penang shophouses - ( lorong ikan lot 3,5,7)

NO. 3, 5& 7, LORONG IKAN,

LOT 454, SEKSYEN 22, D.T.L BANDAR GEORGE TOWN, PULAU PINANG

JANUARY 2016

TAYLOR’S UNIVERSITY

BACHELOR OF SCIENCE (HONOURS) (ARCHITECTURE)

ARC60305/ARC2323/ARC1215 METHOD OF DOCUMENTATION AND MEASURED DRAWING

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] i

No. 3, 5& 7, Lorong Ikan,

Lot 454, Sekyen 22, D.T.L Bandar George Town, Pulau Pinang.

This report is submitted for the subject Method of Documentation and Measured

Drawings (ARC60305/ARC2323/ARC1215) to School of Architecture, Building and

Design of Taylor’s University to obtain 5 credits for Practicum 1.

A group work by:

Afrah Al Balushi 0320858

Chai Chin Ee 0907P72950

Gary Yeow Jinn Sheng 0318797

Kimberley Ee Sze Ann 0315319

Lim Chin Yi 0315627

Lim Jern Jack 0317139

Mustaqim Choo 0319879

Mohammad Hafizi Sidratul 0315470

Muhammad Nabeel Ali Joomun 0320583

Nik Afiq Amadi 0317749

Ong Seng Peng 0319016

Siew John Loong 0315871

Tan Jo Lynn 0318518

Nge Jia Chen 0317738

Bachelor of Science (Honours) (Architecture)

January 2016

Taylor’s University

Supervised by:

Ar. Zahari Zubir

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] ii

The team would like to express our deep gratitude to the individuals and organization that have helped us in accomplishing this project. The

completion of the task could not have been possible without the assistance and participation of the following:

Ar. Zahari Zubir, our lecturer and project supervisor for providing guidance in preparing journals, video, report and drawings, giving comments to

us for further improvements, and lending us a hand in collecting information during the site visit.

Dr. Nor Hayati Hussain, the subject coordinator of Measured Drawing module, Mr. Koh Jing Hao, our lecturer for organising the site visit and

providing us information regarding the project.

Mr. Lee Titus, the renovation contractor, for providing information of the buildings and warm hospitality during our site visit.

Mr. Mohd Azmi Fazil, the officer in Municipal Council of Penang (Heritage Conservation Department), in providing transport to the site on the first

day, supplying useful information such as the heritage conservation in George Town.

Georgetown World Heritage Incorporated Resource Centre for assisting in collecting information on history, documents, books, and maps of

Georgetown.

Ms Teh Siew Kim, previous occupant of Lot7, Mr. Eric Lim Lay Ho, Ms. Joan Cheong, for taking their time to be interviewed, helping us in

understanding the history, and culture of the buildings and Lorong Ikan.

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] iii

FIGURES

Figure 1.1: Measuring and recording measurements on site

Figure 1.2: Example of recorded measurements produced on site

Figure 1.3: 5 meter length measuring tape


Figure 1.5: Laser measure tool

Figure 1.6: Adjustable set square

Figure 1.7: 5 foot ladder

Figure 1.8: DSLR Camera

Figure 1.9: Butter paper

Figure 2.1: Map of Penang with black box indicating the position of Lorong Ikan (project research site) in George Town

Figure 2.2: Map of George Town with red lines indicating street grid laid out by Francs Light

Figure 2.3: Map of George Town showing the new street arrangement applied by Francis Light’s sucessor

Figure 2.4: Map of George Town showing land reclaimation at the coast of Beach street

Figure 2.5: Map of George Town showing the fully developed city

Figure 2.6: Aerial view of Georgetown

Figure 2.7: Red circle indicates Lorong Ikan’s position in George Town’s bufferzone

Figure 2.8: Lorong Ikan street sign


Figure 2.9: View of Lorong Ikan

Figure 2.10: Site plan indicating Shophouses 3, 5, 7, Lorong Ikan

Figure 2.11: Shop houses No. 3, 5, 7, Lorong Ikan

Figure 2.12: Interview with Madam The Siew Kim (left)

Figure 2.13: Front view sketch of shophouses

Figure 2.14: Lorong Ikan and shophouses No.3, 5, 7

Figure 2.15: Walking as a group to Lorong Ikan

Figure 2.16: Lebuh Campbell market

Figure 2.17: View of Lebuh Melayu

Figure 2.18: Fish and Cow artwork at Lorong Ikan

Figure 2.19: View in front of site

Figure 2.20: Buildings next to Shophouses No.3, 5, 7

Figure 2.21: View on Lebuh Prangin

Figure 3.1: Front view of the shophouses

Figure 3.2: Early Straits Eclectic Style Shophouse

Figure 3.3: Early Straits Eclectic Style Shophouse

Figure 3.4: Front Elevation of the shophouses

Figure 3.5: Highlight of Southern Chinese Eclectic Style windows

Figure 3.6: Centralized door height windows shutters

iv


Figure 3.7: Ground floor spatial usage plan

Figure 3.8: First floor spatial usage plan

Figure 3.9: Partition separating No.5 bedroom with the corridor

Figure 3.10: Flooring tile motifs nearby No.5 air well

Figure 3.11: No.7 front entrance

Figure 3.12: No.7 Front hall (Living room)

Figure 3.13: No.5 Staircase leading to first floor

Figure 3.14: No.3&5 Back Hall (Office)

Figure 3.15: No.7 back hall

Figure 3.16: No.5 exit door to back lane

Figure 3.17: No.3 Entrance to the bathroom

Figure 3.18: Corridor connecting No.3 bedroom and roof garden

Figure 3.19: Entrance between No.3 & No.5

Figure 3.20: No.5 entrance to bedroom

Figure 3.21: Spaces connecting No.5 & No.7

Figure 3.22: Bedroom view of shophouse No.7

Figure 3.23: Bathroom of shophouse No.7

Figure 3.24: View of roof garden and entrance to No.5 bathroom

Figure 3.25: Ventilation diagram in shophouse No.3 section

Figure 3.26: Natural lighting diagram in shophouse No.3 section

v


Figure 3.27: Sunlight streams through the windows at the corridor of shophouse No.5

Figure 3.28: Illuminated stained glass panels of the bedroom of shophouse No.3

Figure 4.1: Double-pitched roof from side view

Figure 4.2: Roof Ridge

Figure 4.3: The Fire Element Gable End

Figure 4.4: The Fire Element Gable End (Sketch)

Figure 4.5: V-shaped Terracotta Roof Tiles

Figure 4.6: Marseille roof tiles

Figure 4.7: Plain Roof Eave

Figure 4.8: Decorative Bracket

Figure 4.9: Exposed timber joists and timber planks

Figure 4.10: Timber strip ceiling (Meranti)

Figure 4.11: Sketch of the exposed ceiling in the front hall

Figure 4.12: Burnt Clay Bricks

Figure 4.13: Lime Plaster

Figure 4.14: Traditional Chi Tou

Figure 4.15: Elongated Chi Tou

Figure 4.16: Parapet wall at the central air well below the shutters

vi


Figure 4.17: Parapet wall below the timber railing

Figure 4.18: Sketch of the parapet wall below the door height shutter at the central air well at No.5

Figure 4.19: The bressummer beam

Figure 4.20: Ionic columns act as brackets

Figure 4.21: The ceramic Majolica wall tiles on a substrate wall

Figure 4.22: Wall tiles below the windows on both sides

Figure 4.23: Raised tube line design

Figure 4.24: Hall Partition of No.5

Figure 4.25: Room Partition of No.7

Figure 4.26: Sketch of the Hall Partition

Figure 4.27: No.7, Ground Floor Main Door (External View)

Figure 4.28: Brass Door Knobs on the inner door panels

Figure 4.29: Auspicious Messages Panels (Wealthy, Preferment) above the Brass Door Knobs

Figure 4.30: Pi Xiu on top of the external door

Figure 4.31: Timber Pivot

Figure 4.32: No.7, Ground Floor Main Door (Internal View)

Figure 4.33: Sketch of the Pi Xiu

Figure 4.34: Double-leaved internal door with a timber slide bolt on the ground floor

Figure 4.35: Internal door of No.5, connecting No.7 on the first floor

Figure 4.36: Internal door of the toilet at No.7 on the first floor

vii


Figure 4.37: Location of the internal door on the ground floor

Figure 4.38: Location of the internal doors on the first floor

Figure 4.39: Upper timber pivot

Figure 4.40: Location of the external door on the ground floor

Figure 4.41: Location of the external door on the first floor

Figure 4.42: External door to the roof garden at No.7

Figure 4.43: External door at No.5 to the back lane

Figure 4.44: External door at No.5 ground floor from the outside

Figure 4.45: Location of the front façade windows on the ground floor

Figure 4.46: No.5, Ground Floor, windows in a pair

Figure 4.47: Ground Floor Front Façade Window

Figure 4.48: Location of the front façade windows on the first floor

Figure 4.49: First floor front façade

Figure 4.50: Balustrade below the window

Figure 4.51: Timber lattice holder to fix the position of jalousies

Figure 4.52: Wave-shaped timber pull handles

Figure 4.53: Sketch of door height windows and shutters


Figure 4.55: Sketch of the windows with timber lattice holder

Figure 4.56: Location of the windows on the first floor

viii


Figure 4.57: Timber air vent carved with four bats

Figure 4.58: Porthole air vent

Figure 4.59: Exterior view of the porthole air vents with decoration

Figure 4.60: Terracotta air vent

Figure 4.61: Concrete air vent

Figure 4.62: Timber air vent at the backlane

Figure 4.63: Ventilation holes on the carving

Figure 4.64: Air vent below the ceiling

Figure 4.65: Air vent at bedroom partition

Figure 4.66: Sketch of air vents on the hall partition and backlane respectively

Figure 4.67: Locations of Air Wells at Ground Floor

Figure 4.68: Locations of Air Wells at First Floor

Figure 4.69: No.3 Air well central opening sketch

Figure 4.70: Air well No.3



Figure 4.73: Locations of hydraulic cement tiles at ground floor

Figure 4.74: Hydraulic cement tiles at No.5 first floor toilet

Figure 4.75: Hydraulic cement tiles at No.5 air well

Figure 4.76: Hydraulic cement tiles at No.5 Front Hall

ix


Figure 4.77: Quarry Tile at the office

Figure 4.78: Locations of quarry tiles at ground floor

Figure 4.79: Granite Slabs at five foot-way of No.7

Figure 4.80: Locations of granite flooring at ground floor

Figure 4.81: Granite Slabs at air well sink of No.7

Figure 4.82: Concrete flooring at the roof garden

Figure 4.83: Locations of concrete flooring at first floor

Figure 4.84: Timber flooring at No.5 and 7

Figure 4.85: Locations of timber flooring at first floor

Figure 4.86: Tongue and groove connection of timber plank

Figure 4.87: No.5 staircase taken from first floor

Figure 4.88: No.7 staircase taken at the stairs

Figure 4.89: No.5 staircase overall side view

Figure 4.90: No.3 staircase underside view

Figure 4.91: No.5 staircase stringer detail

Figure 4.92: No.5 staircase base

Figure 4.93: Peeling paints of No.3 column

Figure 4.94: Painter staining the back façade window

Figure 4.95: Wood stained first floor window of No.5

Figure 4.96: Painted flooring of No.3 bedroom

x


Figure 4.97: Details of No.5 partition

Figure 5.1: Locations of defects on the ground floor

Figure 5.2: Locations of defects on the first floor

Figure 5.3: Paint peeling off the wall nearby No.5 air well

Figure 5.4: Faded paint at the back of buildings

Figure 5.5: Efflorescence on the wall of back facade

Figure 5.6: Plants growth on back façade

Figure 5.7: Broken wall tiles of No.7 front façade

Figure 5.8: Chipping floor tiles of five-foot-way

Figure 5.9: Deteriorated Window panel of No.3

xi

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] xii

TABLES

Table 1.1: Group tasks, members and assigned leaders

Table 3.1: Differences and Similarities of Early Straits Eclectic Style and Late Straits Eclectic Style

