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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

4.0 MASJID RAJA ALANG 4.2.1 Location of Masjid Raja Alang

4.1 Introduction The study on Masjid Raja Alang is to understand the pur-
pose of the construction as a respond to the culture, climate, peo-
Chapter 4 highlights the main focus of the study which is Masjid
ples need, era, and geographical factors.
Raja Alang, Beranang. This chapter will begin with the history of
masjid from its location, and its neighborhood context. Moreover, As shown in Figure 4-1, this Masjid is located at Jalan
focus will also be on the analysis on macro-climate and micro-cli- Kampung Tanjung, 43700, Beranang, Hulu Langat, Selangor, next
mate, combines with the natural and man-made features found in to Sekolah Rendah Agama Integrasi (SRAI) Pekan, Beranang. It is
the area. surrounded by housing area, with Jalan Semenyih for its main ve-
hicular transportation route connecting Kuala Lumpur and Se-
Furthermore, Chapter 4 also discusses in depth about the
menyih or Southern part in Malaysia. In addition, the masjid has
profile of Masjid Raja Alang which comprises the caretaker (or-
shop lots with Colonial influence built in 1930 on its Southern part
ganization) of the masjid, the procedure of land ownership, the
and commercial area on its Northern part shown in Figure 4-2 and
materials used during the early construction in response to the en-
Figure 4.3.
vironment and period of the construction held. Plus, the zoning of
the spaces is to further explain in this chapter as well as the spatial According to Haji Alias, the Chief of Kampung Sesapan
organization of and the components of Masjid Raja Alang. Kelubi/ Kampung Tanjung, being as one of the oldest buildings in
Beranang, Masjid Raja Alang is still in good condition though
4.2 Contextual Studies
some extensions and renovations were made in order to cater the
The site analysis basically covers all about the location of increase in population in Kampung Sesapan Kelubi/ Kampung
the masjid, the urban layout of the surrounding context, and envi- Tanjung.
ronment. The result will be really much helpful in order to obtain
deeper understanding about the masjid and its surroundings.

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Figure 4-1 Location Plan of Pekan Beranang

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

4.2.2 Neighborhood Context

Previously the land was with vast of paddy plantation and


became a part of their life survival which has been converted to
lemon grass plantation for more than a decade until now.

In addition, Masjid Raja Alang was once surrounded with natural


forest, turned to a JKR building and replaced with tarmac road that
functions as a gathering place for the villagers at the Eastern side
of masjid compound. Other than that, the jungle at the Northern
area of masjid, has turned from a rest area for musafir, to a school
behind the masjid.
Figure 4-2 Shop lots built during 1930 on the Southern part

4.2.3 Macro-climate and Micro-climate Analysis

The masjid experiences sunrise right on the face of the


front facade or entrance to the masjid and sun sets at its Northern-
west area of the masjid. The sun rise penetrates the entrance thus
enlightens the interior passively.

Figure 4-3 Mini Market on the Northern part

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Figure 4-5 Site Plan of Masjid Raja Alang Figure 4-7 Sunrise view can be seen from the right side of Masjid

4.2.4 Natural and Man-made Features

The whole surrounding of the masjid was surrounded by


orchards, jungle and other natural features such as rambutan, rem-
bia, paddy, rubber tree and etc.

Figure 4-4 Sunset view from masjid's rooftop

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4.3 Profile of Masjid Raja Alang In 1926, the land was subdivided from original Portion
This sub-topic will solely discuss on the histories, chronologies, 405 into two lots, Portion 1812 and Portion 1813 as shown in Di-
and behind stories of every event happened in Masjid Raja Alang. agram 4-2. Lot Portion 1812 is gazetted for masjid while lot Por-
This chapter also discussed on the architectural influences, space tion 1813 remained as agricultural land.
planning as well as analysis and synthesis of spaces.

4.3.1 Procedure of Land Ownership


In the Plan of Portions 385 445, 559 to 563 shown in Diagram
4-1, the land of masjid covered an area of 82309m2, with lot Por-
tion 405. It was measured during 1906 and registered in the Mukim
of Beranang, District of Hulu Langat. According to Yahya (2016),
the land was said to be owned by his grandfather named Janggi bin
Yunos.

Diagram 4-2 Plan of Portion 1812 & 1813


(source: Jabatan Ukur dan Pemetaan (JUPEM)

Two years later, land of Portion 1813 was re-subdivided


into Portion 1823 & Portion 1824. The land of masjid (Portion
1812) was extended up to the Portion 1824. Due to the extension,
lot Portion 1824 was cancelled to combine with lot Portion 1812
Diagram 4-1 Plan of Portions 385 445, 559 50 563 thus the land changed to lot Portion 1825, stated in Diagram 4-3,
(source: Jabatan Ukur dan Pemetaan (JUPEM)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Diagram 4-4 and Diagram 4-5. According to Pejabat Dae- In 26/03/2015, the land was re-gazetted for masjid in the
rah/Tanah Hulu Langat, the lot Portion 1825 was officially re- Warta Kerajaan Negeri Selangor No. 1141. The current lot num-
served for masjid on 22/06/1928 with registered Gaz-no 3634. ber is 40792 with 3289m2 as stated in Diagram 4-6. According to
Pejabat Daerah/Tanah Hulu Langat (2015), Menteri Besar of Se-
langor has reserved the land and delineated upon Certified Plan
deposited in the office of Jabatan Ukur dan Pemetaan (JUPEM),
for public purpose, to wit, a site for masjid and has designated that
the director of Jabatan Agama Islam Selangor (JAIS) shall have
control of the reserved land and that the reserved land shall be
maintained by the Majlis Agama Islam Selangor (MAIS).

Diagram 4-3 Plan of Portion 1823 & Diagram 4-4 Plan of Portion
1824 1825 (source: Jabatan Ukur dan
(source: Jabatan Ukur dan Pemetaan Pemetaan (JUPEM)
(JUPEM)

Figure 4-7 Statement by J.A Hunter (Acting Secretary to Resident, Selangor)


(source: Jabatan Ukur dan Pemetaan (JUPEM)

Diagram 4-5 Plan of Portion 40792 (The current lot)


(source: Jabatan Ukur dan Pemetaan (JUPEM)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

4.3.2 Masjid Organization

a) History of Masjids Organization

According to Raja Allang (grandson of Raja Alang) and Raja


Firdaus (great grandson of Raja Alang), this masjid previously was
organized by the family of Raja Alang themselves before it was
handed to Jabatan Agama Islam Selangor (JAIS). Raja Firdaus
also said that son of Raja Mohammed (Raja Alangs son) once
wanted to change the status of masjid from personal to waqaf.
Their statements were supported by Ustaz Azmir as he mentioned
that Masjid Raja Alang is under the authority since 1928 until now.

b) Pegawai & Jawatankuasa Kariah 16/18

The chart 4-1 shows masjids administration for the current


session 16/18. This masjid is monitored by Orang Besar Daerah
and supervised by Tuan Muhammad Samsuddin, the current
Penghulu Mukim Beranang. Masjid Raja Alang also under super-
vision of five (5) Chief of village. They are Ketua Kg. Sungai Jai,
Ketua Kg. Sesapan Kelubi, Ketua Kg. Jalan Enam Kaki, Ketua Kg.
Sesapan Batu Minangkabau and Ketua Kg. Bukit Kepong.

Chart 4-1 Pegawai & Ahli Jawatankuasa Kariah 16/18


(Source: Masjid Raja Alangs administration)

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4.4 Building Materials of Masjid Raja Alang c) Terracotta Roof Tiles


4.4.1 Original building materials
Terracotta roof tiles can be con-
sidered as one of the oldest type of
a) Red Bricks
roofing in the world. This type of
Red bricks are used as the main roofing seems to be the best material
element to construct the structure could be used for Masjid Raja Alang
of Masjid Raja Alang. Columns during that particular time as it offers
and load bearing walls inside the better efficiency in heating and cool-
masjid are made up of brick ar- ing system as well as its durability to
rangement. last for over 100 years. Figure 4-10 Terracotta Roof
Tiles were used in the earliest
construction

Figure 4-8 Red Bricks arrangement


in a demolished column This tile was manufactured in and imported from Po-
lakowski, Pascaud and Co. The plant was founded in 1878 by Vic-
b) Lime Concrete
tor A. Simon. The plant was renovated and expanded in 1898 by
Lime Concrete is used as the
his son Eugene Polakowski, a Polish railway engineer.
main supporting structures in the
Roumazires was the first plant to mass produce terracotta tiles
construction of Masjid Raja Alang.
using machines, and in 1930, it merged with Polakowski, Pascaud
Structural elements like columns,
and Co. In 1976, the plant was purchased by CMPR (Ceramic du
beams and floors are made up of
Midi Perrusson Rohmer). And on March of 1935, the plant de-
lime concrete. It is a mixture of
clared bankruptcy and the long lived GTR plant (Great Tuilerie
lime, soft aggregates, sand, cement
Roumazires) was closed. In 1986, the production was very
and water.
low. There remained an oven, but the five Hoffman kilns were de-

Figure 4-9 Lime Concrete Col- stroyed. The manufactured tiles were made of lime. (Tiles and
umn in Masjid Raja Alang
Bricks, 1964) The fabrication shops were on the ground floor,

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while the upper floors were reserved for drying. The structure was d) Coloured Stained Glass
constructed of plaster covered brick with asbestos cement covering Window
the floors. (Ceramics of the building, 1890)
In the earliest construction, col-
By 1650, there was a sizeable production of terracotta roof oured stained glass is used for doors
tiles in European, and they were exporting their produce to other and windows. But due to crack and
countries. In the 1870s. Automated machines for mass producing damage on the glass, it is now being
terracotta roof tiles were first patented, and although there re- replaced by tinted glass.
mained a good deal of demand for hand crafted terracotta roof
tiles, by the 1880s a lot more factories were starting to make use
Figure 4-11 Coloured glass on
of the new machines. The practice of mass producing terracotta doors and windows

tiles soon after spread in America. (The history of terracotta roof


tiles, 2016) e) Expanded Metal Window
The most common shapes of early terracotta roof tiles
Expanded Metal is used in the
were flat and rectangular. They had two nail or peg holes at one
previous time to allow the process
end through which the tiles were anchored to the roof. Sometimes
of stack effect to occur. As time
a strip of cement mortar was placed between the overlapping rows
went by, the metal is no longer suit-
of tile to stop the tiles from being lifted in very high winds. (The
able as it let the rain to splash into
history of terracotta roof tiles, 2016)
the central part of the masjid.
Most historic terracotta roofing tiles sport a terra cotta red
colour. The reddish colour is caused by the high percentage of iron
oxide in the tiles. The colour cause by the iron oxide varies from Figure 4-12 Expanded metal win-
dow
deep reddish browns to softer and paler oranges, pinks and beiges.
(Grimmer, A. E., & Williams, 1992)

