Well we've all come to the end of the semester, or at least almost there. I must say that this semester has been a rough ride, full of ups and (an absurd number of) downs. An eventful semester with simply not enough time for everything to go as planned. It wasn't an easy semester, i have to admit, despite myself only taking five subjects. We had a rather slow start then everything simply accelerated to hell (quite literally, in fact), however I manage to take the time to enjoy ever so slightly the theories class of this semester (I know my blog updates don't actually show the enjoyment but trust me, this IS by far the most relaxing class this semester). Amidst all the chaos in design classes, rejected ideas and the endless re-dos of not only design but coupled with construction as well where I could go on forever with the complaints but I have learnt quite a few things this semester, particularly in theories where some actually did catch my attention, or rather, offered something of a wake up call and got me re-thinking the way i think about architecture.
To begin with, we all learnt about the various thinking of other people with or without architectural background, about what they have to say regarding architecture as well as the way they see or appreciate it. Needless to say, everyone has their own opinion on things as architecture is a combination of arts and sciences in an abstract way where only the architect him/herself truly understands.This simply means the work is open to interpretation, and some of the interpretations seen throughout this subject has its own validity. To be perfectly honest, this subject didn't exactly get a running start. After being bombarded by blog assignments after blog assignments, I slowly got the idea of the subject. Hence, I was exposed to architectural interpretations from all sorts of people, famous or otherwise. In the beginning it was rather frustrating especially the earlier ones such as Heidegger's thinking on architecture. His form of thinking is obviously much more complicated than our own, looking at architecture related to man and divine beings. I have learnt that architecture is not something as simple as admiring a building's form or space, nor is it only about how the building relates to the user in terms of feeling and the sort. I feel that architecture has been underestimated for quite a while now, with myself as guilty of this as anyone else. Architecture touches on every aspect of life, having the largest field of profession, we are expected to know a little of everything - cultures, races, religion. This all seems like a tall order for a person but to become a successful architect, i feel that there are many more things i have to learn, despite having learnt so much already.
Now we've come to the best and the worst moments. There are hardly any moments i would call the 'best' ones, however i suppose that is quite normal considering architecture is quite a demanding course. As for the worst moments, the usual stay up all night doing (insert subject name here) assignments still apply, although now it has gotten a bit more challenging seeing as 8a.m. classes are thrown into the mix. Nevertheless i do enjoy the little challenges these have given me, since it not only builds character, but it also prepares us for what we are to face when we move on after graduation.
As for my philosophy, well, i haven't taken the time to come up with one yet, although i find myself sticking to the idea that architecture should be expressed in the purest form, where elements should not be hidden, but shown as a part of a whole. This is the idea of bringing forth a form of architecture where it is prone to interpretation, but does not cause the idea to stray, creating something simple to understand yet serves its purpose well, as well as fulfill the aesthetics department in the best way possible. Though this is something short of a philosophy, it serves as a seed that would probably grow into one some day, then perhaps i would be one step closer to understanding the vast field called architecture.
Monday, August 30, 2010
Monday, August 9, 2010
Field Trip : Aesthetics, Ruins & Space
The majestic Moorish/Greco-Roman building stands proudly atop a small hill in southern Perak, a dream left unfulfilled, a fragment of a vision of what could be. Now, only ruins remained, ruins of what could have been one of the first in Malaya, a grand mansion with a spacious rooftop courtyard as a social hub for the era's wealthy colonial planters and administrators.
Having its foundation stone laid in 1910, the owner of the mansion, William Kellie Smith envisioned a place where the people of a higher social status would meet and socialize. The original plans for the mansion was for a six-storey tower, a wine cellar, a rooftop courtyard and an elevator among other things. However, this dream was never realized as the owner fell ill and passed away before it could be completed. His wife then sold the mansion for she was overcame with grief and returned to Scotland.
The most common tale regarding the construction of Kellie's Castle was William Kellie Smith originally arrived in Malaya in the 1890s and worked under a rubber planter named Alma Baker. Alma Baker obtained a few contracts to make roads in southern Perak not long after, Smith then snapped up this opportunity to work alongside Baker and made a huge profit. With this, he purchased a 900-acre land in southern Perak. This was to be the site of Kellie's Castle as we know today. He named this estate Kinta Kellas, after his home farm in Scotland, Easter Kellas.
In 1910 he built a Moorish styled mansion for himself, his wife Agnes Smith and their first child, Helen Agnes. The manor sat on a little knoll just by the bend of Sungai Kinta, providing a clear, unobstructed view of the Kinta Valley. Its grounds were groomed into pockets of lush gardens, open spaces, lawns and a lake - added to complete the estate ambience. In Britain during the Victorian era, many young, rich, enterprising men took to buying old manor houses, castles and estates to accentuate their stature in the social circles and for a long period, such activities were well accepted.
However, after the birth of his second child, his son whom he named Anthony, in 1915, he decided to build a bigger mansion which was to be an extension to his original home. He employed a workforce from beyond the shores of Malaya, bringing in some seventy workers from south India and work began on the mansion which would take about 10 years to complete. All was well until the early 1920's when an epidemic broke out and took the lives of most of Kellie's workers. He was then asked by the workers to build a temple for the deity Mariamman to ask forgiveness and protection for the people living on the estate. Kellie agreed and everything was back in order again once the temple was built. Tragedy struck when Kellie returned to Europe and was on his way back to Malaya. He made a short detour to Lisbon, Portugal and was believed to have succumbed to a bout of pneumonia and passed away in December 1926. His wife, Agnes, then sold the estate and returned to Scotland due to the difficulty in running the rubber plantation by herself.
