DA HS H H HHHHHHHHH

DECLARATION I
II

Name of Building: Sacred Heart Chapel Jack Chung Da Jie 0323948

Address: Lot 25, Jalan Tengkera, 75000 Melaka, Malaysia. Joey Lau Xin Jun 0323965
Noor Syahirah Binti Abdul Aziz 0326109

This report is submitted for the subject ARC 1215 / ARC 60305 Nur Diyana Athirah Binti Abdul Khalid 0326114

Methods of Documentation and Measured Drawings to the School Rhianna Mae Storey 0325369

of Architecture, Building and Design of Taylors University to obtain 5 Saw E Sean 0322003
credits for Practicum 1. Siti Nur Fatahiah Binti Md Ezamudin 0320595
Tan Yincy 0318355
Teoh Jun Xiang 0322099
It is a group effort by:
Thareen Nujjoo 0324886
Leader:
Seow Koji Takehira 0320816

Bachelor of Science (Honours) Architecture

Group Member: January 2017

Andy Heng Wee Xiang 0327152 Taylors University

Harwinder Singh Girn A/L Manjeet Singh 0319881

Heng Sy Hua 0321999 Supervised by:
Ho Zi Yan 0323698 Dr. Camelia May Li Kusumo
Hyunh Minh Nhat Dinh 0313309
 ACKNOWLEDGEMENT II

Our team, Team Sacred Heart Chapel, would like to extend our
heartfelt gratitude to those who provided us valuable information and
knowledge which contributed to the completion of this report.

We would like to take this opportunity to express our deepest

appreciation to our tutor, Dr. Camelia May Li Kusumo, for providing
guidance to our team throughout the course of the assignment and
also for sharing her valuable insights which benefited the outcome of
this report.

Moreover, we would like to thank Architect Hau Woon San, the owner
of Idea Workshop, as well as Ms. Jovina Ann Lee, an Idea Workshop
employee, for providing us the required documents and materials to
complete our report.

Lastly, the completion of this report would not have been possible
without the kind support of Mr Keith Tan, a Taylors University lecturer,
Mr Colin Goh, Mr Vincent Kang as well as other interviewees who were
willing to spend time to attend the interview sessions conducted by our
team. The kind support and patience displayed by these individuals
proved crucial for the completion of this report.
 ABSTRACT III

This research report documents the overall information and data

obtained from the Measured Drawing activity conducted by our group,
Team Sacred Heart Chapel, on the Sacred Heart Chapel located at Lot
25, Jalan Tengkera, 75000 Melaka, Malaysia from the 20th to the 24th
of January 2017. The Sacred Heart Chapel is a heritage building
located along Jalan Tengkera, which was also known as Tranquerah
Road during the colonial era. The name of the road was derived from
the term Tranquerah, which meant a defence wall which was
constructed by the Portuguese to protect the Tranquerah suburb from
invaders. The Portuguese colonization contributed to the emergence of
the Portuguese-Eurasians in the suburb as well as the spread of
Roman Catholicism among the local community. It wasnt until the
British colonial era that a plot of land was leased to the local
Portuguese-Eurasians to construct a religious building along Jalan
Tengkera. Thus, the Sacred Heart Chapel completed its construction in
1877, serving its function for 100 years till the 1970s. Since then, the
chapel was abandoned as the lease of the land expired in the 1970s.
Although the chapel is a historically significant building, formal actions
were not taken by relevant authorities to conserve and preserve it. As
such, this project is important as it allowed us to understand the
importance of documenting the assigned building in the form of
drawings, documentation video and a research report.
 INTRODUCTION TO RESEARCH IV

This subject aims to develop an understanding of the principles of

building preservation and the methods of recording it through
documentation methods. As such, students were required to document
the historical, architectural and cultural significance of their respective
buildings in the form of as-built drawings. Numerous aspects of the
selected building were carefully observed, analysed and recorded in
the form of a research report, a photo book as well as a documentary
video.

Our team, Team Sacred Heart Chapel, conducted a site visit to

Malacca (Malay: Melaka) from the 20th to the 24th of January 2017 to
conduct on-site measuring activities in the Sacred Heart Chapel, which
is located at Lot 25, Jalan Tengkera, 75000 Melaka, Malaysia. Tasks
were divided among the group members fairly to increase the
productivity and effectiveness of the team.
 TABLE OF CONTENTS V

Declarations I Chapter 2 : Historical Background of Malacca and Tranquerah

Acknowledgement II 2.1 History, Geography and Economy of Malacca
Abstract III 2.1.1 Brief History of Malacca 19
Introduction to research IV 2.1.2 Geography of Malacca 20
Table of Content V-VIII 2.1.3 Economy 21
List of Figures IX-XIII 2.1.4 Effects of Geographical and Economic 22-25
List of Diagrams XIV-XV Importance of Malacca
2.2 History, Significance and Development of Tranquerah
Chapter 1 : Introduction 2.2.1 Origins of The Name Tengkera 26
1.1 Aim and Objectives 2.2.2 Function 26-28
1.1.1 Aim 2 2.2.3 Development of Tranquerah Suburb 28-32
1.1.2 Objectives 2 2.3 Conclusion 33
1.2 Task and Methodologies
1.2.1 Measuring and Drawing Process 3-6
Chapter 3 : History and Site Context
1.2.2 Report and Literature 7-9
3.1 Historical Background
1.2.3 Videography and Photography Process 10-11
3.1.1 History of Sacred Heart Chapel 35-39
1.2.4 Model Making Process 12
3.1.2 History of Sacred Heart of Jesus 40
1.3 Task Distribution 13-14
3.2 Site Context
1.4 Limitations 15-16
3.2.1 Location and Topography 41-42
1.5 Significance of Research 17
3.2.2 Location within Malacca World Heritage Site 43-46
 TABLE OF CONTENTS VI

Buffer Zone 4.4.4 Romanesque Style 85

3.2.3 Relationship of Building to Surrounding 47-51 4.4.5 Other Elements 86-89
4.5 Orientation and Response to Climate

Chapter 4 : Architectural Styles and Concepts 4.5.1 Orientation 90-91

4.1 Design Idea 4.5.2 Response to Climate 92-93

4.1.1 Roman Catholicism 53-56

4.1.2 Personal Expression and Identification 57-58 Chapter 5 : Construction Details and Materials

4.1.3 Form 59-60 5.1 Terracotta Floor Tiles

4.2 Spatial Analysis 5.1.1 Definition and Characteristics 95

4.2.1 Organization of Spaces 61-67 5.1.2 Materials 95-98

4.2.2 Spatial Hierarchy 68-70 5.1.3 Advantages and Disadvantages 99

4.2.3 Circulation to Use Space 71-72 5.1.4 Existing Condition 100

4.3 Design Principle 5.2 Load Bearing Walls

4.3.1 Balance and Symmetry 73 5.2.1 Definition and Characteristics 101

4.3.2 Repetition 74 5.2.2 Materials (Dutch Bricks) 102

4.3.3 Unity and Harmony 75 5.2.3 Bonding System 103

4.4 Design Styles and Elements 5.2.4 Existing Condition 104

4.4.1 Overview and Explanation 76-77 5.3 Semicircular Arches 105-106

4.4.2 Iberian Style 78-80 5.3.1 Existing Condition 107

4.4.3 Gothic Style 81-84 5.4 Doors

 TABLE OF CONTENTS VII

5.4.1 Battened, ledged and framed timber door 108 5.9.1 Altar 121
5.4.2 Framed Doors 109 5.9.2 Pulpit 121
5.4.3 Existing Condition 109 5.9.3 Existing Condition 122
5.5 Louvered Casement Windows 110
5.5.1 Existing Condition 111 Chapter 6 : Cultural Attributes
5.6 Timber Choir Loft and Staircase 6.1 Surrounding Community 124-125
5.6.1 Timber Choir Loft 112 6.2 Conditions of Chapel when It was in Use
5.6.2 Timber Staircase 113 6.2.1 Exterior 126-127
5.6.3 Existing Condition 114 6.2.2 Interior 128-129
5.7 Timber King Post Roof Truss System 6.3 Activities 130-131
5.7.1 Description 115
5.7.2 Components 115
Chapter 7 : Comparison with Saint Peters Church
5.7.3 Connection and Joints 116
7.1 Introduction to Saint Peters Church 133
5.7.4 Roof Tiles 117
7.2 Architectural Style 134
5.7.5 Existing Condition 118
7.3 Comparison 135
5.8 Wall Anchor
5.8.1 Definition and Materials 119
5.8.2 Components 120
5.8.3 Existing Condition 120
5.9 Altar & Pulpit
 TABLE OF CONTENTS VIII

Chapter 8 : Future Development 137-141

Conclusion 142
References 143-148
Glossary 149-151
Appendix
Scaled Drawings

Figure 1.1: Measuring tape used for measuring a crack on site.
(Source: Ho, 2017)
Figure1.2: Laser measure used for measuring. (Source: Lau, 2017)
Figure 1.3: A4-sized clipboard used on site. (Source: Shutterstock,
2017)
Figure 1:4 Camera and tripod were used to record and photograph the
building (Source: Heng, 2017)
Figure 1.5: Drafting tools were used to record the measuremet
(Source: Pinterest, 2017)
Figure 1.6: A4-sized paper used for sketching. (Source: Ho, 2017)
Figure 1.7: Ladder was used to measure certain elements at
unreachable heights. (Source: Seow, 2017)
Figure 1.8: Production of technical drawings using AutoCAD. (Source:
Teoh, 2017)
Figure 1.9: Interview sessions conducted with Ar. Hau and Mr. Colin
Goh. (Source: Seow, 2017)
Figure 1.10: Discussion between group members and the tutor, Dr.
Camelia. (Source: Khalid, 2017)
Figure 1.11: The photography and videography team on site. (Source:
Seow, 2017)
Figure 1.12: Individual pieces of model produced on balsa wood.
(Source: Aziz, 2017)
Figure 1.13: Process of model-making. (Source: Aziz, 2017)
Figure 1.14: Partially completed physical model. (Source: Khalid, 2017)
Figure 1.15: The defects surrounding the pulpit (Source: Khalid, 2017)
Figure 1.16: The defects surrounding the stairs (Source: Aziz, 2017)
Figure 1.17: The defects on the wall (Source: Ho, 2017)
Figure 1.18: Roofless building and rainy weather conditions (Source:
Ezamudin, 2017)
Figure 2.1: Portrait of Parameswara. (Source: Yoganathan, 2015)
LIST OF FIGURES IX
Figure 2.2: Scene of the white mouse-deer kicking Parameswaras
hunting dogs. (Source: Lim, 2016)
Figure 2.3: Malacca as a lowland area. (Source: Google, n.d.)
Figure 2.4: International trade conducted at the port of Malacca.
(Source: Google, n.d)
Figure 2.5: Spices. (Source: Emaze, 2017)
Figure 2.6: Malacca linking the trade routes of the East and West..
(Source: Saw, 2017)
Figure 2.7: Portrait of Alfonso de Albuquerque. (Source: Alamy Stock,
2017)
Figure 2.8: The Portuguese conquest of Malacca. (Source:
Asienreisender, 2017)
Figure 2.9: St. Francis Xavier. (Source: St. Xaviers School, 2017)
Figure 2.10: Portuguese-Eurasians. (Source: C. Pfeiffer, 2017)
Figure 2.11: Dutch-era shophouses in Heeren Street, Malacca.
(Source: heritage architecture: shophouses, 2017)
Figure 2.12: Dutch bricks. (Source: Pixabay, 2017)
Figure 2.13: General concept of an ancient wooden palisade. (Sauber,
2012)
Figure 2.14: Present day Tranquerah Road. (Source: Teoh, 2017)
Figure 2.15: Map of Malacca during Dutch era. (1780) (Source:
Colonial Voyage and Marco Ramerini, 2017)
Figure 2.16: The map shows the area of reclamation land (Source:
H.C.Lim and F.Jorge, 2006)
Figure 3.1: Exterior faade of the Sacred Heart Chapel (Source:
H.C.Lim and F.Jorge, 2006)
Figure 3.2: Exterior view of the Sacred Heart Chapel. (Source: Heng,
2017)
Figure 3.3: Interior perspective view of Sacred Heart Chapel. (Source:
Heng, 2017)

Figure 3.4: Interior perspective view of Sacred Heart Chapel. (Source:
Heng, 2017)
Figure 3.5: Existing condition of chapels interior wall. (Source: Heng,
2017)
Figure 3.6: Exposed brickwork of facade. (Source: Teoh, 2017)
Figure 3.7: Exposed timber roof trusses above sanctuary (Source:
Teoh, 2017)
Figure 3.8: Jesus and His Sacred Heart. (Source: Battle Heads, 2015)
Figure 3.9: Shophouses located on both sides of Jalan Tengkera.
(Source: Teoh, 2017)
Figure 3.10: Parking lots situated in front of the chapel. (Source: Teoh,
2017)
Figure 3.11: Panoramic view of shophouses around the Sacred Heart
Chapel. (Source: Kusumo, 2017)
Figure 4.1: The holy water fonts situated in front of the Tuscan
columns. (Source: Heng, 2017)
Figure 4.2: The confession area as indicated by the highlighted area.
(Singh, 2017)
Figure 4.3: The timber choir loft as seen from above. (Seow, 2017)
Figure 4.4: The pulpit in the chapel. (Source: Seow, 2017)
Figure 4.5: The altar of the Sacred Heart Chapel. (Source: Seow,
2017)
Figure 4.6: The narthex which is located under the choir loft is
indicated by the highlighted area. (Source: Teoh, 2017)
Figure 4.7: The donation box slot as seen on one of the Tuscan
columns. (Source: Seow, 2017)
Figure 4.8: The nave is indicated by the highlighted area. (Source:
Singh, 2017)
Figure 4.9: The nave as seen from the sanctuary. (Source: Heng,
2017)
LIST OF FIGURES X
Figure 4.10: Windows at the side of the nave. (Source: Heng, 2017)
Figure 4.11: Light penetrating a window located at the side of the nave.
(Source: Teoh, 2017)
Figure 4.12: The sanctuary is indicated by the highlighted area.
(Source: Saw, 2017)
Figure 4.13: The large scale of the semi-circular-arched opening allows
the sanctuary to be the point of focus no matter where one stands.
(Source: Saw, 2017)
Figure 4.14: The sacristy is indicated by the highlighted area. (Source:
Saw, 2017)
Figure 4.15: The side walkway of the Sacred Heart Chapel. (Source:
Heng, 2017)
Figure 4.16: The floor plan for mostly Early Christian Church (Source:
Wikipedia, n.d.)
Figure 4.17: Door beside altar as seen from sacristy (Source: Seow,
2017)
Figure 4.18: Side door (Source: Heng, 2017)
Figure 4.19: Door at the back of the sacristy (Seow, 2017)
Figure 4.20: Front door (Source: Heng, 2017)
Figure 4.21: Similar properties of stained glass pieces (Source: Teoh,
2017)
Figure 4.22: Similar shapes of doors and windows of the front faade
(Source: Singh, 2017)
Figure 4.23: Pointed arch louvered casement windows at the front
facade of the chapel. (Source: Teoh, 2017)
Figure 4.24: The stained glass pieces above a window in the Sacred
Heart Chapel (Source: Teoh, 2017)
Figure 4.25: The variety of stained glass patterns that can be found in
the chapel (Source: Singh, 2017)

Figure 4.26: Original pinnacles on the left of the chapels pediment
(Source: Teoh, 2017)
Figure 4.27: Restored pediment on the right of the chapels pediment
(Source: Teoh, 2017)
Figure 4.28: The semi-circular arch of the front gate in the Sacred
Heart Chapel (Source: Seow, 2017)
Figure 4.29: The semi-circular arch door of the front faade in the
Sacred Heart Chapel (Source: Teoh, 2017)
Figure 4.30: The Romanesque-arched facade as seen from the
sanctuary. (Source: Seow, 2017)
Figure 4.31: The timber choir loft as seen from the sanctuary. (Source:
Singh, 2017)
Figure 4.32: Side view of the pulpit. (Source: Teoh, 2017)
Figure 4.33: Front view of the chapels altar. (Source: Teoh, 2017)
Figure 4.34: The IHS or JHS monogram on the altars mensa.
(Source:Teoh, 2017)
Figure 4.35: Stairs at the side of the altar. (Teoh, 2017)
Figure 4.36: Semicircular arched opening at the side of the altar.
(Source: Teoh, 2017)Figure 5.1: Terracotta tiles in Sacred heart
Chapel (Source: Singh, 2017)
Figure 5.2: Close-up look of the terracotta Tiles in the building.
(Source: Seow, 2017)
Figure 5.3: Terracotta floor tiles in the chapel. (Source: Singh, 2017)
Figure 5.4: Sunken terracotta floor tiles around the pulpit. (Source:
Storey, 2017)
Figure 5.5: Missing terracotta floor tiles at the nave. (Source: Storey,
2017)
Figure 5.6: Load bearing walls as seen from the interior of the chapel.
(Source: Seow, 2017)
Figure 5.7: Clay (Source: Micheal, n.d.)
LIST OF FIGURES XI
Figure 5.8: Shale (Source: Collecting rocks and minerals, n.d.)
Figure 5.9: Dutch bond System. (Source: Greenhalgh, 1926)
Figure 5.10: Exposed Dutch bricks in the Sacred Heart Chapel.
(Source: Singh, 2017)
Figure 5.11: Exposed Dutch bricks due to the fallen off plaster.
(Source: Teoh, 2017)
Figure 5.12: Visible cracks on the load bearing wall. (Source: Teoh,
2017)
Figure 5.13: The semicircular arched opening as seen from the altar.
(Source: Seow, 2017)
Figure 5.14: Crack present above semi-circular arched opening at the
faade before the sanctuary (Source: Heng, 2017)
Figure 5.15: Exposed brickwork of semi-circular-arched door at the
front of the chapel. (Source: Teoh, 2017)
Figure 5.16: Cracks present near the semi-circular-arched door at the
back of the sacristy. (Source: Seow, 2017
Figure 5.17: Battened, ledged and framed door at the front of the
chapel. (Source: Heng, 2017)
Figure 5.18: L-shaped bolt latch of the chapels front door. (Source:
Heng, 2017)
Figure 5.19: T-shaped door hinge (Source: Heng, 2017)
Figure 5.20: Framed door in Sacred Heart Chapel (Source: Heng,
2017)
Figure 5.21: Butt hinge of the chapels side door (Source: Heng, 2017)
Figure 5.22: The louvered window in Sacred Heart Chapel (Source:
Seow, 2017)
Figure 5.23: The butt hinge of a window in the Sacred Heart Chapel.
(Source: Seow, 2017)
Figure 5.24: L-shaped bolt latch of the chapels window (Source: Seow,
2017)

Figure 5.25: Light grey pattern around a window in the chapel. (Source:
Teoh, 2017)
Figure 5.26: Missing louvres of the sacristys timber window as seen
from the exterior of the chapel. (Source: Teoh, 2017)
Figure 5.27: Broken stained glass pieces of a window. (Source: Teoh,
2017)
Figure 5.28: Timber choir loft at Sacred Heart Chapel (Source: Seow,
2017)
Figure 5.29: The front elevation of the stairs in Sacred Heart Chapel
(Source: Singh, 2017)
Figure 5.30: The elevation side of the stairs in Sacred Heart Chapel
(Source: Singh, 2017)
Figure 5.31: Missing timber floor joist of the choir loft exposes the hole
made on the wall. (Source: Teoh, 2017)
Figure 5.32: Missing timber plank as seen from the back of the
staircase. (Source: Singh, 2017)
Figure 5.33: Small pieces of paint coatings left on the staircase treads.
(Source: Singh, 2017)
Figure 5.34: Timber king post roof truss system of the chapel. (Source:
Teoh, 2017)
Figure 5.35: Round-headed iron bolts. (Source: blacksmithbolt, n.d.)
Figure 5.36: U-shaped clay roof tiles found in No. 8, Heeren Street
(Source: Christopher, 2014)
Figure 5.37: Broken timber rafter suspended on top of the sacristy.
(Source: Singh, 2017)
Figure 5.38: The smaller-sized timber purlins used on the timber roof
trusses amongst other larger-sized purlins. (Source: Heng, 2017)
Figure 5.39: Existing condition of the chapels wall anchor. (Source:
Singh, 2017)
LIST OF FIGURES XII
Figure 5.40: The altar of the Sacred Heart Chapel. (Source: Heng,
2017)
Figure 5.41: Terracotta tiles at the altar. (Source: Ezamudin, 2017)
Figure 5.42: The pulpit of the Sacred Heart Chapel. (Source: Heng,
2017)
Figure 5.43: Timber template.used to construct curved brick structures.
(Source: The Brick and Brickwork, n.d.)
Figure 5.44: The pulpit which is slightly detached from the wall of the
chapel. (Source: Ezamudin, 2017)
Figure 5.45: Candle waxes present at the edge of the altar. (Source:
Teoh, 2017)
Figure 5.46: Missing floor tiles at the altars platform. (Source: Lau,
2017)
Figure 6.1: The chapels front gate (Source: Seow, 2017)
Figure 6.2: The belfry of the chapel. (Source: Singh, 2017)
Figure 6.3: The Donation Box Place (Source: Aziz, 2017)
Figure 7.1: Front faade of St Peters church
Figure 7.2: Front faade of Sacred Heart Chapel
Figure 7.3: Front faade of St Peters Church (Source: K.sini, 2017)
Figure 7.4: Interior of the church (Source: Wikimedia Commons, 2017)
Figure 8.1: Cover page of the conservation report prepared by Idea
Workshop. (Source: Idea Workshop, 2017)
Figure 8.2: Page 4 of the conservation report prepared by Idea
Workshop. (Source: Idea Workshop, 2017)
Figure 8.3: Page 7 of the conservation report that shows the historical
research prepared by Idea Workshop. (Source: Idea Workshop, 2017)
Figure 8.4: Page 15 of the conservation report that shows the
dilapidated state prepared by Idea Workshop. (Source: Idea Workshop,
2017)
 LIST OF FIGURES XIII

Figure 8.5: Page 16 of the conservation report that shows the

dilapidated state prepared by Idea Workshop. (Source: Idea Workshop,
2017)
Figure 8.6: Land grant of Sacred Heart Chapel 1 (Source: Idea
Workshop, 2017)
Figure 8.7: Land grant of Sacred Heart Chapel 2 (Source: Idea
Workshop, 2017)
Figure 8.8: Land grant of Sacred Heart Chapel 3 (Source: Idea
Workshop, 2017)