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f) Cast Iron h) Marble Tiles

Cast Iron is used in construct- White marble tiles are used in


ing the roof structure. It is the main the main prayer hall during 1980. Its
support system for the central dome characteristic of being extremely du-
where the iron panels are arranged rable and everlasting appeal remain
according to the octagonal shape of its material quality up until today.
the dome. The steel structures are However, the tiles have been cov-
laid on top of reinforced lime con- ered with fabric material for a better
crete beam and connected to the comfort.
roof purlins, joists and battens.
Figure 4-13 Iron Cast Structures
Figure 4-15 White marble tiles
used in main prayer hall

g) Timber Wood
i) Lime Concrete/ Lime Plas-
Timber wood is mainly used as ter/ Lime Render
the non-structural parts in the masjid
Lime has been used to make
like doors and windows. The roof
things like mortar and plaster since
structures of masjid and ablution
long ago. Lime concrete is a mixture
area such as purlins and joists are
of lime, sand and gravel which has
also made up of timber. The strength
been used to construct Masjid Raja
and resiliency of the timber are
Alang. Lime Render and Lime Plas-
proven as the element is still ever-
Figure 4-14 Timber wood used ter are used for the facade and Mas-
lasting up until today. for doors and windows
jids interior respectively.
Figure 4-16 Interior of dome

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4.4.2 Current building materials


a) Metal Decking Roof
c) Polycarbonate Window
The metal decking roof is a re-
Polycarbonate window is
placement to the terracotta roof tiles
added to the wire mesh window
due to the damages and leakage on
used in the earliest time of construc-
the tiles from time to time. The self-
tion. It is now used to avoid the rain
healing, durable, low maintenance
from splashing into the masjid. As
care, eco-friendly and easy to install
a result, the stack effect is no longer
and corrosion resistant characteristic
work for the current time.
of the zinc roof offers more aesthetic
appeal and advantages than any other Figure 4-19 Polycarbonate win-
Figure 4-17 Metal Decking dows at the dome
metal roofs could provide. Roof
d) Carpet
b) Ceramic tiles Carpet is laid on top of marble
Ceramic tiles are mainly used tiles inside the main prayer hall. It is
for the flooring surface in Masjid changed every 10 years according to
Raja Alang except for the main Alias (2016), Ketua Kampung Sesa-
prayer hall. Liquids, stains and dirt pam kelubi. The purpose of the car-
on the surface can be easily wiped pet is to provide better comfort for
away as the surface is flat and the Jemaah.

smooth. However, regular mainte-


nance is needed to keep the areas Figure 4-20 Carpet inside main
prayer hall
free from dirt. Figure 4-18 Ceramic tiles

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e) Tinted glass 4.5 Architectural Styles and Influences in Masjid Raja Alang
4.5.1 Moorish Architectural Influences
Tinted glass is used starting
from the year 2012 replacing the Moorish architectural style refers to the Islamic architecture,
damaged and cracked stained col- what was developed around North Africa and south-western Eu-
oured glass. rope. Around 8th to 15th century Moorish Architecture became
distinguish style. This style was influenced by the Greco-Roman,
Berber and Visigoth cultures. According to the Islamic laws, dec-
orations on screens and the walls were strictly followed by the
rules of the Quran that forbids the copying of natural forms.
Figure 4-21 Tinted Glass on
Doors and Windows As said by Azim (2009), the main principle for Islamic archi-
tecture are calligraphies and geometric shapes. The pattern of the
stars, crescents, hexagons and octagons are embedded within a ge-
ometric composition. The designs are usually in primary colours,
but most prominent in gold silver and white. This style started to
influence the Malaysia architecture at early 20th century (early co-
lonial times) and can also be seen through masjid Raja Alang dec-
orations, arches and the special materials being terracotta and tiles
to adapt to the climate.

4.5.2 Mughal Architectural Influences

After Babur achieved the independence against Lodi dynasty, Mo-


gul architecture style began. Mogul style is mix of Islamic, Per-
sian and Indian Architecture. The Mogul dynasty started in 1526
and lasted 320 years. Sculptural effects made the Mogul Architec-

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

ture prominent. The Mogul architecture started influencing Malay- in a floral manner. The roofs are also designed to suit the humid
sia along with the Moorish period in the 20th century, during the tropical climate is usually high pitched and overhanging.
colonial period of Great Britain. Masjid Raja Alang had been in-
Masjid Raja Alang also being influenced by Malay Architec-
fluenced by the mogul architecture in various ways, for example
ture. There are few windows at the top of the prayer hall what pro-
dome, minaret, which are located at the front of the building
vides cross ventilation over the prayer hall. The roofs are also de-
4.5.3 Colonial Architectural Influences signed to suit the humid tropical climate is usually high pitched
and overhanging with decoration at the edge of the roof. (Chun,
In Malaysian History, Colonial Architectural styles and meth-
Hasan, & Noordin, 2005).
ods have been influenced all over Malaysia. This style is the most
prominent style which has been continuously used from the begin-
ning until now. The most prominent colonial architecture style be-
ing mix of British architecture along with the other certain styles
like Moorish and Mogul. The colonial style has been part of Ma-
laysias design from around 17th century till the mid-20th century.
(Chun, Hasan, & Noordin, 2005). This architectural style also can
be seen through Masjid Raja Alang like the doors, window which
blended with the climate and culture.

4.5.4 Malay Architectural Influences

The traditional Malay Architecture is very suitable for humid


climate. Due to Malaysia is a tropical country, wide roof over-
hangs and high-pitched roof make the interior comfortable. Stilt
Building allows cross-ventilating breezes beneath the dwelling to
cool the house. The Malayan architectural style in Malaysia started
as early as pre-15th century till the present. The Malayan architec-
ture consists mainly of wood carvings as ornamentation especially
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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

4.55 Comparison of Architectural Styles


Table 4-1 Comparison of Architectural Styles

Features Architectural Description Example of Style Photos of Features in Masjid Raja


Style Alang
Dome Moorish Ar- The central dome and the
chitecture dome over the minaret are
smooth rounded domes.
They are one of two types
of domes found in the Mas-
jid.

Figure 4-22 Masjid Sultan Ali Figure 4-23 Rounded Dome of


Saifuddin (source: Masjid Raja Alang
https://www.dreamstime.com)
Hexagonal Mughal Ar- Ribbed dome with a Hex-
dome chitecture agonal base, with the es-
sence of a bulbous dome.
This is the second type of
some found in the Masjid.

Figure 4-24 Pari Bibi's Tomb (Source: Figure 4-25 Hexagonal Dome
http://hubpages.com/travel/Great-Archi- of Masjid Raja Alang
tectural-Splendours-of-Bangladesh

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Symmetry Mughal Ar- The style exhibits impec-


chitecture cable attention to sym-
metry of the buildings it
is not uncommon for a
building to have same
number of minarets and
the same number of arches Figure 4-26 Pari Bibi's Tomb (Source: Figure 4-27 Front Elevation of Masjid
and pillars to each side of http://hubpages.com/travel/Great-Architec- Raja Alang
tural-Splendours-of-Bangladesh)
the buildings.

Bell Arch Neo-Classical One of two types of arch


Architecture used in masjid besides
horseshoe arch.

Figure 4-28 Bell Shape Arch at Window Figure 4-29 Bell Shape Arch in Mas-
(Source: http://www.rometrastevere.com) jid Raja Alang
Horseshoe- Moorish Ar- The Moorish or Horseshoe
Shaped Arch chitecture Arch is a variation on the
Round Arch, in which the
sides arc toward the cen-
ter, creating a partial circle
in the opening.
Figure 4-30 Horse Shoe-Shaped Arch (Source: Figure 4-31 Horse Shoe-Shaped Arch at
http://hubpages.com/travel/Great-Architec- Masjid Raja Alangs Corridor
tural-Splendours-of-Bangladesh)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Wide Horse- Moorish Ar- A variation of the horse-


Shoe Arch chitecture shoe arch in which the
pointed top has been elim-
inated.

Figure 4-32 E. F. Hall Office and Residence Figure 4-33 Wide Horseshoe Arch at
(Source: http://buffaloah.com/a/va/467/int Masjid Raja Alangs Entrance
/int.html)
Arcade Moorish Ar- Arcade of horse-shoe
chitecture arches are a common
Moorish staple.

Figure 4-34 Palacio de Pena Figure 4-35 Arcade Horse-shoe at


(Source:http://www.flickriver.com/pho- Masjid Raja Alangs Minaret
tos/21000745@N02/6173156976/)

Column and Moorish Ar- An arcade of arch with a


Arch chitecture column support between
each pair or arch

Figure 4-36 Series of Arches (Source: Figure 4-37 Arches Inside Main Prayer
http://realfinishes.blogspot.my/p/a-traditional- Hall
architecture.html)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Portico Neo-classical TheNeo-classical


portico of masjid is a The portico of masjid is Figure 3.98: The Morton Figure 3.99: Getaway
Architecture single story height which about 2 stories height house leads to main
acts as the celebrating ele-which acts as the celebrat- (Source: http://1.bp.blog- entrance of masjid
ment to the main entrance. ing element to the main spot.com) ( Source: http://my-
entrance. perakcrew.blogspot.com)

Figure 4-38 The Morton House (Source: Figure 4-39 Masjid Raja Alang in 1984
http://1.bp.blogspot.com)

Victorian Neo-Classical Fan shaped opening allows


Stained Glass Architecture the natural light to come
Fanlight inside the prayer hall.

Figure 4-40 Victorian Stained Glass Fanlight Figure 4-41 Fan Shaped Glass on top of
(Source: http://www.manefeldt.com/) doors and windows

Victorian Neo-Classical Opening at the top of the


Style Door And Vernac- door provides natural ven-
ular tilation and the stained
Architecture glass allows the natural
light to come inside.

Figure 4-42 Victorian Style Door (source: Figure 4-43 Victorian Style Door
http://www.gettyimages.com/detail/photo/de- in Masjid Raja Alang
tails-of-shophouse-architecture-singapore-
high-res-stock-photography/509448961)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Victorian Neo-Classical Stained glass filters the


Style Win- Architecture sun light while the timber
dow at the bottom half blocks
out excessive sunlight.