Table 4.1: Comparison and Similarities of Air Wells in Shophouses No.3,5 and 7.

xii

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] xiii

DECLARATION

ACKNOWLEDGEMENTS

LIST OF FIGURES

LIST OF TABLES

TABLE OF CONTENTS

CHAPTER 1

INTRODUCTION

1.1 AIM

1.2 OBJECTIVES

1.3 SCOPE

1.4 METHODOLOGY

1.4.1 WORK DISTRIBUTION

1.4.2 MEASURING METHODS

1.4.3 PRODUCTION OF DRAWINGS

1.4.4 RESEARCH METHODS

1.4.5 MEASURING EQUIPMENT

i

ii

iii

xii

xiii

1

2

2

2

3

3

3

4

5

6

xiii


CHAPTER 2

BACKGROUND INFORMATION

2.1 HISTORY OF PENANG

2.2 THE DEVELOPMENT OF GEORGETOWN

2.3 GEORGE TOWN AS WORLD HERITAGE CITY

2.4 CORE ZONE AND BUFFER ZONE

2.5 LORONG IKAN

2.6 SITE PLAN

2.7 SHOPHOUSES NO.3, 5, 7

2.7.1 HISTORICAL TIMELINE OF SHOPHOUSES NO.3,5,7

2.8 GENIUS LOCI OF THE SITE

8

9

10

13

14

15

16

17

18

19

xiv


CHAPTER 3

ARCHITECTURAL INFLUENCES& STYLE

3.1 ARCHITECTURAL STYLE AND INFLUENCES

3.1.1 CHARACTERISTICS OF SHOPHOUSES NO.3, 5, 7

3.1.2 WESTERN INFLUENCE

3.2 SPATIAL PLANNING AND ORGANIZATION

3.2.1 SPATIAL LAYOUT

3.2.2 DEFINING OF SPACES

3.2.3 CIRCULATION

3.2.3.1 GROUND FLOOR CIRCULATION

3.2.3.2 FIRST FLOOR CIRCULATION

3.2.4 NATURAL VENTILATION

3.2.4.1 ELEMENTS OF NATURAL VENTILATION

3.2.5 NATURAL LIGHTING

22

23

25

26

27

27

28

29

30

31

32

32

33

xv


CHAPTER 4

BUILDING COMPONENTS AND MATERIALS

4.1 ROOF

4.1.1 ROOF TYPE

4.1.2 ROOF RIDGE

4.1.3 GABLE AND GABLE END

4.1.4 ROOF TILES

4.1.5 ROOF EAVES

4.2 CEILING

4.3 WALLS & PARTITION

4.3.1 WALL: BRICKS, MORTARS AND PLASTERS

4.3.2 COLUMN HEAD AND CAPITAL

4.3.3 PARAPET WALL

4.3.4 BRESSUMMER BEAM AND IONIC COLUMN

4.3.5 WALL TILES

4.3.6 INTERNAL PARTITIONS

4.4 DOOR

4.4.1 GROUND FLOOR MAIN ENTRANCE DOOR

4.4.2 INTERNAL DOORS

4.4.3 EXTERNAL REAR DOORS

35

36

36

36

37

38

39

40

42

42

43

44

46

47

48

50

50

53

54

xvi


4.5 WINDOW

4.5.1 GROUND FLOOR FRONT FAÇADE

4.5.2 FIRST FLOOR FRONT FACADE

4.6 AIR VENT

4.6.1 FRONT FAÇADE AIR VENT

4.6.2 PREFABRICATED AIR VENT

4.6.3 AIR VENT ON PARTITION

4.7 AIR WELL

4.8 FLOORING

4.8.1 HYDRAULIC CEMENT TILE

4.8.2 QUARRY TILE

4.8.3 GRANITE

4.8.4 CEMENT SCREED

4.8.5 TIMBER

4.9 STAIRCASE

4.9.1 STAIRCASE DETAILS

4.10 PAINTS & COLOURS

4.10.1 LIMEWASH

4.10.2 WOOD STAIN

4.10.3 WOOD PAINT

4.10.4 GILDING METALLIC PAINT

55

55

56

60

60

61

62

64

67

67

68

69

70

71

72

74

76

76

77

78

78

xvii


CHAPTER 5

BUILDING DEFECTS

5.1 WALL DEFECTS

5.1.1 PEELING PAINT

5.1.2 FADING OF PAINT

5.1.3 EFFLORESCENCE

5.1.4 PLANT GROWTH

5.2 TILE DEFECT

5.2.1 BROKEN TILE

5.3 WOOD DEFECT

5.3.1 TIMBER DETERIORATION

CHAPTER 6

EPILOGUE

6.1 CONCLUSION

6.2 LEARNING OUTCOMES

79

80

81

81

82

82

83

83

84

84

85

86

87

xviii


LIST OF GLOSSARY

LIST OF REFERENCES

INTERVIEW TRANSCRIPT

PHOTOBOOK

SCALED DRAWINGS

89

91

94

101

148

xiv

TAYLOR’S UNIVERSITY [SCHOOL OF ARCHITECTURE, BUILDING &DESIGN] 1


1.1 AIM

The aim of this measured drawing project is to document

Shophouses No.3, 5, 7, Lorong Ikan as well as to carry out research

on the building and its site context.

1.2 OBJECTIVES

The main objective of this project is to produce a complete set of

measured drawings for Shophouses No.3, 5, 7, Lorong Ikan. This

project also includes documentation of important architectural,

historical and cultural information of the building to preserve an

accurate record of historic properties that can be used in research

and conservation activities

1.3 SCOPE

The project focuses on Lorong Ikan, situated in George Town,

Penang. The building assigned for this project is a row of three

shophouses (No.3, 5 and 7) which are located along Lorong Ikan.

These shop houses were built in the year 1926 and hold great value

in terms of architectural, cultural and historical aspect. Thus, the

report will not only cover information on the assigned building but will

also include material regarding traditional shop houses in Penang as

well as an account of the history of Penang, George Town and

Lorong Ikan. This is to produce a comprehensive documentation of

the building and site context.


1.4 METHODOLOGY

1.4.1 Work Distribution

In the process of completing this project there were many different

tasks to be completed and this was carried out through group work. A

total of 14 students were divided into three groups and each group

had its own sub-leader to provide guidance on assigned tasks (Table

1.1).

Video /Model

Report/Photobook

/Model

Measured

Drawings/Model

Muhammad Nabeel (Leader)

Lim Chin Yi (Leader) Mohamad Hafizi Sidratul (Leader)

Nge Jia Chen Lim Jern Jack Chai Chin Ee

Gary Yeow Siew John Loong Afrah Al Bulushi

Kimberley Ee Sze Ann Tan Jo Lyn

Ong Seng Peng

Mustaqim Choo

Nik Afiq Amadi

1.4.2 Measuring Methods

A variety of techniques were used to obtain precise measurements of

the building. In this project, the applied method was using measuring

tape and digital laser measuring devices. This equipment was mainly

used to measure the floor area, walls, columns and areas within

accessible height. Meanwhile for the ceiling and roof, the digital laser

measuring device was used, with the help of a ladder. As for the walls

which were not 90 degrees at each corner, a set square was used to

measure the angle between joining walls. Measurements were

recorded through drawings made immediately on site (Figure 1.1)

before being drafted in AutoCAD.

Figure 1.1： Measuring and recording measurements on site (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Table 1.1: Group tasks, members and assigned leaders

(Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


1.4.3 Production of Drawings

The measurements recorded on site (Figure 1.2) were then directly

drafted onto AutoCAD to ensure that all parts tally with one another.

During the discussion sessions at night, drawings were discussed

and further drafted. Drawings are then further improved for the final

submission.

Figure 1.2: Example of recorded measurements produced on site



1.4.4 Research Methods

We did our research through internet resources, interviews,

institutions and books.

Internet Resources

Reliable internet resources such as research and travel blogs,

tourism websites and online journals were used to gather information

about this project.

Interviewing

Interviews were conducted with the previous resident of No.7

shophouse (Madam Teh Siew Kim), renovation contractor (Mr. Lee

Titus), the locals (Mr. Eric Lim Lay Ho, Ms. Joan Cheong), ,and also a

representative from Penang City Council Heritage Department (Mr.

Mohd Azmi Fazil), to obtain detailed information about the building

and its site context. The full interview transcript with Madam Teh can

be found on in the appendix section of this report (see page 94).

Institutions

The institutions that were visited for this research include Penang

Heritage Trust, Municipal Council of Penang and Penang Heritage

Centre.

Books

Books obtained from the institutes as well as libraries were another

source of information for this research:


1.5 MEASURING EQUIPMENT

In the process of data collection a variety of equipment was used in

order to measure, photograph and draw the shop houses.

Measuring Tape

Measuring tape was the main equipment used to obtain

measurements of the shop houses. Measuring tapes of both 5 meter

and 100 meter lengths were used to measure dimensions such as

that of the floors, walls, staircases, doors and windows.

Laser Measure Tool

Laser measure tools were used to measure the height of the ceiling,

roof and large spaces, where the use of a measuring tape was either

inconvenient or impossible.

Adjustable Set Square

An adjustable set square was used to measure the angles of certain

parts of the shop houses. This tool was especially helpful in obtaining

the angles of walls that were not joined at 90 degrees.


(Source: http://www.screwfix.com)


(Source: http://www.bhg.com)

Figure 1.5: Laser measure tool (Source: http://www.amazon.in)

Figure 1.6: Adjustable set square (Source: http://www.scribblers.co.uk)


Ladder

A 5 foot ladder was used when required to measure higher parts of

the shop houses such as the pinnacle of columns, doors and

windows.

Digital Single Lens Reflex (DSLR ) Camera

DSLR cameras were used to capture clear and detailed photographs

of the shop houses for recording, documentation and photo book

purposes. They were also used to record ornamentations, in which

they were photographed and traced back into AutoCAD.

Butter Paper

Butter papers were used as the initial medium to draw the layout of

the shop houses in order to record the measurements before they

were transferred into AutoCAD.

Graph Paper

At times, graph paper was also laid under the butter paper when

drawing as the grid enables greater accuracy when drawing out the

dimensions of the shop houses.

Laptops

Laptops were brought to site and used to produce AutoCAD drawings

directly after the measuring process was completed.

Figure 1.7: 5 foot ladder (Source: http://www.lowes.com)

Figure 1.8: DSLR Camera (Source: http://www.gizmodo.com.au)

Figure 1.9: Butter paper (Source: http://www.fauzul.com.my)


2.1 HISTORY OF PENANG

In the early days, before Western powers gained control of the island

of Penang, the small island located at the Northwest coast of

Peninsular Malaysia (Fig. 2.1) was known as Pulau Pinang. The

name Pulau Pinang literally translated from the Malay language

(Malaysia’s national language), means “Isle of The Betel Nut” and

originated from the abundance of betel nut palms scattered across

the island (Tourismpenang.net.my, 2016).

When Malaya gained independence on 31 August 1957, Penang was

officially known as Negeri Pulau Pinang and became one of

Malaysia’s 13 component states. George Town, which has the oldest

municipal history in the country, was accorded City status by Queen

Elizabeth II on 1st January 1957 (Visitpenang.gov.my, 2016).

Figure 2.1: Map of Penang with black box indicating the position of Lorong Ikan (project research site) in George Town

(Source: Measured Drawing Lorong Ikan, Penang Group, 2016.)