Diagram 2.1: Interpretation of the location of the Tranquerah suburb
based on Eredias Map of Malacca. (Saw, 2017)
Diagram 2.2: Interpretation of the location of Tranquerah based on the
map of Malacca produced by Mao Kun during the early 15 century.
(Source: Saw, 2017)
Diagram 2.3: Interpretation of Portuguese suburbs based on Eredias
Map of Malacca(Source: Saw, 2017)
Diagram 2.4: Intermarriage of Portuguese men and local women.
(Saw, 2017)
Diagram 2.5: Map of Malacca during Dutch era (1780) (Source:
Colonial Voyage and Marco Ramerini , 2017)
Diagram 2.6: Interpretation of the location of Tranquerah Road during
the British era (Source: Saw, 2017)
Diagram 4.1: Essential Roman Catholic elements and spaces provided
within the chapel. (Saw, 2017)
Diagram 4.2: The combination of the forms that shape the chapels
outlook (Source: Saw, 2017)
Diagram4.3: The plan of the chapel was influenced by the rectangular
plot of land on which it was constructed. (Source: Saw, 2017)
Diagram 4.4: The transformation of the chapel from a 2-dimension plan
into a 3-dimensional form. (Source: Huynh Minh, 2017)
Diagram 4.5: The organization of spaces in a linear sequence (Source:
Saw, 2017)
Diagram 4.6: Spatial hierarchy of the Sacred Heart Chapel. (Source:
Saw, 2017)
Diagram 4.7: The circulation of users in the chapel. (Source: Saw
2017)
Diagram 4.8: Symmetry shown by the front elevation of the chapel.
(Source: Saw, 2017)
LIST OF DIAGRAMS XIV
Diagram 4.9: Symmetry shown by the back elevation of the chapel.
(Source: Saw, 2017)
Diagram 4.10: Symmetry of the chapels floor plan (Source: Saw,
2017)
Diagram 4.11: Symmetry of the facade before the sanctuary as shown
by the section. (Source: Saw, 2017)
Diagram 4.12: Repetition of elements is present on the 3 highlighted
components of the chapel. (Source: Saw, 2017)
Diagram 4.13: Repetition of elements is shown by the highlighted
areas. (Source: Saw, 2017)
Diagram 4.14: The front facade of the Sacred Heart Chapel. (Source:
Measured Drawing Team Sacred Heart Chapel, 2017)
Diagram 4.15: The front facade of the Basilica of Bom Jesus.
(Source: Divakaran, 2005)
Diagram 4.16: The front faade of the Ruins of Saint Pauls Church
(Source: Macao Arts Festival, 2011)
Diagram 4.17: Orientation of chapel which faces Jalan Tengkera.
(Source: Huynh Minh, 2017)
Diagram 4.18: Circulation of flow into the chapel. (Source: Huynh Minh,
2017)
Diagram 4.19: Ventilation flow into the chapel. (Source: Huynh Minh,
2017)
Diagram 4.20: Sun path and ventilation on site. (Source: Saw, 2017)
Diagram 4.21: Sun path across the chapel. (Source: Huynh Minh,
2017)
Diagram 4.22: Penetration of sunlight from the left of the chapel in the
morning. (Source: Huynh Dinh, 2017)
Diagram 4.23: Penetration of sunlight from the right of the chapel in the
evening. (Source: Huynh Dinh, 2017)
 LIST OF DIAGRAMS XV

Diagram 5.1: Existing condition of terracotta floor tiles (Source: Huynh Diagram 8.1: Page 24 of the conservation report that shows the
Minh, 2017) measured drawing of side elevation prepared by Idea Workshop.
Diagram 5.2: Existing condition of building as seen from the chapels (Source: Idea Workshop, 2017)
section (Source: Huynh Minh, 2017)
Diagram 5.3: The dimensions of the terracotta floor tiles used in the
chapel. (Source: Huynh Minh, 2017)
Diagram 5.4: The distribution of materials in the chapel. (Source: Saw,
2017)
Diagram 5.5: Load bearing walls indicated by highlighted area.
(Source: Huynh Minh, 2017)
Diagram 5.6: Dimensions and texture of a Dutch brick found on site.
(Source: Huynh Minh, 2017)
Diagram 5.7: Components of a semi-circular arch (Source: Saw, 2017)
Diagram 5.8: Components of a centering structure (Source:
Pinterest,n.d.)
Diagram 5.9: Components of the chapels framed door. (Source: Saw,
2017)
Diagram 5.10: Butt hinge of the chapels framed door. (Source: Huynh
Minh, 2017)
Diagram 5.11: Components of the timber choir loft in the chapel.
(Source: Huynh Minh, 2017)
Diagram 5.12: Components of the timber staircase in the chapel.
(Source: Huynh Minh, 2017)
Diagram 5.13: Components of the timber king post roof truss system.
(Source: Huynh Minh, 2017)
Diagram 5.14: Timber crossed half lapped joint. (Source: Huynh Minh,
2017)
Diagram 5.15: The use of the wall anchor in building construction.
(Source: History of the Dutch in Malaysia, 2007)
 1.1 AIM & OBJECTIVES 2

1.1.1 AIM

The aim of this project is to help students to develop an understanding

of the process of building preservation and the methods of recording it
using various documentation methods. It also allows student to explore
various measuring techniques and to discover the unique architectural
elements and context of the heritage buildings in Malaysia.

1.1.2 OBJECTIVES

The objective of this project is to document the significance of the

selected heritage building and to produce accurate measured drawings
for future uses. Besides that, the project intends to enable students to
analyse the relationship between architecture and the significance of
the building as well as its inhabitants.
 1.2 TASK & METHODOLOGY 3

1.2.1 MEASURING AND DRAWING PROCESS

a) Before site visit

Before the start of the site visit to the Sacred Heart Chapel in Malacca,
we studied a few measuring techniques in order to familiarise
ourselves with on-site measuring techniques. Measuring equipment
and materials were carefully analysed and prepared in order to obtain
the most accurate measurements of the building.

The selected equipment are as follows:

Figure 1.1: Measuring tape used for measuring a crack on site.
Metal measuring tape: (Source: Ho, 2017)

A standard measuring tape is a rigid, retractable and lockable

measuring tool. It is especially useful for measuring room interiors.
 1.2 TASK & METHODOLOGY 4

Laser measure:

Laser measures were provided by the module lecturers for each and
every group prior to the respective site visits. It is a simple yet accurate
measuring tool to measure the height and length of the exterior and
interior of the building.

Clipboard:
Figure1.2: Laser measure used Figure 1.3: A4-sized clipboard
A4-sized clipboards were prepared by each and every group member for measuring. (Source: Lau, used on site. (Source:
2017) Shutterstock, 2017)
to allow them to secure their sketching and drafting papers when
measuring on site.

Cameras and tripod:

DSLR and digital cameras were prepared to take photographs on site

to be used as references during CAD-ing sessions. Tripods were also
prepared to secure the DSLR cameras at perfect positions to take
photographs and videos. Figure 1.4: Camera secured on tripod was used to record and
photograph the building (Source: Heng, 2017)
 1.2 TASK & METHODOLOGY 5

Drafting tools:

Drafting tools such as pencils and erasers were prepared by each and
every group member to allow them to record measurements made on
site in the form of sketches and annotations.

Papers:

A4-sized blank papers were prepared to allow members to record their Figure 1.5: Drafting tools such as eraser and pencil
were used to record measurements. (Source: Pinterest,
measurements and findings on site. 2017)

Figure 1.6: A4-sized paper used for sketching. (Source:

Ho, 2017)
 1.2 TASK & METHODOLOGY 6

b) During site visit

During the site visit, we applied all the techniques we have learned to
measure our assigned building. All members were assigned to
measure certain parts of the building, which are the interior, exterior as
well as the details. Our group members also took related photographs
of the parts of the building measured by them to act as useful
references in the future. Metal rulers with 30cm length were also
placed beside the measured elements when the photographs were
Figure 1.7: A ladder was used to measure certain elements
taken to act as scaling references during the drawing sessions. A at unreachable heights. (Source: Seow, 2017)

ladder, which was provided by Idea Workshop, was also used to reach
and measure certain elements located at unreachable heights.

c) After site visit

After the completion of the site visit, our group members compared and
standardized the recorded measurements together and to translate
them into proper technical drawings. To complete this task, we used
digital drawing software called Autodesk AutoCAD to produce accurate
and systematic drawings. A modelling software named 3ds Max was Figure 1.8: Production of technical drawings using AutoCAD.
(Source: Teoh, 2017)
also used to produce 3-dimensional models of the original conditions of
the chapel to be used in the report and documentary video.
 1.2 TASK & METHODOLOGY 7
1
1.2.2 REPORT AND LITERATURE RESEARCH

a) Before site visit

Before the site visit to Malacca was conducted, group members were
assigned to research on the related information of the building. As
there was limited information about our building both online and offline,
alternative methods were discussed and executed to obtain the
relevant information of the building.

Besides literature books regarding church typologies, our group

members sought after articles, journals and other literature sources
which encompass a broader range of information that may benefit the
outcome of the research. Interviews were also conducted with a
Taylors University lecturer, Mr. Keith Tan, to have a better
understanding of the chapel and its context before the site visit was
conducted. An interview was also arranged with Architect Hau, the
owner of Idea Workshop, who is currently conducting restoration works
on the Sacred Heart Chapel. The interview questionnaires were
prepared and printed before the site visit. (Appendix 4)
 1.2 TASK & METHODOLOGY 8
6
b) During site visit

During our site visit in Malacca, our group members conducted an

interview with Architect Hau to familiarise ourselves with the
conservation and restoration processes of the chapel. With the kind
help of Architect Hau, we arranged another interview with Mr Colin
Goh, who wrote an article regarding the building back in 2011. (Goh,
personal communication, 22nd January 2017) As Mr. Colin once spent
his childhood days in the chapel, his answers helped us to understand
the conditions of the chapel when it was in use. Several other
interviews were also conducted with the business owners along Jalan
Tengkera. All interview answers were recorded in the form of written
notes, videos and audio recordings to be used as future references.

Figure 1.9: Interview sessions conducted with Ar. Hau and Mr.
Colin Goh. (Source: Seow, 2017)
 1.2 TASK & METHODOLOGY 9

c) After site visit

After returning from the site visit, we gathered and organised all the
information obtained from the interviews to be inserted into the report.
A report guideline was then written to list out all the topics which were
to be covered by respective members of the report team. After the
members submitted their respective works in the groups Google Drive,
they then proceeded with the compilation of the report. Design and
modelling softwares such as Photoshop CC and 3ds Max were used to
Figure 1.10: Discussion between group members and the tutor,
compile the report, to produce related diagrams as well as to produce Dr. Camelia. (Source: Khalid, 2017)
the photobook for the final submission.
 1.2 TASK & METHODOLOGY 10
1
1.2.3. VIDEOGRAPHY AND PHOTOGRAPHY PROCESS

a) Before site visit

Before the site visit to Malacca was conducted, group members under
the videography team held several meetings to discuss about the
outcome of the video. Thorough research was conducted to decide
which information should be included in the video and the script, which
contains the main ideas and information of the video, was generated.
Videos produced by students from previous batches were also used as
references to decide the style and outcome of the video.

b) During site visit

During the site visit, the videography team and photography team
explored the building to plan the best angle, timing and lighting to take
photographs and videos of the interior and exterior of the building. This
was done to ensure that the essence evoked by the sense of place can Figure 1.11: The photography and videography team on site.
(Source: Seow, 2017)
be precisely documented. All photos and videos taken on site were
reviewed later at night to ensure that all aspects of the building were
well documented.
 1.2 TASK & METHODOLOGY 11
1
c) After site visit

After the visit, the video clips taken on site were reviewed to select the
best footage for the documentary video. Audio recordings were also
made to include narrations in the video. In addition to that, photos
taken were carefully selected and edited using Photoshop CC to
produce the photobook.
 1.2 TASK & METHODOLOGY 12
1
1.2.4 MODEL MAKING PROCESS

i. Balsa wood with different pieces and sizes were purchased.

ii. Completed CAD drawings converted into specific files to be used for
laser cutting.

iii. Balsa wood were engraved and cut using laser cutting machine in
Taylors University engineering workshop.

iv. Individual pieces were organized according to their categories and

glued into components.
Figure 1.12: Individual pieces of model produced on balsa wood.
v. Components were combined and glued to create the physical model. (Source: Aziz, 2017)

Figure 1.13: Process of model-making. (Source: Aziz, 2017) Figure 1.14: Partially completed physical model. (Source: Khalid,
2017)
 1.3 TASK DISTRIBUTION 13
1

TEAM VIDEO REPORT PHOTOBOOK PHYSICAL MEASURED

MODEL DRAWINGS
Leader Saw E Sean Teoh Jun Xiang Harwinder Singh Tan Yincy Andy Heng
Koji Seow

Members involved Teoh Jun Ho Zi Yan Teoh Jun Xiang Joey Lau Rhianna
Xiang Saw E Sean Koji Seow Thareen
Hyunh Minh Hyunh Minh Nhat Siti Siti
Nhat Dinh Dinh Amelisa Heng Jack Chung
Diyana Harwinder Singh Joey Lau
Syahirah Teoh Jun Xiang
Harwinder Singh
Ho Zi Yan
Amelisa Heng
Saw E Sean
Hyunh Minh Nhat
Dinh
Diyana
Syahirah
Harwinder Singh
Amelisa Heng
 1.3 TASK DISTRIBUTION 14
1
DRAWINGS MEASURED BY DRAWN BY DRAWINGS MEASURED BY DRAWN BY

FLOOR PLAN KOJI, RHIANNA KOJI, RHIANNA WINDOWS THAREEN, YINCY THAREEN,
YINCY
NORTH DINH, HARWINDER DINH,
ELEVATION HARWINDER DOORS SYAHIRAH, ANDY, JACK SYAHIRAH,
THAREEN
SOUTH ZI YAN, AMELISA ZI YAN,
CONSTRUCTION RHIANNA, HARWINDER, JACK, JOEY,
ELEVATION DIYANA,
DETAILS TEOH HARWINDER,
AMELISA
TEOH
EAST ELEVATION DIYANA, SYAHIRAH DIYANA,
ROOF TRUSSES ZI YAN ANDY, KOJI
SYAHIRAH
STAIRCASE JACK, ANDY JACK, SEAN
WEST ELEVATION ANDY, JACK, THAREEN ANDY, JACK
MEZZANINE HARWINDER, JACK ANDY, KOJI
LONGITUDINAL ANDY, JACK, TEOH, ANDY, JACK,
FLOOR PLAN
SECTIONS SEAN TEOH, SEAN
ALTAR & PULPIT JOEY, SITI, AMELISA, JOEY, SITI
TRANSVERSE DINH, KOJI, SYAHIRAH, DINH, KOJI,
SECTION DIYANA SYAHIRAH,
12
DIYANA 1
 13 1.4 LIMITATIONS 15
1 1
Many challenges were faced throughout the process of completing the
project. Firstly, as the Sacred Heart Chapel was abandoned for
decades, there were no maintenance works conducted on the building.
13 14
1
As such, its conditions worsened over the years, and numerous 1
defects can be seen both on the exterior and the interior in the building.
These defects included walls with fallen off plaster pieces, cracks on
the walls and other structures, fading colours of paint finishings, broken
door and window pieces, broken stained glass pieces and a broken
Figure 1.15: The defects Figure 1.16: The defects
choir loft. (Figure 1.15, 1.16 and 1.17) These defects posed some
around the pulpit. (Source: around the narthex. (Source:
difficulties with the works conducted on site as our group had to Khalid, 2017) Aziz, 2017)

document and measure each and every defect accurately to produce

as-built drawings of the building.

Moreover, as the timber choir loft had missing floor panels, our group
members could not stand on top of the structure to measure it as it was
too dangerous to do so. As such, to place ourselves on top of the choir
loft, we had to position our legs on two separate floor joists with great
caution.

Figure 1.17: The defects on the chapels back wall. (Source: Ho,
2017)
 1.4 LIMITATION 16
1
In addition to that, the building is roofless as it was undergoing
restoration works which will be completed in one years time. As such,
conditions on site were constantly affected by natural weather
15
conditions such as the direct heat and blinding light rays of the sun, 1
which caused great discomfort when measurements were taken. On
top of that, rainy weather conditions on the last three days of the site
visit also deterred us from conducting on-site measuring activities,
which eventually delayed the progress of our work.

Lastly, there was minimal information on our building available online

and in literature works. Although the building is more than a century
years old, little documentation of its history and architectural
significance has been made by various parties, causing many setbacks
to the progress of the reports completion. As such, our group
members had to seek for historical literature works which focuses on a
broader range of topics to obtain as much information as possible.
Multiple interviews were also conducted with local residents of Malacca
who reside or work near our building in hopes of gathering the
Figure 1.18: Raining and roofless conditions on site. (Source:
necessary information of the building. Ezamudin, 2017)
 1.5 SIGNIFICANCE OF RESEARCH 17
1
This report will be a significant endeavour in promoting one of the
heritage buildings of Malacca by relating its architectural style to the
historical and cultural significance of its time. Moreover, the completion
16
of this project will definitely enhance the students appreciation towards 1
the historical and cultural values of the heritage building.

The Sacred Heart Chapel is indeed a historically significant building

which relates to the history of its context and the culture of its previous
occupants. As such, the documentation of the building in the form of
measured drawings and a detailed research report will not only benefit
our group members, but also other parties who seek to understand the
building in a much deeper manner. As minimal efforts have been made
by relevant authorities to document the building, the outcome of this
project will unveil the architectural, historical and cultural significance of
the building for the first time.
1
 2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 19
1
2.1.1 BRIEF HISTORY OF MALACCA

Before Malacca (Malay: Melaka) was founded, it was a fishing village 18

occupied by some local Malays as well as Orang Laut. (National
1
Library Board Singapore, 2017) Its establishment began with the story
of a Palembang prince known as Parameswara in the 14th century.
(Figure 2.1) While Parameswara was escaping from the Javanese
enemy, he first settled down in Temasik (present day Singapore) and
established himself as king. Unfortunately, he was driven away from
Figure 2.1: Portrait of Parameswara.
Temasik due to the invasion of the Siamese troops. Parameswara, (Source: Yoganathan, 2015)

together with his followers, escaped to Muar and then stopped near the
mouth of a river called Bertam for a hunt. It was during the hunt that
Parameswara witnessed a white mouse-deer kicking one of his hunting
dogs. (Figure 2.2) Impressed by the bravery of the mouse-deer, he
decided to build a new city on the location. He then named the city
Melaka, which was derived from the name of the Melaka tree he was
resting at.

Figure 2.2: Scene of the white mouse-deer kicking

Parameswaras hunting dogs. (Source: Lim, 2016)
 19
2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 20
1
1
2.1.2 GEOGRAPHY OF MALACCA 19
Malacca is a Malaysian state located at the Western region of the 1
19
Malaysian peninsular, next to the Strait of Malacca. The state is
1
bordered to the north and the west by the state of Negeri Sembilan as
well as to the south by Johor.

There were various reasons as to why Parameswara decided to

establish his new settlement at Malacca. Firstly, Malacca was situated
at the side of the Strait of Malacca, one of the busiest and most Figure 2.3: Malacca as a lowland area. (Source: Google, n.d.)
important strait in the world. This meant that the strategic location by
the side of the sea made it a suitable location for maritime trade to take
place.

Moreover, Malacca is generally a lowland area with an average

elevation which is lower than 50 meters above sea level, as shown by
Figure 2.3. The flat and wide condition of the land is suitable for the
development of a settlement as the community could access the place
easily with minimal effort. As the Strait of Malacca joins the Indian and
Pacific Oceans, it linked the trade route from China to India and the
Figure 2.4: International trade conducted at the port of
Near East. As such, Malacca was perfectly positioned as a centre for Malacca. (Source: Google, n.d)
maritime trade. (Figure 2.4)
 2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 21
1
2.1.3 ECONOMY

The strategic geographical location of Malacca allowed it to emerge 20

from a humble fishing village to become a major center of the spice
1
trade. The city grew rapidly, and within fifty years it had become a
wealthy and powerful hub of international commerce, with a population
of over 50,000. Being an international port, Malacca attracted
numerous ships each year to trade goods and valuable items.

The trade of valuable goods and items such as silk, gold and spices Figure 2.5: Spices. (Source: Emaze, 2017)

allowed local and international traders and merchants to make

considerable amount of profits, contributing to the wealth of the local
society and government.

Besides acting as a port city that conducts regional trade, Malacca also
attracted Western traders, such as European seafarers, to visit the port
located at the mouth of the Malacca River, allowing it to be dubbed as
the Venice of the East. Eventually, Malacca had turned from a
maritime port into an entrepot.
Figure 2.6: Malacca linking the trade routes of the East and West.
(Source: Saw, 2017)
 2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 22
1
2.1.4 EFFECTS OF THE GEOGRAPHICAL AND
ECONOMIC IMPORTANCE OF MALACCA
21
a) Portuguese colonization 1
According to Norazlina, Ravi and Lee (2012), the Portuguese were the
first colonial power to set sail to the East in the 15th century. In 24
August 1511, the Portuguese, under the command of Alfonso de
Albuquerque (Figure 2.7), conquered Malacca after a series of attacks.
(Figure 2.8) Figure 2.7: Portrait of Alfonso de
Albuquerque. (Source: Alamy Stock, 2017)
During the time of the Portuguese occupation, 3 suburbs were
developed outside of the fortified city centre of Malacca. Costanca
(2015) stated that one of the three suburbs were Upe (Upih), which
was generally known as Tranquerah (modern day Tengkera). The
other two suburbs were Yler (Hilir) or Tanjonpacer (Tanjung Pasir) and
the suburb of Sabba.

Figure 2.8: The Portuguese conquest of Malacca. (Source:

Asienreisender, 2017)
 2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 23
1
Of the three suburbs, Tranquerah was the most important. The suburb
was the main residential quarters of Malacca city and one of the types
of people residing in the suburb were the Kristang community. (Figure
22
2.10) The Kristang, also known as Portuguese-Eurasians, are an 1
ethnic group of mixed Portuguese and Malay decent which started to
emerge in Malacca as a result of intermarriages between Portuguese
men (sailors, soldiers, traders, etc.) and local native women.

According to Koepping (2008), the spread of Roman Catholicism

Figure 2.9: St. Francis Xavier.
started in Malaya during the Portuguese occupation as well, when the (Source: St. Xaviers School, 2017)
first Catholic priests landed in Malacca as military chaplains to the
Portuguese. In the mid-16th century, St. Francis Xavier, a Jesuit
missionary, preached in Malacca in 1545, 1546, and 1549. (Figure 2.9)
His preaching of the gospel in Malacca helped spread the Roman
Catholic faith among the local and Portuguese-Eurasian community.

Figure 2.10: Portuguese-Eurasians. (Source: C. Pfeiffer, 2017)

 1

2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 24

1
23
b) Dutch colonization 1
In 1641, the Dutch captured Malacca from the Portuguese after a five 23
month long siege. Colonial Voyage (2017) stated that the Dutch
1
protected Malacca from invasions for more than a century. As a result,
most of the buildings in Malacca were reconstructed and new buildings
were built. The city structure during the Dutch colonization was more
organized and the road network was clearer than before. The
construction of buildings, such as shophouses and townhouses, were
Figure 2.11: Dutch-era shophouses in Heeren Street, Malacca.
based on the road system at that time. (Figure 2.11) (Source: heritage architecture: shophouses, 2017)

According to De Witt (2007), the Dutch introduced Dutch building

materials into the urban landscape of Malacca, such as Dutch clay roof
tiles, terracotta floor tiles and most of all, Dutch bricks. The introduction
of Dutch bricks allowed many brick masonry buildings to be
constructed. (Figure 2.12) The use of Dutch bricks can also be seen in
the Sacred Heart Chapel, although the building was built in a
completely different period of time. This indicated that the construction
knowledge of the Dutch had been passed on and implemented into the
construction of British era buildings. Figure 2.12: Dutch bricks. (Source: Pixabay, 2017)
 2.1: HISTORY, GEOGRAPHY & ECONOMY OF MALACCA 25
1
c) British colonization

In 1824, the Anglo-Dutch Treaty was signed between the Dutch and 24
the British. As a result, Malacca was ceded to the British. UK Essays
1
(2017) indicates that the British administration did not place a lot
attention on the development of Malacca as their main focus was on
Singapore.

Majlis Perbandaran Melaka Bandaraya Bersejarah (n.d) states that

during the British administration, Malacca Town was divided into two
parts, namely the European Town and the Native Town. The Native
Town, which was located at the west bank of the Malacca River was
home to the Portuguese-Eurasians, Chinese, Malays, Indians and
many more.
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 26
1
2.2.1 ORIGINS OF THE NAME TENGKERA

As the Sacred Heart Chapel is located at Jalan Tengkera, it is 25

important to understand the history and significance of the term
1
Tengkera. Tranquerah is a term originated from the Portuguese word
Tranqueira, which means palisade or rampart. Time passes, but the
word Tranqueira still remains in use till today. However, people
usually pronounce it as Tranquerah or Tengkera (in Malay).