Figure 4-44 Victorian Style Window (source: Figure 4-45 Victorian Style Win-
http://www.gettyimages.com/detail/photo/up- dow at Masjid Raja Alang
per-weld-road-little-india-high-res-stock-pho-
tography/510733185)
Victorian Neo-Classical A fanlight in placed over a
stained glass Architecture window to allow more nat-
fan-light over ural lighting into the main
stained glass praying hall.
window

Figure 4-46 Rosecliff mansion Figure 4-47 Victorian Stained Glass


(Source:http://travelphoto- Fan-Light over Stained Glass Win-
base.com/v/USRI/RIN11.HTM) dow

Arched steel Moorish arch Steel lattice window helps


lattice win- and the steel to bring the wind form
dow lattice outside to over the prayer
all. It also helps to provide
good cross ventilation.

Figure 4-48 Arched Steel Lattice Window Figure 4-49 Arched Steel Lattice
(Source:http://www.thesteelwindowcompany.com/) Window at Masjid Raja Alang

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Arched win- Neo-Classical The opening under the


dows Architecture dome provides daylight
throughout all over the day
to the main hall from all
Figure 4-50 Masjid Sultan Ali Saifuddin Figure 4-51 Arched Openings at higher
directions. ceiling in the main prayer hall and side
(Source: https://www.dreamstime.com)
of domes

Finial Neo-Classical All the finials of masjid


Architecture used the same shape and
color.

Figure 4-52 Humayun Tomb, Nizamuddin, Figure 4-53 Pinnacles at the


East Delhi (Source: http://journey-of-in- Highest Dome
dia.blogspot.my/2014/06/humayun-tomb-pic-
turesque-masonry-tomb.html)

Neo-Classical Neo-Classical Baluster railing can ob-


Baluster Architecture serve only around the ve-
randah.

Figure 4-54 Neo-Classical Balus- Figure 4-55 Neo-Classical


ter(Source:http://piedraartifi- Baluster in Masjid Raja Alang
cialib.com/restauracion-de-balaustrada//)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Marble floor Neo-Classical Marble floor tiles covered


tiles Architecture the main hall and verandah
of the masjid.

Figure 4-56 Marble Floor Tiles (source: Figure 4-57 Marble Tiles in Main
http://jeffreymeyerphotog- Prayer Hall
raphy.ca/tag/parliament-hill/)

Fascia Vernacular The ornamentation over


Architecture the male ablution area
shows the vernacular Ma-
lay architectural style.

Figure 4-58 Istana Bandar Figure 4-59 Fascia Board at Ablu-


(Source:http:http://www.slideshare.net/vi tion Area
ckylee24/the-50compressed)

Calligraphy: Islamic Ar- The masjid applied a sim-


Khat Thuluth chitecture ple calligraphy motif.

Figure 4-60 Sheikh Lotf Allah Masjid, Esfahan, Figure 4-61 Calligraphy at Mihrab
Iran (Source: https://starsinsymmetry.word-
press.com/2013/12/05/)

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4.56 The Chronology of Masjid Raja Alang -Used double swing gate for the entrance
Table 4-2 Chronology of Masjid Raja Alang -Temporary steel structure roof at front of masjid.

Year Event/Descriptions/Changes -The wall at the main gate made up of brick red

1926 - The construction of Masjid Raja Alang stretcher bond

1928 2006 -Extension of front corridor

1953 The existence of Islamic School besides of masjid -Reconstruction of main gate wall changed to mosic
(source: Rahim, 2016) finishes and swing gate changed into sliding gate
1957 - Demolition of mihrabs dome -Wire mesh fence changed to concrete fence
1975 (source: Discussion) (source: Bong Salleh, Masjids record)

1975 Calligraphy painting of surah Al-Imran, verses 2009 -Building colour changed to light cream and light

132,133,134 at the entrance arch painted by an Indo- gold

nesian calligrapher. -Construction of kitchen and meeting room


(Source: Masjids record)
(source: Azmir, 2016)
1979 Reconstruction of 4 arch in the masjid 2012 -Reconstruction of ablution pool

(source: JKR) -Refurbishment of roof due to leakage


1980 - Demolition of Islamic School -Upgradation of Masjids office
1992 (Source: Discussion) -Replacement of coloured glass on doors to tinted
1984 -Construction of females toilet glass (source: Masjids record)
-Renovation of ablution pool 2014 -Reconstruction of concrete fence
(source: Bong Salleh, 2016) (Source: Masjids record)
2015 -Building colour changed to pink and gold colour
1992 Extension of right and left wings
(source: Masjids record)
(source: JKR/ Sujali, 2016)
2016 -Extension of muslimat praying hall
1996 Construction of new males toilet
-Building colour changed to green, white and gold
2004 -The colour of the building used light pink and dark
colour (source: Masjids record)
green

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

a) 1926 1928: The Construction of Masjid Raja Alang There is another proof from Arkib Negara saying that the erec-
tion of the masjid is made in pursuance of Raja Alangs will before
There is a major confusion on the date of Masjid Raja Alang
he was found to be of unsound mind. A strong statement on the
construction where different dates were given by several sources.
notice stated that Raja Alangs will was granted on the 26th March
As mentioned by Raja Firdaus, the great grandson of Raja Alang,
1928.
the building was built before 1928. A strong endorsement in Arkib
Negara stated by a British lawyer of Raja Alang bin Raja Brayuon
(died in 11th December 1927), Raja Alang left 25% of his residu-
ary estate to be distributed to the various Mohammedan Masjid
in Selangor and other charitable or benevolent purpose. (Arkib
Negara, 2016). The notice stated that there was a provision by de-
ceased of $31,500 for the erection of masjid at Beranang in 1926.
Below is the prove of payments for the construction of Beranang
Masjid which is believed to be Masjid Raja Alang.

Figure 4-63 Raja Alang's will on the erection of masjid. (source: Arkib Negara
2016)

Figure 4-62 Provision by deceased of $31,500 for the erection of masjid at


Beranang (source: Arkib Negara 2016)

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tioned the masjid initially existed in its original materials; con-


crete. Other than that, there is no evidence found in masjid show-
ing that the original materials of masjid were timber.

a) 1950 1992: The Existence of Islamic School

According to Haji Rahim, the Islamic School besides the mas-


jid exists after 1950 which is 10 years after he was born. The mas-
jid was built using timber materials and structurally stood on stilts.
He described the schools appearance looks like a musolla and its
square layout covered with bumbung limas.
Figure 4-64 Raja Alang's will was granted on the 26th March 1928

However, Yahya as one of the eyewitness of Masjid Raja


However, as written by Zainuddin in Warisan Masjid Alangs development stand with another opinion saying that the
Masjid Lama di Selangor, Masjid Raja Alang has already existed layout was rectangular shape and the orientation is parallel to the
before 1900. The statement could be acceptable as Yahya stated qiblah. He illustrated the building was occupied with 6 windows
that Masjid Raja Alang was made up of timber in the earliest time at rear, left and right sides, while two doors at the front. He also
of construction before upgrading into concrete structure. His state- stated that the school was made up of dark timber. There is solid
ment was supported by few old folks in Beranang area and Cikgu prove on his statement shown in Diagram 4-6 displayed that the
Azril as the Chairman of Persatuan Sejarah Malaysia Cawangan plan of school was not square.
Selangor (PSMCS) endorsed the statement and claimed that he
As mentioned by Juriah (villager in Beranang), the school was
once held the original plan of Masjid Raja Alang in Arkib Negaras
painted with white/yellowish colour. The building is believed had
library about 2 years ago.
been demolished after 1980 where the construction of Sekolah
Nevertheless, Haji Alias (Ketua Kg Sesapan Kelubi), En Idris Rendah Agama Integrasi Pekan Beranang (SRAI) besides the mas-
and Haji Rahim disagreed with the information given as they men- jid began. The schools site now is used for jenazah van parking.

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Diagram 4-8 Illustration of Islamic School from Haji Rahim

Diagram 4-6 Masjid Raja Alang 1979 (Source: Jabatan Kerja Raya (JKR)
Hulu Langat)
b) 1957 1975: Demolition of Mihrabs Dome

The demolition of Mihrabs dome happened after 1957 based


on the analysis from all interviews. According to Rahim and Alias,
the shape of the dome at the mihrab was rounded shape and
smaller than the other domes. Two (2) windows were placed at
both sides of mihrab. The Mihrabs area previously accessible for
one person only and the demolition of the dome was the conse-
quence of the expansion of the area.

Meanwhile from Yahya side, a window was allocated in line to


where the Imam stands. Even so, there is no evidences or signs
showing the demolition of the mihrabs dome. Below are the
Diagram 4-7 Illustration of Islamic School from En Yahya
sketches of the mihrabs dome based on Yahya and Rahim expla-
nations.

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c) 1975 Thuluth Calligraphy Painting

The quranic verses of Thuluth Calligraphy painting were


painted by an Indonesian calligrapher around the year 1975. The
two (2) original parts painted by him located at the front entrance
shown in Figure 4-65 and at the beam in line with the mihrab area
shown in Figure 4-66.

Diagram 4-9 Illustration of Mihrab from En Yahya (2016)

Figure 4-65 Thuluth Calligraphy at Entrance

Diagram 4-10 Illustration of Mihrab from Rahim (2016)

Figure 4-66 Thuluth Calligraphy at Mihrab's area

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d) 1979 Reconstruction of Four (4) Arches Inside the


Masjid

The four (4) arches indicated in the plan shown in Diagram 4-


11 and Diagram 4-12 inside of Masjid Raja Alang were recon-
structed in the early 1979. The logic hypothetical that can be made
on the reconstruction of the arches is because of the damaged and
cracked on their surfaces. Other than that, the entrance gate of
Masjid Raja Alang also had been relocated to the edge of the mas-
jids site. All the refurbishment of masjid was run by JKR.

Diagram 4-12 Reconstruction of Four (4) Arches Inside


Main Prayer (Source: Jabatan Kerja Raya (JKR) Hulu Lan-
gat)

Diagram 4-11 Plan of Masjid Raja Alang 1979(Source: Jabatan Kerja Raya
(JKR) Hulu Langat)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

e) 1984 - 2012 Reconstruction of Ablution Pool

The ablution pool of Masjid Raja Alang underwent three (3) stages
of renovation. From the earliest construction until 1984, ablution
pool is used. The roof was purposely made partially covered to
allow the rain water to fill up the pool. From the year 1984 2012,
the ablution pool was raised and enlarged as the roof also upgraded
to fully cover the central part. Series of steel pipes were added
along the side of pool. In the year 2012, the ablution pool was once
again renovated. The floor at the ablution area and store room were
raised up again and steel pipes were removed.