2.2 THE DEVELOPMENT OF GEORGE TOWN

In the year 1786, Francis Light, the founder of Penang began working

on the physical development of the trading settlement in George

Town. Light was granted the title of Superintendent and it was in his

interest to develop Penang such that British trade could be brought

into the Malay States. A grid of streets was laid by Francis Light (Fig.

2.2) to mark the commercial centre of the trading port (Arts-Ed, 2016).

Figure 2.2: Map of George Town with red lines indicating street grid laid out by Francs Light

(Source: www.slideshare.net/penangshophouse/1-early-history-of-george-town-may-2011)


From the year 1795-1798, the trading settlement was further

developed by Francis Light’s successor, Lieutenant Governor Major

MacDonald (Arts-Ed, 2016). The haphazard streets of George Town

were straightened out in a more orderly fashion (Fig. 2.3).

Figure 2.3: Map of George Town showing the new street arrangement applied by Francis Light’s sucessor



From 1881 to 1904, George Town grew in size when reclamation was

carried out on the coast of Beach Street (Fig. 2.4). The reclaimed

land was then used for the development of Weld Quay and was part

of the port expansion project (Arts-Ed, 2016).

By 1957, George Town was fully developed (Fig. 2.5) and was

granted city status by royal charter from Queen Elizabeth II (Arts-Ed,

2016).

Figure 2.4: Map of George Town showing land reclaimation at the coast of Beach street


Figure 2.5: Map of George Town showing the fully developed city (Source: www.slideshare.net/penangshophouse/1-early-history-of-

george-town-may-2011)


2.3 GEORGE TOWN AS WORLD HERITAGE CITY

George Town became a UNESCO World Heritage Site on 7 July

2008. George Town and Malacca are both jointly inscribed as the

Historic Cities of the Straits of Malacca, and together, the two cities

stand as testimony to the centuries of maritime trade that shaped

Malaysia and had a significant influence on the region

(Whc.unesco.org, 2015).

"Melaka and George Town, Malaysia, are remarkable examples of

historic colonial towns on the Straits of Malacca that demonstrate a

succession of historical and cultural influences arising from their

former function as trading ports linking East and West. These are the

most complete surviving historic city centres on the Straits of Malacca

with a multi-cultural living heritage originating from the trade routes

from Great Britain and Europe through the Middle East, the Indian

subcontinent and the Malay Archipelago to China. Both towns bear

testimony to a living multi-cultural heritage and tradition of Asia,

where the many religions and cultures met and coexisted. They

reflect the coming together of cultural elements from the Malay

Archipelago, India and China with those of Europe, to create a unique

architecture, culture and townscape." – UNESCO

Figure 2.6: Aerial view of Georgetown (Source: http://www.starproperty.my)


2.4 CORE ZONE AND BUFFER ZONE

As a UNESCO World Heritage Site, George Town is divided into two

zones. These two zones are called the core zone and the buffer

zone (Fig. 2.7).

Lorong Ikan is also categorised as a World Heritage Site and falls

into George Town’s buffer zone (Fig. 2.7).

Figure 2.7: Red circle indicates Lorong Ikan’s position in George Town’s bufferzone

(Source: http:// www.visitpenang.gov.my)


2.5 LORONG IKAN

Lorong Ikan, or Fish Lane when translated from Malay, is a small lane

in the Lower Beach Street section of George Town. In Chinese, Fish

Lane is called “Kiam Hu Thnia” which means salted fish yard (Khoo,

2007). Lorong Ikan developed as a working-class neighbourhood

during the mid-19th century, and was once filled with activities such

as the drying of salted fish. In the nearby vicinity of Fish Lane there

was also the larger Prangin Lane which was home to the popular

local market named Sia Boey market. The reason that Fish Lane was

used as a place to dry salted fish is its close proximity to Sia Boey

market where the salted fish produced was sold (Tye, 2016).

Today, Lorong Ikan, is a small and quiet street, lined with old colonial

shophouses and rich with history (Fig. 2.8, 2.9). The historical and

cultural significance of Lorong Ikan has been recognised also by

UNESCO and the small street is listed as a heritage site in the buffer

zone of Georgetown

Figure 2.8: Lorong Ikan street sign (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 2.9: View of Lorong Ikan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


2.6 SITE PLAN

The site plan (Fig. 2.10) shows the location of Lorong Ikan and

Shophouses No.3, 5, 7. Lorong Ikan is located between Lebuh

Melayu and Lebuh Prangin.

Through an interview with Penang City Council Heritage Department

representative Mr. Mohd Azmi Fazil, we have also been informed that

the shophouses located at lot 3, 5 and 7 in Lorong Ikan are classified

as Category II heritage buildings displaying Late Straits Eclectic Style.

Heritage buildings classified under Category I are buildings or

monuments of exceptional interest whereas Category II buildings,

such as the Lorong Ikan shop houses are buildings that have special

interest and warrant every effort being made to preserve them.

Figure 2.10: Site plan indicating Shophouses 3, 5, 7, Lorong Ikan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


2.7 SHOPHOUSES NO.3, 5, 7

An interview was conducted with Madam Teh Siew Kim (Fig. 2.11) to

find out more about the history of Shophouses No.3, 5, 7 (Fig. 2.12).

Madam Teh was a former tenant of the shophouse No.7 and she

informed us that the shophouses were built and owned by a

Peranakan family with the surname Wong since 1926. The Wong

family used Shophouses No.3 and No.5 while No.7 was for the aunt

of the owner. Later, these owners changed and the shophouses were

rented out to people like Madam Teh herself. However, in 2013, there

were new plans for the shophouses and it is now under renovation

and will be converted into a boutique hotel. Historical events of the

shophouses will be summarized in the timeline of the following

subtopic.

Figure 2.11: Shop houses No. 3, 5, 7, Lorong Ikan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 2.12: Interview with Madam The Siew Kim (left) (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


2.7.1 Historical Timeline of Shophouses No.3, 5,7

Built by Peranakan owner

Occupied by owner and his family

Rented out several times to different occupants

Flooding happened often


Occupied by owner and his family

Rented out as frozen food storage and hostel for labours


Fire broke out from first floor


Occupied by owner’s sister

Rented to Madam Teh and her family


Sold to be converted as boutique hotel Renovation in progress

Sold to be converted as boutique hotel

Renovation in progress

Sold to be converted as boutique hotel

Renovation in progress

1 9 2 6

JAN 2016

2012 /2013

Figure 2.13: Front view sketch of shophouses (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

N O . 3

NO. 5

NO. 7


2.8 GENIUS LOCI OF THE SITE

Lorong Ikan is a small street that could easily go unnoticed in the

bustling city that is George Town. The locals in this part of the city are

mostly elderly shop owners that have been continuing their trade over

decades and prefer a casual lifestyle. Thus, Lorong Ikan remains

virtually unchanged from how it was years ago and is rich with

architectural, cultural and historical value (Fig. 2.14).

Over the few days of our stay in Penang, we walked to Lorong Ikan

every morning, and we have observed the lifestyle and culture of the

place (Fig. 2.15). Most of the shop owners start their business around

9am and close at around 6pm. Also, there are many activities

throughout the day such as the morning market nearby Lebuh

Campbell (Fig 2.16).

Figure 2.14: Lorong Ikan and shophouses No.3, 5, 7


Figure 2.15: Walking as a group to Lorong Ikan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


As we walked along Lebuh Melayu, a street next to Lorong Ikan, we

saw art-deco styles buildings at the road junction (Fig. 2.17). After

taking a right turn at Lebuh Melayu to Lorong Ikan, we were greeted

by the famous ‘Fish and Cow’ steel artwork with a trishaw parked in

front of it (Fig. 2.18).

Figure 2.17: View of Lebuh Melayu (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 2.18: Fish and Cow artwork at Lorong Ikan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 2.16: Lebuh Campbell market (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


There is only little traffic on Lorong Ikan because some buildings

aren’t occupied at the moment. Apart from our shophouses, there are

also two rows of shophouses under renovation at the opposite of our

buildings (Fig. 2.19). The shophouses are going to be used as hotels

in the future. Next to our shophouses, there are some activities being

carried out such as lorry transportation business and art display

business (Fig.2.20). We also observed religious activity that take

place nearby Lorong Ikan. There is a small Taoism temple located on

Lebuh Prangin, a street next to Lorong Ikan (Fig. 2.21).

Figure 2.19: View in front of site (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 2.21: View on Lebuh Prangin (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 2.20: Buildings next to Shophouses No.3, 5, 7 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


3.1 ARCHITECTURAL STYLE AND INFLUENCES

There are six main architectural styles in Penang shophouse

revolution. They are Early Penang Style (1790s-1950s), Southern

Chinese Eclectic Style (1840s-1910s), Early Straits Eclectic Style

(1890s-1920s), Late Straits Eclectic Style (1910s-1930s), Art Deco

Style (1930s-1960s) and Early Modern style (1950s-1970s).

Each of the styles reflected the introduction of new technologies,

building techniques and global architectural influences at the period

(Tan, 2015). The styles can be identified by observing the facades

appearance of the shophouse.

The architecture style of the Shophouses No.3, 5, 7 in Lorong Ikan

can be categorised as Late Straits Eclectic Style based on the design

of the façade and their year of build, 1926. The style was popular in

George Town vernacular shophouses in the early 20th century when

the city was experiencing its prosperous era (Tye, 2016). However, it

is easily confused with the Early Straits Eclectic Style as they share

similar appearance. The differences and similarities of the Early and

Late Straits Eclectic Style are shown in Table 3.1.

Figure 3.1: Front view of the shophouses (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 3.2: Early Straits Eclectic Style Shophouse (Source: http://penangshophouse.com.my/?page_id=180)

Figure 3.3: Early Straits Eclectic Style Shophouse (Source: http://penangshophouse.com.my/?page_id=182)

Popular in 1890s-1910s, 3D decorative plaster wall with

Chinese and European influenced decoration, Dado panels

below windows with Majolica tiles, Fire break walls

between units, Cement tiles on five-foot-way, Central

carved door with solid inner door, Decorated air vents

Differences

Figures

Table 3.1: Differences and Similarities of Early Straits Eclectic Style and Late Straits Eclectic Style

Early Straits Eclectic Style Late Straits Eclectic Style

Popular in 1840s-1910s, Plaster arches and central

keystones, Geometric pattern cement floor tiles, Presence

of roof ridge, Tessellated or encaustic tiles on five-foot-way,

Central comb door with solid inner door, Chinese air vents

(Source: Adapted from Penangshophouse.com.my, 2016)

Similarities Usually 2-3 storeys high, Terra cotta U/V shaped roof tiles, Carved timber door, Air vents,

Granite edge block and steps, Full length louvered windows,


3.1.1 Characteristics of Shophouses No.3, 5, 7

The shophouses are categorised as the Late Straits Eclectic Style as

they were built in 1926. This is also supported by the characteristics

of the facade stated in the figure below. However, a common feature

from the Early Straits Eclectic Style – central keystone of the windows

arches can be observed at the facade. Tan (2015) has mentioned

that the shophouses styles could be overlapped with some of the

elements in earlier styles remained.

Figure 3.4: Front Elevation of the shophouses (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Ceramic Majolica tiles

Decorated air vents

Central carved door

with solid inner door

Hydraulic cement

floor tiles

Fire break wall

Central keystone

Granite edge block

and steps

Door height

louvered windows

Decorative plasterwork


3.1.2 Western Influence

Western influence can be seen at the facade of the shophouses.

During Late Straits Eclectic Style, door height windows shutters were

introduced, replacing the full width row of windows shutters (Fig.3.5)

above the low walls that were used during the Southern Chinese

Eclectic Style.