Diagram 2.1: Interpretation of the location of the Tranquerah

suburb based on Eredias Map of Malacca. (Source: Saw, 2017)

2.2.2 FUNCTION

a)Tranquerah gate and wall

At the early stage, the name Tranquerah was used to refer to the
shielding fence built by the Portuguese in the first half of the 16th
century at the northwest direction of the Malacca River. It was a
wooden fence positioned along a line which covered the area at the
northeast direction of the River of Malacca to protect it from invaders
(Figure 2.13). Figure 2.13: General concept of an ancient wooden palisade.
(Source: Sauber, 2012)
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 27
28
As shown by the interpretation of the location of the Tranquerah suburb 11
based on Eredias Map of Malacca, the Tranquerah was extended to
the point where the Porta da Tranquerah (Tranquerah gate) is located.
According to Lim and Jorge (2006), the location of the gate is roughly 26
1
located at the northern end of the present day Heeren Street.
1
Based on the statements made by the Dutch Commissioner Joost
Schouten in 1641, the wooden palisade was destroyed to expand the
Tranquerah suburb due to the increase in population. The palisade
was later replaced with stone.

b) Tranquerah Suburb

Since the purpose of the Tranquerah is to protect the Upeh suburb, the
fence became the boundary of the suburb. Manuel de Eredia, who
produced the Map of Malacca in the 1600s, remarked that Upeh
suburb was sometimes called Tranquerah suburb as it is the area in
which the Tranquerah covers.
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 28
1
c) Tranquerah Road

By observing the Dutch map prepared in 1780, it is evident that a road 27

which extends from the Tranquerah gate to the north is present.
1
(Figure 2.15) This road was then addressed as Tranquerah Road, or
present day Jalan Tengkera. During the British era, the Tranquerah
gate was demolished and the Tranquerah Road became important for
the citys expansion to establish schools and colleges (Lim and Jorge
2006). The Tranquerah Road was since used till today and functions
Figure 2.4: Present day Jalan Tengkera. (Source: Teoh, 2017)
as a residential and commercial area. (Figure: 2.4)

2.2.3 DEVELOPMENT OF TRANQUERAH SUBURB

a) Sultanate of Malacca

During the Sultanate of Malacca, development was only focused on the

south bank of the River of Malacca. According to De Witt (2017), the
area at the north of the river, which includes the Tranquerah suburb,
Diagram 2.2: Interpretation of the location of Tranquerah based on
was later developed to cope with the increase in population and to act the map of Malacca produced by Mao Kun during the early 15 th
as a trading port. (Diagram 2.2) century. (Source: Saw, 2017)
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 29
1
b) Portuguese Era (1511- 1641)

In 1511, the Portuguese successfully captured Malacca. Three

28
suburbs, namely Tranquerah, Sabba and Yler were arranged by the 1
Portuguese to house the local community. (Diagram 2.3) Among these
three suburbs, Tranquerah is the most important urban residential
area. The name of the suburb was derived from the Tranquerah, and it
was during that time as well that the Portuguese conquerors
encouraged their people to marry the local women in the Tranquerah Diagram 2.3: Interpretation of Portuguese suburbs based on
Eredias Map of Malacca. (Saw, 2017)
suburb. The purpose of this act is to establish a mixed community to
increase the population within the suburb (Source: Tan, personal
communication, 19th January 2017). Thus, the intermarriage between Figure: Portuguese suburbs based on Eredias Map of Malacca
(Saw, 2017)
the Portuguese men and local women formed a Portuguese-Eurasian
community within the suburb. (Diagram 2.4)

Diagram 2.4: Intermarriage of Portuguese men and local

women. (Saw, 2017)
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 30
1
c) Dutch Era (1641- 1826)

During the Dutch era, the urban structures in the Tranquerah suburb 29
were arranged in a more organized manner. (Figure 2.15) A road
1
which extends from the Tranquerah Gate to the north was established.
This road was named as Tranquerah Road (present day Jalan
Tengkera) and it was connected with Heeren Street (present day Jalan
Tun Tan Cheng Lock) (Diagram 2.5) Due to its strategic location next
to the sea, residential areas started to develop around Tranquerah
Road and the surrounding population increased. The Portuguese-
Figure 2.15: Map of Malacca during Dutch era. (1780) (Source:
Eurasians were also one of the groups of people who moved and Colonial Voyage and Marco Ramerini, 2017)
settled along the road. As the Portuguese-Eurasians were known for
their fishing culture, the location of the Tranquerah Road beside the
sea may have attracted them to settle there. Lim and Jorge (2006)
suggests that the Tranquerah Road was later developed into a key
trunk route, connecting Malacca's town centre on the south of the River
of Malacca with the suburbs, clubs and resorts along the northern
coast.

Diagram 2.5: Interpretation of the location of Tranquerah Road.

(Source: Saw, 2017)
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 31
1

d) British Era (1824-1957)

30
At 1824, Malacca was ceded to the British by the Dutch. As the British 1
focused their attention on the development of Singapore at that time,
minimal changes were made on the urban structure of the Tranquerah
suburb. The British demolished the Tranquerah Gate and wall and
since then, the concept of the Tranquerah suburb ceased to exist.
Although the concept of the suburb no longer exists, the Tranquerah
Diagram 2.6: Interpretation of the location of Tranquerah Road
Road still remains in use. According to Lim and Jorge (2006), the during the British era (Source: Saw, 2017)

British saw the potential of the Tranquerah Road and established

schools and colleges along it at that time. (Diagram 2.6) As such, the
road played an important role in the citys expansion.
Figure: Map of Malacca during British era (Source: Idea
workshop, 2017)
 2.2 HISTORY, SIGNIFICANCE & DEVELOPMENT OF TRANQUERAH 32
1
e) Present day (1957- present)

After the independence of Malaysia, Malacca was finally free from the 31
control of European forces and was later developed rapidly. The rapid
1
growth of Malaccas economy resulted in the scarcity of land in the
state. As such, the state government decided to reclaim land along the
seaside of the Strait of Malacca. (MPMBB,n.d). The reclamation works
conducted robbed the sea view from the pristine shorelines of
Tranquerah Road. (Figure 2.16)

At the same time, many residents around the area moved out in search Figure 2.16: Interpretation of the reclaimed land near the Strait of
of better living and working conditions elsewhere. (Kang, personal Malacca. (Source: Saw, 2017)

communication, 23rd January 2017). Since then, the population around

the area decreased, which also included the Portuguese-Eurasian
community.
 2.3 CONCLUSION 33
1
Tranquerah was once a defence wall constructed by the Portuguese to
protect the community of the Tranquerah suburb from invaders. The
community consisted of the Portuguese-Eurasians, who emerged as a
32
result of intermarriages between the Portuguese men and local 1
women. The colonization of the Portuguese not only gave birth to the
Tranquerah suburb and the Portuguese-Eurasian community, but it
also signified the spread of the Roman Catholic faith among the locals.
It wasnt until the Dutch colonial period that a road was established
outside the Tranquerah Gate, linking Heeren Street with the newly
developed residential area outside of the defence wall. The street,
which was later named Tranquerah Road, allowed the Portuguese-
Eurasians to settle along it. When the British extended their power into
Malacca, the Sacred Heart Chapel was built along Tranquerah Road
(present day Jalan Tengkera) to serve the Catholic Portuguese-
Eurasian community. As such, by tracing the origins of Tranquerah, it
is evident that the construction of the chapel is very much linked to the
historical significance of the area.
 3.1 HISTORICAL BACKGROUND 35
1
3.1.1 HISTORY OF SACRED HEART CHAPEL

The Sacred Heart Chapel is a Roman Catholic chapel located at Lot 34

25, Jalan Tengkera, 75200 Melaka, Malaysia. The buildings existence
1
is mainly due to its connection to the history of Jalan Tengkera, which
was also known as Tranquerah Road back in the colonial era.

As mentioned in Chapter 2, Jalan Tengkera is located in a suburb

called Tranquerah which existed since the occupation of the
Figure 3.1: Exterior facade of the Sacred Heart Chapel. (Source:
Portuguese. The suburb was built to serve as the main residential
Heng, 2017)
quarters of Malacca city, and, over the years, the suburb underwent a
lot of changes during the Dutch and British colonization, especially in
terms of the realignment of streets and alleyways. (Goh, personal
communication, 22nd January 2017).

Figure 3.2: Exterior view of the Sacred Heart Chapel. (Source:

Heng, 2017)
 3.1 HISTORICAL BACKGROUND 36
1
Moreover, Constanca (2015) stated that the Portuguese-Eurasians in
Malacca, which was also known as the Kristang community, resided in
the Tranquerah suburb as a result of intermarriages between
35
Portuguese men and local native women. The Portuguese were also 1
credited for spreading Roman Catholicism in Malacca when the first
Catholic priests landed in Malacca as military chaplains to the
Portuguese. The teaching of the Gospels by Catholic priests allowed
the local and Portuguese-Eurasian community to adopt the Roman
Catholic faith. Figure 3.3: Interior perspective view of Sacred Heart Chapel.
(Source: Heng, 2017)

It was during the British era that this area began to be cleared and a
designated road with houses on the side was built. Middle-class people
and other local communities, began to reside along the road known as
Jalan Tengkera. (Goh, personal communication, 22nd January 2017)

Figure 3.4: Interior perspective view of Sacred Heart Chapel.

(Source: Heng, 2017)
 3.1 HISTORICAL BACKGROUND 37
1
In the 1860s, the British granted a lease of 99 years for a plot of land
on Jalan Tengkera for a religious building to be built. Thus, the Sacred
Heart Chapels construction started in the year of 1875 or 1876, and,
36
its construction was completed in 1877 to serve the large Catholic 1
Eurasian community residing along the main road of Jalan Tengkera
as well as in Tranquerah Pantai One and Two, Captain Lane and Dato
Manilla Lane. The decision to build a Catholic chapel along the road
was not only to serve the local community, but also to reduce the
hassle of the community to travel long distances to Saint Peters
Church Malacca, Malaysias first functioning Roman Catholic Church.

The chapel was first administered by Saint Peters Church, which was
under the jurisdiction of the Bishop of Macau. Since then, the building
played a significant role to represent the identity of the Portuguese-
Eurasian community and their faith in the Sacred Heart of Jesus. The
Sacred Heart Chapel initially functioned as a religious center for the
Portuguese-Eurasians, and later it served Roman Catholics of other
races for a period of 100 years.

Figure 3.5: Existing condition of the chapels interior wall. (Source: Heng,
2017)
 3.1 HISTORICAL BACKGROUND 38
1
It wasnt until the 1970s, when the lease expired and the Sacred Heart
Chapel was forced to be returned to state ownership. According to Goh
(2017), the chapel applied for an extension, however, the state
37
government refused to grant them a renewal of the lease despite the 1
appeals that were made to extend it. By that time as well, the local
community started to decrease as they moved elsewhere for better job
opportunities. This caused the chapel to be abandoned and its
conditions deteriorated till this day. Since the abandonment of the
chapel, its roof has collapsed and the interior of the building is but an Figure 3.6: Exposed brickwork of facade. (Source: Teoh, 2017)

empty musky shell. Although the chapels roof was replaced later,
nothing much has been done to preserve and conserve the building.
Goh (2017) suggests that the Melaka Heritage Trust once proposed to
convert the building into a research center, however, there were no
further developments based on this proposal.

Figure 3.7: Exposed timber roof trusses above sanctuary.

(Source: Teoh, 2017)
 3.1 HISTORICAL BACKGROUND 39
1
The land of the Sacred Heart Chapel was purchased and owned by
Beauty Garden Homes Sdn. Bhd. in 2014, and, since then,
applications were made to obtain the approval from the authorities by
38
their partner company Idea Workshop Sdn. Bhd. to conserve and 1
preserve the building.. After the application made was approved by the
authorities, conservation and preservation works started in December
2016. According to Hau (2017), the restoration works are scheduled to
be completed in a years time. Architect Hau also stated that the chapel
would most likely be converted into an event space to hold weddings,
talks and to be used as a restaurant or an art gallery. (Appendix 4)
Although the future of the building has not been finalized, formal
actions were finally being taken to conserve and preserve this
historically significant religious building.
 3.1 HISTORICAL BACKGROUND 40
1
3.1.2 HISTORY OF THE SACRED HEART OF JESUS

The Sacred Heart Chapel is a chapel which was dedicated to the 39

Sacred Heart of Jesus. As such, it can be said that the buildings name
1
was derived from the Sacred Heart of Jesus. The devotion of the
Sacred Heart began in 1672 when Jesus had appeared to a visitation
nun, Saint Margaret Mary Alacoque in France. As he appeared, he
explained to the nun about the devotion of his Sacred Heart for the
people who believed in him to practise it.

The symbol of the Sacred Heart of Jesus includes a heart which is

encircled with a crown of thorns with flames shooting from the top and
also shining with divine light. The heart is pierced by the lance-wound
and surmounted by a cross and bleeding. (Figure 3.8) The Sacred
Heart actually represents the unmitigated love, compassion and long
suffering of Jesus towards humanity.

Figure 3.8: Jesus and His Sacred Heart. (Source: Battle Heads,
2015)
 3.2 SITE CONTEXT 41
1
3.2.1 LOCATION AND TOPOGRAPHY

The Sacred Heart Chapel is located at Lot 25, Jalan Tengkera, 75000 40
Melaka, Malaysia and its geographical location is 211'58.4" N
1
10214'27.5" E. The building is located 1.1 kilometres from the
Sthadhuys (Diagram 3.1) and approximately 122 kilometres from Kuala
Lumpur, the capital city of Malaysia. (Diagram 3.2)

Diagram 3.1: Location between the Sacred Heart Chapel and the
Sthadthuys. (Source: Google Maps, 2017)

Diagram 3.2: Location between the Sacred Heart Chapel and

Kuala Lumpur. (Source: Google Maps, 2017)
 3.2 SITE CONTEXT 42
1
Generally, the topographic conditions of the area around the Sacred
Heart Chapel is flat, as the percentage of the slope is 0.53 %.
According to Diagram 3.3, the slope starts from the area located near
41
Hang Tuah Stadium and Jalan Kubu. From there, the gradient of the 1
slope decreases minimally in the South West direction (direction
towards the sea), covering the areas surrounding Jalan Ong Kim Wee
and Jalan Tengkera. The flat and wide conditions of a land allows the
community to access the place easily with the least effort. This allows
the community to gather easily at a specific location for social, political Diagram 3.3: Topographical conditions of the area around the
Sacred Heart Chapel. (Source: Contour Map Creator, 2017)
or economic purposes. Hence, it means the users of the Sacred Heart
Chapel, which were the Catholic Portuguese-Eurasians and Catholics
of other races can access and use the building easily.

According to Chambless (2015), the construction ground provides

basic support for a building. As such, multiple considerations should be
made when designing a building on a piece of land. In the case of the
Sacred Heart Chapel, the plot of land which was given by the British to
construct the building was flat. Hence, minimal considerations were
made, and, as a result, the construction of the chapel could be
Diagram 3.4: Flat topographic condition of the area in which the
completed in a faster and easier manner. (Diagram 3.4)
chapel is located. (Source: Huynh Minh, 2017)

3.2.2 LOCATION WITHIN MALACCA WORLD HERITAGE
SITE BUFFER ZONE
a) Introduction
According to AJM Planning and Urban Design Group (2011), Malacca
was officially recognized as a World Heritage Site by the UNESCO
World Heritage Committee in 7 July 2008. The World Heritage Site is
divided into two zones; the Core zone (45.3 hectares) and Buffer Zone
(242.8 hectares).
3.2 SITE CONTEXT 43
1
c) Buffer Zone
The Buffer Zone comprises of zones located around the Core41
Zone
with the purpose to protect the Core Zone from any changes to the
1
building qualities and values. (Diagram 3.5) As one of the boundaries
of the Buffer Zone is Tengkera Police Station, and, as such, the Sacred
Heart Chapel is located within the Buffer Zone. This automatically
allows it to be included as one of the protected historical buildings that
needs to be restored to its original condition.

b) Core Zone

The Core Zone of the Malacca World Heritage Site comprises of two
major areas: The first is St. Paul's Hill Civic Zone which has a number
of government buildings, museums, churches, urban square and
original fortress town from the 16th century Portuguese and Dutch
Period. Second is The Historic Residential and Commercial Zone,
which has more than 600 shop houses, commercial and residential
buildings, religious buildings and tombs on four main streets.
 3.2 SITE CONTEXT 44
1

41
1

Diagram 3.5: The Core and Buffer Zones of Malacca World Heritage Site. (Source: UNESCO World Heritage Centre, 2017)
 3.2 SITE CONTEXT 45
1
Today, Jalan Tengkera functions as a residential and commercial area.
(Figure 3.9) A few shophouses still serve as the residences of the local
Chinese community, and some shophouses were abandoned or not in
42
use for a long period of time, which explains their dilapidated state. 1
Parking lots are present along Jalan Tengkera and they were provided
by Majlis Bandaraya Bersejarah Melaka. (Figure 3.10) The parking lots
allow the owners, employees and customers of the surrounding
businesses to park their vehicles conveniently and access the shops.
Figure 3.9: Shophouses located on both sides of Jalan Tengkera.
At the end of the shophouses, a police station by the name of Balai (Source: Teoh, 2017)
Polis Tengkera is present.

Moreover, a variety of businesses are present on both sides of Jalan

Tengkera where the chapel was located. (Diagram 3.6) The business
types are as follows:

Figure 3.10: Parking lots situated in front of the chapel. (Source:

Teoh, 2017)
 3.2 SITE CONTEXT 46
1

43
1

Diagram 3.6: Existing services along Jalan Tengkera. (Source: Saw, 2017)
 3.2 SITE CONTEXT 47
1
3.2.3 RELATIONSHIP OF BUILDING TO SURROUNDING

As mentioned before, the Sacred Heart Chapel is located along Jalan 45

Tengkera, a present day residential and commercial area consisting of
1
shophouses on both sides of the road. The shophouses that are
located along Jalan Tengkera consist of a variety of styles, which is
identifiable by the design of their facades. Today, the shophouses are
used to serve a variety of functions, such as business premises,
residential areas, clan associations and more. As such, to understand
the relationship of the Sacred Heart Chapel to its surroundings, one
must first understand the different styles of the surrounding
shophouses.

Figure 3.11: Panoramic view of shophouses around the Sacred Heart Chapel. (Source: Kusumo, 2017)
 3.2 SITE CONTEXT 48
1
b) Shophouse styles and year of construction
As indicated by K. S. Kamal (2008), the shophouses constructed in Malacca can be classified into at least 9 major styles depending on the design
of their facades and their construction period: 44
1
3.2 SITE CONTEXT 49
1

44
1
 3.2 SITE CONTEXT 50
1
c) Relationship of building to surroundings

After understanding the styles of the shophouses on both sides of 49

Jalan Tengkera, we can now analyse the relationship of the building
1
with its surroundings.

Based on Diagram 3.7, the 4 shophouses at the southeast direction of

the Sacred Heart Chapel are shophouses designed using the early
shophouse style. As such, it can be concluded that these shophouses
were constructed during the period of 1800 to the 1850s, which is
before the construction of the Sacred Heart Chapel.

Moreover, the 2 shophouses at the northwest direction of the chapel

were designed using the early transitional style. As such, in can be
concluded that these shophouses were constructed during the period
of 1840 1900s, which is before the construction of the Sacred Heart
Chapel.

Diagram 3.7: Types of shophouses located along Jalan Tengkera. (Source:

Saw, 2017)

As the Sacred Heart Chapel was constructed after the completion of
the row of shophouses on both its sides, it can be concluded that the
physical characteristics of the chapel were affected by the physical
characteristics of the shophouses. Considerations were made during
the design stage of the chapel to allow it to fit perfectly into the
surrounding context. Hence, the chapels height is almost similar to the
surrounding shophouses. (Diagram 3.8)
Diagram 3.8: The chapel has an almost identical height with the surrounding shophouses. (Source: Saw, 2017)
3.2 SITE CONTEXT 51
1
Rather than overpowering the built environment around it, the Sacred
Heart Chapel respects the site context by maintaining the skyline of
Jalan Tengkera. The rhythm created by the shophouses roofline was
49
1
not interrupted, however, it was maintained as the chapels height was
designed to be almost similar to its surrounding. This results in a
consistent flow of skyline, and, as such, a sense of harmony was
created, which allows the Sacred Heart Chapel to relate to its context
in a humble and fashionable manner.
 4.1 ORIGINAL DESIGN IDEA 53
1
4.1.1 ROMAN CATHOLICISM

The Sacred Heart Chapel was originally built to serve the Portuguese- 52
Eurasian community that settled along Jalan Tengkera (Tranquerah
1
Road). The decision to build a Catholic chapel along the road was not
only to serve the local community, but also to reduce the hassle of the
community to travel long distances to Saint Peters Church, as
mentioned in chapter 3.

The design of the church is simple and made to suit the basic Figure 4.1: The holy water font situated in front of the Tuscan
column. (Source: Heng, 2017)
requirements of a religious building, and, in this case, a Roman
Catholic chapel.

According to Filbert (2011), in most Catholic churches, the holy water

fonts are placed near the entrance to allow the buildings occupants to
make the Sign of the Cross upon entering the building. Following this
concept, the holy water fonts in the Sacred Heart Chapel were placed
in front of two Tuscan columns in the narthex, facing the direction of
the entrances. (Figure 4.1)
 4.1 ORIGINAL DESIGN IDEA 54
1

53
1

Diagram 4.1: Essential Roman Catholic elements and spaces provided within the chapel. (Source: Saw, 2017)
 4.1 ORIGINAL DESIGN IDEA 55
1
A Catholic chapel would not be complete without the choir that aims to
create beautiful music to glorify God. As such, a choir was established
in the Sacred Heart Chapel to fulfil that need. However, what sets the
53
Sacred Heart Chapel different than other chapels is that a choir loft 1
was provided in the building to house the musicians during services.
This allows it to become the significant element of the chapel as it is
rare for chapels to feature choir lofts due to the lack of space within the
building.
Figure 4.2: The confession area as indicated by the highlighted
Moreover, to allow chapel users to sit during the congregation, timber area. (Source: Singh, 2017)
church pews were provided in two rows on both sides of the nave.
Today, the church pews were dispersed all over Malacca Town.
(Appendix 4.)

A confession area was also provided in the chapel to allow the priest to
sit and hear the confessions of confessors. As such, confession
wooden panels were provided to act as a separation between the
priest and the penitents. The exact location of the confession areas is
the two rectangular-shaped openings at the faade before the
sanctuary. (Figure 4.2)
Figure 4.3: The timber choir loft as seen from above. (Source:
Seow, 2017)
 4.1 ORIGINAL DESIGN IDEA 56
1
In addition to that, the pulpit was designed at the corner of the nave to
allow the priest to deliver sermons. The sacristy, a room that allows the
priest and his attendants to vest and prepare before the service, was
54
also provided at the back of the chapel. 1
Last but not least, the altar, a significant element of worship, was also
provided in the building to allow Roman Catholics to pray upon it.
(Figure 4.5) The altar was also designed to allow candles and offerings
to be placed during services and ceremonies.
Figure 4.4: The pulpit in the chapel. (Source: Seow, 2017)Figure

Figure 4.5: The altar of the Sacred Heart Chapel. (Source: Seow,
2017)
 4.1 ORIGINAL DESIGN IDEA 57
1
4.1.2 PERSONAL EXPRESSION AND IDENTIFICATION

Till today, it remains a mystery as to who was the one responsible for 54
the construction of the chapel. It could possibly be the representatives
1
of the Bishop of Macau or the local Portuguese-Eurasian community.
Although it is difficult to justify as to why the chapel is a hybrid
architecture, it could be said that the simplicity of the chapels design
and the lack of the ornate ornamentations within the small confines of
the building may indicate that the building was designed by the local
Portuguese-Eurasians.