Another version of the story regarding the construction of the temple stated that the temple near Kellie's castle was due to Kellie's wife, Agnes' inability to conceive, for he had wanted a son as an heir to inherit his estate. At that time he already had a daughter named Helen. However, one of the Madras laborers told him that by praying to Amman,a Hindu Goddess, whom they believe will grant their wish. So Smith prayed to her and Agnes conceived and delivered a baby boy. As a token of appreciation, Kellie built a Hindu Temple for the Goddess. He also built a statue of himself alongside the Goddess. Until today the tunnel still connects the mansion and the temple, although the path has been sealed off. After this, because of his fascination with the Hindu religion and Indian culture, Kellie's plan was for this house to share similar architecture to those of Madras, with all its bricks and tiles imported from India. He even employed a big group of Indian labourers to build his dream house, to keep the mansion authentically Indian, resulting in the Moorish style we see today.
The mansion was later restored to its original state, or at least what it should have looked like, although the tower did not reach its intended six floors. Having only 4 storeys, the top of the tower provided a magnificent view of Perak and its lush green forests. The place was turned into a tourist attraction, and although it did not serve the purpose Kellie had intended it to, it made an interesting tourist spot, with even people from Malaysia itself visiting the mansion to admire its architectural beauty. The castle was even featured in the 1999 movie, Anna and the King, since it is the ideal location for a romantic story as the castle itself had a romantic story of its own. Besides this, it is also said that Kellie's soul still roams the castle, although it is probably just a story to bring in tourists who hopes to catch a glimpse of Kellie himself walking (or rather, floating?) along the corridors of his unrealized dreams.
Having its foundation stone laid in 1910, the owner of the mansion, William Kellie Smith envisioned a place where the people of a higher social status would meet and socialize. The original plans for the mansion was for a six-storey tower, a wine cellar, a rooftop courtyard and an elevator among other things. However, this dream was never realized as the owner fell ill and passed away before it could be completed. His wife then sold the mansion for she was overcame with grief and returned to Scotland.
The most common tale regarding the construction of Kellie's Castle was William Kellie Smith originally arrived in Malaya in the 1890s and worked under a rubber planter named Alma Baker. Alma Baker obtained a few contracts to make roads in southern Perak not long after, Smith then snapped up this opportunity to work alongside Baker and made a huge profit. With this, he purchased a 900-acre land in southern Perak. This was to be the site of Kellie's Castle as we know today. He named this estate Kinta Kellas, after his home farm in Scotland, Easter Kellas.
In 1910 he built a Moorish styled mansion for himself, his wife Agnes Smith and their first child, Helen Agnes. The manor sat on a little knoll just by the bend of Sungai Kinta, providing a clear, unobstructed view of the Kinta Valley. Its grounds were groomed into pockets of lush gardens, open spaces, lawns and a lake - added to complete the estate ambience. In Britain during the Victorian era, many young, rich, enterprising men took to buying old manor houses, castles and estates to accentuate their stature in the social circles and for a long period, such activities were well accepted.
However, after the birth of his second child, his son whom he named Anthony, in 1915, he decided to build a bigger mansion which was to be an extension to his original home. He employed a workforce from beyond the shores of Malaya, bringing in some seventy workers from south India and work began on the mansion which would take about 10 years to complete. All was well until the early 1920's when an epidemic broke out and took the lives of most of Kellie's workers. He was then asked by the workers to build a temple for the deity Mariamman to ask forgiveness and protection for the people living on the estate. Kellie agreed and everything was back in order again once the temple was built. Tragedy struck when Kellie returned to Europe and was on his way back to Malaya. He made a short detour to Lisbon, Portugal and was believed to have succumbed to a bout of pneumonia and passed away in December 1926. His wife, Agnes, then sold the estate and returned to Scotland due to the difficulty in running the rubber plantation by herself.
Another version of the story regarding the construction of the temple stated that the temple near Kellie's castle was due to Kellie's wife, Agnes' inability to conceive, for he had wanted a son as an heir to inherit his estate. At that time he already had a daughter named Helen. However, one of the Madras laborers told him that by praying to Amman,a Hindu Goddess, whom they believe will grant their wish. So Smith prayed to her and Agnes conceived and delivered a baby boy. As a token of appreciation, Kellie built a Hindu Temple for the Goddess. He also built a statue of himself alongside the Goddess. Until today the tunnel still connects the mansion and the temple, although the path has been sealed off. After this, because of his fascination with the Hindu religion and Indian culture, Kellie's plan was for this house to share similar architecture to those of Madras, with all its bricks and tiles imported from India. He even employed a big group of Indian labourers to build his dream house, to keep the mansion authentically Indian, resulting in the Moorish style we see today.
The mansion was later restored to its original state, or at least what it should have looked like, although the tower did not reach its intended six floors. Having only 4 storeys, the top of the tower provided a magnificent view of Perak and its lush green forests. The place was turned into a tourist attraction, and although it did not serve the purpose Kellie had intended it to, it made an interesting tourist spot, with even people from Malaysia itself visiting the mansion to admire its architectural beauty. The castle was even featured in the 1999 movie, Anna and the King, since it is the ideal location for a romantic story as the castle itself had a romantic story of its own. Besides this, it is also said that Kellie's soul still roams the castle, although it is probably just a story to bring in tourists who hopes to catch a glimpse of Kellie himself walking (or rather, floating?) along the corridors of his unrealized dreams.
Subscribe to:
Posts (Atom)