Influenced by the neoclassical windows of Europe, the shutters of the

shophouses are in centralized paired arrangements (Fig. 3.6). The

door height shutters increase the openings size, thus providing

maximum ventilation (Tan, 2015).

Figure 3.5: Highlight of Southern Chinese Eclectic Style windows

(Source: http://penangshophouse.com.my/?page_id=178)

Figure 3.6: Centralized door height windows shutters (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


3.2 SPATIAL PLANNING AND ORGANIZATION

According to Tye (n.d.), the Straits Eclectic terrace houses in George

Town can also be categorised into two types, the traditional

shophouse and the townhouse. In traditional shophouse, the ground

floor is usually used as business area while the level above is used

for living purpose. On the other hand, the whole unit of townhouse is

used for residential purpose.

3.2.1 Spatial Layout

After the shophouses were sold to new owner, they are currently

under renovation and will be used as a boutique hotel in the future.

As a result, some functions of the spaces have changed. Figure 3.7

and Figure 3.8 shows the previous and future use of spaces in

ground floor and first floor respectively.

Figure 3.7: Ground floor spatial usage plan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

1. Five-foot-way (R)

2. Temple (P) Living room (F)

3. Frozen food storage (P) Living Room (F)

4. Business area (P) Living room (F)

5. Air well (R)

6. Leisure area (P) Dining area (F)

7. Bathroom (R)

8. Dining area ( P) Office/ Reception (F)

9. Leisure area (P) Dining area (F)

10. Bathroom (R)

11. Leisure area (P) Unknown (F)

(R) – Remain of Usage (P) – Previous Usage (F) – Future Usage


3.2.2 Defining of Spaces

There are several elements used in the shophouses to define the

spaces. First of all, the spaces are defined by solid walls which are

common in most buildings. Besides, timber partitions are also used

as dividers between spaces; eg. bedroom – corridor (Fig.3.9) and

front hall – second hall (Fig. 3.12).

Figure 3.8: First floor spatial usage plan (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

12. Bedrooms (R)

13. Corridor (R)

14. Bedroom (P) Lounge (F)

15. Bathrooms (R)

16. Kitchen (P) Bathroom (F)

17. Unknown (P)

Roof garden (F)

(R) – Remain of Usage (P) – Previous Usage (F) – Future Usage

Figure 3.9: Partition separating No.5 bedroom with the corridor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Apart from that, the spaces are also zoned by flooring tile motifs. The

contrast of the tiles gives visual signal to the users, allowing them to

define the spaces without using walls. For example, green-polygon-

motif tiles are installed at the air well which form a zoning to separate

itself from the corridor that installed with mixed-colour tiles (Fig.3.10).

3.2.3 Circulation

The shophouses have frontal entrance with centre placement of door

opening at each of the shophouses. The entrances are recessed and

sheltered by the five-foot-ways (Fig.3.11). The entrances can be seen

decorated with Chinese ornamentation and embellishment, giving an

oriental vibe to the buildings.

Apart from that, the buildings have linear circulation which is common

in Malaysian shophouses. However, there are some paths that

branch out to the next unit as the No.3 and No.5 shophouses are

connected on the ground floor. The shophouses are all connected on

the first floor.

Besides, there is also a vertical circulation through the staircases with

their direction facing inwards, which appears unwelcome to the public

as the staircases are leading to the private spaces (Fig.3.13).

The path is usually determined by the activity that is being carried out

at the time and the user is always able to pause or reorientate at his

will in the buildings.

Figure 3.10: Flooring tile motifs nearby No.5 airwell (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


3.2.3.1 Ground Floor Circulation

Figure 3.12: No.7 Front Hall (Living room)


Figure 3.13: No.5 Staircase leading to first floor


Figure 3.15: No.7 Back Hall (Source: Measured Drawing Lorong

Ikan, Penang Group, 2016)

Figure 3.16: No.5 exit door to back lane (Source: Measured

Drawing Lorong Ikan, Penang Group, 2016)

Figure 3.14: No.3&5 Back Hall (Office)

(Source: Measured Drawing Lorong Ikan, Penang Group,

2016)

Figure 3.17: No.3 Entrance to the bathroom


Figure 3.11: No.7 front entrance (Source: Measured Drawing Lorong Ikan,

Penang Group, 2016)


3.2.3.2 First Floor Circulation

Figure 3.20: No.5 entrance to bedroom


2016)

Figure 3.19: Entrance between No.3 & No.5


Figure 3.21: Spaces connecting No.5 & No.7 (Source: Measured Drawing Lorong Ikan, Penang Group,

2016)

Figure 3.22: Bedroom view of shophouse No.7


2016)

Figure 3.23: Bathroom of shophouse No.7


2016)

Figure 3.18: Corridor connecting No.3 bedroom and roof garden (Source: Measured Drawing Lorong


Figure 3.24: View of roof garden and entrance to No.5 bathroom



3.2.4 Natural Ventilation

Ventilation is important in the shophouses which have long and

narrow forms. With effective ventilation in the buildings, excessive

moisture and odour can be removed while bringing fresh air into the

buildings. Figure 3.25 shows the cross ventilation across shophouse

No.3 and stack ventilation that happens at the air well.

3.2.4.1 Elements of Natural Ventilation

a. Air Well (see page 64)

The air well plays an important role for ventilation in the long

shophouse. It allows stack ventilation to occur, removing the stale air

in the building.

b. Air Vent (see page 60)

It is installed close to the ceiling height of the walls or partition to

enhance the ventilation of the building.

c. Window (see page 55)

Window allows air to flow in and out of the building. Louvred windows

are used in most parts of the shophouses allowing optimum

ventilation.

d. Lattice Screen

It is installed above the partition wall of No.7 bedroom (Fig.3.22),

creating a naturally ventilated space.

Figure 3.25: Ventilation diagram in shophouse No.3 section (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


3.2.5 Natural Lighting

Air well and windows are the significant elements that illuminate the

interior during the day. Without them, the long shophouses have

insufficient natural lighting, thus are required to rely heavily on

electrical lighting to brighten up the interior. The areas nearby the

windows and air well received more day light than the others

(Fig.3.26).

Besides, the natural lighting also enhances the spatial quality of

building. For example, sunlight that streams through the windows

onto the floor and furniture (Fig.3.27), creating a serenity atmosphere

in the building. Besides, the interior is also livened up by the

illuminated stained windows as sunlight shines through them

(Fig.3.28).

Figure 3.26: Natural lighting diagram in shophouse No.3 section (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 3.27: Sunlight streams through the windows at the corridor of

shophouse No.5 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 3.28: Illuminated stained glass panels of the bedroom of

shophouse No.3 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Roof elements include pitched roof, roof ridge, gable and gable end,

roof tiles, and roof eaves.

4.1.1 Roof Type:

The double-pitched roof is a very common roof type used in Penang

shophouses. The shophouses on Lorong Ikan have the double-

pitched roof (Fig.4.1), which is made up of two slopes joined at the

top or ridge to discharge the rain water (Tan, 2015).

4.1.2 Roof Ridge

The roof ridge (Fig.4.2) is the upper junction at which two slopping

roofs meet, where tiles on both sides are sloping down or

descending towards the eaves, and there is a capping to prevent

water penetration. In this case, the tile and plaster roof ridge is using

U- or V-shapped capping tiles bonded with lime mortar and finished

in lime plaster (Tan, 2015).

4.1 ROOF

Figure 4.1: Double-pitched roof from side view (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.2: Roof Ridge (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.1.3 Gable and Gable End

The gable wall is the pitch-shaped side wall that follows the slope of

the roof where the gable end (Fig.4.3) is the upper part of the wall

that is usually higher than the roof to seal the roof’s edge. The gable

wall is normally an exposed end wall or a party wall that rises above

the tiles and acts as a firebreak between two neighbouring buildings

(Tan, 2015).

Gable ends have a series of figures which represent the 5 elements

Geomancy in FengShui, which are gold, wood, water, fire and earth.

The gable end of the shophouses is the Fire element (Fig.4.4) that

its shape is in a pointed form, which is believed to bring blooming

development to the house owner, and also creates the Earth

element for the balance of Yin and Yang (Teh, 1988). Furthermore,

the 5 elements Geomancy of gable ends only appear in the Early

Straits Eclectic style and the Late Straits Eclectic style buildings.

This is because during the period of the Early Penang style and the

Southern Chinese Eclectic style, people had not had the affluent

status yet to create a more lavish and exquisite housing.

Figure 4.3: The Fire Element Gable End (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.4: The Fire Element Gable End (Sketch) (Source: https://nanyangtemple.wordpress.com/category/2-visiting-guide/)


4.1.4 Roof Tiles

V-shaped terracotta roof tiles (Fig.4.5) were widely used in the Late

Straits Eclectic style, and were normally hand-made and kiln baked

(Tan, 2015). These roof tiles are thin and tend to become more

fragile over time. Hence, in the shophouses on Lorong Ikan, they

were replaced with Marseille roof tiles (Fig.4.6), which are usually

used in the Art Deco style and the Early Modern style buildings

because they are more regular in size compared to the terracotta

roof tiles.

Marseille roof tiles have different origins but most of them come in

the standard size, 419.1mm x 254mm x 31.75mm. They are factory

produced, moulded and kiln-dried, and are hung on horizontal timber

battens, supported by vertical battens fixed to the purlins or beams

(Tan, 2015). However, the Marseille roof ridge tiles are also using

the same material, clay. This is because clay roof tiles have a

property of high thermal insulation to keep the building cool and

provide comfortable internal spaces for the users.

Figure 4.5: V-shaped Terracotta Roof Tiles (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.6: Marseille roof tiles (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.1.5 Roof Eaves

The roof eave (Fig.4.7) is one of the roof parts that overhang the

walls of a building to protect the junction of the roof and wall from

rain. These shophouses have the decorative bracket (Fig.4.8) and a

plain panel soffit eave. This eave type returns to the basic

construction of the visible timber eave, replacing the simple bracket

projecting from the party wall columns with a decorative bracket, and

adding a horizontal panelled ceiling board (soffit) to hide the

underside of the tiles and battens from view (Tan, 2015). This eave

type could only be seen in the Late Straits Eclectic style and the Art

Deco style. The soffit contains of the usage of asbestos that is

banned nowadays because it may pose health risk (Asbestos

Banning Proposal, n.d.).

Figure 4.7: Plain Roof Eave (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.8: Decorative Bracket (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


The ceiling is a panel or strip covering that hides the structure of the

roof or floor from the room below. The underside of the floorboards

and the supporting timber joists of the first floor (Fig.4.9), as seen

from the ground floor of a shophouse, were traditionally exposed,

which is without a ceiling. However, in the Late Straits Eclectic style,

the underside of the roofs, supporting purlins and battens are

covered by a timber strip ceiling (Fig.4.10), made of Meranti timber,

following the slope of the roof towards the front or rear wall and air

well, but was flat at the centre below the roof ridge (Tan, 2015).

4.2 Ceiling

Figure 4.10: Timber strip ceiling (Meranti) (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.9: Exposed timber joists and timber planks (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.11: Sketch of the exposed ceiling in the front hall (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Hall Partition

Exposed Timber Joist

Cornice

Timber Planks


Wall elements include building materials of wall, column head and

capital, parapet wall, bressummer beam and ionic column, wall tiles,

and internal partitions.

4.3.1 Wall: Bricks, Mortars and Plasters

Burnt clay bricks (Fig.4.12) were used for structural load-bearing

walls and columns before 1930s, and hence the shophouses on

Lorong Ikan are still using the burnt clay bricks which are close to 3

inches in thickness and more regular in size (Tan, 2015).