In the past, the houses constructed by the Portuguese-Eurasians were

simple structures which were made from timber and covered using
attap roofs. (Appendix 4). These structures were continued to be used
till the era of the British. As such, it is evident that an ethnic group as
young as the Portuguese-Eurasians may not have a rich history in
terms of the development of their architectural style, culture and
tradition. When the time came to a religious building that specifically
served their own ethnic group was built, the Portuguese-Eurasians
may have taken the opportunity to express themselves in the form of a
 4.1 ORIGINAL DESIGN IDEA 58
581
simple chapel. (W. S. Hou, personal communication, 20th January 1
2017)
54
In addition to that, the Portuguese-Eurasians have always been a poor
community. (K. Tan, personal communication, 2017) As such, the
541
simplicity of the chapels design may reflect the economic conditions of 1
the surrounding Portuguese-Eurasians as they may have paid for the
construction of the chapel. The simplicity may also be due to the
scarcity of architectural traditions among the Portuguese-Eurasian
community.

Moreover, the application of a mixture of architectural elements in the

design of the chapel may be guided by the Portuguese-Eurasians
intention to express their architectural creativity so that the masterpiece
is easily identified by the surrounding community.

Whatever the reasons are, the Sacred Heart Chapel fulfilled the needs
of the surrounding Roman Catholic community for as long as a century,
defining the history of the Portuguese-Eurasians as well as Jalan
Tengkera.
 4.1 ORIGINAL DESIGN IDEA 59
1
4.1.3 FORM

a) Prisms 57
The Sacred Heart Chapels overall form is the result of the combination 1
between a triangular prism on top and a cuboid at the bottom.
(Diagram 4.2)

The triangular prism was formed by the timber king post roof trusses
when they are repeated along the width of the chapel from the front to
the back.

The form at the bottom, which is the cuboid, is bounded by the walls on
four sides. Although the form is simple, it serves as the main body of
the building and to allow multiple spaces to be organized in it to fulfil Diagram 4.2: The combination of forms that shape the chapels
outlook. (Source: Saw, 2017)
their functions.

Besides these two major forms, two identical triangular prisms were
also found at the sides of the front faade. These prisms act as
pinnacles to increase the verticality of the building, contributing to the
elegance of the chapels design.
 4.1 ORIGINAL DESIGN IDEA 60
1
b) Simple form

The adoption of 3 simple forms in the buildings design is mostly due to 58

the fact that it is a chapel, as it is defined as a smaller building used for
1
Catholic worship.

The simplicity in the chapels overall design may indicate that it was
designed and constructed by the local Portuguese-Eurasians as
mentioned earlier in this chapter. As the Portuguese-Eurasians did not
have a rich architectural tradition and lacked huge amount of funds due
to their poor economic status, a simple chapel design may be the only Diagram 4.3: The plan of the chapel was influenced
choice of architecture they could afford at the time. by the rectangular plot of land on which it was
constructed. (Source: Saw, 2017)
The simple cuboid design which functions as the main body of the
chapel was influenced by the shape of the plot of land given by the
British to construct the religious building in the 1860s. As the land
given by the British was in the form of a rectangle, a simple linear
rectangular plan was opted. (Diagram 4.3) Thus, by transforming the
simple 2-dimensional shape into a 3-dimensional form, a cuboid was
thus created.(Diagram 4.4)

Diagram 4.4: The transformation of the chapel from a 2-

dimension plan into a 3-dimensional form. (Source:
Huynh Minh, 2017)
 4.2 SPATIAL ANALYSIS 61
1
4.2.1 ORGANIZATION OF SPACES

a) Spatial organization 59
The spaces within the chapel are organized in a linear manner. The 1
spaces in the chapel start with the narthex, followed by the nave (with
the aisle in the centre), the sanctuary and lastly the sacristy. (Diagram
4.5) The linear arrangement of spaces allows a continuous movement
within the chapel in a sequential manner from the front door to the
sanctuary, optimizing the flow of the worshipers within the building. The
linear shape of the buildings plan also ensures that the vision of the
users is focused on the altar, ensuring that it becomes the focal point
of attention within the building.

Diagram 4.5: The organization of spaces in

a linear sequence. (Source: Saw, 2017)
 4.2 SPATIAL ANALYSIS 62
1
b) Relationship between function and space (Interior)

Narthex 60
According to Encyclopaedia Britannica (2017), the narthex is an 1
architectural element of the church which was traditionally located at 4.2 SPATIAL ANALYSIS
the Western end of the nave. Its purpose was to act as a transitional
space and to separate the non-faithful from the general congregation.
A baptismal font is present at the narthex to allow infants as well as
adults to be baptised before entering into the nave. Figure 4.6: The narthex which is located under the choir loft
is indicated by the highlighted area. (Source: Teoh, 2017)
In the case of the Sacred Heart Chapel, the narthex is located directly
after the entrance to function as a transitional space between the
exterior and the interior of the chapel. The space is defined by the
position of two Tuscan columns at its end as well as the timber choir
loft above it. (Figure 4.6)

Two holy water fonts are present in front of the Tuscan columns and
they were used to allow the chapels users to make the Sign of The
Cross before entering the chapel to attend services. The inclusion of
the holy water fonts at the narthex fulfils the need of the Roman
Figure 4.7: The donation box slot as seen on one of the Tuscan
Catholic building to feature furniture which contains holy water. columns. (Source: Seow, 2017)
 4.2 SPATIAL ANALYSIS 63
1
Nave

According to Carr (2016), a nave is the centre part of the church 61

building which was designed to accommodate most of the
1
congregation. Naves in traditional Western churches are rectangular in
shape and are separated from the adjacent aisles by the position of
pillars.

In the case of the Sacred Heart Chapel, the nave was designed using
a linear rectangular shape. (Figure 4.8) However, the chapel has only Figure 4.8: The nave is indicated by the highlighted area. (Source:
Singh, 2017)
one aisle situated in the middle of the nave. Although pillars are not
present in the building, there were once two rows of timber pews on
the left and right side of the nave which covers the majority of the floor
surface area, leaving the middle area empty to act as the aisle.

To occupy a large number of people at a single time during services,

the nave featured a long space with narrow width. The width of the
space was influenced by the limitations of the rectangular piece of land
given by the British to construct the building. Nonetheless, the narrow
width helps to limit the width of the worshippers view to the front,
allowing them to focus their attention to the altar in the sanctuary. Figure 4.9: The nave as seen from the sanctuary. (Source: Heng,
2017)
 4.2 SPATIAL ANALYSIS 64
1
The nave was designed to allow the worshippers to sit and hear the
preaching of the priest. As such, a pulpit was designed to be located at
the side of the nave to allow the preacher to deliver sermons. The
62
angle in which the preacher stands affects the acoustic performance of 1
the chapel. As such, the position of the pulpit beside the chapels left
wall encourages the preacher to speak at an angle that focuses
inwards, diagonally facing the congregation. This enhances the
acoustic performance within the chapel, allowing the worshippers to
hear the voice preacher loud and clear during services. Figure 4.1.: Windows at the side of the nave. (Source: Heng, 2017)

As the nave was designed to house a large number of people during

services, maximum comfort is a top priority to enhance the users
experience within the chapel. 3 louvered casement windows as well a
pointed arch door were provided at each side of the nave to provide
maximum ventilation and lighting for the chapels interior. (Figure 4.11)
Stained glass pieces were also placed above the louvered casement
windows to allow natural light to penetrate them and create a holy
atmosphere within the building.

Figure 4.11: Light penetrating a window located at the side of the

nave. (Source: Teoh, 2017)
 4.2 SPATIAL ANALYSIS 65
60
Sanctuary 1
The sanctuary is the place in a church where the altar is located. It
houses the element of worship and is regarded as a sacred area within
63
the church.
60
In the case of the Sacred Heart Chapel, the sanctuary is located after
the nave. (Figure 4.12) The altar which is located at the centre of the 1
sanctuary features a semicircular arched shape in the middle, with two
triangular pointed structures at both its sides. Besides functioning as a Figure 4.12: The sanctuary is indicated by the highlighted area.
(Source: Saw, 2017)
holy place which houses the altar, the sanctuary is also the place
where the priests once sat to listen to the confessions of the penitents.
The confession area in the Sacred Heart Chapel is located at the
rectangular-shaped openings on the left and right of the semicircular
arched opening, whereby the confessors would kneel towards the
wooden confession panels and confess their sins to the priest sitting
behind the panels.

As the altar is located in the sanctuary, a great deal of effort was given
during the design stage to emphasize its holiness. Elements placed
inside as well as in the front of the sanctuary, such as the altar and the
semi-circular arched opening on the faade, were designed and
Figure 4.13: The large scale of the semicircular arched opening
allows the sanctuary to be the point of focus no matter where one
stands. (Source: Saw, 2017)
 4.2 SPATIAL ANALYSIS 66
60
constructed using a larger scale to allow the space to be the focal point 1
of attention. (Figure 4.13) The large scale of the elements captures the
attention of the chapels users as they were easily noticeable and had
a majestic outlook. 64
60

Sacristy 1

According to Meehan (1912), the sacristy, by definition, is the room

Figure 4.14: The sacristy is indicated by the highlighted area.
where the priest and church attendants prepare and vest before the (Source: Saw, 2017)
service. It is also the venue where they return at the end of the service
to remove their vestments and to store the vessels used during the
service. Additionally, the altar linens as well as hangings are also
stored here. The sacristy is placed at the very end of the chapel as it is
a space used to store important relics of the chapel. (Figure 4.14) As
such, the space was made invisible to the public to safeguard the
properties of the chapel. Moreover, the secluded location of the
sacristy provides more privacy for its users and ensures that they are
able to work in a peaceful environment.
 4.2 SPATIAL ANALYSIS 67
60
c) Relationship between function and space (Exterior) 1
Side passageways

Side passageways are formed at the sides of the Sacred Heart Chapel 64
as the building was not built to share common party walls with its
60
neighbouring shophouses. Instead, it was designed to have a setback
from the party walls to allow the chapel to create its own personalised 1
space.

The side passageways form a connecting path between the front yard
and the backyard. (Figure 4.15) Moreover, the connection path formed
also links the pointed arch doors at the side of the chapel, allowing the
chapels users to access the chapel from the sides as well. In the past,
when the chapel was in use, the side walkways were used to allow the
congregation to move around the building.

As the walkways were used as circulation paths, their conditions were

ensured to be flat to allow users to experience a smooth flow of
movement from one point to another. Figure 4.15: The side passageway of the Sacred Heart Chapel.
(Source: Heng, 2017)
 4.2 SPATIAL ANALYSIS 68
60

4.2.2 SPATIAL HIERARCHY 1

The Sacred Heart Chapel, like most churches, is built upon a

longitudinal axis and has similarities with the simple rectangular floor
66
plan of an Early Christian church, (Figure 4.16)
60
1
a) Public

The public areas of the chapel comprise of the front yard, narthex,
nave and the aisle in the centre of the nave, the passageways at the
side of the chapel as well as the backyard of the chapel. (Diagram 4.6)
The public spaces were designed to be concentrated near the main
access route, Jalan Tengkera, to allow them to be highly accessible
and visible. The nave and aisle are also public spaces which were
designed to house a high number of people during services. The high
concentration of users at the space encourages a high degree of
interaction among them, allowing the space to fulfil its function for the
Figure 4.16: The floor plan of a typical Early
public. The passageways at the side of the chapel as well as the Christian church (Source: Bible Artists, 2011.)
backyard are spaces which can be accessed by the public easily as
there are no physical boundaries to restrict their use of the spaces.
 4.2 SPATIAL ANALYSIS 69
60
b) Semi-public 1

The semi-public space of the chapel includes the sanctuary. (Diagram

4.6)
66
The sanctuary, the space where the altar is located, is situated at the 60
end of the nave. A faade with a semicircular arched opening as well
as rectangular openings on both its sides separates the sanctuary from
1
the nave, allowing the sanctuary to have its own definitive boundary..
Although the altar is highly visible from all parts of the chapel, the
inclusion of the faade acts as a form of visual boundary.

In the past, when the chapel was in use, the spaces around the altar
were only accessible by the priest and the attendants.

The semi-public properties of the sanctuary were also characterised by

the position of the timber communion rails underneath the semicircular
arched opening when the chapel was still in use.

Diagram 4.6: Spatial hierarchy of the Sacred

Heart Chapel. (Source: Saw, 2017)

.
 4.2 SPATIAL ANALYSIS 70
60
c) Private 1
The private space within the chapel is the sacristy. (Diagram 4.6)
Situated at the very end of the chapel, the sacristy is only accessible
67
via the two semicircular arched openings at both sides of the altar as
well as the semicircular arched opening at the back of the room. The 60
space can be categorised as a private space as it located behind the 1
sanctuary and is bounded by walls at all sides with minimal openings.
Moreover, as the space is only accessible by authorised personnel of
the chapel, the general public cannot access the room.
 4.2 SPATIAL ANALYSIS 71
60

4.2.3 CIRCULATION TO USE SPACE 1

The circulation of the chapel is shaped by the linear organization of

spaces within the building. (Figure 4.7) Users can access the building
68
via the doors at the front of the chapel. Once they step into the
building, the linear organization of spaces directs users to walk from
60
the narthex to the nave and the sanctuary, allowing a continuous 1
movement in the building in a sequential manner. Openings within the
chapel also connect one space to another, allowing users to access
the spaces in a sequential manner. In addition to that, the stairs
available at the side of the pulpit as well as the timber choir loft also
allow users to access the structures which are located higher than
other structures within the chapel. A small flight of brick stairs was also
present beside the altar to allow the authorities of the chapel to climb
up and conduct maintenance works on the altar.

Figure 4.7: Circulation of users in the chapel. (Source: Saw, 2017)

 4.2 SPATIAL ANALYSIS 72
60
Besides the semi-circular arched doors at the front of the chapel 1
(Figure 4.17), the pointed arch doors at the sides of the chapel (Figure
4.18) and the semicircular arched door at the back of the sacristy
(Figure 4.19) connect the chapel to the exterior environments. These 69
openings are all connected by the side walkways of the chapel, which
60
start from the edge of the front yard leading all the way to the
backyard. On the exterior of the chapel, concrete pavements extend 1
from the front yard to the side walkways and ends at the centre of the
pointed arch doors. Figure 4.17: Door beside altar as Figure 4.18: Side door. (Source: Heng,
seen from sacristy. (Source: 2017)
Seow, 2017)

Figure 4.19: Door at the back of Figure 4.20: Front door. (Source:
the sacristy. (Source: Seow, 2017) Heng, 2017)
 4.3 DESIGN PRINCIPLES 73
60

4.3.1 BALANCE AND SYMMETRY 1

Symmetry is shown by the design of the front and back facades, the
faade before the sanctuary, the altar as well as the plan of the
71
building, whereby the left and right sides are symmetrically balanced.
(Diagram 4.8, 4.9, 4.10 and 4.11) By imagining a vertical axis on the
60
facades as well as the floor plan, it is evident that the composition 1
created is balanced as the type and amount of elements used as well
as their orientation is similar. This allows the composition to be
Diagram 4.8: Symmetry shown by the front elevation of
aesthetically and visually pleasing. the chapel. (Source: Saw, 2017)

Diagram 4.10: Symmetry of Diagram 4.11: Symmetry of the facade Diagram 4.9: Symmetry shown by the back elevation of
the chapels floor plan, before the sanctuary as shown by the the chapel. (Source: Saw, 2017)
(Source: Saw, 2017) section. (Source: Saw, 2017)
 4.3 DESIGN PRINCIPLES 74
60

4.3.2 REPETITION 1
Repetition is shown by the use of the shape of the altar. The shape of
the altar is first seen on a larger scale on the exterior faade, with the
pediment at the centre and the two pinnacles at the side. (Diagram
72
4.13) 60
The pediment as well as the belfry are repeated at the faade before 1
the sanctuary. The semicircular arched openings with two pinnacle-
shaped openings at the side are present on the faade. The elements
mimic the shape of the exterior faade. Diagram 4.12: Repetition of elements is present on the 3
highlighted components of the chapel. (Source: Saw, 2017)
The semicircular arched openings with two pinnacles on the side are
finally repeated on the altars design. In some Catholic churches the
shape of the altar is similar to the design of the church as the altar is a
significant element of worship within the building. (Appendix 4)

Diagram 4.13: Repetition of elements is shown by the highlighted

areas. (Source: Saw, 2017)
 4.3 DESIGN PRINCIPLES 75
60

4.3.3 UNITY AND HARMONY 1

A sense of unity and harmony is evident throughout the chapel despite

the use of a variety of design elements. The architectural styles and
73
elements present within the building include the Iberian (Portuguese)
style, the Romanesque style as well as the Gothic style. The elements
60
which were combined together at specific areas were able to relate to Figure 4.21: Luminescent properties of stained glass pieces. (Source: 1
Teoh, 2017)
one another to create a unified whole.

Unity and harmony is best reflected at the front faade as the elements
of all 3 architectural styles are present here. Although the pointed arch
windows and the semicircular arched doors are designed using
different architectural styles, their placements close to one another
creates a harmonious feeling as they have identical characteristics in
terms of the openings shape and orientation. (Figure 4.22 and 4.21)

In addition to that, the stained glass pieces which form the tympanums
of the pointed arch windows and doors at both sides of the chapel
create visual harmony. Although different coloured glass pieces were
placed together to form the tympanums, their luminescent properties
Figure 4.22: Similar shapes of doors and windows of the front facade.
and illuminative functions relate them to one another. (Source: Singh, 2017)
 4.4 DESIGN STYLES & ELEMENTS 76
60

4.4.1 OVERVIEW AND EXPLANATION 1

Till today, it remains a mystery as to who was the one who designed
the chapel. It could possibly be the Bishop of Macau, or the local
77
Portuguese-Eurasian community. As such, it is hard to explain the
reason behind the adoption of a hybrid of architectural styles in the
60
chapels design. 1
One possible explanation could be that the local Portuguese-Eurasian
community were trying to represent and to showcase their identity
through the design of the chapel. As the Portuguese-Eurasians of
Malacca did not have any significant architectural works to represent
their identity, the construction of the chapel may provide the perfect
opportunity for them to design a building that stands out among the
architecture of local communities. As such, the fusion of two or more
architectural styles may create an original and unique architectural
expression that solely belonged to the Portuguese-Eurasians of
Malacca.
 4.4 DESIGN STYLES & ELEMENTS 77
60
According to Mr. Keith Tan, a Taylors University architecture lecturer, 1
the fact that the Sacred Heart Chapel has a mixture of architectural
styles may indicate that it has been locally designed. As there were
hardly any recorded documents of the chapel, it is hard to determine 77
who was the designer or architect of the building. The chapel may not
60
necessarily be designed by architects at all, and there may also be a
possibility that it was designed by local artisans. The local artisans,
1
who may not receive any formal architectural education, may use a
mixture of architectural styles and elements they find interesting to
decorate the exterior and interior of the chapel.

Nonetheless, as simple as the chapel may be, there are quite a few
architectural styles and elements that can be found within the building,
notably the Iberian influence, the Romanesque style, the Gothic style
and many more.
 4.4 DESIGN STYLES & ELEMENTS 78
60
4.4.2 IBERIAN STYLE 1

Firstly, the Iberian architectural style is evident in terms of the chapels

faade treatment. According to Borschberg (2004), Iberian architecture
78
refers to the architectural styles which can be found in the Iberian
Peninsula, which consists mostly of Portugal and Spain. However, in 60
the case of the Sacred Heart Chapel, our research will focus solely on 1
the Portuguese architectural influence on the chapels design.

The front faade of the chapel consists of 3 colonnaded tiers, in which

the ground floor contains 3 similar semicircular arched doors and the
first floor contains 3 similar pointed arched windows. (Diagram 4.14)
The pediment, which can also be found in some Portuguese churches,
crowns the chapel. A pediment is defined as a triangular space formed Diagram 4.14: The front facade of the Sacred Heart Chapel.
by the raking cornices (sloping sides) and horizontal cornice of a (Source: Measured Drawing Team Sacred Heart Chapel, 2017)

gabled structure.

A belfry is also situated in the middle of the pediment. Poole (1907)

stated that a belfry is a structure which encloses the bell chamber, the
room in which the bells are housed, and its walls are pierced by
openings which allow the sound to escape.
 4.4 DESIGN STYLES & ELEMENTS 79
60
Lastly, the IHS monogram is located at the apex of the pediment, 1
symbolising that the building is a Roman Catholic chapel. Gothic
pinnacles can also be seen at both sides of the pediment.
79
Such a phenomena is evident in Portuguese colonial architecture on a
bigger scale, such as the Basilica of Bom Jesus in Goa and the Ruins 60
of Saint Pauls Church in Macau. In the case of the Basilica of Bom 1
Jesus in Goa, India, the front faade of the basilica consists of 3
colonnaded tiers. (Diagram 4.15) The ground floor consists of 3
elegant entrance gates. The first floor consists of 3 windows matching
to the three gates of the ground floor and the second floor consists of 3
spherical windows. The fourth segment, also crowns the chapel with an
extravagant quadrangle decorated with arabesque art, however, unlike
the Sacred Heart Chapel, the pediment consists of a combination of
the Renaissance architectural style and the Baroque style. The IHS Diagram 4.15: The front facade of the Basilica of Bom Jesus.
(Source: Divakaran, 2005)
monogram is present in the middle of quadrangle segment and ornate
decorations were used to decorate the monogram. Stout pinnacles
were also used to decorate the pediment, two of which are located at
both sides of the pediment and five of which were used to decorate the
triangular-shaped pediment.
 4.4 DESIGN STYLES & ELEMENTS 80
60
In the case of another Portuguese colonial architecture, which is the 1
Ruins of Saint Pauls Church in Macau, the Baroque-styled faade
consists of a five-tiered structure. (Diagram 4.16) The first tier
comprises ten ionic columns with 3 entrances. The MATER DEI is 80
carved on the lintel of the front door and two other entrances on each
60
side are decorated with the HIS monogram. The second tier consists
of ten Corinthian columns with three windows. The third tier, however,
1
shows the Virgin Holy Days scene with a statue of Madonna in the
middle. On the fourth tier, a stone figure of Jesus is present. Finally,
the fifth tier features a pediment.

Both these Portuguese colonial architecture were designed using a

Diagram 4.16: The front facade of the Ruins of Saint Pauls
larger scale as well with more elaborate decorations. Church, Macau. (Source: Macao Arts Festival, 2011)
 4.4 DESIGN STYLES & ELEMENTS 81
60

4.4.3 GOTHIC STYLE 1

Gothic architectural elements are present in the chapel through the use
of pointed arched windows and doors. Timber pointed arched window
81
frames were used to design the windows at the front faade as well as
the side walls.
60
1
Moreover, trefoils, which are present at the tympanum of the pointed
arched windows, are also present at the chapels front faade as a
symbol for the Holy Trinity. (Figure 4.23) According to LaChiusa, foil
means leaf in French. As the number of foils is indicated by a prefix,
trefoil means three leaves. Chuck (2002) states that foil motifs may
be used as part of the heads and tracery of window lights, complete
windows themselves, the underside of arches, in heraldry, within
panelling, and as part of any decorative or ornamental devices.
Figure 4.23: Pointed arch louvered casement windows at the
Besides being a symbol of the Holy Trinity, LaChiusa (2002) also front facade of the chapel. (Source: Teoh, 2017)
claims that the trefoil is a symbol of perpetuity, with the three leaves
representing the past, present and future. It is also sometimes a
symbol of fertility and abundance.
 79 4.4 DESIGN STYLES & ELEMENTS 82
60 60
Stained glass is also present on both sides of the chapel to allow a 1 1
certain amount of light to illuminate the chapels interior depending on
the different times of the day. Traditionally, stained glass windows were
used in churches to beautify and to provide narrative information to 80 82
those who looked at them. However, in the case of the Sacred Heart
60 60
Chapel, the stained glass pieces do not serve to translate certain
biblical messages, but were used as mere decorations. After stepping
1 1
into the chapel, one would notice that stained glass pieces of different
colours would be used to decorate the underside of the pointed arched Figure 4.24: The stained glass pieces above a window in the
Sacred Heart Chapel. (Source: Teoh, 2017)
window frames. (Figure 4.24) The tympanum of the pointed arched
window frames will be subdivided into 13 parts using timber frames to
allow the stained glass pieces to be placed. Notably, stained glass
pieces of different colours and patterns were mixed and matched to
create a variety of luminescent patterns within the chapel.