Diagram 4-13 Chronology of Ablution Pool

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f) 1992 Extension of right and left wing of Masjid Raja


Alang

The demolition of the two domes at the right and left wing of
the masjid was constructed in the early 1992 as mentioned by
Sujali (2016), the draughtsman whom in charged in the renovation
project itself. According to him, the demolition of the domes con-
structed merely to extend the left and right area of masjid in order
to cater the increased number of resident population.

He described the domes shape were similar to the existed hex-


agon domes but slightly smaller and during the process of demoli-
tion, the domes disintegrated into small crumbles when being hit. Figure 4-67 Masjid Raja Alang 1984 (source: Rahim, 2016)
The extension of both areas were made right after the demolition.
His statement was supported by many villagers in that area includ-
ing Yahya, Rahim and Alias.

However, a major confusion came about when a few pictures


of Masjid Raja Alang taken by Rahim during 1984 revealed the
disappearance of the two (2) domes. The solid proof shown in Fig-
ure 4-63 and Figure 4-64 contradicts with information received
from all interviews.

Figure 4-68 Masjid Raja Alang 1984 (source: Rahim, 2016)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

g) 2004 Temporary steel structure h) 2006 The Extension of Front Verandah

In 2004, the masjid still used double swing gate for the main There were major renovations made on masjid during 2006.
entrance. The wall at the main gate made up of red brick with One of the renovation was the extension of front corridor. A flat
stretcher bond type shown in Figure 4-69. The picture shows a concrete slab has been built along the extended verandah to cover
temporary steel structure in front of the masjid to provide extra the area.
space especially during congregational prayer. The colour of the
The double swing gate at the main entrance changed to sliding
building used light pink with dark green zinc roof and dark yel-
gate and the main gate wall was reconstructed which changed the
lowish colour of dome.
red brick wall into mosaic finishes. The wire mesh fences had been
modified into concrete fence.

Figure 4-69: Masjid Raja Alang 2004 (Source:http://zahiru-


lonline.blogspot.my/2009/12/kenagan-berputik-kembali-1-
sekolah.html)
Figure 4-70 Masjid Raja Alang 2006 (source:Warisan Masjid Masjid
Lama di Selangor, 2012)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

i) 2009- Construction of Kitchen and Meeting Room i) 2011 - 2013 Refurbishment of Roof Due to Leakage

The expansion of masjids layout continued at the rear side of During 2011 to 2012, the roof of Masjid Raja Alang was re-
masjid where kitchen and meeting room were constructed. Other furbished and upgraded. Zinc roof was added onto the concrete
than that, building colour of Masjid Raja Alang changed to light slab at the front area of masjid to cover the leakage parts. Ablution
cream and light gold. pool was also renovated and enlarged to re-maintain the originality
of masjid. The office the masjid was also been upgraded by ex-
panding the height of the ceiling.

Apart from that, coloured glass on the timber doors changed


to tinted glass due to the crack damages. Females toilet also went
for upgradation along the period year. The appearance of build-
ings colour changed from light colour into dark peach and gold
colour.

Figure 4-71: Masjid Raja Alang 2009 (Source: http://artmelayu.blog-


spot.my/2009/02/masjid-mosque-of-raja-alang-beranang.html)

Figure 4-72: Masjid Raja Alang 2011 (source: http://berpetualangkeaceh.blog-


spot.my/2011/04/mosque-of-raja-alang-in-beranang.html)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

j) 2014 - 2015 Reconstruction of Concrete Fence k) 2016 The Extension of Muslimat Praying Hall

From 2014 to 2015, concrete fence of Masjid Raja Alang was A new muslimah prayer hall just constructed in the early 2016
re-erected into a new one as the fence was about to collapse. The due to the limitation of space in the muslimat praying area. Ac-
building colour changed into pink and gold colour. Womans ab- cording to Haji Alias, the purpose of the extension of muslimat
lution area also upgraded within this period. praying area was to separate two activities and programmes run at
one time as well as to create a better privacy zone for muslimat.
The building has changed into new colour which illustrates har-
mony combination between gold, green and white colour.

Figure 4-73 Masjid Raja Alang 2015

Figure 4-74 Masjid Raja Alang 2016

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4.57 Spatial Organization of Masjid Raja Alang

Spatial organization of Masjid Raja Alang is a vital factor


of the buildings design. The impact of its spatial organization
greatly influenced and controlled the human behaviour as well as
movement of the Jemaah in the masjid.

a) Symmetry and Balance

Masjid Raja Alang faced so many changes since the day it


was built up till now. The original layout of Masjid Raja Alang
implemented square shaped and its spatial planning was symmet-
rical and balanced in terms of size, form and function of space
which can be seen through the section cut shown in Diagram 4-15.
These principles also can be viewed clearly from the elevations of Diagram 4-14 Ground Floor Plan 1928 (Original Plan)
masjid where both sides of masjid look similar to one another Di-
agram 4-16.

Its square shaped was meant to maximize the usage of


space during congregational prayer as well as to fit in balance
rows/safs in the main prayer hall. According to Rosniza, Nila &
Yahaya (2011) in their case study, masjids layout can be classi-
fied as 3 types. Masjid Raja Alang is considered to be as Type A
where this type of layout allowed direct focal point contact with
the entrance point and clearly defined a strong axis when the two
Diagram 4-15 South-East Elevation 1928
points (entrance and mihrab) are in lined.

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

b) Unity and Harmony

Though this masjid went through so many changes as the time went by, the unity of the spaces remained the same. The composition
of the extended space embraced the originality of the form. Every space just feels right and belongs to one another. The expansions made on
the layout of masjid were merely to accommodate the increased number of population in that area.

Year 1928 1984 1992


Sketches of
plan

Description The original layout. Islamic school, first males toilet and fe- Extension of right and left wing.
males toilet existed. The males toilet is now
used for storage room.
Year 2016 2009 2006
Sketches of
plan

Description Rumah Wak, garage for Van Jenazah and Kitchen and meeting room constructed. Extension of front verandah and gathering
Muslimat prayer hall existed. area.
Table 4-2 Expansion of Layout of Masjid Raja Alang

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c) Spatial Hierarchy

The spaces in Masjid Raja Alang are arranged according to its


spatial importance, size, volume and geometry. The spatial hierar-
chy of its space planning also direct a clear movement for the
Jemaah from outdoor area into indoor area and from public area
into private area. The hierarchy of Masjid Raja Alang highlighted
the main prayer hall of the masjid as it has prominent central loca-
tion, large area as well as high ceiling shown in Diagram 4-16,
Diagram 4-17, and Diagram 4-18.

Diagram 4-17 Ground Floor Plan 1928 (Original Plan)

Diagram 4-16 North-West Elevation 1928

Diagram 4-18 Ground Floor Plan 2016 (Current Plan)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

d) Zoning
(i) Outdoor vs indoor

All areas inside the masjid are enclosed except for verandah/walk-
way, male ablution area and gathering/meeting area as shown in
Diagram 4-20.

(ii) Public vs Private

he arrangement of spaces in Masjid Raja Alang also can be di-


vided into public zones and private zones. The public spaces are
for all Jemaah and visitors while the private spaces only for the
administrators. In 1928, the only private areas were Bilal Room Diagram 4-20 Ground Floor Plan 2016 (Current Plan) showing Out-
door and Indoor Zoning
and Imam Room. However, Imam Room has been used as storage
in current time. (Diagram 4-19 and Diagram 4-21)

Diagram 4-19 Ground Floor Plan 1928 (Original Plan) Showing Diagram 4-21 Ground Floor Plan 2016 (Current Plan) Showing Pub-
Public and Private Area lic and Private Area

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

e) Circulation Meanwhile, females entrance nearly located to the toilet and


enclosed ablution area to give a protected and privacy circulation
The centralized organization of masjid controls the circulation
for them.
of Jemaah from all spaces lead to or from the main prayer hall.
Circulation path is shown in Diagram 4-22. The arrangement of masjids spaces affecting the flow of ac-
tion of Jemaah as mentioned by Rosniza et al (2011, p.47) The
As shown in the diagram, the location of entrance clearly sep-
floor plan should show coordination of the prostration activities,
arated the direction of circulation between male and female. The
beginning with the act of ablution to the finding of prostration
spaces and entrances direct the movement of male Jemaah to go
space congregationally or individually.
into the male ablution area before entering the prayer hall.

Diagram 4-22 Ground Floor Plan 2016 (Current Plan) Showing Circulation inside Masjid Raja Alang

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

4.58 Analysis and Synthesis of Spaces building entrances should have certain qualities that can evoke a
strong image, conveying silent, non-verbal messages reflecting the
a) Entrance to main prayer hall
inner activities, whilst giving emotional effect on the users, feeling
invited or repelled. Rosniza et al, (2011, p.45)

b) Corridor / Walkway

Diagram 4-23 Sketch of section A-A (2016)

The spaces in Masjid Raja Alang are clearly defined


through hierarchy of level and contrast in surface of material and
colour. The gradation of levelling from entrance to main prayer
hall also gives direction and welcoming approach when entering
Diagram 4-24 Ground Floor Plan (2016) Showing Corridor Walkways
the masjid. The changes of level from ground level to high level
highlight the importance of the prayer hall as a sacred place.
Corridor is different from verandah as it only functions to
Direct visibility of mihrab from the entrance gives warm be a transitional walkway separating one space to another. Its 1.5
feeling to the viewer to have clear intention in prayer for the sake m distant act as a passage that change two different functions, en-
of worshiping Allah. Other than that, the Quranic verses of callig- able the spaces to be defined clearly. In Diagram 4-24 shows the
raphy paintings at the arch of entrance and at the beam in the main corridor split the main space and verandah.
prayer hall give spiritual essence to the viewer when the meaning
of the verses is comprehended. According to Salamah (2001)

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

c) Verandah d) Ablution Pool

Diagram 4-25 Ground Floor Plan 2016 (Current Plan) Showing Veran- Diagram 4-26 Ground Floor Plan (Current Plan) Showing Ablution
dah Area Pool Area

The ablution pool in Masjid Raja Alang acts as a major


In Masjid Raja Alang, verandah also acts as transitional water element in the masjid. It controls humidity of air inside and
area between one spaces to another, it also functions as a platform outside of the masjid as well as to maintain the thermal comfort of
for congregational prayer especially during Friday and Ramadhan. human body.