Lime mortar, a combination of lime, river sand and water, is a

workable paste used to bond bricks and rows of bricks in the

construction of a wall. Lime plaster (Fig.4.13) is a primary coating to

protect wall surfaces, in which lime, made from burnt shells, coral or

limestone, is the key ingredient of lime plaster. It is important for

load-bearing clay brick construction typical of shophouses, as it

allows ground moisture to rise and evaporate through the walls to

keep the shophouses cool, and it has also the benefits of absorbing

harmful carbon dioxide and reducing pests (GTWHI, 2013).

4.3 Walls & Partitions

Figure 4.13: Lime Plaster (Source: Georgetown World Heritage Incoporated Brochure, 2013)

Figure 4.12: Burnt Clay Bricks (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.3.2 Column Head and Capital

The capitals of the shophouses are the head of a column which

typically broadens out at the junction between a beam and an arch,

an influence of the Tuscan column. However, Chi Tou (螭头), in

traditional Chinese architecture, it is a stone carving hornless dragon

(Fig.4.14) on the pillars and stairs flight of the palace to signify

auspiciousness to the host (Xiu, 1054). Hence, by the turn of 20th

century, due to the early eclecticism, it was common to find both

Chinese column heads (brackets) and European capitals together

where Chi Tou is built above the Tuscan capital (Tan, 2015).

On the façade of the shophouses, the elongated Chi Tou (Fig.4.15)

and the capital can be seen on the columns, pillars and pilasters.

The materials were usually steel I-beam, clay brick and lime stucco

that are very durable.

Figure 4.14: Traditional Chi Tou (Source: http://baike.baidu.com/view/988258.htm)

Figure 4.15: Elongated Chi Tou (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.3.3 Parapet Wall

The parapet wall is a waist-high low wall, usually found at the front

façade of the upper floor, the air well, and the rear terrace as a

safety feature next to the open kitchen air well (Tan, 2015). Yet, in

the Late Straits Eclectic style shophouses, parapet walls are not

often shown on the front facades but they are still retained at the

central air well below shutters (Fig.4.16).

The sunken, recessed panel with moulded edges parapet walls

below the window (Fig.4.17) are made of clay bricks, lime mortar,

lime plaster and stucco.

Figure 4.17: Parapet wall below the timber railing (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.16: Parapet wall at the central air well below the shutters (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.18: Sketch of the parapet wall below the door height shutter at the central air well at No.5 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Parapet Wall

Door-height Shutters

Visible Timber Eave


4.3.4 Bressummer Beam and Ionic Column

The bressummer beam (Fig.4.19) is the main structural beam

supporting a wall above and creating a wide opening below, allowing

the ground floor entrance façade to be open at the street edge,

recessed from the street by approximately five feet to create a

covered verandah or five-foot way (Tan, 2015). A granite corbel

(bracket) is usually supporting at the end of the bressummer beam

but in these shophouses, Ionic columns (Fig.4.20) were attached on

the both sides of the main columns, acting as a supporting elements

for the horizontal I-beam.

Figure 4.20: Ionic columns act as brackets (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.19: The bressummer beam (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.3.5 Wall Tiles

The ceramic Majolica wall tiles (Fig.4.21) were introduced after the

Early Straits Eclectic style as decoration and protection to the lower

portion of the front facades, below the windows (Fig.4.22), where

this area was none as a dado panel on a substrate wall (Tan, 2015).

During the Late Straits Eclectic style era, the society had become

more affluent and people were demanding a more lavish and

comfortable living, so they chose to decorate their front façade to

indicate their wealth and status, and to evolve from the past. The

ceramic Majolica wall tiles with raised tube line design (Fig.4.23)

were using white clay coloured glazes, and were known as a fashion

applied in new buildings (Tan, 2015).

Figure 4.21: The ceramic Majolica wall tiles on a substrate wall (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.23: Raised tube line design (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.22: Wall tiles below the windows on both sides (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Internal partitions is a non-structural component, consist of timber

frames and panels to divide a shophouse into different spaces, such

as a front hall from the inner private spaces, and a bedroom from the

upstairs living area (Tan, 2015). They give privacy for the people at

the inner spaces without sacrificing the air ventilation to take place

amongst the spaces.

The hall partition (Fig.4.24) on the ground floor at the front hall

consists of 4 timber posts and a lintel, and is divided into 3 sections,

where the outer sections are openings and the centre section is a

decorative carved timber screen with central pivot panels, Ge Shan

(隔扇), in which each panel has 4 parts: head, body, waist and skirt.

The body is latticework, where the top of the screen is timber lattice

and a crisscross pattern that allows air ventilation and illumination.

The materials used are usually Merbau, Balau or Meranti with a

layer of gilding on carvings of flora and fauna (Tan, 2015). However,

the room partition (Fig.4.25) on the first floor is using timber panels

and lattice panels for ventilation purpose.

4.3.6 Internal Partitions

Figure 4.24: Hall Partition of No.5 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.25: Room Partition of No.7 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.26: Sketch of the Hall Partition (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Doors elements include ground floor main entrance door, internal

doors and external rear doors.

4.4.1 Ground Floor Main Entrance Door

A double-door system (Fig.4.27) is used for the front entrance on

Lorong Ikan where it is a timber comb external door to allow day

illumination, ventilation and security. A timber comb door refers to

the upper half of the external door, which has carvings and cavities

in a comb order, originated from Fujian, China (Tan, 2015).

However, the internal solid plank doors, offering security, are painted

and lightly carved with auspicious messages (Fig.4.28) with a brass

door knocker below (Fig.4.29), facing the interior by day and the

exterior when closed at night.

4.4 Doors

Figure 4.29: Auspicious Messages Panels (Wealthy, Preferment) above the Brass Door Knobs


Figure 4.28: Brass Door Knobs on the inner door panels

(Source: Measured Drawing Lorong Ikan,

Penang Group, 2016)

Figure 4.27: No.7, Ground Floor Main Door (External View)

(Source: Measured Drawing Lorong



Nonetheless, in the traditional Chinese architecture, two Pi Xiu (貔

貅) are placed in front the main entrance to bring prosperity to the

house owner. Yet in the Penang context, a shophouse has a very

limited space to place these large stone carvings and could have

obstructed the five-foot way. Hence, people turned them into a

smaller scale, and set them on the external timber comb door

(Fig.4.30), acting as upper pivots at the same time.

Besides, the internal doors are also pivoted (Fig.4.31) and locked

with an internal timber slide bolt (Fig.4.32).

Figure 4.32: No.7, Ground Floor Main Door (Internal View) (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.31: Timber Pivot (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.30: Pi Xiu on top of the external door (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.33: Sketch of the Pi Xiu (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Double-leaved, timber-framed paneled doors (Fig.4.34) with metal

hinges can be seen in the shophouses, where they have six panels,

which were of eclectic Western and Chinese design (Tan, 2015). They

are usually an access to a room (Fig.4.35) or a toilet (Fig.4.36).

4.4.2 Internal Doors

Figure 4.34: Double-leaved internal door with a timber slide bolt on the ground

floor (Source: Measured

Drawing Lorong Ikan,

Penang Group, 2016)

Figure 4.35: Internal door of

No.5, connecting No.7 on the first

floor (Source: Measured


Penang Group, 2016)

Figure 4.36: Internal door of the toilet at No.7 on the

first floor (Source: Measured


Penang Group, 2016)

Figure 4.37: Location of the internal door on the ground floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.38: Location of the internal doors on the first floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


A rear door of a shophouse accessing to the back lane or upper-floor

rear terrace (Fig.4..42) is normally a double-layer system. Its internal

door was made of solid timber plank (Fig.4.434) with timber pivots

(Fig.4.39) and an internal slide bolt system, which has less

ornamentation than that of the front entrance. Conversely, the

external door was made of a timber frame with metal grilles

(Fig.4.44) for security reasons.

4.4.3 External Rear Doors

Figure 4.39: Upper timber pivot (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.41: Location of the external door on the first floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.40: Location of the external door on the ground floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.5 Window

Windows are the openings to allow illumination and natural ventilation

for the inner space. They include ground floor and first floor front

façade windows.

4.5.1 Ground Floor Front Facade

The shutters and windows on ground floor front façade in the Late

Straits Eclectic style always come in pairs, one on either side of the

main door (Fig.4.46). Hardwood frame complete with transom, curved

fanlights, vertical bars, internal bi-fold glass window and solid timber

shutter (Fig.4.47) can be seen in these shophouses. The materials

used are Meranti timber, solid iron bar and moulded glass.

Figure 4.42: External door to the roof garden at No.7

(Source: Measured


Penang Group, 2016)

Figure 4.44: External door at No.5 ground floor from the outside

(Source: Measured


Penang Group, 2016)

Figure 4.43: External door at No.5 to the

back lane (Source: Measured


Penang Group, 2016)

Figure 4.45: Location of the front façade windows on the ground floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.5.2 First Floor Front Façade

The shophouses on Lorong Ikan have 9 shutters and windows on

the first floor front facades, 3 shutters and windows for each

shophouse (Fig.4.49). They are made of hardword frames, closed

timber fanlights and timber balustrades below (Fig.4.50) for security

purpose. They are all door-height louvred shutters (jalousies) with

solid timber lower panels (Tan, 2015). The shutters from the inside

usually have either timber lattice holders (Fig.4.51) or wave-shaped

timber pull handles (Fig.4.52) that are fixed on the frames

symmetrically.

Figure 4.47: Ground Floor Front Façade Window (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.46: No.5, Ground Floor, windows in a pair (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.48: Location of the front façade windows on the first floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.49: First floor front façade (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.50: Balustrade below the window (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.52: Wave-shaped timber pull handles (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.51: Timber lattice holder to fix the position of jalousies (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.53: Sketch of door height windows and shutters (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


(Source: Measured Drawing Lorong Ikan, Penang

Group, 2016)


Figure 4.55: Sketch of the windows with timber lattice holder (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.56: Location of the windows on the first floor

(Source: Measured Drawing Lorong Ikan, Penang

Group, 2016)


Air vents are to promote better air ventilation. They include front

façade air vents, prefabricated air vents and air vents on partitions.

4.6.1 Front Façade Air Vent

On the front façade of the shophouses, there are air vents on both

floors. On the ground floor, the air vents (Fig.4.57) were placed

above the windows, and carved to depict four bats (蝙蝠, biān fú),

which are homonymic to happiness (福, fú) in Chinese language

pronunciation, symbolising grandeur and a blessed life (Tan, 2015).

However on the first floor, there are porthole air vents which are

made of precast concerte with flora decoration (Fig.4.58), looking

from the exterior view (Fig.4.59).

4.6 Air Vent

Figure 4.58: Porthole air vent (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.57: Timber air vent carved with four bats (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.59: Exterior view of the porthole air vents with decoration (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.6.2 Prefabricated Air Vent

The prefabricated air vents made of unglazed clay, such as the

terracotta air vents (Fig.4.60), are usually placed on the parapet wall

and toilet wall. Besides, concrete air vents (Fig.4.61) made of cast

Portland cement-based concrete can be seen at the lounge wall

facing towards the backyard (Tan, 2015). Yet, a simple carved

timber air vent with solid iron bars (Fig.4.62) can also be seen at the

lounge to promote better ventilation and for security purpose.

Figure 4.61: Concrete air vent (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.60: Terracotta air vent (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.62: Timber air vent at the backlane (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.6.3 Air Vent on Partition

The internal partitions are usually made of timber frames and panels,

and to promote air ventilation between spaces, ventilation holes are

introduced on the partitions. The partition at the ground floor front

hall, apart from the openings, also have air vents in between the

carvings (Fig.4.63) and below the ceiling (Fig.4.64). However on the

first floor, the bedroom partition has air vents below the ceiling with a

different criss-cross pattern (Fig.4.65).