Additionally, Hami (2014) suggests that the luminescent beauty of the

stained glass has different symbolism behind the usage of certain
colours. For example:
 4.4 DESIGN STYLES & ELEMENTS 83
60
Red: represents the blood of Christ, it indicates strong emotions such 1
as love or hate; it serves as a reminder of Jesus' suffering and
sacrifice, it also often associated with the martyrdom of saints.
80
Blue: the colour of the sky symbolizes heaven, hope, sincerity, and
piety. The colour is often associated with the Virgin Mary. 60

Green: the colour of grass and nature is an indication of spring, growth 1

and rebirth, life over death; it symbolizes faith, immortality, and
contemplation.

White: the colour that represents chastity, innocence, and purity is

often associated with God. 83
60
1

Figure 4.25: The variety of stained glass patterns that can be found in the
83 chapel. (Source: Singh, 2017)

60
1
 4.4 DESIGN STYLES & ELEMENTS 84
60
Last but not least, pinnacles are also present on both sides of the 1
chapels pediment. According to Encyclopedia Britannica (2009), a
pediment is an architectural ornament originally forming the cap or
crown of a buttress or small turret, but afterwards used on parapets at 80
the corners of towers and in many other situations. Traditionally,
60
88
pinnacles were used in Gothic churches for two reasons: ornamental or
structural.
1
60
However, the pinnacles were used in the Sacred Heart Chapel to 1
Figure 4.26: Original pinnacle on the left of the chapels pediment.
increase its verticality. The pediments of the Sacred Heart Chapel are
(Source: Teoh, 2017)
made up of triangular prisms and feature a star in the middle of the
structure. (Figure 4.26) As the chapel was abandoned for decades, the 88
pediment at the right corner of the building was missing and later 60
restoration works conducted replaced the missing structure with a new
one, which explains the contrast of texture and colour. (Figure 4.27)
1

Figure 4.27: Restored pediment on the right of the chapels

pediment. (Source: Teoh, 2017)
 4.4 DESIGN STYLES & ELEMENTS 85
60
4.4.4 ROMANESQUE STYLE 1

Romanesque architectural elements can be seen in the use of

semicircular arches, which are present at the front gate, (Figure 4.28)
89
the three doors of the front faade (Figure 4.29) as well on the faade
before the sanctuary (Figure 4.30) One notable characteristic of
60
Romanesque arches is that the semicircular arches are supported by 1
capitals of columns or pilasters.

Figure 4.28: The semicircular arched front gate of the chapel.

(Source: Seow, 2017)

Figure 4.29: The semicircular arched door

Figure 4.30: The Romanesque arched opening of the facade as
at the front facade in the chapel. (Source:
seen from the sanctuary. (Source: Seow, 2017)
Teoh, 2017)
 4.4 DESIGN STYLES & ELEMENTS 86
60

4.4.5 OTHER ELEMENTS 1

a) Timber choir loft

The Sacred Heart Chapel features a timber choir loft, which is raised 90
above the chapels narthex and connected by a flight of timber stairs. 60
(Figure 4.31)
1
The choir loft was used to house musicians or singers performing
during church services, and, it was said that the timber choir loft was
able to accommodate an approximate number of 20 people. (Appendix Figure 4.31: The timber choir loft as seen from the sanctuary.
4). The structure is significant as most chapels do not feature choir (Source: Singh, 2017)

lofts due to the lack of space within the buildings. Two Tuscan columns
were used to support the beams of the timber choir loft, and two holy
water fonts were positioned in front of the columns in the direction
facing the semicircular arched doors. Repetition of the Tuscan
columns design is present on the holy water fonts at a much smaller
scale, creating a sense of visual harmony at the narthex.
 4.4 DESIGN STYLES & ELEMENTS 87
60
b) Pulpit 1
In addition to that, a pulpit is present at the side of the nave and is
accessible via a flight of brick stairs. (Figure 4.32) The structure is
91
present in churches to allow the preacher to deliver sermons.
60
1
c) Altar

One of the most significant elements of the Sacred Heart Chapel is the
Figure 4.32: Side view of the pulpit. (Source: Teoh, 2017)
altar. The altar sits majestically in the middle of the sanctuary, allowing
it to become the visual focus of the chapels users. It features a
semicircular arched shape in the middle, with two pinnacle-shaped
structures at both its sides. (Figure 4.33) Three statues were once
placed on the altar in the sanctuary, in the centre was the statue of
Jesus since the chapel was dedicated to his Sacred Heart and to the
right and left were statues of St. Sebastian and St. Anthony of Padua,
two favoured saints of the Portuguese-Eurasians in Malacca.
(Appendix 4). The 13 stars which were uniformly distributed around the
semi-circular arched shape symbolises Jesus Christ and his 12
Figure 4.33: Front view of the chapels altar. (Source: Teoh, 2017)
apostles.
 4.4 DESIGN STYLES & ELEMENTS 88
60
In addition to that, the IHS or JHS monogram, an abbreviation for the 1
name of Jesus Christ, was also inscribed in the middle of the mensa,
or altar table. (Figure 4.34) The IHS or JHS monogram was first seen
on the exterior above the pediment and later on the altar. According to 92
Maere (1910), the monogram is a combination of letters that forms an
60
abbreviation for the name of Jesus Christ and is traditionally used as a
religious symbol within the Christian Church. As the name of Jesus is
1
spelt "" in Greek capitals, the abbreviation IHS was thus
formed. Figure 4.34: The IHS or JHS monogram on the altars mensa.
(Source: Teoh, 2017)
As the Christian liturgy was mainly conducted in Latin in medieval
Western Europe (and so among Catholics and many Protestants
today), the most common Christogram became "IHS" or "IHC",
denoting the first three letters of the Greek name of Jesus, IH,
iota-eta-sigma, or . The Greek letter iota is represented by I, and
the eta by H, while the Greek letter sigma is either in its lunate form,
represented by C, or its final form, represented by S. Because the
Latin-alphabet letters I and J were not systematically distinguished until
the 17th century, "JHS" and "JHC" are equivalent to "IHS" and "IHC".
 4.4 DESIGN STYLES & ELEMENTS 89
60
Stairs are available at the right side of the altar to allow people to 1
access the upper parts of the altar and conduct maintenance works.
(Figure 4.35) Smaller semicircular holes are present at both side of the
altar, which allows the administrators of the chapel to view the statue of 92
Jesus from the side and conduct cleaning works. (Figure 4.36) 60
1

Figure 4.35: Stairs at the side of the altar. (Teoh, 2017)

Figure 4.36: Semicircular arched opening at the side of the

altar. (Source: Teoh, 2017)
 4.5 ORIENTATION AND RESPONSE TO CLIMATE 90

4.5.1 ORIENTATION 90
The front faade of the chapel faces the direction of North East 35
degrees. Unlike other churches, in which their entrances were
designed to face the East, the Sacred Heart Chapels unique
orientation is solely based on the orientation of the plot of land given by
the British during the time of its construction.

The orientation of the building also influenced the position of the belfry
in the building. According to Poole (1907), the belfry, which encloses
Diagram 4.17: Orientation of chapel which faces Jalan Tengkera.
the bell chamber, allows the sound of the bell to escape and to inform (Source: Huynh Minh, 2017)
the surrounding Catholic community to attend services held. The belfry
was designed to be located on the front faade, which directly faces
Jalan Tengkera, to allow the sound of the bell to be transmitted directly
to the open road and to ensure that there were no interruptions.
(Diagram 4.17)
 4.5 ORIENTATION AND RESPONSE TO CLIMATE 91

In addition to that, the planning of the access points within the building 90
was also influenced by the orientation of the building.

Access points, such as the front doors and entrances, were designed
to directly face the main access route of the area, which is Jalan
Tengkera, to allow a smooth circulation of flow from the main road into
the compounds of the chapel. (Diagram 4.18) The multiple entrances
which face Jalan Tengkera also meant that multiple access points are
available at the front of the chapel to allow a huge number of people to
access the building at a single time, preventing heavy congestions Diagram 4.18: Circulation of users into the chapel. (Source: Huynh
Minh, 2017)
which may disrupt the smooth flow of people.
 4.5 ORIENTATION AND RESPONSE TO CLIMATE 92

4.5.2 RESPONSE TO CLIMATE 90

According to the interview conducted with Mr. Colin Goh, a senior
citizen who once spent his childhood days in the chapel, the building
was well-lighted and cool in the morning. This statement proves that
the chapels design effectively copes with the climatic conditions of its
surroundings, providing maximum comfort to its occupants.

As stated by World Weather Online (2017), the climate of Malacca is

characterised as hot and humid all year long with abundance of rainfall.
As such, louvered casement windows were designed to be placed
around the chapel. According to Encyclopedia Britannica (2010) a Diagram 4.19: Ventilation flow into the chapel. (Source: Huynh
louver is a window shutter with horizontal slats that are angled keep Minh, 2017)
out rain and direct sunshine, yet, at the same time, admits air into and
out of the building to provide ventilation. Bradnam's Windows & Doors
(2017), states that louvered windows provide more ventilation than
other windows, making it a suitable choice of windows to be placed
within a tropical building.

In addition to that, WeatherSpark (2017) suggests that the majority of

wind direction in Malacca is from the northeast. As such, the
orientation of the chapel, which faces the northeast direction, allows a
high amount of air to flow into the building. Interestingly, the front
faade of the chapel features a high amount of openings, such as the
pointed arch windows and semicircular arched doors, which proves
that the building corresponds well with the climate. (Diagram 4.19)
Diagram 4.20: Sun path and ventilation
on site. (Source: Saw, 2017)
 4.5 ORIENTATION AND RESPONSE TO CLIMATE 93

The orientation of the chapel also allows the position of the sun at 90
different times of the day to illuminate the chapels interior. In the
morning, the position of the sun allows sunlight to penetrate the
windows and stained glass pieces on the left of the chapel (Diagram
4.22), whereas the position of the sun in the evening allows light to
penetrate the windows and stained glass pieces on the right of the
chapel. (Diagram 4.23)

Lastly, the chapel once featured a gable roof which was covered using
Diagram 4.22: Penetration of sunlight from the left of the chapel in
Dutch clay roof tiles. The gable roof was opted as the roof type in the the morning. (Source: Huynh Dinh, 2017)
chapel as it is easier to be constructed and requires a lesser amount of
construction cost. Roofing Calculator (2017) suggested that gable roofs
easily shed large amounts of precipitation, protecting the building from
corrosion.

Diagram 4.23: Penetration of sunlight from the right of the chapel

Diagram 4.21: Sun path across the chapel. in the evening. (Source: Huynh Dinh, 2017)
(Source: Huynh Minh, 2017)
 5.1 TERRACOTTA FLOOR TILES 95

5.1.1 DEFINITION AND CHARACTERISTICS

1 92
The type of floor tiles that is used in Sacred Heart Chapel is terracotta
floor tiles. (Figure 5.1) Matthews (2015) states that terracotta tiles are a
type of clay-based unglazed or glazed ceramic tiles available in a
variety of colors and designs. Terracotta is normally used in sculpture-
making and also in building construction as they are strong and
durable. Moreover, the tiles are fire resistant and can be molded into a
variety of shape.
Figure 5.1: Terracotta floor tiles in the Sacred Heart Chapel (Source:
Singh, 2017)
The dimensions of the floor tiles in the chapel are 350mm X 350mm
(Diagram 5.1), with a 10 mm gap in between the tiles.

5.1.2 MATERIALS

Terracotta tiles mainly consist of clay and water.

Diagram 5.1: The dimensions of the terracotta floor tiles

used in the chapel. (Source: Huynh Minh, 2017)
 5.1 TERRACOTTA FLOOR TILES 96

92

Diagram 5.2: Existing condition of terracotta floor tiles. (Source: Huynh Minh, 2017)
 5.1 TERRACOTTA FLOOR TILES 97

92

Diagram 5.3: Existing conditions of building as shown by section .A-A. (Source: Huynh Minh, 2017)
 5.1 TERRACOTTA FLOOR TILES 98

92

Diagram 5.4: The distribution of materials in the chapel. (Source: Saw, 2017)
 5.1 TERRACOTTA FLOOR TILES 99

5.1.3 ADVANTAGES AND DISADVANTAGES 93

a) Advantages:

One of the advantages of terracotta tiles is that they are durable, which
is evident as most of the tiles were still left intact when the site visit was
conducted. The red and brown color of the tiles gives off an earthy and
rustic feel, which enhances the classic and luxurious aesthetics of the
building.
Figure 5.2: Close-up look of the terracotta Tiles in the building.
b) Disadvantages: (Source: Seow, 2017)

As terracotta tiles differ in terms of shade and texture, it is burdensome

to seek for a replacement which matches its existing colour and
texture, making restoration works hard.

Figure 5.3: Terracotta floor tiles in the chapel. (Source: Singh,

2017)
 5.1 TERRACOTTA FLOOR TILES 100

5.1.4 EXISTING CONDITION 93

As the building is in an abandoned state, there are numerous defects
which can be found in the building. Most of the terracotta tiles in the
chapel are covered with dust and dirt. Moreover, some of the floor tiles
are damaged and in a sunken condition. (Diagram 5.2)

In addition to that, some of the tiles present in the sanctuary are

missing. The tiles at the sacristy, are all covered with pebbles, stones
Figure 5.4: Sunken terracotta floor tiles around the pulpit.
and grass.
(Source: Storey, 2017)

Figure 5.5: Missing terracotta floor tiles at the nave. (Source:

Storey, 2017)
 5.2 LOAD BEARING WALLS 101

5.2.1 DEFINITION AND CHARACTERISTICS 94

The Sacred Heart Chapels support structures are load bearing walls.
According to Muscato (n.d.) a load bearing wall is a type of wall which
supports the weight of other elements above it, such as the roof, walls
and floor joists.

Diagram 5.5: Load bearing walls in the chapel indicated by the

highlighted area. (Source: Huynh Minh, 2017)

Figure 5.6: Load bearing walls as seen from the interior of the
chapel. (Source: Seow, 2017)
 5.2 LOAD BEARING WALLS 102

5.2.2 MATERIALS 95
Dutch bricks are used as the main building material of the Sacred
Heart Chapel. According to De Witt (2007), the colonization of Malacca
by the Dutch introduced Dutch bricks as a building material in many
buildings. De Witt (2007) also suggests that when the chapel was built
Diagram 5.6: Dimensions and texture of a Dutch
during the British era, the Dutch bricks which were produced locally brick found on site. (Source: Huynh Minh, 2017)

were produced locally, indicating that the construction knowledge of

the Dutch had been passed on and implemented into the construction
of British era buildings.

The Dutch bricks are durable and known for their appearance. They
are characterised as bricks with a long length and short width and
height. The dimensions of the bricks used in the chapel were 240mm X
Figure 5.7: Clay (Source: Micheal, n.d.)
120mm X 30mm. (Diagram 5.6)

Ingredients of a typical Dutch bricks include clay and shale. (Figure 5.7
and 5.8) The materials are put in a kiln and heated to form bricks.

Figure 5.8: Shale (Source: Collecting rocks and

minerals, n.d.)
 5.2 LOAD BEARING WALLS 103

5.2.3 BONDING SYSTEM 96

The bonding system used to construct the load bearing walls is the
Dutch bond. (Figure 5.9) The bricks are laid by filling mortar between
the layers of bricks. Different types of mortar were used to lay bricks,
such as cement mortar, lime mortar or mud mortar.

Advantages:

The advantages of Dutch bricks are durable and fire resistant. They
Figure 5.9: Dutch bond system (Source: Greenhalgh, 1926)
require less maintenance as it does not rot or need to be painted. They
produces less environmental pollution during the manufacturing
Figure: Picture example of Dutch bond. (Source: Building
process.
Educator Volume 5, R Greenhalgh, 1926)

Disadvantages:

The disadvantages of Dutch bricks are that they absorb water easily
and they have very less tensile strength. They may cause mildew
growth when it is not properly cleaned and it is not that easy to clean
the bricks.

Figure 5.10: Exposed Dutch bricks in the Sacred Heart Chapel

(Source: Singh, 2017)
 5.2 LOAD BEARING WALLS 104

5.2.4: EXISTING CONDITION 93

The wall of the Sacred Heart Chapel is left in a dilapidated state due to
its abandonment. (Diagram 5.3) The plaster of the exterior and interior
walls have fallen off due to the damp conditions of the chapels
surroundings as it was fully exposed to weathering conditions. (Figure
5.11) Moreover, small and large cracks on the walls and pilasters
expose the Dutch bricks within. (Figure 5.12) As such, the existing
cracks on the walls have left an unremovable mark on the face of the Figure 5.11: Exposed Dutch bricks due to the fallen off plaster.
(Source: Teoh, 2017)
chapel.

Figure 5.12: Visible cracks on the load

bearing wall. (Source: Teoh, 2017)
 5.3 SEMICIRCULAR ARCH 105

Semicircular arches are used as openings at the chapels front and 97

93
interior facades.

Description of the components:

Intrados: interior surface of the arch.

Extrados: exterior surface of the arch.
Springing: the point from which the arch begins or springs.
Voussoirs: each of the stone wedges that make up the arch.
Keystone: wedge-shaped stone in the center of an arch whose
function is to balance the network of voussoirs.
Diagram 5.7: Components of a semicircular arch. (Source:
Crown: the highest point of the arch.
Saw, 2017)
Haunch: the sides of the arch from the springing line half way up to
the crown.

The semicircular arch can also be seen in the form of the Romanesque
arch, which is present on the facade in front of the sanctuary. A
distinctive feature of a Romanesque arch is that the arch is supported
on top of capitals of columns or pilasters.

Figure 5.13: The semicircular arched opening as seen from

the altar. (Source: Seow, 2017)
 5.3 SEMICIRCULAR ARCH 106

The method used to construct the semicircular arches is called 98

centering. The temporary timber centering structure was used to
support the brick arch during construction. (Diagram 5.8)

Diagram 5.8: Components of a centering structure (Source: Huynh

Minh ,n.d.)
 5.3 SEMICIRCULAR ARCH 107

5.3.1 EXISTING CONDITION 98

As the plaster of the chapels front facade has fallen off, the brickworks
of the semicircular-arched doors are fully exposed. Timber tympanums
are also missing from the semicircular-arched doors at the front of the
chapel. (Figure 5.15) In addition to that, cracks are also present above
the semicircular-arched opening at the faade before the sanctuary.
Cracks are also present at the semicircular-arched door at the back of
the sacristy. (Figure 5.16) Figure 5.14: Crack present above semicircular arched opening
at the faade before the sanctuary. (Source: Heng, 2017)

Figure 5.16: Cracks present near the semicircular arched door at

Figure 5.15: Exposed brickwork of semicircular
the back of the sacristy. (Source: Seow, 2017)
arched door at the front of the chapel. (Source:
Teoh, 2017)
 5.4 DOORS 108
60
5.4.1 BATTENED, LEDGED AND FRAMED DOOR 1
The type of door that is installed in the Sacred Heart Chapels front
facade is the battened, ledged and framed door. These doors, which
are situated beneath semicircular arches, include battens and ledges
80
with frameworks added on it. (Figure 5.17) 60
The hinges that connect the battened, ledged and framed doors to the 1
walls are T hinges. (Figure 5.19) Characterised by their T-shaped
appearance, the hinges were hand forged by a blacksmiths. The Figure 5.17: Battened, ledged Figure 5.18: L-shaped bolt
hinges can support the door along its width, allowing them to swing and framed door at the front of latch of the chapels front
the chapel. (Source: Heng, 2017) door. (Source: Heng, 2017)
while remaining attached to the walls.

L-shaped bolt latches were installed at the back of the doors to allow
the doors to remain closed when locked. (Figure 5.18)

Figure 5.19: T-shaped door hinge. (Source: Heng, 2017)

 5.4 DOORS 109
60

5.4.2 FRAMED DOOR 1

There second type of door that is used in the Sacred Heart Chapel is
the framed door which is situated at both sides of the building.
80
The hinges at the side doors are called butt hinge. It is a piece of metal
60
mechanism that allows the doors to swing open and closed while being 1
attached to the walls.

Similarly, L-shaped bolt latches are installed on the doors to allow them
to be locked.

Figure 5.20: Framed door in Diagram 5.9: Components of the

the Sacred Heart Chapel. chapels framed door. (Source: Saw,
(Source: Heng, 2017) 2017)

5.4.3 EXISTING CONDITION

Generally, the paint coatings of the doors have fallen off. Most of the
doors are still functionable, except for the missing right door at the front
faade.

Figure 5.21: Butt hinge of the Diagram 5.10: Butt hinge of the
chapels side door. (Source: Heng, chapels framed door. (Source:
2017) Huynh Minh, 2017)
 5.5 LOUVERED CASEMENT WINDOWS 110
60
The type of window installed in the Sacred Heart Chapel is the 1
louvered casement window. Casement windows are windows which
consist of two halves and are hinged at the side of the frame. When
louvers are added into the windows, it is called louvered casement 80
windows.
60
1
The frames of the windows in the chapel are timber pointed arch
frames. Vibrant stained glass pieces were used as decorations
Figure 5.22: The louvered Figure 5.23: The butt hinge of
underneath the arched frames. The type of hinge used for the louvered window in Sacred Heart a window in the Sacred Heart
casement windows is the butt hinge. L-shaped bolt latches were also Chapel (Source: Seow, 2017) Chapel. (Source: Seow, 2017)

installed to allow the windows to be secured from the interior.

Figure: The louvered window Figure: The butt hinge of the

Advantages: in Sacred Heart Chapel windows in Sacred Heart
(Source: Koji, 2017) Chapel. (Source: Koji, 2017)
The louvred casement windows in the chapel help to keep out rain and
direct sunshine, yet, at the same time, admits air into and out of the
building to provide ventilation.
Disadvantages:
The louvered casement windows have size limitations as they are only
designed to crank outwards. As such, the windows used cannot be too Figure 5.24: L-shaped bolt latch of the chapels window .(Source:
Seow, 2017)
large or heavy.
 5.5 LOUVERED CASEMENT WINDOWS 111
60

5.5.1 EXISTING CONDITION 1

Most of the louvered casement windows in the chapel are still
functionable, except the windows on both side of the sacristy. (Figure
5.26) However, the painted area around the windows have fallen off, 80
revealing the light grey plastered wall at the back. (Figure 5.25) As for 60
the stained glass pieces above the windows, some of them are still
1
present within the timber frames, while others are missing or broken.
(Figure 5.27)
Figure 5.26: Missing louvres of the sacristys timber window
as seen from the exterior of the chapel. (Source: Teoh, 2017)

Figure 5.25: Light grey pattern around a window Figure 5.27: Broken stained glass pieces of a window. (Source:
in the chapel. (Source: Teoh, 2017) Teoh, 2017)
 5.6 TIMBER CHOIR LOFT & STAIRCASE 112
60

5.6.1 TIMBER CHOIR LOFT 1

The timber choir loft is raised above the chapels narthex and is
supported by two Tuscan columns. (Figure 5.28)
80
Components of the timber choir loft: 60
Timber floor beam 1
Timber floor joist
Timber plank flooring
Timber guardrail
Timber balustrade
Timber bottom rail
Timber staircase

107

Figure 5.28: Timber choir loft at Sacred Heart Chapel (Source:

Seow, 2017)
101 Diagram 5.11: Components of the timber choir loft in the chapel. (Source:
Huynh Minh, 2017)
 5.6 TIMBER CHOIR LOFT & STAIRCASE 113

5.6.2 TIMBER STAIRCASE 102

The timber choir loft is accessible via a flight of timber staircase.

