUSS<br />
It provides the structure onto the ceiling,<br />
which prevent the rafters to spread and<br />
cause the roof to sag or collapse.<br />
OF ST MARY CATHEDRAL
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AIR & LIGHT VENTILATION
T<br />
he invention of the Gothic style was to improve the buildings in the<br />
1100s and 1200s who were mostly dark and damp. There was not much<br />
scope for light and air circulation. The modern features such as air vents<br />
can be found above some doors in order to improve the air circulation<br />
inside the church.<br />
The window around the church had an opening cover made up of timber,<br />
like louvres and steel grills. It is specially designed in correspond to the<br />
climate in Malaysia. The light interiors with huge window usually decorated<br />
with stained glass.<br />
OF ST MARY CATHEDRAL
CONCLUSION<br />
St. Mary's Cathedral is a historical building 118 years old in 2014. It is not only a place of<br />
worship for Anglicans but also a famous tourist location. St. Mary's Cathedral has<br />
signi icant historical, architectural and social value as it bears testimony to the<br />
chronicles of early Kuala Lumpur and the Anglican churches in Malaysia.<br />
OF ST MARY CATHEDRAL
ST. MARY CATHEDRAL<br />
COMPARISON<br />
PETALING JAYA CIVIC CENTRE<br />
LOCATION<br />
ST. MARY CATHEDRAL<br />
PETALING JAYA CIVIC CENTRE<br />
FUNCTION<br />
Designed for religious purposes<br />
Designed for the community<br />
ARCHITECTURE<br />
STYLE<br />
Early English Gothic<br />
Brutalist & Local<br />
WALL<br />
Clay brick<br />
Reinforced concrete<br />
PLAN<br />
Curciform<br />
Geometrical<br />
ROOF<br />
Pitched roof<br />
Curved concrete roof<br />
WINDOW<br />
Stained glass window is used to<br />
control sunlight and tell a story<br />
Small openings to control the amount<br />
of sunlight
REFERENCE LIST OF ST MARY<br />
(2019). Retrieved 7 November 2019, from<br />
http://www.visitkl.gov.my/visitklv2/document/files/dtrnmerdeka_heritage_guidedtour.pdf<br />
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