Figure 4.64: Air vent below the ceiling (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.63: Ventilation holes on the carving (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.65: Air vent at bedroom partition (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.66: Sketch of air vents on the hall partition and backlane respectively (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.7 AIR WELL

Air well is a common feature in Malaysian shophouses. It is an

interior courtyard space rising from the sink to the roof eaves. The

air wells located at the near middle part of the shophouses

(Fig.4.67& Fig.4.68). It allows daylight to illuminate the internal

space of the long narrow shophouses. The opening provides

natural ventilation (Fig.4.69), not only increasing the energy

efficiency but contribute to an enjoyable private outdoor space for

the residents. (Ahmad & Rasdi, 2000).

Air well also functioned to discharge the rain water from the roof to

the sunken well. As water represents wealth in the Chinese belief -

‘Feng Shui’, the flowing of rain water into the buildings also

symbolises the accumulation of wealth.

Figure 4.67: Locations of Air Wells at Ground Floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.68: Locations of Air Wells at First Floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.69: No.3 Air well central opening sketch (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


No. 3 No. 5 No. 7

Air Well Shutters and Windows

Timber frames and timber louvred shutters on walls made with clay bricks, lime mortar and plaster


Figure 4.70: Air well No.3 (Source: Measured Drawing Lorong Ikan,

Penang Group, 2016)


Penang Group, 2016)


Penang Group, 2016)

Timber joists with wire mesh sheets installed on top (Fig 4.70).

Low impact addition to the building as it still allows adequate daylight, natural ventilation and water draining.

Open-air airwell (Fig 4.71).

Function effectively for natural

ventilation.

Waterproof canvas installed to shield interior from rainwater.

Timber joists with wire mesh sheets installed on top (Fig.4.72).

Narrow air well.

Allow daylight, natural ventilation and water draining.

Air Well Central Openings

Interior Perspectives

Table 4.1: Comparison and Similarities of Air Wells in Shophouses No.3,5 and 7.


4.8 FLOORING

The flooring in the shophouses are hydraulic cement tile, quarry tile,

granite, cement screed and timber flooring.

4.8.1 Hydraulic Cement Tile

Made of white Portland cement mixed with coloured pigments.

Cement mixture then poured into metal mould and the pigment layer

is pressed into tile by hydraulic press. The tiles are laid on lime

concrete floors with weaker breathability compared to terracotta tiles

(Tan, 2015). The tiles in the shophouses are all original and the

colours are still clearly seen on tiles despite many years of usage

(Fig.4.74, 4.75 & 4.76). They are mainly installed on the halls and

five foot way (Fig.4.73).

Figure 4.76: Hydraulic cement tiles at No.5 Front Hall (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.73: Locations of hydraulic cement tiles at ground floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.74: Hydraulic cement tiles at No.5 first floor toilet (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.75: Hydraulic cement tiles at No.5 air well (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.8.2 Quarry Tile

Quarry tiles are made of mixture of clay and shale electric kiln fired

at high temperature. The tiles are slip resisting and are suitable for

areas subject to heavy spills and moisture. They also have high

performance at outdoor application and extreme climates (What is

quarry tile? n.d.). However, the high temperature firing reduces the

porosity and breathability of the tile. Tiles are arranged diagonally at

45 °, see Figure 4.77. The tiles are installed at the office located at

the back of No.3 and 5. (Fig.4.78).

Figure 4.77: Quarry Tile at the office


Figure 4.78: Locations of quarry tiles at ground floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.8.3 Granite

Granite is an igneous rock forms from the slow crystallization process

of magma below Earth’s surface which composed mostly by quartz

and feldspar (King, n.d.). Granite slabs are used for the edge five foot-

way (Fig.4.79), the slabs across the open drain in front of five foot-

way, the edges of air wells in No.3 and No.5, and the air well sink of

No.7 (Fig4.81). The current condition of granite flooring is good due to

the characteristic of granite as hard wearing material. Figure 4.80: Locations of granite flooring at ground floor


Figure 4.81: Granite Slabs at air well sink of No.7 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.79: Granite Slabs at five foot-way of No.7 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.8.4 Cement Screed

Cement screed is made of cement, sand and water mixtures. They

are laid at the first floor roof garden. It is a durable and non-

absorbent material therefore it is suitable to be used as flooring for

the semi-open roof garden connected between the No.3 and No.5

(Fig.4.83) which is exposed to rainwater. It also gives a smooth

finishing surface that required only low maintenance (Fig.4.82).

Figure 4.83: Locations of concrete flooring at first floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.82: Concrete flooring at the roof garden (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


Figure 4.85: Locations of timber flooring at first floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

4.8.5 Timber

The shophouses first level flooring material is timber planks

(Fig.4.84) that are nailed on timber joist supports. The joists act as

the load bearing members and are exposed underneath as the

ceiling of ground floor. The weight of timber plank flooring is lighter

than concrete flooring but has poorer acoustic proofing as noise of

walking can be heard at ground level.

Figure 4.84: Timber flooring at No.5 and 7



Figure 4.86: Tongue and groove connection of timber plank (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

.

Tongue Groove

4.9 STAIRCASE

Staircase is a construction of steps connecting between two

different levels in the building (Tan, 2015). There are total of 3

staircases, one in each of the shophouse. For shophouses No.3

and No.5, the staircases are located next to the air well, facing

inward and separated by the corridors. However for shophouse

No.7, the staircase is located at the second hall, facing inward to

the building.

All 3 staircases are timber made winder staircases (Fig.4.87). In

shophouses No.3 and No.7, there are timber panels installed at the

openings leading to the upper floors. The panels can be locked

from first floor, preventing access to the area from the ground

levels (Fig.4.88).

Joinery of timber planks

Tongue and groove connection is used to connect the timber planks

(Fig.4.86). It is a method of arranging timber planks together where

each plank has both the tongue and the groove at sides (Tan, 2015).

By having this connection, the flooring becomes more airtight thus

preventing the intrusion of damp air. Besides, the joinery offers

better stability because the edges are locked into each others.


Figure 4.87: No.5 staircase taken from first floor


Figure 4.88: No.7 staircase taken at the stairs



Figure 4.89: No.5 staircase overall side view


Figure above highlighted the traditional vase and

torus shaped balusters and square vase-shaped

carved timber newel post.

Figure 4.90: No.3 staircase underside view (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

The underside of staircase is covered with horizontal timber panels. Part of the area under

the staircase is used as storage space.

4.9.1 Staircase Details


Figure 4.91: No.5 staircase stringer detail (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.92: No.5 staircase base (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure above shows No.5 timber staircase with enclosed risers sitting on a solid base of granite block.


4.10 PAINTS & COLOURS

Paints and colours are used to enhance the aesthetic and durability of

the building components. The significant colouring substances used in

the shophouses are limewash method, wood stain, wood paint and

gilding metallic paint.

4.10.1 Limewash

The wall of the shophouses are presumed to be limewash finishing.

Tan (2015) researched that traditional Penang shophouses were

finished in limewash, made of lime putty diluted with water. Limewash

is a very suitable finish as it can bond well with the lime plaster,

maintaining the breathability of the walls.

Figure 4.93 showing the peeled limewash paints on a front façade

column, revealing the colours painted previously. The column was

originally painted in pale yellow then recoloured with wheat brown. It is

currently painted in white.

Figure 4.93: Peeling paints of No.3 column (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.10.2 Wood Stain

Many of the wooden components such as windows (Fig.4.95), and

doors are finished in wood stain. Wood stain allows the natural grain

textures on the wooden surface to be visible after the application

(Padmanabhan, 2011). Besides, with the application of wood stain,

the wooden components are protected from moisture, sunlight,

termites, mold that can cause rot and degradation.

Figure 4.95: Wood stained first floor window of No.5 (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 4.94: Painter staining the back façade window (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


4.10.3 Wood Paint

Wood paint is also used to paint wooden components in the

buildings. For example, the first level flooring of No.3 is painted with

peach brown glossy wood paint (Fig4.96). Unlike wood stain, wood

paint does not get absorbed into the wood as it only forms a thin film

on the wood surface (Padmanabhan, 2011). Therefore, the wooden

flooring gets a consistent look across its surface.

Figure 4.96: Painted flooring of No.3 bedroom Source: Measured Drawing Lorong Ikan, Penang Group, 2016

4.10.4 Gilding Metallic Paint

Metallic paints are apply on the carvings and ornaments in the

buildings to give a metallic finish to enhance the aesthetics. Figure

4.97 shows the metallic paint on the partition carvings .

Figure 4.97: Details of No.5 partition Source: Measured Drawing Lorong Ikan, Penang Group, 2016


A total of seven building defects are found in the shophouses which

can be categorised into wall defect, tiles defect and wood defect.

Figure 5.1 and 5.2 below show the location of the defects that will be

elaborated in the following subtopics.

5.2.1 Broken Tiles

5.1.1 Peeling Paint

5.1.2 Fading of Paint


5.3.1 Timber Deterioration

5.1.3 Efflorescence

& 5.1.4 Plant Growth

Figure 5.1: Locations of defects on the ground floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 5.2: Locations of defects on the first floor (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


5.1 WALL DEFECTS

There are several defects found on the walls in the buildings such as

peeling paint, fading paint, efflorescence and plant growth.

5.1.1 Peeling Paint

Peeling paint usually occurs on the walls that are exposed to the sun

and rain. Part of the paint can be seen cracking and peeling off the

wall surface (Fig.5.3) next to air well of No.5. This could be caused by

the changing weather and moisture seeping through substrate

causing the paint coating to lose its adhesion then forced off from the

wall surface.


Fading of paint occurs due to the weathering and ultraviolet rays. It is

a common problem in old buildings as paint faded after decades of

usage. Figure 5.4 shows the back and right facades of the building

with faded white paint. The problem can be fixed by repainting the

wall.

Figure 5.3: Paint peeling off the wall nearby No.5 air well (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 5.4: Faded paint at the back of buildings (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


5.1.3 Efflorescence

Efflorescence is a white deposit of water soluble salts left on the wall

surface as the water evaporates (Fig.5.5). It happens when there is

sufficient moisture to turn the water soluble salts in the wall into salt

solution. Then the migration of solution to the wall surface turns to

crystallised salt after the evaporation of moisture (Masonry Institute of

America, n.d.).

5.1.4 Plant Growth

Ferns and small plants can be seen growing from the small cracks on

the wall (Fig.5.6). The sunny and humid climate of the site has

contributed to the growth of the plants. As soft-stemmed plants, the

ferns give almost little to none damage to the buildings other than the

aesthetic. However, the unidentified small plant has woody stem that

can penetrate the wall and weakened it.

Figure 5.5: Efflorescence on the wall of back facade (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 5.6: Plants growth on back façade (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


5.2 TILE DEFECT

Tile defect is found mainly at the area exposed to the outdoor such as

the five-foot-way.

5.2.1 Broken Tile

Figure 5.7 shows the broken wall tiles of the No.7 front façade. The

wall tiles on both sides of the door are broken, exposing the bricks

beneath. Meanwhile, figure 5.8 shows the defect floor tiles of five-

foot-way. Minor chipping can be seen at the edges and this is

probably cause by the impact of pedestrians walking along the area

through the years.

Figure 5.8: Chipping floor tiles of five-foot-way (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)

Figure 5.7: Broken wall tiles of No.7 front façade (Source: Measured Drawing Lorong Ikan, Penang Group, 2016)


5.3 WOOD DEFECT

Timber defect is common in old building, and there is no exception in

our buildings.

5.3.1 Timber Deterioration

Timber window panels exposed to outdoor can be seen decayed due

to the weathering. The combined effects of rain wetting, sun drying

and exposure to ultraviolet radiation have caused the wooden

components to deteriorate (State Forests of New South Wales, 1995).