The exposed and open verandah area let the natural sunlight The pool is separated by a distance of 8.5 m walkway to
to come in and allow smooth ventilation to circulate. The material ensure cleanliness of the area to the prayer hall. As stated by Ros-
used for flooring at the verandah keep the surrounding to stay airy, niza et al (2011) ablution area is a space that should be taken into
breezy and cool without consuming the artificial ventilation/ cool- consideration where it should be placed in an area that could easily
ing. be seen and reached as performing ablution is the first act before
entering the prayer hall. Therefore, the walkway from the ablution
area to the prayer hall should be considerably short to minimize
the risk of getting foul.

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4.9 Architectural Element hierarchy of its resident and the designer. The masjid is similar to
Architecture elements are the unique details and compo- Masjid Alaeddin in Jugra.
nent parts that, together, form the architecture style of houses,
buildings and structures. The period between late 18th and early The facade of Masjid Raja Alang is typically combination
20th centuries saw the assimilation of Neo-Classical style archi- of all architecture style that influenced the building, such as Moor-
tecture elements into local Chinese and Malay elements. ish, Mughal, Malay, Chinese and Neo-Classical architecture.

The architecture elements in Masjid Raja Alang are gen-


erally combined from Neo-Classical, Straits Eclectic, Mughal,
Bugis and Malay. Generally, a typical Neo-Classical-influenced
structure is a two-story building which expresses the Western and
local architectural traditions modified by the use of local methods
of building construction and building materials. These includes
raised structures, projecting porches with arches or classical col-
umns, high ceilings, wide verandas, big openings, plastered brick
Figure 4-75 Masjid Raja Alang 2009. The facade depictures different architec-
walls and hipped roofs. tural styles in Masjid Raja Alang

Such buildings, like Masjid Raja Alang, usually respond


4.10 Building System
to the local climate by the introduction of elements such as veran-
dah or serambi, front porch, internal courtyard, ventilation grilles, The building system that will be discussed in this topic are the
big openings and high ceilings. The architectural styles of Masjid structural system, non-structural system, decorations and orna-
Raja Alang, its grandiose scale, decorative building elements and mentations, environmental studies, mechanical systems and other
unique interiors became the distinctive characteristic of the social components including mimbar. Plan with annotations and labels
are shown to describe this chapter much easier.

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Main Prayer Hall (Central and Aisle)


Corridor
Front Verandah
Annexe
Muslimat Prayer Hall

Diagram 4-27 Current Ground floor plan of Masjid Raja Alang showing the different zones according to different functions

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

4.10.1 Structural System

Masjid Raja Alang was built with the high quality materi-
als. It is considered to be one of the most prominent architecture
in Selangor back in late 1800s and early 1900s. The great quality
of the structure during the 1900s century of Colonization era has
made it to stand for a long time. The material is of limestone,
formed of terracotta, coarse salt, honey, and egg yolk. Hence, this
perhaps will intentionally decrease the temperature in the interior
space for its natural physical property. It is believed that the early
Diagram 4-28 Pad footings are connected via strip
design is to have a humble physical appearance instead of luxuri- footing
ous feelings transferred to each worshipper. The structural systems Sketched by: Khairul Fikri bin Khairudin.
that will be covered are the foundation system, floor, column, wall,
beam, roof and special elements. ii. Floor System
Masjid Raja Alang has the whole flooring level on a raising
i. Foundation System dam and higher than the ground outside. It was laid out without
Foundation is the diverse type of stonework below the water proofing membrane. Bong Salleh has stated that the original
ground that acts as the supporter for the entire structure. The ma- floor material was made up of concrete and left bare in its early
terial for the foundation must be properly and carefully selected construction during 1928. After several years, functions, and
for its to provide a stable mediator between earth and the super weather impact, the surface of the concrete cracked. With some
structure. Masjid Raja Alang stands on a concrete strip footing. budget from several sources, the masjid laid the floor with white
The columns rest on the pad footings and each pad footings are marble tiles. It lasts for more than 50 years. However, due to the
connected to each other, forming a strip footing (Rosli Ali, 2016) requests from the local residents and monetary availability, the
(see Diagram 4-29). masjid used carpet to give the comfort to the users. This is also due

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

to the chemical properties of lime mortar which is a water absor-


bent cause defects to the marble tiles (Rosli Ali, 2016). The carpet Carpet
has changed for three times. According to Hj. Alias (2016), The Marble tiles
Mortar
carpet that we have was sponsored by an anonymous person. He Concrete
sold his land and gave a portion of the profit to the masjid.

a. Construction
The original plan layout of masjid is square in shape and cov-
Diagram 4-29 Layers of floor finishes.
ered with lime concrete by a mixture of sand, cement and water. Sketched by: Khairul Fikri bin Khairudin

Expended metal was used to reinforce the concrete mixture. The


whole interior space is raised 565 mm higher than the ground level
Moreover, the floor at the front verandah is made up of
accordingly from the steps at the entrance to the prayer hall. This
reinforced concrete. The whole area is laid with square white ce-
symbolizes the fusion of a public space to a holier space. In 1980s,
ramic tiles of 300 mm x 300 mm.
white marble tiles were laid on top of the cement concrete (see
figure below) joint by lime mortar to hold the two surfaces firmly.
(See Diagram 4-30)

Figure 4-77 Square and white marble tiles give a cleaner image to the
lower vision of the masjid

Figure 4-76 Rectangular white marble tiles lay above the concrete.

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

iii. Column
Column is the vertical member in a building system that acts as the
load transfer from the upper floors to the subsoil. Masjid Raja
Alang is influenced by Neo-Classical Architecture.

Figure 4-79 Columns arranged in hexagonal layout

Based on a thorough study on this masjid, the original column


position system at the main prayer hall and the ablution area are
similar, square in shape. It follows the local principle and philos-
Figure 4-78 Central column in the prayer hall connects four (4) arches accord-
ingly. ophy of Meru style for one central column is flanked by three (3)
pillars of columns having the central column higher than the three
The original column of the masjid stands of four (4) types of
columns, with all the columns height of 6870 mm and 3622 mm
column. This system was developed according to three styles.
respectively (see Diagram 4-31). The joint system is mortise and
Each order consists of an upright support column that extends from
tenon, a joint system that holds two (2) timber planks and being
the base at the bottom with a shaft in the middle and a capital at
nailed to the columns (see Diagram 4-31). Thus, there were only
the top. The capital was often a stylized representation of natural
four (4) central columns and eight (8) pillars of supporting col-
forms such as flower foliage or plant leaves. It is divided further
umns at the early construction of the masjid (see Diagram 4-32).
into three different parts:
- Capital
- Shaft
- Base

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

the one in the main prayer hall that has four (4) sides of the column
in a square shape (see Diagram 4-33).

There are two (2) columns between two (2) of the central col-
umns (see Diagram 4-32). These columns supporting the beams
and transfer the loads to the sub-structure. The columns arranged
in square have two (2) arches of 3384 mm and one (1) of 3675 mm
height from the floor level. This is to support the roof structure
which is commonly of timber, forming a slanted roof connection.
The roof had timber structure with mortise and tenon joints.

Diagram 4-30 Left: The three pillars of column flanking the central column.
Right: Joint system, tanggam.

Sketched by: Khairul Fikri bin Khairudin

Not long ago after the masjids construction, during the Colo-
nization period when the British overrule Malaya, the British per-
ceptions, thoughts and forces has had influenced towards the mas-
jid, interfere the Malay Architecture and spoil the Meru style. Af-
ter some consideration between Sultan Sir Alaeddin Suleiman
Shah or known as Pak Khatib Ujang and the British Residents, the
most South columns were replaced as the hexagonal shape was
introduced. As to have the combination between Colonial style and
Diagram 4-31 Four central columns and eight pillars of supporting columns.
Malay style, the columns at the extended South area of the masjid (Sketched by: Khairul Fikri bin Khairudin)

possess six (6) sides to jive with the hexagonal shape similarly to

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Diagram 4-32 Left: The three pillars of column flanking the central column.
Right: Joint system, tanggam. (Sketched by: Khairul Fikri bin Khairudin)
Figure 4-80 The column shows va- Figure 4-81 Corinthian column.
riety of design for the column in
the masjid. Square in shape but in
The current layout of the masjid, the first arrangement or the different dimensions for its base
and shaft.
central columns at the central of the main prayer hall consist of 12
columns (460 mm x 455 mm) arranged in a square. These central
Other than that, the column at the aisle of the prayer hall con-
columns support the arches, the high windows, the beam, the semi-
sists of 22 columns linked to the wall. As a whole, there are 42
spherical dome, and the roof structure. Each column has a plain
columns in the prayer hall. The four (4) columns at the hexagon
shaft connecting to the beam and arches whereas the bases of each
semi-spherical dome corridor are connected to the left and right of
pillars are embedded with the local dark blue tiles, cut into differ-
the south prayer hall. The columns (original columns) support the
ent sizes.
hexagonal segmented semi-spherical dome (original semi-spheri-
cal dome).

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

Every column in the prayer hall is made up of brick and Moreover, the columns at the ablution area are part of the
concrete with most of it painted in light yellow. The four (4) col- intact structures in Masjid Raja Alang. It was meant to support the
umns at the entrance to the main hall are also part of the original roof structure which was previously has a void at its centre as to
columns. Moreover, every column at sideway corridor is con- allow rain pouring down to the ablution pool (kolah). The ablution
nected through concrete railing and arches. Thus, the whole corri- area was then fully under shaded region when renovation was
dor seemed like to be connected continuously from one end to an- made on the roof structure.
other end. In 2006, Masjid Raja Alang extended its space (front
verandah) to cater the increase in number of jemaah. The new type
of column of Greek style (Corinthian- floral and plant pattern) is
inserted to the masjid with the height of 3400 mm along the veran-
dah. The 36 columns are rounded in shape with three (3) rings at
its base. The extensions include the ablution area. Four (4) con-
crete square columns are added to support the new gable roof
structure at the ablution area. The columns are all in the same di-
mension of 3897 mm x 415 mm x 415 mm.
Figure 4-83 The columns at the ablution area are parts of the
original structures exist till now.

a. Construction
Based on the statements from Rosli Ali, the 12 pillars of column
at the central of the main prayer hall are the reinforced columns,
made up of I-column cast iron and embedded with lime concrete.
The cast iron and the lime concrete are good in compression.
Hence, the concrete will eventually hold the iron during fire event.
In addition, the terracotta bricks are arranged accordingly bracing

Figure 4-82 Floral-plant pattern and local motifs influence.