Figure 5.30: The elevation side of the stairs in Sacred Heart Chapel
(Source: Singh, 2017)

Diagram 5.12: Components of the timber staircase in the chapel. (Source: Figure 5.29: The front elevation of
Huynh Minh, 2017) the stairs in Sacred Heart Chapel
(Source: Singh, 2017)
 5.6 TIMBER CHOIR LOFT 114

5.6.3 EXISTING CONDITION: 102

Today, the timber choir loft can no longer accommodate users as the
flooring has gone missing. Whats left of the structure is the timber floor
beam as well as the timber floor joists. (Figure 5.31) As one of the
timber joists are missing, the hole which was made on the wall to
support it is visible.

The timber staircase which leads to the choir loft above is unsafe to be Figure 5.31: Missing timber floor joist of the choir loft exposes
used due to the weakening of the timber treads. In addition to that, the the hole made on the wall. (Source: Seow, 2017)

wooden planks beneath the staircase are missing. (Figure 5.32)

Exposure to weathering conditions also caused the paint coatings of
the staircase and the choir loft to fall off, allowing both the structures to
exude a rustic and unstable feel. (Figure 5.33)

Figure 5.32: Missing timber Figure 5.33: Small pieces of

plank as seen from the paint coatings left on the
back of the staircase. staircase treads. (Source:
(Source: Singh, 2017) Singh, 2017)
 5.7 TIMBER KING POST ROOF TRUSS SYSTEM 115

5.7.1 DESCRIPTION 102

The roof truss used in the Sacred Heart Chapel is a timber king post
roof truss system. (Figure 5.34) The king post roof truss is one of the
simplest truss types used in building construction. It consists of two
angled supports that lean into a vertical support and is normally used
for simple roof trusses and short-span bridges.

Each and every roof truss in the building features a number, which
indicates the sequence of roof truss placement on top of the load Figure 5.34: Timber king post roof truss system of the chapel.
bearing walls. (Source: Teoh, 2017)

5.7.2 COMPONENTS

The components of the timber king post consist of rafters, king post,
crossbeams and many more. (Diagram 5.13)

109

Diagram 5.13: Components of the timber king post roof truss

103 system. (Source: Huynh Minh, 2017)
 5.7 TIMBER KING POST ROOF TRUSS SYSTEM 116

5.7.3 JOINTS AND CONNECTIONS 103

a) Round-headed bolts and square-shaped washers

Round-headed bolts (Figure 5.35) and square-shaped washers were

used to secure the timber roof trusses.

Figure 5.35: Round headed bolts. (Source: blacksmithbolt, n.d.)

b) Crossed half lapped joint

A crossed half lap joint is used to allow two timber rafters to be

connected together to form the apex of the structure. (Diagram 5.14)

Advantages:

Timber king post roof trusses are known for their durability and
strength. As they are simple to construct, the cost and energy required
Diagram 5.14: Timber crossed half lapped joint. (Source: Huynh Minh, 2017)
to do so is lower than the installation of other roof types, adhering to
the economic conditions of the Portuguese-Eurasians back then.
 5.7 TIMBER KING POST ROOF TRUSS SYSTEM 117

5.7.4 ROOF TILES 103

When the Sacred heart Chapel was still in use, the type of roof tiles
installed were Dutch roof tiles. (Appendix 4) Dutch roof tiles are thin
pieces of tiles that are made from clay which includes a variety of
shapes such as the flat piece, the S-shape and the U-shape. For the
Sacred Heart Chapel, the Dutch roof tiles used were U-shaped tiles
and were described as those kind of traditional roof tiles like the ones
found in No 8, Heeren Street. (Figure 5.36)
Figure 5.36: U-shaped clay roof tiles found in No. 8, Heeren Street.

Based on the book, History of Dutch in Malaysia, the U-shape Dutch (Source: Christopher, 2014)

roof tiles are popular in southern European countries. In Asian

countries, the roof tiles were introduced by the Portuguese but
remained in use during the Dutch period.
 5.7 TIMBER KING POST ROOF TRUSS SYSTEM 118

5.7.5 EXISTING CONDITION 103

According to Hau (2017), the clay roof tiles were eventually replaced
with ARDEC roofing during a renovation which was possibly conducted
in the 1990s. (Appendix 4) As the Idea Workshop is currently
conducting conservation and restoration works on the chapel, the
ARDEC roofing was removed, causing the building to be roofless.
Most of the existing roof trusses do not encounter serious damages,
however, the timber rafter at the sacristy was broken and suspended,
Figure 5.37: Broken timber rafter suspended on top of the sacristy.
causing great concerns on the structures state and stability. (Figure (Source: Singh, 2017)

5.37) Dried creepers are also present on the suspended rafter,

reflecting the delirious state of the building due to the decades of
abandonment.

It addition to that, some of the timber purlins present on the roof

trusses are noticeably smaller compared to the other purlins. (Figure
5.38) This may indicate that the thinner purlins were replaced at a later
time as they are cheaper compared to thicker timber structures. As
timber is readily available in the past, a bigger-sized timber structure
Figure 5.38: The smaller-sized timber purlins used on the timber
was utilized as they were very cheap. (Appendix 4) roof trusses amongst other larger-sized purlins. (Source: Heng,
2017)
 5.8 WALL ANCHOR 119

5.8.1 DEFINITION AND MATERIALS 105

According to the book, History of the Dutch in Malaysia, a wall anchor
is defined as a single or pair of figures or plates attached to a joist or
bar either at the time of construction or later and built into the wall to
provide support.

Wall anchors form part of a buildings structural element which is

usually planned as part of the building from the start of its construction.
The anchor connects a brick wall to a timber frame and to structural
timbers.

Its purpose is to hold the buildings walls, beams or posts to safeguard

against subsidence and to prevent them from falling apart, especially
due to weak soil and thin brick walls.

Wall anchors are made up of cast iron or wrought iron. They are
usually shaped in an S, X, Y or I, however, in the case of the Sacred
Heart Chapel, the wall anchor bears the shape of an X.
 5.8 WALL ANCHOR 120

5.8.2 COMPONENTS 106

According to De Witt (2017), the wall anchor consists of a tongue or
strap, with one end wrought flat, pointed and the other end provided
with an eye and a key or bolt which is placed through the eye and
which presses up against the wall.

5.8.3 EXISTING CONDITION

Constructed using a durable material, the wall anchor at the back of
the chapel stands the test of time as it still retains its original state and
outlook.
Diagram 5.15: The use of the wall anchor in building
construction. (Source: History of the Dutch in Malaysia,
2007)

Figure 5.39: Existing condition of the chapels

wall anchor. (Source: Singh, 2017)
 121
5.9 ALTAR & PULPIT

5.9.1 ALTAR 106

The altar of the Sacred Heart Chapel consists of bricks, plaster and
terracotta tiles. The altar is made of bricks and covered with plaster
while the tiles used for the altar steps are terracotta tiles. (Figure 5.41)

5.9.2 PULPIT

The pulpit of the Sacred Heart Chapel is constructed using bricks and Figure 5.41: Terracotta tiles at the
Figure 5.40: The altar of the
covered using plaster. (Figure 5.42) According to a research from The Sacred Heart Chapel. (Source: altar. (Source: Ezamudin, 2017)
Heng, 2017)
Brick and brickwork, to construct a curved work using bricks,
templates are normally used. (Figure 5.43) A curved wall can be
constructed using a template that is made from timber according to the
required curvature of the wall.

121

Figure 5.42: The pulpit of the Figure 5.43: Timber template.

107 Sacred Heart Chapel. (Source: used to construct curved brick
structures. (Source: The Brick
Heng, 2017)
and Brickwork, n.d.)

Figure: Picture of bricks with the

timber template. (Source: The
Brick and Brickwork, n.d.)
 5.9 ALTAR & PULPIT 122

5.9.3 EXISTING CONDITION 106

Even the altar, the significant element of worship within the chapel,
cannot escape from the harsh realities of the buildings abandonment.
Lack of maintenance has led to the disappearance of a few terracotta
floor tiles at the altars platform, and a few small cracks are also visible
on the structure. The weathering conditions also caused the original
colour of the structure to deteriorate. (Figure 5.46)

One baffling condition of the altar is that multiple candle waxes are
present on the altar. (Figure 5.45) Such a phenomena is interesting as Figure 5.44: The pulpit which is
slightly detached from the wall of
the chapel was deconsecrated years ago. (Appendix 4) As such, any the chapel. (Source: Ezamudin,
form of religious worship within the building is very unlikely to occur. 2017)

As for the pulpit, the structure is slanted and detached from the wall.
The structure also features broken and missing terracotta floor tiles on
its steps. (Figure 5.44)

122
Figure 5.45: Candle waxes present Figure 5.46: Missing floor tiles at the
at the edge of the altar. (Source: altars platform. (Source: Lau, 2017
Teoh, 2017)
107
 6.1 SURROUNDING COMMUNITY 124
109
The Sacred Heart Chapel served its function for a period of 100 years
until the 1970s. The lease expired in in the 1970s and the chapel was
returned to state ownership.

By that time as well, the local community started to decrease they

moved elsewhere for better job opportunities. This caused the chapel
to be abandoned and its conditions deteriorated till what is is today.

As the chapel was abandoned for decades, it is impossible to capture

the cultural attributes of the building. Fortunately, after conducting
interviews with Mr. Colin Goh and Mr. Vincent Kang, both senior
citizens who once spent their childhood in the chapel, we obtained
some basic understanding of the cultural attributes of the chapel when
it was in use.

The images presented in the following pages are based on our groups
personal interpretation and understanding.
 6.1 SURROUNDING COMMUNITY 125
110
In the late 1800s, the Sacred Heart Chapel was used as a religious
center mostly for the Catholic Eurasians and this lasted for about 100
years. According to Goh (2017), the society along Jalan mainly
consisted of a middle class community who worked as fishermen,
skilled workers, civil servants and those who worked in the commercial
sector . In the 1950s and 1960s, the Portuguese-Eurasians who
resided at the area had surnames such as De Witt, Santa Maria,
Fernandes, Minjoot, Louis, Westerhout, Franco, Pvanaris, Nunis,
Gostelow, Campos, De Souza, Andrade, Buenaventura, Shepherdson,
Gomes, De Gracia, Pinto, Thomazios, Beins, Dias, Zarzadias, Lopez
and Pereira.

Besides the Portuguese-Eurasians, other local communities who lived

near the chapel include the Chinese, Malays, Indians and many more.
 6.2 PREVIOUS CONDITION 126

6.2.1 EXTERIOR 111

Before entering the chapel, one will find to be an iron rod cross above
the chapels front gate. The iron rod cross was regarded as a piece of
art. (C. Goh, personal communication, 22nd January 2017)

There was also once a bell in the belfry and the sound of the bell could
be heard from one mile away, signalling the surrounding Catholic
community to attend services conducted.
Figure 6.1: The chapels front gate (Source: Seow, 2017)
On special feast days, the chapel will be decorated with buntings and
flags. The hooks on the exterior facade was used to hang banners
during these days. (Appendix 4)

Behind the back wall of the chapel lies a beautiful beach with very fine
sand. (Appendix 4) It was very refreshing to sit at the beach and enjoy
the beautiful scenery of the shoreline. Goh (2017) also states that the
sea was not so polluted back then and the beach contained fine white
sand. However, land reclamation works conducted by the state
government a few years back allowed the once beautiful shoreline to
disappear and make way for development. Figure 6.2: The belfry of the chapel. (Source: Singh, 2017)
 6.2 PREVIOUS CONDITION 128
112
6.2.2 INTERIOR

Upon entering the chapel, the visitors would be greeted by the holy
water fonts that are placed in front of the Tuscan columns. The Tuscan
columns were used to support the choir loft above and there used to be
a donation box inserted into the column, where people would insert
money to be donated the poor.

When the chapel was still in use, the choir would perform on the choir
loft during services. It was said that the choir loft could accommodate
20 people. During that time, the chapel would always been filled with
heavenly songs since the Eurasian community in Malacca was well-
known for their talent in musical and harmonious voices.

Figure 6.3: The donation box slot on the Tuscan column.

(Source: Aziz, 2017)
 6.3 ACTIVITIES 130

When the Sacred Heart Chapel was in use, Childrens Religious

Classes will be held on Saturdays. (C. Goh, personal communication,
2017). After the morning religious classes, the children will usually stay
around and play within the confines of the chapel. They would run
around the chapel, making the free ground spaces as a running track.
In addition to that, the well water at the side of the chapel was used to
wash the chapels floor.

On Sundays and major Christian Feast Days, religious services will be

held in the chapel and the liturgy is conducted in Latin. Goh (2017)
recalls that the Sunday Mass will be conducted at 6.30 am in the
morning. Families who attend the services would be dressed in their
best attire. The chapel could accommodate up to 150 people when it
was in use.

When processions are being held, people would exit from the front
door and walk around the chapel through the side walkways.
 121

7.1 INTRODUCTION TO SAINT PETERS CHURCH 133

115
To provide an insight on another example of a Roman Catholic 117
architecture in Malacca, we shall compare our building with Saint
Peters Church, Malacca to examine the similarities and differences
between the two Roman Catholic buildings constructed in two different
colonization periods.

Saint Peters Church is Malaysias oldest functioning Roman Catholic

Church which was built during the Dutch occupation of Malacca. As
shown on the bell tower, the construction of the building ended in 1710. Figure 7.1: Front faade of St. Peters Church (Source: Wikimedia
Commons, 2017)
Interestingly, the Sacred Heart Chapel was administered by this church
in the past, and, as such, this building may have influenced the design
of the chapel.

According to The Thrifty Traveller (2013), the land which was used to
build Saint Peters Church was donated by a Dutch gentleman,
Maryber Franz Amboer, after the Dutch ended the persecution of
Malaccas Catholic community.

Melaka Travel Guide (2017) suggests that 15 tombstones can be found

within the compounds of the church. The oldest grave that is still Figure 7.2: Front faade of the Sacred Heart Chapel. (Source:
recognisable is the grave of Domigo DOliveira, who passed away on 3 Singh, 2017)

May 1598.
 7.2 ARCHITECTURAL STYLE 134
117
According to Shevchenko (2017), as Saint Peters Church was
constructed by descendants of the Portuguese emigrants who settled
in Malacca, Portuguese architectural influences are evident in the
churchs front faade, where it features 2 colonnaded tiers and a
Baroque-styled pediment which crowns the building. (Figure 7.3) 3
semi-circular openings can be found on the ground and first floor, and
4 stout pinnacles can were used to decorate the pediment.

Moreover, the interior of the Saint Peters Church features a nave in

Figure 7.3: The front faade of Saint Peters Church. (Source: K.
the middle. (Figure 7.4) Two aisles on either side of the nave were Sini, 2017)
separated by rows of Composite-styled columns. A timber barrel vault
ceiling is supported by the Composite-styled colonnades, which
increases the height of the nave. Timber was used extensively to
construct the pulpit on the side of the nave and the church pews, as
well as the Stations of the Cross.

In addition to that, Romanesque architectural elements are also

present within the church. A Romanesque-arched opening is present
on the faade before the sanctuary, which allows it to become the focal
point of attention within the church.
Figure 7.4: Interior of the church. (Source: Wikimedia Commons,
2017)
 7.3 COMPARISON 135
118
SACRED HEART CHAPEL ST. PETERS CHURCH

ARCHITECTURAL STYLE

Both buildings are influenced by Portuguese, Romanesque and

Gothic architectural elements. However, St. Peters Church
features a Baroque-styled pediment on top of the building.

FAADE DESIGN

Both buildings feature Portuguese-influenced front facades with 2

colonnaded tiers and a pediment which crowns the building. There
were also 3 openings on both tiers. Excluding the bell tower of St.
Peters Church, the front facades are symmetrically balanced.

SPATIAL ORGANIZATION

Both buildings feature a linear plan design. The Sacred Heart

Chapel has a nave and previously an aisle in the center, whereas
St. Peters has a centre nave and side aisles.

FAADE BEFORE SANCTUARY

Both facades feature a Romanesque-arched opening in the centre.

 FUTURE DEVELOPMENT 137
119
a) Introduction

Before the site visit to Malacca was conducted, our group arranged an
interview with Architect Hau, the owner of Idea Workshop, who is
currently conducting restoration works on the Sacred Heart Chapel
together with their partner company, Beauty Garden Homes Sdn. Bhd.
The interview, which was conducted on the 20th of January 2017,
provided our group valuable information regarding the current condition
as well as conservation and restoration process of the historically
significant building.

b) Conservation process

The conservation process of the Sacred Heart Chapel consists of 4

stages, which are:

1. Approval
2. Documentation and Record
3. Dilapidation Survey and Building Investigation
4. Conservation Works
 FUTURE DEVELOPMENT 138
120
Stage 1: Approval

As the Sacred Heart Chapel is located within the Buffer Zone of the
Malacca Word Heritage Site, a report was required to be prepared by
Idea Workshop to be presented during the meeting with the
Conservation Department. This was followed by another meeting which
was attended by various departments and to allow them to give their
respective inputs and opinions. When an approval was obtained after
the meeting, the next process is to get the approval and the design
requirements from the Planning Department as well as Fire and
Figure 8.1: Cover page of the conservation report prepared by Idea Workshop.
Rescue Department as the building will be used by the public.
(Source: Idea Workshop, 2017)

Figure 8.2: Page 4 of the conservation report prepared by Idea Workshop. (Source:
Idea Workshop, 2017)
 FUTURE DEVELOPMENT 139
121
Stage 2: Documentation

Documentation is divided into two parts as follow:

i. Historical research

Firstly, it is important to obtain all available evidence on the building or

site such as the original design drawings, old photographs and old
maps. Articles or historical reports from previous investigations will
help a lot to for later planning and works.

ii. Measured drawings

The architecture scaled drawings of the existing structure, that Figure 8.3: Page 7 of the conservation report that shows the historical research
prepared by Idea Workshop. (Source: Idea Workshop, 2017)
accurately illustrates the defect areas such as peeled off paint, cracks
in plaster and the missing elements, were prepared.

Diagram 8.1: Page 24 of the conservation report that shows the measured drawing
of side elevation prepared by Idea Workshop. (Source: Idea Workshop, 2017)
 FUTURE DEVELOPMENT 140
122
Stage 3: Dilapidation survey and building investigation

During this stage, the defects of the building was identified and
recorded through the use of various media such as photographic and
digital documentation. The main task of this process is to observe a
building to collect and record any information on the finished surfaces
and exposed structures. The dilapidation surveys conducted mainly
involves the following aspects:

Understanding the conditions of building defects.

Determining the causes of the building defects.
Identifying suitable methods and techniques of building
Figure 8.4: Page 15 of the conservation report that shows the dilapidated state
conservation.
prepared by Idea Workshop. (Source: Idea Workshop, 2017)
Providing reference materials to client, consultant and project
contractor.
 FUTURE DEVELOPMENT 141
123
Stage 4: Conservation Work

The conservation and renovation works conducted started in

December 2016 and will have duration of one year. (W.S. Hau,
personal communication, 20th January 2017) After obtaining the
approvals, the process was postponed as the client still did not decide
on the future plan or program of the building.

The renovation and restoration processes will be focused on the roof,

doors, windows and walls. Moreover, timber structures which were Figure 8.6: Land grant of Figure 8.7: Land grant of
Sacred Heart Chapel 1 Sacred Heart Chapel 2
infested by termites will be replaced or treated.
(Source: Idea Workshop, 2017) (Source: Idea Workshop, 2017)

As restoration works were initiated before the site visit, the tall grass
and existing vegetation on site were cleared. The Ardec roofing was
also removed as clay roof tiles were opted to be installed.

c) Future use

According to Architect Hau, the new program of the building has yet to
be decided. However, the building will most likely to be converted into Figure 8.8: Land grant of the
a multipurpose event space where activities, such as weddings, talks Sacred Heart Chapel 3 (Source:
Idea Workshop, 2017)
or art exhibitions may be held.

The Sacred Heart Chapel was once a religious building which served
the surrounding Catholic community for more than a century. Being
able to study about the history of this heritage building is really an
astounding experience as we had a chance to understand its cultural
and architectural significance.
Years of negligence and abandonment has led to the dilapidation of
the Sacred Heart Chapel, a building in which the surrounding Catholic
community once held so dear of. As such, the site visit allowed us to
understand the importance of conserving and preserving a heritage
building as man-made structures are vulnerable to the damages
caused by ruthless weathering conditions if they are not preserved
properly. Having said that, our group was very pleased and relieved
when we realised that conservation and restoration works are finally
conducted on the building. We look forward towards the completion of
the restoration process as the building plays a significant role to serve
as a reminder of the Tranquerahs past. Preservation of the chapel will
definitely provide opportunities for future generations to learn and
explore the history and cultural attributes of the Sacred Heart Chapel.
CONCLUSION 142
124
The process of completing the project from the beginning till the end
was a challenging and memorable one as we started off without any
knowledge regarding the history of the building. To our dismay, the
documented information regarding the building was scarce as a
detailed and thorough research has not been conducted on the
building. In addition to that, although the building is located within the
boundaries of the Malacca World Heritage Site Buffer Zone,
conservation works were not conducted by relevant authorities and
instead, the building was left unused and unconserved for decades.
By referring to various literature sources as well as conducting
interviews with Malacca's local residents, we were finally able to
understand in detail regarding the cultural and historical significance of
the small building. Whod knew such a small and simple building would
hold so much meaning and purpose. To conclude this project, we
sincerely hope that our research could help by informing the public
regarding the significance of this heritage building so that it would not
be forgotten in years to come.