The wood component in Figure 5.9 can be seen flaking and cracking.



6.1 CONCLUSION

Shophouses No.3, 5, 7 are hidden gems located in Lorong Ikan, a

part of Penang that is not often even frequented by locals. However,

upon first glance it is easy to tell that the building is more than what it

seems. Inscribed in black paint, upon the first column of shop house

No. 3, is the year the building was built, “1926”. Almost a century old,

the building holds many tales of the past in its architecture and design.

Furthermore, many rooms within the building even retain some of

their original furnishing.

Through this assignment, we were truly privileged to be able to walk

through the corridors of this historical building. Furthermore, as we

carried out the documentation of the building we were intrigued to

discover the construction techniques applied by architects and

builders of the past and through research and interviews with the

locals we were also treated to the rich cultural background of not only

the shophouses but also Lorong Ikan and its neighbouring streets.

As we carried out this project, we soon came to realise the

importance of the conservation of historical sites and their value to

future generations. The presence of these historical sites not only

enriches the city in which they stand but are also a valuable treasure

of significance to the entire country.


6.2 LEARNING OUTCOMES

This assignment has given us an insight into conservation work as

well as the job of an architect. During the period of this course, we

have learnt several standard architectural techniques used in

producing a set of measured drawings to provide an accurate

representation of historical structures.

Furthermore, we were also able to get hands on experience in

learning to record measurements and were introduced to a variety of

measuring equipment as well as measuring methods that we had not

been familiar with before.

Our tasks not only included the documentation of the buildings

measurements but also of its architectural, cultural and historical

value. As of such, we were also exposed to many research methods

such as conducting interviews, visiting local organisations as well as

research through online and printed resources.

Through our research, we were able to appreciate the buildings

construction, its diverse historical background and significance to

future generations. Thus, with the completion of this project we hope

to provide as close to an accurate documentation as possible that

highlights the building’s importance and historical significance.


1. Bai Tian Gong – Chinese ritual of praying the heaven god.

2. Bressummer – Load-bearing supporting beam set above an

opening in a wall, such as the shophouse façade or internal air

well.

3. Chi Tou- Projecting gable eave supporting the rood eave beam

and made by stepping out (staging or corbelling) brickwork; in the

shophouse it bears the same shape and function as a column

head to the top of the façade column.

4. Comb door – Outer decorative door to the main entrance where

the upper half of the door is made of a comb-like panel of sliding

vertical bars.

5. Corbel – Load-bearing projection jutting out from a wall to support

a structure above it.

6. Dado panel – Lower part of the wall measured from the floor to

above waist height decorated with plaster moulding, painting or

tiles.

7. Eave – Part of a roof that overhangs the external walls of a

building.

8. Fanlight – Arched, semi-circular or rectangular section of a door

or window frame which is above the door, shutters or window,

allowing the light and ventilation when the door, shutters or

window are closed (also known as transom light).

9. Gable end – Triangular upper part of a shophouse wall at the

side of a double-pitched roof, or at the top of a party wall between

roofs.

10. Hydraulic cement tiles – Decorative floor tiles that are made by

pouring coloured liquid cement into brass moulds on a cement

base.

11. Lime – White caustic alkaline substance consisting of calcium

oxide, obtained by hearing limestone, shells or coral.

12. Lime mortar – Composed of lime putty, clean river sand, water

and pozzolan additive.

13. Lime plaster – Composed of lime putty, clean river sand, water

and pozzolan additive and applied in three layers; for each layer

a finer sand is used.

14. Lieutenant Governor - a deputy or subordinate governor.

15. Majolica tiles – Moulded or tube line wall tiles decorated using an

opaque brightly coloured glaze on a white clay base.

16. Marseille tiles – Moulded and pressed clay roof tile with rain

channels and interlocking edges, top hung on horizontal battens.


17. Meranti – Light hardwood medium red to deep red-brown

(Shorea spp) used in joinery, floors, partitions and furniture.

18. Mortar – Traditional mixture of lime, sand, water and pozzolan

used to separate bricks in the construction of a wall; Portland

cement was added in post-war construction of the early 1950s.

19. Municipal - of or relating to the government of a city or town.

20. Parapet – Low protective wall along the edge of a roof, terrace or

balcony.

21. Peranakan - an old established Chinese immigrant of West Java.

22. Pilaster – Rectangular column built within a wall and projecting by

one-third of its width from the wall either side.

23. Pi Xiu – A timber carving set on top of the front entrance door,

believed to bring wealth to the host.

24. Soffit – Underside of an architectural structure such as an arch,

balcony or overhanging eave.

25. Stucco – Mixture of lime, sand and water applied wet and

hardens when dry forming a protective surface to the walls or

architectural mouldings such as architraves, keystones and

three-dimensional figurative work (also referred to as plaster or

render).

26. Superintendent - a person who directs or manages a place,

department, organization, etc.

27. Terracotta – Type of fired clay, typically of a brownish-red colour,

unglazed and porous used as flat tiles for floors and sills to walls

or in a curved half-cone form as roof tiles.

28. Tongue and groove – timber planks where each piece has a slot

cut along one edge, and a thin deep ridge on the opposite edge


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http://whc.unesco.org/en/list/1223


MADAM TEH SIEW KIM (68) :

PREVIOUS OCCUPANT OF LOT7

Date: 27 January 2016

Interview by: Gary Yeow, Jason Nge, Nabeel

Interviewer: 你好，我们是 Taylor’s University 的建筑系学生。我们

有些关于 Lorong Ikan 店屋的问题想要请教你可以吗？

Interviewer: Good afternoon, we are architecture students from Taylor’s

University. We would like to ask you some questions about the shophouses

in Lorong Ikan, do you have time for this?

Madam Teh: 好，你们问吧。

Madam Teh: Sure.

Interviewer: 你住的店屋以前是跟隔壁的店屋连在一起吗？

Interviewer: Was Lot7 connected with Lot3 and 5 when you were living

there?

Madam Teh: 不是，没有连着的，我们住的 7 号是独立的，而那 3，

5 号则是通的。

Madam Teh: No, it was not connected when I lived there, but Lot 3 and Lot

5 was already connected back then.

Interviewer: 那么你认识 3，5 号店屋的主人吗？第一代的店主。

Interviewer: Do you know the first owner of Lot 3 and 5?

Madam Teh: 我认识第一代的屋主呀，不过你们找他做什么？好

像也没什么帮助。

Photo of interviewee, Madam Teh, the woman on the left (Source: Measured Drawing Lorong Ikan Group, Georgetown, 2016)


Madam Teh: Yes, I know the first owner of the shophouses but why are you

looking for him?

Interviewer: 我们想知道他的一些资料，比如他的贵姓。。

Interviewer: We just want get some basic information about him such as his

name..

Madam Teh: 他姓王/黄。

Madam Teh: His surname is Wang (Wong/Huang).

Interviewer: 哦。。那么这三间店屋是一起建的吗？

Interviewer: Did the three shophouses build at the same period?

Madam Teh: 对，三间店屋一张 Geran，不能单间卖，所以我们没

有买下 7 号店屋。

Madam Teh: Yes, the shophouses were built at the same time, with a grant,

so the shophouses could not be sold separately. This is why we didn’t buy

the Lot7.

Interviewer: 只能租店屋而已？

Interviewer: So, you only rented the shophouse?

Madam Teh: 嗯。

Madam Teh: Yes.

Interviewer: 你说王氏是建这三间店屋的人。那么你有他子孙的下

落吗？

Interviewer: You said that Mr. Wang was the owner of the shophouses. Do

you know any of his next generations?

Madam Teh: 不知道了，历史太久远了。

Madam Teh: I don’t know about that, I have lost track about that.

Interviewer: 好的。那么你的父亲跟他租店屋来做生意?

Interviewer: That’s alright. Then was it your father who rented the shop for

his business?

Madam Teh: 对，租来住，还有做点窗帘生意。

Madam Teh: Yes. He rented the shophouse for us to stay and to do his

curtain-making business.

Interviewer: 我们在店屋前厅里看到个屏风，这是从以前就在那里

的吗？

Interviewer: We saw a partition at the front hall when we went there. Was it

there back then?

Madam Teh: 有，那屏风从以前就一直都在那里了。三间（店屋）

里都有，只是三号店屋的屏风因为要拿来用做摆放神位的地方

而后来被拆除了。


Madam Teh: Yes, the partition was there when I lived there. In fact, there

are partitions in the other shophouses too (Lot3 & Lot5). However, the

partition in Lot3 was removed to make room for worshipping purpose.

Interviewer: 你们以前是在屏风前做生意吗？

Interviewer: Did your family carry out your business activities in front of the

partition?

Madam Teh: 对，在前面缝纫些布料。。

Madam Teh: Yes, that’s right. We also sewed the curtains there.

Interviewer: 你有没有旧照片呢？

Interviewer: Do you have old pictures of it?

Madam Teh: 没有。

Madam Teh: I don’t have them.

Interviewer: 屏风后是你们吃茶点，日常生活的地方吗？

Interviewer: Was the space behind the partition used for dining and daily

activities?

Madam Teh: 嗯，煮东西，吃饭等。。屏风后有个天井，后边是

休闲用途，煮饭的地方则是在楼上的后边。

Madam Teh: Yes, we used the space for cooking, dining and so on. There

is an air well behind the partition wall, the area at the back was used for

leisure activities and the back of the first floor was used for cooking.

Interviewer: 那天井那以前有水井吗？

Interviewer: Was there any well at the air well?

Madam Teh: 没有。以前天井口太大，经常喷雨，所以我们把一

部分遮盖起来，雨就不会喷进来，活动空间也比较大了。

Madam Teh: No, there wasn’t any well in the building. The air well opening

was too huge back then, so we covered up part of it to prevent the rain

water to get into the interior. By doing so, we got larger indoor space too.

Interviewer: 哦。。那么屏风后的那张圆桌子是你们留下的吗?

Interviewer: Oh I see. Then is the round table behind the partition belongs to

you?

Madam Teh: 不是，那是现在屋主的桌子。以前那个地方是我们

的休闲区。

Madam Teh: No. It belongs to the current owner. We used the area for

recreation purpose back then.

Interviewer: 以前一楼的后方阳台一开始就是厨房吗？

Interviewer: Was the back balcony of the first floor used as cooking kitchen

since the beginning?


Madam Teh: 不是。那原本只是阳台，我们在改建加上顶盖后才

在那里煮饭。那里空气比较流通，所以油烟易排放，方便多了。

Madam Teh: No, it was actually just a balcony in the beginning. It is used

for cooking after we covered the top. The ventilation was better over there

so the interior did not get oily easily after cooking.

Interviewer: 请问以前多少人住在那里？

Interviewer: May I know how many people lived together in there last time?

Madam Teh: 四，五个人。

Madam Teh: Four, five people.

Interviewer: 你还有几位兄弟姐妹？

Interviewer: How many siblings do you have?

Madam Teh: 弟弟，妹妹还有父母。现在父母都不在世了，我母

亲刚过世，以前都住在一起。

Madam Teh: My brothers, sisters and my parents lived there last time. My

parents are no longer in this world, and my mother just passed away

recently.

Interviewer: 不好意思。。那你是长姐了？

Interviewer: We are sorry to hear that….Are you the eldest children?

Madam Teh: 对。一些结婚后就搬出去了。楼上只有两间房，不

能住太多人。

Madam Teh: Yes, I am the eldest children. Some of my siblings moved out

after marriage. There were only 2 bedrooms at the first floor so the spaces

were limited.

Interviewer: 一间是前房，还有一间是楼梯隔壁的了？

Interviewer: So one of the rooms located at the front and the other room is

the one next to the staircase then?