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the concrete infill. The outer layer is then covered with lime plas- The higher walls are decorated with thuluth calligraphy.
ter to have a smooth finish. Different verses from different surah in the Holy Quran are se-
lected for the calligraphies. According to Bong Salleh and Azmir
Moreover, the columns at the aisle of the main prayer hall (2016), the paintings are all drawn by an Indonesian painter who
are made up of lime concrete in filled with coarse aggregates and has a great skill in drawing the thuluth back in 1997. (See Diagram
stones. Terracotta bricks are arranged in square acts as the form- 4-34)
work for the infill.

iv. Wall
Wall is the vertical element in the building system. Somehow it
does not carry any loads from the whole structure except the load-
bearing wall but acts as a definition for a space and it gives pro-
tection to the interior spaces or users. The wall of the masjid is
filled with doors, windows and masonry arches. The original wall
system of Masjid Raja Alang stands of load bearing wall, with 250
mm thickness with lime plaster inside and lime render (stucco) at
Figure 4-84 Interior outlook facing the mihrab (a place for the imams)
the outside (Rosli Ali, 2016). The bricks used were red bricks/ ter-
racotta bricks with dimension of 120 mm x 220 mm x 60 mm.

In comparison to other building that uses the same con-


struction method in the same period, it is believed that this masjid
used a special method for the load bearing wall, which resulting in
Diagram 4-33 One of the Calligraphy paintings on the high wall, right above the
less thickness of the wall. The newly constructed Muslimah Prayer mihrab area has Surah Al-Anfal, verse 2 on it which means; The believers are
only those who, when Allah is mentioned, their hearts become fearful, and when
Hall is made up of single layer of brick wall. His verses are recited to them, it increases them in faith, and upon their Lord they
rely-Truly His Words.

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Derived from Rosli Noor (2016), the calligraphy painting v. Beam


was the influence from the Art Deco Style. It has been painted in Beams are the horizontal structural element that acts as the load
such ways far from the human height to pay respect to the holiness distributor to the nearest columns. Thus the loads can be trans-
of the verses. ferred down to the foundation. Masjid Raja Alang was constructed
with reinforced concrete beams. The beams are installed in the grid
a. Construction of nine (9), transferring the load of the roof and the semi-spherical
The wall of the original layout in Masjid Raja Alang uses load dome to the connected columns equally.
bearing wall. Such kind of wall was used to support the heavy
structure (semi-spherical dome). Knowing that this masjid is a Stated by many sources, the reinforced concrete beams are
royal masjid, this type of construction that has the influence of the part of the original structure as well. The beams are connected to
Colonials, was only been realized for a higher status building in the eight (8) central columns. Apart of the nine (9) grid beams,
that period. Masjid Raja Alang has a beam at the front minaret. It is to cater
the load of the mezzanine level which was once a place for athan
The wall in the central of the main prayer hall has Running (call for prayer), as well as to support the second highest semi-
bond of bricks arrangement. Two bricks are arranged next to one spherical dome.
another with a gap in between. The gap is filled with expended
metal as to reinforce the wall. The method allows the wall to
breathe and reduce the heat radiation from the sun towards the in-
ner space. On the other side, the wall in the aisle of the main prayer
hall has the same bond of bricks. However, the walls are not being
reinforced and anchored to the outer wall as it only acts as a lean-
on structure, bracing the outer column and prop the wall. It follows
the flying buttress principle by Sir Arthur Benison Hubback in his
designs but being interpreted in this masjid through the timber
plank on the columns as the beam, supporting the roof structure.

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a. Construction vi. Roof and Dome


Roof is the outer-most structure of a building. It functions as a
weather and harsh of climate protector. Since thousand years ago,
roof is one of the ways for the designer/ patron/ architect to portray
the power, wealth and identity.

Figure 4-85 The nine (9) grid beams.

According to Rosli Ali (2016), the beams are reinforced Figure 4-86 Four domes which stands of two (2) domes and two (2) hexagonal
segmented domes explains clearly the British influence to the local style (Meru).
with cast iron and concrete envelops it. Cast iron has an excellent
reaction for compression and contains low quantity of carbon that In a glance, Masjid Raja Alang is an easily spotted struc-
makes it a higher durability material as to compare to steel. The ture due to its unique design of the dome and the roof. There are
cast irons are installed before the concrete poured to encase the two (2) domes believed to have the influence of Dutch style
iron. Through cross-sectional view, the beam has the iron cast em- whereas the two (2) hexagonal segmented domes are influenced
bedded at the lower portion of the whole concrete composition. from Neo-Classical and Anglo-European Mughal style (Rosli
The iron which is good in compression requires higher quantity of Noor, 2016). It was originally left bare (grey) to blend with the sky
lime concrete as to avoid the iron from any internal damages. and nature surrounds. However, it has been painted for several
times due to changes in weather, defects the domes surfaces. Re-

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ferring to a statement from Rosli Ali (2016), the chemical proper- (4) pinnacles picturesque the whole look of the dome. The crenel-
ties of the lime render could only in contact with particular paint- lation was once one of the strategies in army, a place to put the
ings. The lime render has pores in its mixture and easily exposed weapon (gun) in between the gap to attack the enemies. However,
to humidity which could bring deterioration to its surface. The currently the crenellations is only part of the decorations for the
dome is now gold in colour, painted about two (2) years ago. Thus minaret.
this gives a new character to the masjid.

There are thoughts about the height of the domes. The central
dome symbolizes the highest ruler of the universe, Allah the Al-
mighty. The dome is decorated with eight (8) pinnacles depicts the
limitless beautification of Him. Other than that, the dome is filled
with eight (8) semi-circular expended metal windows. The win-
dows were once left unprotected as to allow cold air immerse
through the windows and being equally distributed to the main
prayer hall. Stack effect happens when the hot air, less dense air
escapes through the high openings at the drum leaving the cold air
Figure 4-87 The highest dome Figure 4-88 The second highest
in the space. This process repeats naturally in every moment. At symbolizes Oneness of Allah the dome symbolizes the second beauti-
Almighty. ful creation, Prophet Muhammad
the same time, the higher pressure (smaller volume) being com- P.B.U.H.
pressed and expressed to a lower pressure area (larger volume).

Moreover, the two (2) hexagonal domes symbolize the six


The second highest dome symbolizes the most beautiful
(6) pillars of Iman in Islam. Iman revolves around every Muslim.
creation created by Allah the Almighty, Muhammad P.B.U.H. The
There is a great explanation from Prof. Dr. Hamka in his book,
thought has been approved when this dome has the most decora-
Tasauf Moden regarding Iman written in Bahasa Indonesia;
tion and ornamentation surround it. It has crenellations and four

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Agama ialah buah atau hasil kepercayaan dalam hati, iaitu iba- joists and battens. Moreover, there are 12 catris, a smaller version
dat yang terbit lantaran telah ada iktikad lebih dahulu, menurut of dome at every column positions breaks the rigidness of the
dan patuh kerana iman. Tidaklah timbul ibadat kalau tidak ada Meru style roof. Based on Azmir (2016), there were once Hindu
tashdiq dan tidak terbit patuh (khudhu) kalau tidak dari taat yang Triton-like steel elements assembled on top of the domes pinna-
terbit lantaran telah ada tashdiq (membenarkan) atau iman. cles. The function of the element was to connect the gasoline
lamps to the electrical supply. Other than that, the element has
The above quotation derives to the importance of Iman to three (3) pointed shapes. Once upon a time, the element has at-
be part of every Muslim. Iman is the root and target for each Mus- tracted the Hindus to walk around the masjid because it reminds
lim to strive to the fullest, and avoid from misleading or mis- them of their Gods. Thus, the Triton-like steel was taken off from
guided. Hence, this could be the reason of having more than one its position.
hexagonal segmented dome. It is to give a stronger impression not
only through visual, but through deeper thoughts and understand-
ing towards the hierarchy of the domes as well.

Figure 4-90 Current shape of steel element is currently under masjids


supervision for their record.

Figure 4-89 The crenellation


In addition, along decking
the metal the minaretfinishes
of the second highest
replace thedome.
terra-
cotta tile finishes. These materials are supported by timber rafters,

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a. Construction The eight cast-iron panels stand of iron braced by triangu-


Besides, Sujali (2016) has mentioned regarding the roof structure lation method to reduce the tension and force imposed on the pan-
and style of Masjid Raja Alang has a Meru style which was be- els as well as to further enhance the strength and rigidity of the
lieved to be derived from Merong Mahawangsa, a ruler in Malaya whole frames. The steel panel at each octagon corner of the centre
centuries ago. However, the current features of the roof do not grid beam has a longer triangulation bracing supporting the whole
portray the real Meru style. Based on the observations and studies, panels. The triangulation bracings support the roof ridges as well.
it is believed that the roof at the main prayer hall has partially The I-columns are encased with lime concrete to hold the drum
changed from the style to a Neo-Colonial style dome. The dome together. Moreover, the roof structure stands of timber rafters,
has eight (8) series of braced I-column with bolts and nuts connec- timber joists and timber battens. The terracotta tiles rest on the
tion as its main load supporter. The cast-iron can only have these structure, protecting the interior of the masjid (Rosli Ali, 2016).
connections because of the chemical reaction of it that will explode
when its being welded (Rosli Ali, 2016).
The steel
structure was
constructed
later, right
beneath the
timber rafters
and purlins.

Figure 4-92 The I-column encased to lime concrete.

Figure 4-91 Steel panels are located on top of the beam


as to embrace the drum of the dome.

Figure 4-93 The terracotta tile.

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4.10.2 Non-Structural System


This sub-topic will focus on the non-structural system of Masjid Raja Alang. The non-structural elements in Masjid Raja Alang consist of
door, window, mihrab, stair, partition, and baluster.

i. Door
Door is one of the opening members. A door gives an access into and out of a space. It indicates the security of a space by having locks and
latches. Most of the doors in Masjid Raja Alang have timber door with single leaved and double-leaved door.

Doors Indication
Red: Double-Leaved Door
Yellow: Single-Leaved Door
Light Green: Sliding Door

Diagram 4-34 Ground Floor Plan (Year 2016)

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Door Type Location Description


No. Double-Leaved Door

1 Main entrance to This double-leaved door is made up of


main prayer hall. timber. It is one of the original elements
in the masjid which still in good condi-
tion. There are three (3) of this doors in
the prayer hall. This door has become
the entrance to the main prayer hall.
Plus, the door has an inward opening. In
early 2000, each of this door are secured
with stainless steel grills due to several
robbery cases recorded for more than
five (5) years (Azmir, 2016).
Figure 4-94 Double-leaved door at main entrance to main prayer hall

2
Mihrab to the meet- The door is installed together with the
ing room. extension of mihrab in year between
1957 and 1975. It is made up of timber
with three (3) panels and one active
door. The door has a width of 1320 mm
and 1985 mm height.