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3dsMax: a professional 3D computer graphics program for making 3D
animations, models, games and images
Altar: A significant element of worship within the church or chapel.
Architect: someone who plans, designs, and reviews the construction
of buildings.
AutoCAD: a computer-aided design (CAD) program used for 2-D and
3-D design and drafting.
Baluster: the vertical member, plain or decorative, that acts as the infill
between the handrail.
Beam: a long, sturdy piece of squared timber or metal spanning an
opening or part of a building, usually to support the roof or floor above
Belfry: a structure which encloses the bell chamber, the room in which
the bells are housed and its walls are pierced by openings which allow
the sound to escape
Casement windows: windows which consist of two halves and are
hinged at the side of the frame
Centering: the method used to construct the semicircular arches
Chapel: a religious place of fellowship, prayer and worship that is
attached to a larger, often nonreligious institution or that is considered
an extension of a primary religious institution
GLOSSARY 149
124or
Choir loft: a space under the roof to house the chapels musicians
singers
Commerce: the activity of buying and selling, especially on a large
scale
Crown: the highest point of the arch
Extrados: exterior surface of the arch
Handrail: the angled member for handholding, as distinguished from
the vertical balusters which hold it up for stairs that are open on one
side
Haunch: the sides of the arch from the springing line half way up to the
crown
Holy water font: a Roman Catholic furniture that contains holy water
and allows the chapels users to make the Sign of The Cross before
entering the chapel to attend services
Intrados: interior surface of the arch
Joist: a length of timber or steel supporting part of the structure of a
building, typically arranged in parallel series to support a floor or ceiling
Keystone: wedge-shaped stone in the center of an arch whose
function is to balance the network of voussoirs
 GLOSSARY 150
124
Load bearing wall: a type of wall which supports the weight of other Photography: the art or practice of taking and processing
elements above it, such as the roof, walls and floor joists photographs
Louvre: a window shutter with horizontal slats that are angled keep out Photoshop: an image editing software developed and
rain and direct sunshine, yet, at the same time, admits air into and out manufactured by Adobe Systems Inc.
of the building to provide ventilation Pilaster: a rectangular column, especially one projecting from a
Malacca: a Malaysian state located at the Western region of the wall
Malaysian peninsular, next to the Straits of Malacca Plaster: a soft mixture of lime with sand or cement and water for
Mezzanine: an intermediate floor (or floors) in a building which is open spreading on walls, ceilings, or other structures to form a smooth
to the floor below hard surface when dried
Narthex: an architectural element of the church which was traditionally Priest: A qualified person that conducts the sacred ceremony of a
located at the Western end of the nave and opposite the altar religion in a church or chapel.
Nave: the centre part of the church building which was designed to Prism: A polyhedron with two polygonal faces lying in parallel
accommodate most of the congregation planes
Newel: accommodates the strings, handrails and treads/risers of stairs Pulpit: An elevated structure in a church or chapel, where the
Pediment: a triangular space formed by the raking cornices (sloping sermon is delivered and the service is conducted.
sides) and horizontal cornice of a gabled structure Rafter: Internal parallel beams that elongate from the eaves to the
Pews: Long benches arranged in rows in a church or chapel to allow peak of a roof and act as a support for the roof.
occupants to sit and hear the sermons delivered by the priest
Photobook: a book in which photographs make a significant
contribution to the overall content

Report: a document containing information organized in a narrative,
graphic or tabular form, prepared on ad hoc, periodic, recurring, regular
or as required basis. Reports may refer to specific periods, events,
occurrences or subjects and may be communicated or presented in
oral or written form.
Sacred Heart of Jesus: one of the most widely practiced and well-
known Roman Catholic devotions, taking Jesus Christ's physical heart
as the representation of His divine love for humanity.
Sacristy: the room where the priest and church attendants prepare
and vest before the service
Sanctuary: the place in a church where the altar is located
Sermon :A speech conducted by a priest as a part of worship service.
Springing: the point from which the arch begins or springs
Stations of the cross: A series of 14 images depicting Jesus on the
day of his crucifixion and accompany prayers.
Strait of Malacca: waterway connecting the Andaman Sea (Indian
Ocean) and the South China Sea (Pacific Ocean)
Stringer: the structural member that supports the treads and risers
Suburb: an outlying district of a city, especially a residential one
GLOSSARY 151
124
Terracotta tiles: a type of clay-based unglazed or glazed ceramic tiles
available in a variety of colors and designs
Trade: buy and sell goods and services
Tranquerah: a term originated from the Portuguese word Tranqueira,
which mean palisade or rampart
Tread: the top or horizontal surface of a step
Tuscan column: a column that is plain, without carvings and
ornaments where it represents one of the five orders of classical
architecture
Tympanum: the semi-circular or triangular decorative wall surface
over an entrance, door or window, bounded by a lintel and arch
Ventilation: The process of the circulation of air
Videography: the process or art of making video films
Voussoirs: each of the stone wedges that make up the arch
Wall anchor: a single or pair of figures or plates attached to a joist or
bar either at the time of construction or later and built into the wall to
provide support
Well: a shaft sunk into the ground to obtain water, oil, or gas.
 APPENDIX 3

3 a) Interview questions for Mr. Keith: 16. Is that the pinnacle?

17. Is that the belfry?
1. Does the history and the people of Jalan Tengkera influence 18. What is the meaning behind the 13 stars?
the design of the chapel? 19. What is the function of the altar?
2. Does the surrounding shophouses influence the size and the 20. Why is the church dedicated to the Sacred Heart?
design (size and shape) of the chapel? 21. Was the chapel deconsecrated?
3. Are some of the shophouses in Jalan Tengkera built before the
chapel?
4. Why does this chapel adopt a simple rectangular plan?
5. Why was the chapel designed using a hybrid of architectural
styles?
6. According to a book in which we referred to, it says that there
was Dutch influence on the building. May we know which part
of the building was influenced by Dutch architecture?
7. Why is brick masonry used to construct the building? Is there a
significance behind the use of brick masonry?
8. Was this material in abundance or readily-available at that
time?
9. The design of the chapel is rather simple compared to other
Roman Catholic churches in Malaysia or the world, why is
that? Is it because they lacked the funds to build the building?
10. Is the chapel influenced by the Pombaline style in Portugal?
11. Why was the Gothic style normally used to design Roman
Catholic Churches?
12. What is the significance of the shape of the altar?
13. When was the last time youve visited this building?
14. The entrance of churches will normally face the East.
However, in the case of this building, it does not face the east
or the west. Why is that?
15. Do you know whos responsible for installing the new roof of
the chapel back?

3 b) Interview questions for Architect Hou:
1. Can you briefly talk about the building?
2. Does the history or the people of Jalan Tengkera influence the
design of the chapel?
3. Were the surrounding shophouses built before the chapel?
4. Is the building built by the Portuguese or the British?
5. Why were Gothic architectural elements used in the buildings
design?
6. Can you brief us on the Portuguese influence on the chapel?
7. Why is brick masonry used to construct the building? Is there a
significance behind the use of the material?
8. May we know the details of the renovation and restoration
process of the chapel?
9. Were there any roof trusses which were replaced?
10. When will the process of renovation end?
11. May we know the process of obtaining the approval from the
authorities?
12. What is the original material of the roof?
13. May we know who the owner of this chapel is?
14. When was the previous renovation conducted?
3 c) Interview questions for Mr. Colin Goh:
1. Can you briefly introduce the building?
2. Can you brief us about the history of the chapel and that area?
3. Did you use to go to the chapel when you were young?
APPENDIX 3
4. How was the chapel at that period? Can you briefly tell us what
was the condition of the chapel at that time?
5. When was the article on the chapel written?
6. Why did the well water dry up?
7. What kind of tiles were used back then?
8. Why was the church built by the seaside? Is it due to the
Eurasians culture of fishing?
9. Can you describe how the bangsal, (the temporary structure of
the building), looks like?
10. May we know whether the opening is a belfry?
11. Was the installation of the roof funded?
12. What was this part of space used for?
13. May we know whether that space is the confession area?
14. May we know the whereabouts of the chapel pews?
15. What is the symbolism behind the use of the trefoil motif?
16. What is the meaning of the star symbol on the left and right of
the altar?
17. May we know what was the building on the left of the chapel
are used for in the past?
18. May we know the conditions of the back portion of the chapel?
19. What is the use of the hooks at the exterior faade of the
chapel?
20. Was there any form of fencing back then?
21. Did the chapel have good ventilation back then?
22. Why were there uniformly distributed holes on the wall?
23. What is the form of lighting in the chapel?
24. Were the glass pieces present on top of the louvered windows
stained glass?
25. Can you briefly tell us about the characteristics of the Dutch
bricks?
 APPENDIX 3

26. Why were there markings made on the lower part of the
faade before the sanctuary?
27. How many priests were present in the chapel during special
feast days?
28. What was the material used in the chapels ceiling?
29. May we know what type of roof tiles were installed above the
chapel?
30. What was the economical state of the chapel?
31. What was the finishing between the gate and the front faade?
32. How far is the chapel from the original shoreline?
33. What is the meaning and function of the X-shaped symbol
behind the chapel?
34. Were the surrounding shophouses built before the chapel?
35. How was the condition of the well water?
36. Were the Portuguese conquers responsible for the
construction of the chapel?
37. Was Saint Peters Church involved in the construction of the
chapel?
38. Will St Peters Church keep any recorded documents of this
chapel?
39. What is the source of the newspaper article which outlined the
year in which the chapel was completed?
40. Can you brief us more on the bangsal?
41. Besides being used as a religious building, did the chapel
serve any other functions for the surrounding community?
42. Why was the liturgy conducted in Latin rather than in
Portuguese?

a) Interview answers from Mr. Keiths Interview:
Question 1: Does the history and the people of Jalan Tengkera
influence the design of the chapel?
Answer: During the time when the Portuguese occupied Malacca, and
after the Dutch occupied it from the Portuguese, the bishop in Malacca
had to move out. The Catholic Church in Malacca was administered
from Goa, India, and later, due to many other reasons, the
administration changed to Macau. The article suggests that the
cornerstone was laid by the Bishop of Macau. It is a question whether
he personally laid the stone or he told someone else to do it for him.
Buildings of the era, especially religious buildings, were always meant
to represent their community. There were a very few Catholic churches
at that time that survived the oppression of the Dutch, or in fact,
none. Saint Peters church was the only Catholic Church that was
allowed to be built during the Dutch occupation. By the time this church
was built, it was administered by French missionaries or bishops.
However, due to historical reasons, the Bishop of Macau was still
having jurisdiction over St. Peters Church as well as the Sacred Heart
Chapel. However, the status of the Sacred Heart Chapel is a bit
confusing as it was built on a leasehold land. As such, it is confusing
as to who owns the building. Nonetheless, the Sacred Heart Chapel
was definitely there to represent the community.
Question 2: Does the surrounding shophouses influence the size and
the design (size and shape) of the chapel?
Answer: Probably yes. The Portuguese-Eurasian community has
always been a poor community. When the Dutch took over Malacca
from the Portuguese, the community left in Malacca were the
Eurasians and the slaves. The Eurasians were allowed to take a one
APPENDIX 4
way ship to Goa, and the people who were left behind are some priests
who decided to stay back, the Eurasians and a lot of slaves. This was
because when the Portuguese conquered Malacca, their policy was to
create a mixed community as they didnt have enough settlers. So the
Portuguese conquerors will send their men (such as soldiers) over and
encourage them to marry local women. As such, the Eurasians in
Malacca have dark skin as they married Indians and Malays. So, when
the Dutch conquered Malacca, the Eurasians were very poor. As such,
the Eurasians were a bit dependant on the government as they were a
poor community. So, when you ask whether the shop houses
influence the size of the building, is it probably yes, and it may be also
due to the economics of the community and what they can afford. As it
was a lease hold land, the Eurasians probably didnt pay for the land,
but they may have paid for the construction of the chapel. The size of
the chapel may be determined by the British government who gave the
community the lease, and probably the community may have collected
funds to build this chapel, and probably the Bishop of Macau also gave
some contributions. The Bishop may provide a large amount of
contributions, and the community will collect the rest.
Question 3: Are some of the shophouses in Jalan Tengkera built
before the chapel?
Answer: Some are. This is because the neighbourhood is quite an old
neighbourhood. The reason that the area is called Tengkera, or
Tranqueirah is because there used to be a wall to the north. It was a
wooden wall to protect the Eurasian community that lived outside the
fortress. So the soldiers lived inside the fortress. Jalan Tengkera was
an old road and it was occupied by the Chinese before the Eurasians
turned up. As such, all the houses are actually older than the chapel
and there was a residential district far before the construction of the

chapel. Some of the buildings that are left now are older than the
chapel and some are newer than the chapel.
Question 4: Why does this chapel adopt a simple rectangular plan?
Answer: The typical plan for a church is either a Latin cross or a Greek
cross plan, and most Catholic churches adopt a Latin cross plan. As
this is a chapel rather than a church, it doesnt have a transept and a
crossing. Most chapels have a rectangular plan as they do not have a
transept and a crossing. If a building has a transept and a crossing, it
means it has a big nave and two side chapels. Moreover, if you have a
rectangular piece of land to construct a building, a rectangular plan is
the most efficient way to construct a building.
Question 5: Why was the chapel designed using a hybrid of
architectural styles?
Answer: The article indicates that the chapel was designed using the
Iberian style. (Architectural style in Portugal and Spain) The funny thing
is, I would like to argue that the building actually looks like buildings in
old 1960s cowboy movies as well as the churches in Mexico built by
Spanish missionaries. If you ask why, even when you look at St.
Peters Church in Malacca which is purely Portuguese, the building
was done cheaply. And the best thing to refer to look at the similarities
will be the churches in Macau and the churches in Goa, India, although
their scale is bigger compared to St. Peters. The Sacred Heart Chapel
is actually a cut-price version as it is very small, and chances are it
was built very quickly. The interesting thing about this chapel is the
choir loft, and this element is not always present in all chapels, in fact,
it normally doesnt. The fact that it has a mixture of architectural styles
indicates that it may have been locally designed. A lot of the early
churches, which were built by missionaries, may have gotten their
APPENDIX 4
plans from somewhere else. For example, if you look at the churches
in Vietnam, they look identical to the French churches, literally
identical, which means that the design was taken from an original
source. There was this cathedral in Johor Bahru which is almost
identical to a church in Da Lat, Vietnam.
Question 6: According to a book in which we referred to, it says that
there was Dutch influence on the building. May we know which part of
the building was influenced by Dutch architecture?
Answer: By the time this chapel was built, a lot of Catholics already
had some Dutch blood. When the Dutch occupied Malacca, they were
Protestants. However, as the people who were all ruling were
Catholics, there were some intermarriages and eventually some
conversions, to the extent that most people who were left in Malaysia
with Dutch blood were Catholics. So, although it was said that it was a
Portuguese-Eurasian neighborhood, there is a chance that the
residents have mixed Dutch blood. So, there might have been some
Dutch influence.
Question 7: Why is brick masonry used to construct the building? Is
there a significance behind the use of brick masonry?
Answer: During the Portuguese occupation, it was illegal to build brick
building works inside the city walls, unless they were churches or a
government building. The reason being it was hard to obtain masonry
in Malacca, as such the government restricted the use of bricks so that
all of them could be used to construct the wall only. The other fear that
they had at that time, is that of they construct a brick building outside
the wall, and if enemies attack the city, theyll lose control of the city
outside the wall. If the buildings were constructed using brick or stones,
that building could be used for military purposes against the

Portuguese fortress. So for a long time they restricted the use of bricks
outside the wall. The wall at Jalan Tengkera was a wooden wall. Later,
when the Chinese came in, they wanted to build buildings in brick. So
in terms of religious buildings, almost all chapels were built in brick.
This was the type of building that was consistently allowed to be built
using bricks, wither inside or outside of the wall. The older ones were
built using coral rock, cut from Pulau Upeh, a small island of Malacca,
and they used to use this material as it was a good source because
they couldnt bake their own clay well as technology was a bit
inconsistent. They also used the old graves. When the Portuguese
came, they used the Muslim graves and when the Dutch came in, the
used the Portuguese graves. An example will be in Christ Church and
they will be Portuguese grave stones on the floor as paving slabs. So
there was a tradition in using masonry, wither brickwork or stonework
for religious buildings as they were one of the few versions allowed
outside the wall. However, this building was built after the restriction
ended.
Question 8: Was this material in abundance or readily-available at that
time?
Answer: As the Chinese were here, they have been baking their clay
bricks. As such, it should have been in abundance by then.
Question 9: The design of the chapel is rather simple compared to
other Roman Catholic churches in Malaysia or the world, why is that?
Is it because they lacked the funds to build the building?
Answer: Yes, thats probably is the reason. Because the difference is
very obvious when you compare it with other churches in Macau or
Goa. Moreover, the population was small.
APPENDIX 4
Question 10: Is the chapel influenced by the Pombaline style in
Portugal?
Answer: Unlikely. The Portuguese community in Malacca, almost all of
them, have never been to Portugal. By the time the Portuguese
conquest was over, most of the population were Eurasians. The reason
they called themselves Portuguese-Eurasians was to differentiate
themselves from the Dutch. They were all Catholics, and speak
Portuguese, and because at that time the Dutch were restricting the
Catholic religion, the way to only protect yourselves was to call
themselves the Portuguese, to have a sense of community. It was also
very difficult to travel a lot at that time and it was very dangerous and
very difficult. And because they were a poor community, it was quite
unlikely that any of the traditional Portuguese styles influence this
building. There was also another Sacred Heart Primary School (not
open to public) in Malacca, on Jalan Ujong Pasir. It has a big chapel in
there and the interior elements were influenced by the Portuguese
architecture as some of the nuns came from Portugal.
Question 11: Why was the Gothic style normally used to design
Roman Catholic Churches?
Answer: Here is actually a very clear cut answer to this question. The
earlier styles were developed from the Roman Empire, which was not a
Christian empire. So when the Catholic Church became the official
religion of the empire, they converted the basilica, a Roman civic
building, into the early churches. And, apart from converting the
basilica, they converted the old temples (Jupiter and Zeus) into
churches. Once they ran out of old buildings to convert, a new style,
called the Gothic style emerged in France (St Anthony Church France).
The style, which was related to Christianity was adopted as it was
developed as a style for churches. As such, it was very specific to the

Catholic religion. Moreover, most of the early Catholic churches were
built by French missionaries. So the Gothic style as used to design
them. If the churches were built by Italian missionaries, chances are
they will be but using the Romanesque style, because the
Romanesque was developed from the Roman style.
Question 12: What is the significance of the shape of the altar?
Answer: In some Catholic churches, the style of the altar and the style
of the church is the same. A Gothic church will have a Gothic altar and
this situation can be also seen in retablos. During the congregation, the
priest will face the altar and his back will face the audience. As such,
what the altar look like and what the church looked like better match as
the altar is such a significant element of worship. For the chapel,
chances are the altar and the design of the wall are the same and the
elements are repeated.
Question 13: When was the last time youve visited this building?
Answer: About 8 to 9 months ago. (April 2016)
Question 14: The entrance of churches will normally face the East.
However, in the case of this building, it does not face the east or the
west. Why is that?
Answer: Traditionally, when you have Gothic stained glass, they would
want the rising sun to penetrate. And, for a very short period of time,
churches were encouraged to face Jerusalem. As such, no matter
where the location of the churches are, they will face Jerusalem.
However, in the case of this chapel, the church faces the road due to
the size and direction of the piece of land.
APPENDIX 4
Question 15: Do you know whos responsible for installing the new
roof of the chapel back?
Answer: The roof as probably put in by the government or the Malacca
Heritage Trust. The reason being that when you have a leasehold
building in any country, and the lease disappears, but the building is
seen to be significant, the owner is not allowed to let the building
collapse. When the owner is the government, due to sensitive issues,
they have to ensure that the building does not decay too much. As
such, the roof was put in just to protect the structure.
Question 16: Is that the pinnacle?
Answer: A pinnacle is actually a column that actually extends beyond
the roof, and it was designed to be located there to enhance the
verticality of the building.
Question 17: Is that the belfry?
Answer: Yes. Catholic churches normally have bells and they will ring
me when its time for services.
Question 18: What is the meaning behind the 13 stars?
Answer: Its used to mean Jesus and the 12 apostles.
Question 19: What is the function of the altar?
Answer: In Catholic churches, people dont sit on the altar. The altar is
where you place the venerated objects. So in all likelihood, there will
be a statue placed here, a crucifix down here, but in Catholic churches,
there will be a consecrated host, The priest will sit either on the left or
the right.

Question 20: Why is the church dedicated to the Sacred Heart?
Answer: There could be any reason. All Catholic churches have to be
dedicated to something, and sometimes it was due to when it was built.
If you look at the Catholic calendar, every day will be a feast day of a
saint. Traditionally, if a church was opened on a certain day, the bishop
will look at the calendar and dedicate the church to the saint. In the
case of this chapel, it could have been this reason as well. Now just to
tell you a nice urban myth of this chapel. Last time I was talking to this
guy from Malacca Heritage Trust, and during the Japanese occupation,
the priest told all the parishes to hide their jewellery and all at some
place safe, and they dumped it in the well. Never to be recovered.
Question 21: Was the chapel deconsecrated?
Answer: For Catholic churches, if they abandon it, they deconsecrate
it, and when they use it, they consecrate it. Unlike the Protestants, they
believe that a place must be consecrated for worshipping to take place
in it. As such, they believe that if you die, you must be buried in
consecrated ground or else you wont go to heaven. And all
ceremonies must be carried out in consecrated ground. This chapel
was deconsecrated.
4 b) Interview answers from Architect Hous interview:
Question 1: Can you briefly talk about the building?
Answer: So this is the church, quite an old building, I believe you have
done some basic research. It wouldnt be called a Renaissance church,
because region and region varies from European continent, Gothic
architecture and the different expression which is come from Germany.
Then of course this is a very much of Portuguese church or chapel.
APPENDIX 4
What else I got to highlight to you, maybe you going to measure the
thickness of the wall, how is it made of, and then the floor, and then the
window, and the type of door and windows system, you know?
What sort of wood is it made of, because its localized. Ah, all the
architectural expression in Asia here, from the west is very much
localized thing, you know, localized building that suit the local condition
and material used. Okay, so what are the material that is available
locally, they will probably adopt it into the construction of the building.
And currently maybe the roof that is already there, the roofing that is
already there, it is probably being replaced because I think during the
years, the original roof tiles already. You know, come to an end of the
life span, and so it started to leak and they replace it with ARDEC roof
now, the asbestos free ARDEX roof. So, of course we got to restore
this again to its previous state of condition, right?
At the back portion, we have one track of piece of empty land after the
church, out of the chapel, there is an empty land, you can later on,
after your measure drawing, you can do a proposal for that, how to
integrate the old and the new, so thats what we intend to do also.
And its no longer a church now, because uh I think it was owned by
the catholic church, later on, I think due to some situation, whereby the
quit rent or property tax was not being paid, so its being confiscated by
the state government, and the state government resell it out to the
public, so now this property is belong to our partners and its
deconsecrated meaning no longer use as a church but its called a
bangunan perniagaan. However, the history of it is being used as a
place of worship. So now, as time change, the situation change, so the
shape of the building is still very much a chapel but you can propose
an interesting activity to it after your measured drawings, what should
be done with that space.

Floor, wall and thickness of the wall have to be measured, because the
wall is very thick, why its thick? Because its a load bearing structure,
because the structure, the roof structure is sit onto the wall, the wall,
entire wall is the structure, theres not column, theres no beam. Alright.
I think that should be about all, now you can clear up because the back
portion is cleared already. Very nice, we just cleared the site.
Otherwise, today you come, its a jungle, but we clear it already, very
nice.
Again the research is very important, because your research may be
wrong, so we will help you to correct it, you know? Ok? What else?
Question 2: Does the history or the people of Jalan Tengkera
influence the design of the chapel?
Answer: The people, the history or the people. Tranquerah is the old
name ah, Tengkera is now Malay translated from I think original should
be Dutch. It spells as T-R-A-N-Q-U-E-R-A-H, I think its important to dig
out the morphology of plan of Malacca.
And at that time, all the plan, all the old plan, old maps of Malacca
mainly depicts the area of the Stadthuys, where the clock tower is.
Then they start to appear a few hundred years later, they start to
appear the development on this side of the river, previously its on the
right side of the river. The left bank of the river is very much no mans,
all undeveloped area. Because the Portuguese when they occupied
Malacca is the fort, that fort out the whole area, including the river, and
then with all the five pointed pentagon shape of the fort, the fort of
Malacca. Okay, that is from 1511 to 1642, and then 1642 is where the
Dutch came to Malacca, and then they start to deploy the development
across the river bank, meaning outside the fort. The fort was stayed
intact until the British came over, then Stamford Raffles was the one
who ordered the destruction of the fort. Ok, so its very sad, but what to
APPENDIX 4
do and then the development during the Dutch time is across this river
bank, then you will see many many village is called differently, the
name, Kampung Belanda, Kampung Keling, Kampung Portuguese,
then means the remnants of Portuguese people, after the during the
occupation of the Dutch, is actually in one section of Malacca, in
Kampung Portuguesein Kampung Hulu, near the Kampung Hulu
mosque. Theres an old mosque of Malacca, ones in Kampung Hulu
and another ones in Harmony Street, Temple Street. These two
mosques are very historical because they show a different type of
mosque architecture, completely different because they are pre 18th
century architecture.
And then now, of course the church will start to evolve, slowly you start
to see the formation of one bastion, from the old map, its called the
Tranqueirah Gateway. I dont know where Tranqueirah Gateway is,
historically they say its next to a river, so I suspect its further down, if
you take this road all the way till the end, youll see one small river, but
its quite far, about 6 to 7 km away. So there could be the beginning of
the outskirt of Malacca.
But the development of Tranqueirah is very much unrecorded, the
most recorded area is old town. I think its important to look at maps,
they will give you a sense of time and how the development took place.
And of course, maps only give you a certain clue of the past, so you
got to be a detective to spot and piece up the information. You might
not be correct a 100 % but you can be about 80 %. Im not going to
give you straightforward answers ah, coz theres no straightforward
answers for anything. And I believe you should ask the right questions
that would be more important than having a right answer.