Madam Teh: 对，现在他们把楼梯隔壁的房打通了。

Madam Teh: Yes. Now they connected the room next to the staircase with

Lot5.

Interviewer: 我们之前去了 3 号发现屋子好像斜向一边。。

Interviewer: We went to Lot3 earlier and found that the room seemed to be

slanting towards the side.

Madam Teh: 我们 7 号也有些斜了，屋子久了，地就沉下了一点。

以前那里也常常淹水，我们也没什么办法，只能关上门让水淹

进来了。

Madam Teh: Yes, that happened to Lot7 too. The buildings have been there

for years, so there could be some settlement of the ground. Besides, the

area was prone to flood and we could not do anything to prevent it.


Interviewer: 以前常常淹水吗？

Interviewer: So I was flooded often back then?

Madam Teh: 对呀，一下大雨水就涨上来。我们 7 号因为位置处

于较低，所以总比 3，5号先进水。

Madam Teh: Yes. The water level rose whenever it rained heavily. Lot7 is

located at the lower level compared to Lot 3 and 5, so it was always the

earliest building to be flooded among the three shophouses..

Interviewer: 以前 3 号店屋是神庙对吗？那在成为神庙之前还有什

么别的营业吗？

Interviewer: We heard that Lot3 was used as temple before this. Was the

Lot3 rented for other businesses before it became a temple?

Madam Teh: 没有，只是被租出住去罢了。在换了几位租户才被

租成庙二，三十多年。后来这店屋卖给了现在的老板，要改成

旅馆，我们就搬出来了。

Madam Teh: No. it was only rented out several times for staying purpose.

Then it was converted into a temple for about twenty to thirty years. The

tenants moved out after the shophouses were sold to be converted into a

boutique hotel.

Interviewer: 四，五十年前还有人在 Lorong Ikan 晒咸鱼吗？

Interviewer: Do people around here still drying salted fish?

Madam Teh: 没有了啦。

Madam Teh: No, people don’t do that anymore.

Interviewer: 5 号店屋以前是拿来干什么的？

Interviewer: What was Lot5 being used as before this?

Madam Teh: 5 号之前是冷冻库，放些蔬菜之类的。后面则让外

劳住。有一次 5 号发生火灾，火势从上楼蔓延，吓得我们赶紧

逃跑。

Madam Teh: The front area of Lot5 was used as storage area for frozen

food while the back was used as accommodation for labours. There was a

fire incident spreading from the first floor, we were all taken by surprise.

Interviewer: 哦。。7 号楼上的格局怎么比较特别?

Interviewer: Why does the plan of Lot7 differ from the other two shophouses?

Madam Teh: 因为建房子的时候后面必须让些空间做为后巷，再

加上剩下的空间也不多，所以 7号比较小间.

Madam Teh: When the shophouse was built, there had to be some area to

be left empty for the back lane, therefore the plan f Lot7 was designed this

way to cater to the area.

Interviewer: 以前的屋主王氏跟你的父母都认识有来往吗？


Interviewer: Were your parents close with Mr. Wang (Wong)?

Madam Teh: 有，都是朋友。听说也挺富有，只是不清楚他做什

么生意，好像房产，橡胶之类的。

Madam Teh: Yes, they are friends. I heard he is a wealthy man but I am

not sure what business he was doing. It might be related to real estate or

rubber business.

Interviewer: 哦。。以前 Lorong Ikan 大致上是这样。。

Interviewer: Oh I see…so this was the situation in Lorong Ikan back then..

Madam Teh: 嗯，也没什么大变化，只是这三间屋子装修后比较

好看吧。这屋子以前建的时候一间才大约 1000 块。。

Madam Teh: Yes, Lorong Ikan hasn’t changed much actually. Just that

the shophouses look nicer after renovation. Oh and it only costed around

1000 bucks to build a shophouse back then.

Interviewer: 哇。。以前钱价值很大，现在 1000 令吉都不够我们

铺地砖。。

Interviewer: Wow, the money had huge value long ago, and it costs much

more than that to just have tiles installation nowadays.

Madam Teh: 我看 10000也不够。呵呵。。

Madam Teh: I don’t think even RM10000 is enough for that.

Interviewer: 那七号旁边的店屋是后来才建的吗？

Interviewer: Were the shophouses next to Lot7 built later on?

Madam Teh: 对，9号等是 10，20 年后才建的。9 号，11 号， 11A，

15，17。没 13 号因为不吉利。

Madam Teh: Yes, the shophouses were built about 10 to 20 years later.

There were Lot9, Lot11, Lot11A, Lot15, and Lot17. Lot13 was substituted by

Lot11A because 13 is considered unlucky in Chinese tradition.

Interviewer: 那对面的店屋历史更久吗？

Interviewer: Were the shophouses opposite our site built earlier than

Lot3,5,7?

Madam Teh: 对。我看都有百年历史了，主人是丘/邱氏。都是住

家，不是用来做生意的。住户都是华裔。

Madam Teh: Yes, I think the buildings have about 100 years of history.

Owned by Mr. Qiu (Khoo), the buildings were used only for housing

purposes. The occupants were all Chinese.

Interviewer: 以前华人新年都很热闹咯.

Interviewer: It must be bustling with activities during Chinese New Year.

Madam Teh: 嗯，很热闹，都会拜天公等。我们也会到观音亭上

香，那离这里最近的庙宇。


Madam Teh: Yes, the street was lively during the period. We would have

‘Bai Tian Gong’ ritual and some of us would worship at the Guan Yin

Temple nearby.

Interviewer: 请问你今年多少岁了？

Interviewer: May I know how old are you?

Madam Teh:快 70了，今年 68了。

Madam Teh: I’m 68 years old, almost reaching 70.

Interviewer: 哦。。幸好我们找到你，不然都不知道找谁访问才好

呢。

Interviewer: Oh, we are really glad that we found you or there would be

nobody else to get information from.

Madam Teh: 以前住那儿的多数都搬了。那店屋以前至今才卖了

一次，也就是卖给了现在的老板。第一手屋主住过后就把店屋

租出来了。王氏是 Baba Peranakan, 两夫妇有个孩子，以前住在 3，

5 号，所以那两间店屋是通的。隔壁 7 号则给他的姑姑/妹妹住。

7 号楼上也是最近才打通。之后屋主妹妹没住了，才把 7 号租给

我们。

Madam Teh: That’s because majority of people who lived there has moved

to other places. The shophouses were only sold once. After few years of

residency, the first owner decided to rent out the places. He is Peranakan

Chinese, and he lived there with his wife and children in Lot3 and 5. This is

why Lot3 and 5 are connected. Whereas, Lot7 was occupied by his sister

and it was not connected with the next building back then. Lot7 was rented

out to us when Mr. Wang’s sister moved out.

Interviewer: 哦。。难怪这店屋和马六甲 Baba 店屋这么相似。

Interviewer: Oh, no wonder the interior of the shophouses were so similar to

the Peranakan Shophouses in Melaka.

Madam Teh: 嗯。。在这三间店屋中，我们 7 号算是保留得最完

整的了，其他的都装修了不少。

Madam Teh: Indeed. Among the three shophouses, Lot7 is the most original

of all, the other two were renovated a lot.


All photos taken by: ( Measured Drawing Lorong Ikan Group, Georgetown, 2016)


The church of St George, Kuan Im Teng temple, Seri Mahamariamman temple and Kapitan Keling mosque which are located on Masjid Kapitan Keling road,

which is a main road parallel to Lorong Ikan


Lebuh Prangin, which is the main road that is perpendicular to Lorong Ikan.


Long Yen Association which is situated at the cross junction of Lebuh Melayu and Lorong Ikan.


Metal artwork by local artist at the roadside of Lorong Ikan showing the identity of the lane.


The neighbouring shophouses are offices for different sectors of businesses.


The front façade of the assigned building is in renovation to be converted into a boutique hotel.


A narrow corridor at the side of the building, which is also a back lane for the proximate shophouses, is slippery with patches of wet moss.


The fire element gable end shows the attribute of the shophouses.


The flora pattern bracket and plain roof eave represents the era of the building.


The carved timber panels with auspicious messages on the front doors, meaning ‘Preferment’, ‘Wealthy’, ‘Propitious’ and ‘Prosperity’

respectively. The first two panels look duller than the other panels because they have not been refurbished yet.


A Pi Xiu sits on top of the lintel of the front door of every shophouse. Every front door leading into the shophouses was adorned

with a Pi Xiu on top of the lintel.


Shophouse No. 7 has a well maintained front hall with partition, hydraulic cement floor tiles and re-upholstered furniture.


Shophouse No.3 has a vintage Chinese screen instead of a hall partition where the light fades as it goes deeper into the inner space.


Sunlight beams down into and reflects of the walls of the central air well of shophouse No.5.


The play of light and shadow with a few random opened shutters at the central air well of shophouse No. 3.


Some potted plants at the air well of shophouse No.5 makes the space greener.


The edge of the granite sink at shophouse No. 7.


The manager of the boutique hotel at the hotel lounge, located at the back hall of shophouses No.3 and 5.


Recycled cardboard, newspapers and other mixtures were used as plaster to solve the problem of water leakage from the

ceiling of the lounge.


Simple plants and discarded furniture under the metal deck awning at the back lane of shophouses No.3 and 5.


The back lane of Shophouse No.7 is shared with other shophouses on its left and is home to a myriad of plants.


Timber staircase sits on a solid base of granite with the hydraulic cement floor tiles.


Simple wave-patterned stringer caps under the balustrade.


Five solid timber panels to shut the stairs for security reasons.


Light penetrates from the shutter to the stairs on the first floor at shophouse No.5.


Fanlights and stained glasses above the shutters are well-lit.


Sunlight reflecting off the antiques gives a sense of serenity.


The beautiful stained glass internal door of the room partition on the first floor of the shophouse No. 5.


The bedroom of shop house No. 5 with its old furniture and decorative lamps.


A lively union of light and shadow illuminating the bedroom.


The silhouette of the shutters that open out to the opposite building.


The iconic building of Penang, KOMTAR, viewed from the bedroom.


View of the roof garden at shophouses No. 3 and 5 where the water fountain is still under renovation.


The rusty wire mesh and iron railing above the air well with a climbing plant, viewed from the bedroom of shophouse No. 3.


The plant growing from the wall beside the metal railing caused a little crack to the wall.


The Meranti timber planks flooring is badly scratched, caused by the people movements and the moving of heavy objects.

Yet, functionally it is still in good condition.


From the substrate wall, the burnt clay bricks are all in a regular size. These bricks were made during 1920s, the era of the

Late Straits Eclectic style.


The flora pattern ceramic Majolica wall tiles on the substrate wall can be seen at the front façade below the windows on both

sides of the main entrance.


A different pattern of ceramic Majolica wall tiles were found at the lounge, and were ready to be set on the walls.


Different motifs of hydraulic cement floor tiles or Peranakan tiles were used at the front hall and central air well in the shop houses respectively.


Quarry tiles were used at the lounge or back hall to differentiate the spaces.


A worker was painting the timber doors using transparent and opaque wood stain to restore them to their original condition.


The worker was painting the timber panel of the opening using wood stain at the back lane.


Madam Teh was a tenant of shop house No.7; she was sewing the curtain during the interview.


A photo taken after an interview by Lim Jern Jack (left) with Mr. Eric (middle) and his friend, Mr. Peter (right).


A group photo with our tutor, Ar. Zahari (front row, 4th from right), the manager, Ms Joan Cheong (front row, 3rd from right), and the

contractor, Mr Lee Titus (front row, 1st from right).


22


[ End of report ]

penang shophouses - ( lorong ikan lot 3,5,7)

Education