Figure 4-95 Door at mihrab to the meeting room

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3 Side entrance to the The door has six (6) panels overall includ-
main prayer hall. ing the transparent tampered glasses. The
tempered glass was not the original feature
of this door. Somehow, due to the fragility
of the original element, it has been replaced
to a more durable and low maintenance ma-
terial. The door is ornamented with six (6)
shaped ransom of green, red and white. The
door has a width of 1155 mm and height of
Figure 4-96 Side entrance to the main prayer hall
2118 mm.
4
Store Room and The timber door is the original feature of the
Athan Room masjid which is still intact and good condi-
tion. The six (6) panels with 4 glass panels
in different colors decorate the whole look.
The door knob is made of pure copper. The
jalousie top hang helps to ventilate the room
anytime. Moreover, this window portrays
Malay influence through the top hang lou-
vered window. The door has a width of 850
mm and height of 2396 mm.
Figure 4-97 Timber door at store room and athan
room

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Door Type Location Description


No. Single-Leaved Door

1 Door 1: Kitchen Door 1, Door 2, Door 3 and Door 4 are


Door 2: Toilet of timber with steel door knob. Each
Door 3: Imams door has 8 identical panels and timber
Room casing. The doors have a width of 915
Door 4: Siaks mm and 2100 mm height.
House
Door 1 Door 2 Door 3 Door 4
Figure 4-98 Timber door with steel door knob

2
Toilet for Female, This door is made up Polyvinyl chloride
nearby Muslimah (PVC)
Prayer Hall.

Figure 4-99 Polyvinyl chloride (PVC) door

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Door Type Location Description


No. Sliding Door

1 Muslimah Prayer Sliding door 1 has an active side on the


Hall right, whereas the left one is a passive
side. Whereas, sliding door 2 has 2 ac-
tive sides. The doors allow vast amount
of daylight to penetrate to the praying
area. The width of door 1 is 1657 mm
and height of 2230 mm. The width of
door 2 is 3330 mm with height of 2280
mm.
2
Meeting Room The sliding door has 3 active sides on its
left and right.

Figure 4-101 Sliding door at meeting room

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Door Type Location Description


No. Gate
Sliding steel gate.
1 Main Entrance

Figure 4-102 Sliding steel gate at main entrance

2
Second Entrance, Double-leaved steel gate.
nearby the Jenazah
van parking.

Figure 4-83 Doubled-leaved steel gate at second entrance

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ii. Windows
Normally, a space is filled with glass in the wall of a building, to allow light and air in called as window. It acts as the visual visibilities
from the interior to exterior as well. Masjid Raja Alang is a beautiful building with many openings from different styles and sizes. The
openings are as follows:
Windows Indication

Diagram 4-35 Windows indication on the Ground Floor Plan (Year 2016)

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No. Type of Window Location Description

1 Imams Room, Jalousie window.


Kitchen and Meeting
Room

Figure 4-104 Jalousie window

2 Siaks House Timber window with louvers top hang.

Figure 4-105 Timber window with louvers top hang

Imams Room Decorated jalousie window. The whole


element is molded with timber.
3

Figure 4-106 Decorated jalousie window

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No. Type of Window Location Description

4 Main Prayer Hall Screen lattices expended metal.

Figure 4-107 Screen lattices expended metal at main prayer hall

5 Imams Room Single jalousie window.

Figure 4-108 Single jalousie window

Meeting Room. Triple jalousie window.

Figure 4-109 Triple jalousie window

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No. Type of Window Location Description

7 Toilet for Male. Triple jalousie top hang window.

Figure 4-110 Triple jalousie top hang


window

8 Double Volume Screen lattices expended metal.


Hexagon Tower and
Top hang of Minaret
(Mezzanine level)

Figure 4-111 Screen lattices expended metal

Muslimah Prayer Translucent glass sliding window.


Hall
9

Figure 4-109 Triple jalousie window

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No. Type of Window Location Description

10 Main Prayer Hall Original window that still intact. The


window is made up of timber with four
(4) panels. Two of the four panels have
the grid of six (6) glass panels to let the
daylight penetration to the interior space.

Figure 4-113 Timber window at main prayer hall

11 Main Prayer Hall Timber window with colorful shaped ran-


som at its top has the Neo-Colonial influ-
ence.

Figure 4-114 Timber window with colorful shaped ransom

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iii. Baluster
No. Type of Baluster Location Description

1 Corridor Zone B The baluster is one of the original structure


in Masjid Raja Alang. According to Rosli
Noor (2016), this baluster has no relation
to the design of the masjid. The architect
or the client did want to have such baluster
designed in such ways.
Figure 4-115 The original baluster at corridor Zone B

-Railing 1: This railing acts as a gate be-


2 Railing 1: Verandah fore entering the masjid. The gate is a
Zone C, nearby ab- stainless steel gate and painted in shiny
lution area. black color.

Railing 1 Baluster 1 - Baluster 1: This baluster has an Ionic or-


Baluster 1: Corridor der, with minimal decorations at its base
Zone E. and its capital, the convex and concave
parts of the baluster curve has the widest
Baluster 2: Veran- dimension.
dah Zone C. - Baluster 2: The balusters are added dur-
ing major extension and renovation of the
Baluster 2 masjid. The baluster has a Corinthian or-

Figure 4-116 The additional balusters


der. The design is more sophisticated at the
panel as to compare to Baluster 1.

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3 Ablution Area The railing is added during the extension


and renovation of the ablution area. The
vertical element has coils straps its body.

Figure 4-117 Railing at ablution area

iv. Stair
Stair is a set of steps that lead from one level to another level. In Masjid Raja Alang, the stair leads the corridor at Zone B to the mezzanine
level, a place for the imam or muazzin to call for prayer (athan). The stair is also one of the original non-structural elements in Masjid Raja
Alang. Only it has been painted several times following the color of the wall.

Figure 4-118 Stair leading to the mezzanine level Left: Front view. Middle: Side view.
Right: View towards the opening leading to the mezzanine level.

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v. Ablution Area alternative to avoid the water runs out and dirty (see Diagram 4-
36). The person taking wudhu will have to squat on a concrete
Ablution or wudhu is required for performing Salah. A Salah block approximately about 1 feet high x 1.5 feet width and take
can be performed if and only if one has wudhu. It purifies bodies, the water in the pool using their hands. The concrete was designed
minds and souls through washing four (4) main parts of body in L-shaped around the ablution pool. After taking wudhu, the
which are face, both hands from wrist up to elbow, head and leg person has to walk on stone pavements arranged with gaps towards
from toe to knee. A good way in taking wudhu is facing the Qibla the main prayer hall.
similar to the one in Masjid Raja Alang. The ablution pool (kolah)
in Masjid Raja Alang is rectangular in shape having the longer Moreover, the ablution pool got its water naturally from
parts perpendicular with Qibla. Thus, everytime the user taking the rain. The original roof structure was left open at the center. The
ablution, they will unintentionally facing the Qibla and every good opening was believed square in shape. There was a gap (drainage)
deeds for Allah the Almighty solely will definitely be rewarded. between the concrete block and the ablution pool to channel the
This relates back to the person designing the masjid was totally a excess water pouring out from the pool during rainy season.
brilliant and wise human being regarding Islamic Understanding.

The ablution pool was only about 1.5 feet above the
ground. According to Hj. Rahim (2016), the depth of the kolah is
about 2.5 to 3 feet. The pools shape is concave-like shape,
shallower at the perimeter and deeper at its center. Thus the water
in the pool will constantly circulate due to gravity factor, as an

Figure 4-119 Current ablution pool has high concrete with tiles finishes after
three (3) times renovation.

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vi. Mihrab than that, there are two windows flanking the left and right side of
the mihrab.
Mihrab existed since the period of Muawiyah bin Abu
Sufyan. A study has discovered that mihrab exist since the period Somehow, it has been demolished at early 1980s. The
of Prophet Daud A.S. Most mihrab in this world has a curve in current mihrab in Masjid Raja Alang is constructed 7 years after
shape or known as mimbar Mujawwaf believed coming from the mihrab demolished. Nowadays, the mihrab has not being fully
Masalan bin Mukhallaf (667-682 AD) or Abdul Aziz bin Marwan utilised. According to Azmir (2016), this is due to the saf prayer is
(685-704 AD). Mihrab is originally a place for the ruler to protect not continuously connected because of two (2) columns in
himself from enemies and a place for him to do self-reflection. It between the saf. Thus, imam has to start the saf right between the
is mentioned for five (5) times in the Holy Quran, having in four columns so that the first saf could start right before the columns.
(4) times in pronounce in singular and one in plural form.
However, during the Prophet Muhammad P.B.U.H period, mihrab
is prohibited in every masjid because it is similar to altar in
churches.

A hadith narrated by Ibnu Masud stated that it is makruh


to pray in mihrab because mihrab is included in church elements.
Even in the Prophets masjid do not possess one but constructed
during the ruler of Caliphate Umar Abdul Aziz during its
renovation. In response to Masjid Raja Alang, this masjid has a
mihrab in its early construction. It can only fit for one person, with
2.0 m width, 2.5-3.0 meters length and height of 4.0 meters. Other Figure 4-120 The red carpet being laid out for the imam and the first saf starts
behind the imam.

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vii. Decoration
Masjid Raja Alang follows simplicity and humbleness in terms of decoration for its interior. Based on the findings and observations, the
principles are to allow the worshippers to feel closer to a Deity, diminish every worldly life and luxuries behind and focus to the submissive-
ness. It is also believed that such principle symbolizes the true character or persona of the architect or the client of the masjid, who was a
humble, down to earth and fond towards Islamic Syariahs teachings person.

Calligraphy paintings are usually a quote from Islamic verses (Holy Quran) and highly respected. Thus, the position of the calligraphy
is crucially being considerate. It cannot be too low and must be above certain angle (Rosli & Tn. Najib, 2016). Below are the 13 decorations
found in the masjid, most of it is thuluth calligraphy. Thuluth means a third because of the proportion of straight lines to curves, or because
the script was a third the size of another popular contemporary script, which was Tumar. (Abd Rahman Hamzah,2012).

No. Decoration Location

1 Main Prayer Hall


(Painted in 1975)

Diagram 4-36 The believers are only those who, when Allah is mentioned, their hearts become fearful, and when His verses
are recited to them, it increases them in faith; and upon their Lord they rely. Al-Anfal, Verse 2 (8:2).