Question 3: Were the surrounding shophouses built before the
chapel?
Answer: I dont know. Should be after the chapel.
Question 4: Is the building built by the Portuguese or the British?
Answer: The building was built during the British time, probably built
by Portuguese descendants of Malacca. Before they were relocated to
Perkampungan Portuguese, under the Morten Plan (Mr. Morten is a
British surveyor during municipal times.) The one creates settlements
in Malacca, and one of the settlements is called Morten, where all the
Malay houses were relocated there. A piece of land was given to the
Portuguese people, and that land is known as Perkampungan
Portuguese. Actual Portuguese people actually live near Kampung
Hulu. And because that location is quite near to Tranqueirah, probably
there is a need to build a church to follow their old Portuguese style of
church. If you compare this church to the Dutch Christ Church, its a
very different expression. That is very Protestant.
Question 5: Why were Gothic architectural elements used in the
buildings design?
Answer: No no no, I think you gotta understand Gothic architecture in
a much clearer manner. Because the arches are all expression of the
gravitational force of the building, the transfer of the load of the
building, its a force diagram. So its important for you to learn
architecture in a real truthful manner, understand architecture is about
structure.
Question 6: Can you brief us on the Portuguese influence on the
chapel?
APPENDIX 4
Answer: Not Portuguese style, just because the Portuguese
community had to build a church, so the only expression they could do
is a Portuguese inspired church.
Question 7: Why is brick masonry used to construct the building? Is
there a significance behind the use of the material?
Answer: You tell me. You sure? Why does it have to be the Chinese?
Ok let me understand, the first Portuguese church to be constructed is
St Pauls Church on Saint Pauls Hill. So whats the material made of?
You tell me tomorrow since you have 4 days in Malacca.
Ok. The second church called Saint Peters which was built in 1710.
Ok, let me give you the chronology, Malacca sultanate was founded in
1402-1511, Portuguese will be 1511-1642, Dutch came in 1642 and
handed Malacca to the British in 1823, so after 1823 anything that
happened till 1941 will be the British occupation. So guys, you got to
know this, you got to know your history. Why I know so well, you guys
dont know. You should tell me all these history.
(Showing slides)
Core zone is the dark colored area or orange area, the lighter yellowish
color is the buffer zone.
Ok, we start with this. You see the shape of the fort, this is 16xx 15xx
period. Kampung Belanda. This is Heeren Street. I believe all the high
officers of the Dutch live in Kampung Belanda before the rich Chinese
merchants bought over their property. So it was during the Dutch era.
And then Kampung Pali, or Kampung Puri or Kampung Puli, outside
here we call it Kampung Puli because we have Puli Street. This is
Kampung Cina. The Chinese start to occupy Jonker Street coz they
wanna do business. So the were shops below, house above. And then
Kampung Belanda is where the Dutch administrators stay. And then
the back of our building is actually the sea already.

And then Kampung Jawa is where the Javanese stay here. So the
development of Malacca took a hundred years to develop slowly.
Then you see something happen to Kampung Belanda, on the top map
there. Kampung Belanda keep on going to the end there, thats is
already coming to Tranqueirah already. Then you see a lot more,
Bunga Raya start to develop already. 1877
And then 1915, before war.
You can see the fort, the axonometric drawing, and then something
starting to happen here already. But its already starting to happen, on
this side of the river. The old fort of Malacca very clear, and all of the
buildings inside the fort. Thats the purpose of having a fort, to protect
the buildings in it.
Ok, this is very telling. You see the fort, the Stadthuys, Saint Pauls
Church. This is the sea, this is Heeren Street.
This is 1800 at the British time. Again, theres a clearer definition at this
side of the river.
Tranqueirah was mentioned many times in the text.
Regarding the churches in Malacca, I think first one you look at Saint
Pauls, and then Saint Peters, and then you look at the chapel.
Question 8: May we know the details of the renovation and restoration
process of the chapel?
Answer: Right now we are just going to replace the timber which were
infested by termites and make treatment. The details will very much be
on the roof, doors, windows and walls. As for the floorings, will leave it
as it is coz at this moment of time were still trying to give a new
program to this building. And most likely itll turn into an event space.
Event space meaning its multipurpose to hold weddings, restaurants,
talk, art gallery, show etc.
APPENDIX 4
Question 9: Were there any roof trusses which were replaced?
Answer: Some roof truss have been replaced, some have not. You
just have to look at the size of the timber, the bigger the size, the most
likely its original. Why? Because timber is getting more and more
expensive, so those days timber is readily available, and theyll use a
bigger size of timber. That is before industrial revolution. So everything
is very cheap.
Question 10: When will the process of renovation end?
Answer: In one year time. It started just last month. After we secured
the approval, we left it for a while coz we were not sure what to do with
it.
Question 11: May we know the process of obtaining the approval from
the authorities?
Answer: Because this is a Buffer Zone, so we have to prepare a report
like what I showed you guys just now and present during the meeting
to Jabatan Konservasi.
Then we have a meeting which was attended by various departments
which will give their inputs
When we obtained the approval after the meeting, we have to submit
officially to the Bangunan Department (or Perancangan Department)
The submission was not about the usage of the building, its just about
the reparation of the chapel.
But if you want to submit to use it for another purpose, that will go
through a different process
For this purpose, first thing we will go through Jabatan Konservasi,
follow after the clearance in terms of standing or proposal they agreed
with you. Then only you go to Planning Department and also the
firefighting department because the building is about usage, so when

people are to use, the Planning Department starts to talk about carpark
and firefighting department. So any building which will be used for the
public, the firefighting department is involved. So you will have to deal
with the requirements of the firefighting department, which will impact
the design of your building.
Question 12: What is the original material of the roof?
Answer: Clay yin yang tiles. There are many roof tiles you see in
Malacca, one is the old tile you see on this building as well. So I think
most likely is that tile.
But later on people will find that yin yang tiles are brittle and have
leakage problems, so in the early British times they replaced it with
Marseilles tiles. Marseille tiles are French tiles manufactured in India
for Europe. And because the British occupied India, its easy for them
to bring in the tiles. Marseilles tiles are flat terracotta tiles. Terracotta is
a type of clay, so Marseilles tiles are clay tiles.
The Portuguese descendants do not have their own architectural
tradition. The only expression you can see is in the form of the church.
Theres no domestic architecture from them. So if you think about
1926, when they first started Portuguese settlement, have you seen
the picture of the old Portuguese settlement? Its very different from
what you see today. Its attap roof with timber. (Not Kampung Morten).
So the roof tiles had nothing to do with culture and race. What was
available was used.
Question 13: May we know who the owner of this chapel is?
Answer: They are our partners, Beauty Garden Homes Sdn. Bhd.
Question 14: When was the previous renovation conducted?
APPENDIX 4
Answer: Previous renovation may be at the 1990s, contractor
unknown.
4 c) Interview answers from Mr. Colin Gohs interview (22nd
January 2017)
Question 1: Can you briefly introduce the building?
Answer: Many years ago, when the chapel was in a bad state, the
UiTM students from Johor Bahru came and did measured drawings on
several buildings in Malacca, and one of them is the Sacred Heart
Chapel Malacca. As such, there were already drawings in
existence. Coz the church was built in 1877 during the British era.
Question 2: Can you brief us about the history of the chapel and that
area?
Answer: In our history, in the time of the Portuguese era, we were very
close to what was known by Tranqueirah. Tranqueirah was like a fort
or kubu in Malay, thats why we have Jalan Kubu in Malacca.
Tranqueirah in Portuguese means a stockade, its a kind of fortification
built using timber and earth. It was used to protect the area of the
traders on this side of the river. I proudly announce that the Jonker
area (somewhere from Ketapang food court) and Shell. We do not
know exactly where Tranqueirah was, but its somewhere from the
back of the Idea Workshop all the way to almost the second bridge (the
Chan Koon Cheng Bridge). So it covered the whole area. This is the
original Tranqueirah. We are actually in the area known as Upeh.
During the Portuguese era, we are on the North part of the river, the
Stadhuys and Saint Pauls Hill is on the South bank.

I proudly say that Tranqueirah was the first gated community in
Malaysia to keep the area safe from invading people or outsiders from
invading the area. And it continued for a long time until the British
brought it down in the 19th century.
In this area here, there was St. Thomas somewhere here, and on the
other side at Chan Koon Cheng Bridge, there was the Parish of St.
Steven. St. Steven was totally destroyed when the Dutch occupied
Malacca, and the Dutch used St. Thomas as a hospital when they laid
siege to Malacca. The Dutch was in this area bombarding the fortress
across the river. Eventually, St. Thomas ultimately fell into ruins.
Later on the Portuguese were displaced by the Dutch. The Portuguese
moved out and stayed in the suburbs here. Ultimately, in the 19 th
century, this area became more gentrified. This area actually, outside
the gates, is described to be a warrant of houses (densely packed
area), where you have hardly any space to walk through and it was
much unorganised. This was what this area was back in the Dutch
period. It became built up because the suburbs were built in Heeren
Street. Jonker Street was occupied by traders and those who were
wealthier. This area became a local area and it became mixed of
Malays, Chinese, and Indians and so on and so forth.
There is this book which describes the area interestingly, and its
based on court documents from Malacca. Its based on a murder case
of a Portuguese guy who was staying outside of the gates. He was
murdered by a slave who escaped from the gated area. The old rules
were that you cannot leave the place without the permission of the
master. The slave had a girlfriend at this area, and he wanted to come
out and visit his girlfriend. However, at night they were not allowed to
leave the house. So he ran out of the house and out of the gate and his
master discovered that he was missing. So they raised the alarm to
look for him. The slave ran from one house to the other and he entered
APPENDIX 4
a house of a Portuguese man. The man was shocked to see him and
he took a knife and stabbed him. The mans name was John Sequeira.
Further down towards Klebang, Tanjung Keling there were garden
estates of the wealthy people. So theyll ride on their horse carriages to
their garden houses. In the hot conditions of the season, they will rest
under the shade of the trees.
In the British era, this area began to be cleared and a designated road
with houses on the side was built. The so called warrant of houses
moved to the coast (Tranqueirah Pantai 1 and Tranqueirah Pantai
2). With the opening up of this area, the middle class people began to
reside along this area. And also, amongst the Christians who were
Catholics, the better-off ones began to reside here in this area. Some
were here, some were in Bandar Hilir and some were in Portuguese
Street. There is not a single Portuguese house left there and they have
all moved away. Theres a Chinese school at one side of the road and
the other side consists of built up areas such as hotels and its close to
Jonker Walk.
Ultimately, in 1877, Saint Peters Church decided to build a chapel
here. They applied for land and the British granted them a lease land
for 99 years to build a chapel as a place of worship and to serve the
people who were staying in this area so that they dont have to go so
far away to Saint Peters. The church was used for a long time until I
was born, and, growing up, I went to that chapel. In fact, I saw the
chapel shut down very sadly. The church applied for an extension. The
lease has expired in the 1970s. The state government refused to grant
them a renewal of the lease despite the appeals that were made to
extend it. So, the land was lost and the church was closed down. The
reason as to why they would not allow them to extend the lease was
probably due to politics. Its a bit sad. Its a place of worship and theres
a need for it to serve the Catholics here. The state government allowed

the chapel to disintegrate without any use. We did put forward
proposals for the church to be used. The state government did not saw
fit to use the piece of land, so the land was kept unoccupied until
today.
This piece of land was sold to a Singaporean. And I had the
opportunity of meeting the gentleman and he told me that he had plans
to use it as a museum plus caf. When he purchased the land and the
building, there was a precondition given. Ive not seen the document,
but this was what he told me: There was a precondition given by the
state that it should not be used as a church. You see, somebody can
but the land and give it back to the church and apparently, theres a
precondition. Im saying apparently because I have not seen any
documents, Im just saying what he told me. So it can be true and not
true. The function of the building is now gone.
The building structure itself has got some sort of Iberian influence and
a bit occidental as well to Goa, India.
Question 3: Did you use to go to the chapel when you were young?
Answer: I used to go for services in the chapel when it was functioning
as a chapel from the time I was a small boy to the time the church was
almost closed down. Amongst the Catholic community here in
Tranqueirah, the church especially served the Portuguese
descendants. There were also Catholics of other races such as
Chinese Catholics and Tamil Catholics. We also have Saint Theresa
Church at Gajah Berang dedicated towards Chinese speaking
Catholics. The English speaking ones go to either Sacred Heart
Chapel or Saint Peters Church. But the idea of Sacred Heart Chapel
was to serve the Portuguese descendants residing along this area at
the street. Some of the houses here were used as government
quarters, some of the houses were privately owned. So, services in the
APPENDIX 4
church were at 6.30 in the morning. We have a church bell that can be
heard at that time. That bell today is gone. It was taken down and
today, the bell is in the Assumption Church.
Question 4: How was the chapel at that period? Can you briefly tell us
what was the condition of the chapel at that time?
Answer: As you enter the church, at the upper section is the choir loft.
As for the he congregation, the centre would be vacant and pews will
be on the left and right.
At the back of the church was the beach, and let me tell you about the
beach based on my experience. I find the sand to be beautifully white
and fine in the old days. I havent seen sand like that since. That kind
of sand ran through our houses at the back right to Tranqueirah Pantai.
The water wasnt really dirty, there were some mud, but it wasnt dirty
water. You could jump in and swim.
Question 5: When was the article on the chapel written?
Answer: November 2011.
Question 6: Why did the well water dry up?
Answer: Well water dried up may be due to land reclamation and
water dried up. The water was used to wash the church.
Question 7: What kind of tiles were used back then?
Answer: There would have been clay tiles back in the old days. And
later the clay tiles were replaced with more modern tiles.

Question 8: Why was the church built by the seaside? Is it due to the
Eurasians culture of fishing?
Answer: Partially. The community is a mixture of occupations. There
were fishermen, they were civil servants, and there were traders as
well. You are aware that in Malacca there is Saint Pedros Feast, and
hes a fisherman, but that feast was never held in Sacred Heart
Chapel.
Question 9: Can you describe how the bangsal, (the temporary
structure of the building), looks like?
Answer: You see the choir loft? There used to be a small organ up
there in the centre. This area can accommodate no more than 20
people, its a small area.
Question 10: May we know whether the opening is a belfry?
Answer: Over here was the belfry, thats where the bell was.
Question 11: Was the installation of the roof funded?
Answer: Looking at the roof, I think the roof was funded by, because
the roof collapsed and they applied for funds.
Question 12: What was this part of space used for?
Answer: The Tuscan columns were very similar to Saint Peters
Church. The holy water font and this here was the location of the
donation box. In those days, money will be inserted into the box to help
the poor.
Question 13: May we know whether that space is the confession
area?
APPENDIX 4
Answer: Yes, it was. These two ladies will come one by one, but
because they were hard of hearing, they were very loud. So the whole
church could hear their confession. It used to be a standing joke
among the church members. Its interesting as not many churches
have open areas for confessions.
Question 14: May we know the whereabouts of the chapel pews?
Answer: The chapel pews were dispersed all over Malacca Town, the
pews were dispersed to many different places.
Question 15: What is the symbolism behind the use of the trefoil
motif?
Answer: The spade shape (trefoil) represents the trinity, and there are
a lot of symbolism in Catholic churches. You see there are one, two,
and three, thats how we explain things in the Catholic Church.
Question 16: What is the meaning of the star symbol on the left and
right of the altar?
Answer: In the church, the star represents the Star of David. I dont
think theres a symbol above the star.
Question 17: May we know what was the building on the left of the
chapel are used for in the past?
Answer: This was a house at one time. I was told by my family
members that my great grandmother stayed here. Then they moved
out and this house was taken over by a Chinese family who were
involved in the rattan business. They used to dry the rattan in the
compounds of the church. He didnt randomly put things to obstruct or
what, and the church didnt mind.

Question 18: May we know the conditions of the back portion of the
chapel?
Answer: There used to be a wooden door at the front of the church. If
you look at the photos in the article, there used to be a cast iron cross.
Question 19: What is the use of the hooks at the exterior faade of the
chapel?
Answer: The hooks on the front faade of the chapel were actually
meant for decoration. Normally the church is decorated for feast days.
Very simple decorations coz its a small church.
Question 20: Was there any form of fencing back then?
Answer: There used to be fencing beside the chapel. The guy who
lives here could open up and put his things here.
Question 21: Did the chapel have good ventilation back then?
Answer: The church was very comfortable and there were no fans in
the church. Its very airy as the chapel was by the beach. With the
windows and doors open, it was very refreshing.
Question 22: Why were there uniformly distributed holes on the wall?
Answer: The holes on the wall are the Stations of the Cross.
Question 23: What is the form of lighting in the chapel?
Answer: Back then, there was an oil lamp suspended from the beam.
If the holy Eucharist was kept in the tabernacle, the oil lamp would be
lit to signify it is there. If the oil lamp was not lit, it means nothings
there.
APPENDIX 4
Question 24: Were the glass pieces present on top of the louvered
windows stained glass?
Answer: The stained glasses are common coloured glass. In bigger
churches youll find stained glass with scenes from the Bible. This is
just a chapel, and in keeping with it being a chapel, simple coloured
glass were used.
Question 25: Can you briefly tell us about the characteristics of the
Dutch bricks?
Answer: The bricks are Dutch styled bricks which are long and has a
short height. Malacca was handed to the British by the Dutch in 1824.
Dutch bricks were in use are manufactured here in Malacca. In 1877,
when this chapel was declared open, (the church started its
construction in 1875 or 1876). So, looking at 50 years after the handing
over of Malacca to the British, the Dutch bricks were continued to be
used in Malacca. British tended were just coming into use in beams
and are not manufactured locally yet. In 1877, we look back at the
founding of Kuala Lumpur by Yap Ah Loy after the gangster wars. The
houses in Petaling Street were the first row of houses in Kuala Lumpur
and the war exhausted a lot of his funds. He came to Malacca, took a
loan from one of the Peranakan families here, and in the loan, he
would have some money and building materials.
The building is a simple structure which did not require metal
reinforcement. The only thing I Can think of, is that this structure here
would have been brick and stone. Theres a possibility that the inner
pillar here is made of laterite stone. Then again, there could be bricks
on the outside and could be timber. Definitely its not iron or steel. If
theres too much iron it will be too expensive. Those days iron were
expensive.

When the chapel was abandoned and when they moved the pews,
they accidentally broke the plaster and exposed whats inside.
In Saint Francis Church (1849), at the sanctuary area, they have
pillars going round this area. In the inner part there, we discovered
laterite while conducting electrical wiring.
A lot of laterite could be found in Malacca.
Question 26: Why were there markings made on the lower part of the
faade before the sanctuary?
Answer: The markings indicate the location of the communion rails.
There was a swing door which could be opened inwards.
Question 27: How many priests were present in the chapel during
special feast days?
Answer: On special feast days, two priests will come and theyll sit on
each side of the confession wooden panels.
Question 28: What was the material used in the chapels ceiling?
Answer: There were asbestos ceilings in the chapel.
Question 29: May we know what type of roof tiles were installed above
the chapel?
Answer: The roof tiles which were used were clay roof tiles. Number 8
tiles at the side of the garden.
Question 30: What was the economical state of the chapel?
Answer: Number one, was the space given. It was a very narrow plot
of land. Although it was a small church, with small alleyways to go
around the chapel, we would be able to have processions on feast
APPENDIX 4
days in the chapel. We were able to come out of the chapel from the
main door, go around the chapel and then enter the chapel again.
Question 31: What was the finishing between the gate and the front
faade?
Answer: It was grass and stone. There was not cement. Around the
chapel, it was sand and grass. The front was grass, stone and sand.
Question 32: How far is the chapel from the original shoreline?
Answer: We are now a kilometre away from the original shoreline.
Question 33: What is the meaning and function of the X-shaped
symbol behind the chapel?
Answer: The metal X symbol was used to strengthen the wall. It is
common on buildings as you walk by Heeren Street and Jonker Street.
Its something fashioned out of Dutch cramps. The artisans carried
forward the knowledge of the Dutch period into the British era till a time
the British standards came in and those things were not required
anymore. There were many examples such as in Bukit Serindit
Malacca. The cemetery at Bukit Serindit, the wall, the cemetery started
in 1876 or 78 and used Dutch bricks after the takeover of Malacca by
the British. And if you look at some of the earlier graves that are
disintegrating, youll find Dutch bricks in use.
Question 34: Were the surrounding shophouses built before the
chapel?
Answer: The surrounding areas were already there. Before the British
built the road, the area was a hotchpotch, houses here there
everywhere and a small passageway for the carriages to go to the
garden estates. So you have to imagine how this area expanded, how

this road was introduced and how these buildings came about.
Malacca actually underwent a lot of changes in the British era in terms
of realignment of streets and position of alleyways. A lot of house
positions were realigned for alleyways.
Question 35: How was the condition of the well water?
Answer: The well water was mostly brackish, but it depends on the
aqua source. Some have land water and some have a mixture of land
water and sea water.
Question 36: Were the Portuguese conquers responsible for the
construction of the chapel?
Answer: Ive done a bit of research, we discovered that somewhere
around the 1870s. In Portugal, sometime in the 1700s, the government
of Portugal was anti-church. At the later stage, in the mid-1800s, they
were more open to the church. The government started funding
churches throughout the world. So in Saint Peters Church, they
received funds. And also, theres a distinct possibility that some of the
funds were allocated for the Sacred Heart Chapel.
Question 37: Was Saint Peters Church involved in the construction of
the chapel?
Answer: In the past, the plot of land on which the Saint Peters Church
was supposed to be bigger. Last time, the land was from current site
right up to the shore and even covering city bay view. Which means
the land used for Putra Hospital was once part of Sacred Heart
Chapels land. The churchs land was subdivided and sold to fund the
things building of the church. So its possible that they sold off some
part of the land to fund the construction of the chapel. This is not an
established fact.
APPENDIX 4
Question 38: Will St Peters Church keep any recorded documents of
this chapel?
Answer: All the correspondence will go to Macau. Macau will have the
documents.
Question 39: What is the source of the newspaper article which
outlined the year in which the chapel was completed?
Answer: The source could be found in the Straits Times Archive.
Question 40: Can you brief us more on the bangsal?
Answer: Theres only a possibility that theres a bangsal. Bangsals
are spaces that are very rudimentary. They used coconut stumps for
walls and it looks like an old style shade. It could have been on site
before the chapel was built. I say it was possible because there were
no documents to support it. Because bangsals are shades used by
fishermen to mend their nets and take cover. The last bangsal was in
Tranquerah. Those bangsals were by the coast.
Question 41: Besides being used as a religious building, did the
chapel serve any other functions for the surrounding community?
Answer: As a young boy, we used to go to church on Saturdays where
the church priest will conduct religious classes for us. It was fun,
because we would all gather there, and after the classes the priest will
go away, and the whole church will be watched over by the caretaker,
and we would running circles around the chapel, challenging each
other and racing.
Question 42: Why was the liturgy conducted in Latin rather than in
Portuguese?
Answer: The liturgy was conducted in Latin. The sermon could have
been conducted in Kristang or English.