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

2 Entrance arch towards


the Main Prayer Hall.
(Painted in 1975)

Diagram 4-37 The picture depicts a calligraphy painting at the entrance arch. The painting consists of two (2) verses
from the Holy Quran arranged accordingly. It is from Surah Ali-Imran, Verse 133-134 which means,

And hasten to forgiveness from your Lord and a garden as wide as the heavens and earth, prepared for the righteous
(133). Who spend (in the cause of Allah) during ease and hardship and who restrain anger and who pardon the people
and Allah loves the doers of good (134).

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

3 Main Prayer Hall


(Painted in 2007)

Diagram 4-38 This dua shall be said verbally or silently indicating the sign of staying in the masjid even just for a moment,
The mukmin believe that every good deed will be rewarded and blessed by the Almighty. This dua brings a meaning of, I
stay in this masjid for Allah Taala.

4 Main Prayer Hall


(Painted in 2007)

Diagram 4-39 This niat or intention is meant for every Muslim who wants to pray two (2) rakaat right upon entering the
masjid. The meaning of this niat is I pray Tahiyyatul Masjid, two (2) rakaat for Allah Taala.

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

5 Main Prayer Hall


(Painted in 2007)

Diagram 4-40 This is a verse from Surah Al-Mukminun, means Certainly will the believers have succeeded. They who are
during their prayer humbly submissive. Al-Mukminun, Verse 1-2 (23:1-2).

6 Main Prayer Hall


(Painted in 2007)

Diagram 4-41 The picture depicts a hadith narrated by Musnad Ahmad which brings the meaning of The key of heaven is
prayer and the key for a prayer is Wudhuk (ablution).

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Masjid Raja Alang, Beranang Chapter 4: Masjid Raja Alang

7 Main Prayer Hall


(Painted in 2007)

Diagram 4-42 This picture depicts a verse from Surah At-Tawbah, with the meaning of, The masjids of Allah are only to be
maintained by those who believe in Allah and the Last Dayila aayah. At-Tawbah, Verse 18 (9:18).

8 Main Prayer Hall


(Painted in 2007)

Diagram 4-43 The meaning of the calligraphy above is Verily, Allah loves the prayer being performed in congregational
(Jemaah) compared to performing alone (Mufrad), narrated by Musnad Ahmad.

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9 Main Prayer Hall


(Painted in 2007)

Diagram 4-44 The picture above is a verse from Surah Al-Ankabut, The meaning of this verse is And whoever strives only
strives for (the benefit of) himself, Indeed, Allah is free from need of the worlds, AlAnkabut, Verse 6 (29:6).

10 Main Prayer Hall


(Painted in 2007)

Diagram 4-45 The calligraphy above is a verse from Surah Ibrahim, means My Lord, make me an establisher of prayer,
and (many) from my descendants. Our Lord, and accept my supplication, Surah Ibrahim, Verse 40 (14:40).

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11 Main Prayer Hall


(Painted in 2007)

Diagram 4-46 The picture above depicts a hadith narrated by Ibnu Khuzaimah , which means: Whoever look after their
prayer, will not be among those who in wrongdoings.

12 Main Prayer Hall


(Painted in 2007)

Diagram 4-47 The calligraphy above is a verse from Surah Al-Ankabut, which means Indeed, prayer prohibits immorality
and wrongdoing, Surah Al-Ankabut, Verse 45 (29:45).

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13 Muslimah Prayer Hall.


(Painted in 2016)

Diagram 4-48 The picture above is a hadith from Prophet P.B.U.H, which means, A single prayer in congregation is better
than forty years of prayer at home.

viii. Ornamentations

Masjid Raja Alang does not possess much ornamentation but are facing the Jemaah until now. Other than that, the height of the
replaced with an exotic mimbar (pulpit) for 88 years. Mimbar is a mimbar is 3980 mm. The pulpit post has been altered to lower the
place for imam to speak the summons during Jumaat prayer. It is height of the mimbar. Thus, the mimbar can be inserted to the mih-
supposed to be on a higher level than the Jemaah to have the mes- rab.
sages conveyed to everyone on the floor. Najib (2016) stated in his studies regarding Malay Archi-
The mimbar in this masjid has three (3) steps before its tecture that mimbar in each masjid in Nusantara has the influence
landing, where the microphone and the rehal (a book or script from the local abide by the local philosophies. Similarly, to the one
placement) are ready for the imam. The three steps are influence in Masjid Raja Alang, the motif on the panel of the mimbar has the
from Parsi (Rosli Noor, 2016). Originally, the steps going up are influence of Minangkabau style. The platform railing has the re-
facing qibla. Due to several reasons and unwanted occasion hap- flection of the shape of the dome, arranged closely next to one an-
pened, the mimbar has turned 180 degrees, for its steps going up other.

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The front side of the mimbar is decorated with a fully


pierced wooden carved panel consist of a symmetrical diamond
lozenge called buah ladu, framing a flower motif in the middle.
The flower is the source that holds a rectangular, interlocking
swastika motif on both sides. The swastika pattern was commonly
used by the Malays as the symbol of protection. Despite of the
controversial of the symbol, Najib (2016) has firmly stated that the
symbol was merely a general style which refers to no entities.

Figure 4-122 The swastika motifs

There is a freely foliage of kelok paku pattern flow within


the geometrical void of the panel balancing the strict geometric
patterns, reflecting a perfect blend of geometrical pattern with
more vegetative and abstracted floral motif.

Figure 4-121 Whole look of an 88 years old mimbar.

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Figure 4-123 Floral motifs found at the surface of the mimbar.

Figure 4-124 The carving has the influence of local philosophies.


The pulpit is supported by turned posts, which are topped
by a stupa-like onion shaped buah buton, on each corner surround-
ing the top dome. The shaft continues down to the pulpit platform In between the turned posts on left, right and rear side of
to a lotus-like shaft end with daun sesayap along the top, flanking the mimbar platform is the arch like, fully pierced carved timber
the pulpit platform railing. The steps leading up to the mimbar panel having the same carved vegetative motif of kelok paku foli-
flanked by two turned posts with a rectangular composition of age. The stems, flower, shoot and leaves branched out from a
carved woodwork capitals. lightly geometrical flower located in the middle, with sharp edged
petals complementing the geometry entity. The arch like timber
The side of the mimbar platform is decorated with a low
panel is supported by low relief carved timber brackets, reflecting
relief carved woodwork panel with a highly abstracted and asym-
the kelok paku foliage, arranged along the outer edges framing the
metrical kelok paku motifs. The asymmetrical treatment of the
floral motif in the middle.
kelok paku foliage pattern enhanced the strength of spiralling foli-
age and the free flow of the motif. The overall composition of the
foliage is having the similarity with the sikumbang manih motif, a
pattern adapted from the Minangkabau.
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4.11 Environmental Study/ Passive Design


This sub-topic provides the information regarding the en-
vironmental studies and passive design on Masjid Raja Alang. In
order to reach to a final result, the study has been done on the main
prayer hall. The prayer hall is the fixed variables taken in order to
get the data on the impact of materials chosen towards human/ user
comfort, impact of size of openings towards the amount of day-
light penetration to the area as well as the impact of the location of
the openings towards the cross-ventilation in the main prayer hall.

Figure 4-125 Floral motifs found at the surface of the mimbar. 4.11.1 Materials vs Human Comfort
In the previous sub-topic 4.3.2, the findings stated that the original
layout of Masjid Raja Alang is of limestone. In 19th century during
the colonization period in Malaya, the limestone used was a mix-
ture of terracotta, coarse salt, egg yolk and honey.

4.11.2 Ventilation
Since the early construction, Masjid Raja Alang depends solely to
natural ventilation. The openings are uncovered such as expanded
metal lattice frames at the windows as to allow wind flow through
the spaces in and out naturally. Later, due to rainwater penetrates
to the main prayer hall, some of the openings especially at the
highest dome been covered with polycarbonate glasses. Thus,
Figure 4-126 The three steps leading to the platform

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Thus, ceiling fans and wall-mounted fans are installed to cool 4.12 Services
down the prayer hall. 4.12.1 Water supply
In early 1900s until mid-1950, the masjid received water supply
from the rain and from the nearby river. The ablution pond was
left open to let the rain pouring in it. There was a well with 2500
mm in diameter behind the masjid. The water in the well was col-
lected from the rain. We use pale, take the water from the well
and use it whenever we need to use the toilet (Rahim, 2016).
However, there is no record on site regarding the wells location
but records in Raja Alangs will regarding some monetary has
been allocated for its construction.

Figure 4-127 Windows at the highest semi-circular


dome changed from steel wire mesh to polycar-
bonate glass.

Figure 4-129 Current ablution pool is now fully covered. The water is
supplied from SYABAS.
Figure 4-128 Ceiling fan and wall-mounted fan
Nowadays, the water supply has been standardized and a
more systematic water supply system is applied at the ablution
area, toilets and kitchen.

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4.12.2 Sewerage/Sanitary
In early 1900s until mid-1950, the sewerage line was not a
properly channelled to a collector. The waste was distributed to a
local drainage, which that caused the place surround it smells unp-
leasantly. Current, the sewerage and sanitary line changed to a
more systematic and efficient when SYABAS took over the sani-
tary management.

Figure 4-130 Current drainage channelled to the local main drainage.

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4.12.3 Electrical Layout (Ceiling Plan)


Masjid Raja Alang capitalized gasoline oil lamp to light up the spaces. In 1894, Malaya has its first electricity when Loke Yew and Tham-
boosamy Pillai invented a hydroelectric technique in a tin mining area in Rawang, Selangor. In 1900, the first power plant operated in
Peninsular Malaya.

Diagram 4-49 Electrical Layout

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4.13 Summary
In summary, Masjid Raja Alang is a masjid meant for people in
Beranang. The overall planning and design are all derived from
the teachings of Islam. Though the masjid has been extended for
several times, every extensions done by the organization of the
masjid is for the people themselves. However, every alteration
made does not tarnish the living environment surrounds.

In the structural system subtopic, the findings are all de-


rived from literature references, stories from the old folks and from
the expertise in the construction methods back in the early 19th
century. Summations and assumptions were made together with
the comparative studies with three other masjids built around the
same year. Despite all the obtained information, there are no exact
information regarding the hidden materials and the construction
methods.

The masjid has become a meeting place for the villagers


and for any events. This depicts a real strong connection to the
Prophet PBUHs Mosque in Madinah, to have a multi-function
space, meant for everyone, and every religion.

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