Latest Draft Istana Jahar Report 28.10.2021

FACULTY OF ARCHITECTURE AND EKISTIC
SGA 2393 – ARCHITECTURE HERITAGE STUDY I (MEASURED DRAWING)

ISTANA JAHAR, KOTA BHARU,
KEANTAN.
JULY 2021
UNIVERSITI MALAYSIA KELANTAN

SGA 2393: ARCHITECTURE HERITAGE STUDY I (MEASURED DRAWING) ISTANA JAHAR, KOTA BHARU, KELANTAN
DECLARATION
DEPARTMENT OF ARCHITECTURE, FACULTY OF ARCHITECTURE AND EKISTICS
Istana Jahar, Jalan Sultan, Bandar Kota Bharu, 15000 Kota Bharu, Kelantan
Measured drawing report submitted by INDERA MEASURED DRAWING TEAM consists of

Muhammad Firdaus Bin Abu Hassan (G18B0015), Khairul Saiyidi Bin Zainol Abidin (G18A0009), Nazirah Binti Zainudin (G16B0019),
Nur ‘Izzatul Zaharah Binti Mohd Rosli (G17A0054), Norhamidah Hanim Binti Mohd Farid (G18A0040), Nurul Fatihah Binti Saidi (G18A0042),
Nurul Afiqah Binti Zulazli (G17A0102), Faizatul Aisyah Binti Mohd Tahir (G18A0051), Nur Liyana Binti Razali (G17A0061), Raslan Bin Ramli
(G18B0034), Nik Muhammad Syahril Mat Daud (G17B0046), Shivaneson A/L Suppiah (G17A0073), Muhammad Airiy Bin Mohd Shukor (G17A0036),
Muhammad Salleh Bin Che Abdul Rahman (G18B0017), Tan Shu Hua (G18A0036), Liew Ho Yen (G18A0012), Ooi Yong Xin (G19A0123),
Ku Nur Ashikin Binti Ku Hamid (G18A0010), Muhammad Azeem Bin Mohd Rizal (G17A0040 ), Nur Ainina Amalin Binti Shukiman (G18A0065),
Wan Nur Anisfatini Binti Wan Dollah @ Wan Abdul Rahm (G17A0081), Ahmadrifaie Bin Yusoff (G18A0067), Hazwani Zafirah Binti Zailani
(C16A0077), Nur Nabilah Afrina Binti Azami (G18A0032), Hassan Iskandar Bin Zullkifli (G18B0007 ), Nur Aqilah Binti Arshad (G18A0027),
Muhammad Ammar Ilmam Bin Mohammad Jamal (G18A0039), ‘Ali Marwan Murshid Bin Shamsuddin (G17A0090) in partial fulfilment of the
requirements for the degree of BACHELOR OF SCIENCE IN ARCHITECTURE (HONOURS) is approved by the advisors on
(July 2021) in Faculty of Architecture and Ekistics.
Supervised by:
Ar. Azli Bin Abdullah ___________________________ Mhd Hafiz Karami Bin Mhd Zain ___________________________
Dr. Nor Hafizah Binti Anuar ___________________________ Juliza Binti Mohamad ___________________________
ACKNOWLEDGEMENT Mohamad for spending time with us in Istana Jahar, providing us

with knowledge and direction so that we could perform and
We, students of Universiti Malaysia Kelantan, Faculty of complete our work more efficiently and successfully. We would not
Architecture and Ekistics' Measured Drawing 2021 course, would have been able to complete our job on time without your
like to thank God for allowing us to complete our course despite the supervision, and our work would have been incomplete or
limitations imposed by COVID-19, and for keeping us healthy inaccurate. We could not have got it this far without your moral
throughout the time it took to complete the Measured Drawing of support and recommendations.
Istana Jahar in Kota Bharu, Kelantan.
Finally, we want to express our gratitude to our fellow members
We would like to express our thanks to museum director, Mr. who contributed to Measured Drawing 2021 despite the ongoing
Ahmad Shargoqi bin Derahman and Mr. Muhammad Ali Hussaini struggle and unforeseen hurdles posed by COVID-19, which limited
bin Md. Aminnullah as well as the workers and authorities of Istana our capacity to physically meet and debate the drawings. We also
Jahar, for supplying and hosting us with the highest care during our want to express our appreciation to those who had to go outside of
visit. Our experience and execution of measuring, recording, and Kelantan to complete the task. Last but not least, we want to thank
getting information on the palace would have been impossible everyone who worked with us and was involved with Measured
without your knowledge, direction, and assistance. Needless to say, Drawing 2021 but whose name and position were not mentioned in
we appreciate you providing us with a room within the palace to the acknowledgement.
facilitate our work during our brief visit, as well as the pleasant
gestures you extended to us.
We would like to thank our lecturers; Ar Azli Abdullah, En. Mhd

Hafiz Karami Mhd Zain, Dr. Nor Hafizah Anuar and Madam Juliza
ABSTRACT
All the information and data collected throughout these measured

drawing for subject Architecture Heritage Study I (SGA2393) was
carried out on site, Istana Jahar, Kelantan. The objective of this
course is to give an introduction to students a proper step by step on
documenting and measuring a life scale - heritage building. A total
of 28 students were taking part in this measured drawing and due to
the restrictions caused by COVID-19, there is two division of group
with 12 students conducting the measured drawing on site and the
other 16 have been working from home. The measured drawing
exhibition also has been conducted via online as a new way to re-
introduce the building using the video presentation consisting of 3D
modelling, drawings and photographs. At the end of this course,
students were able to produce a set of measured drawings, a report
and a video to show the understanding towards the chosen building
which can be beneficial for the future heritage conservation.
1.9. Scope and Limitations

1.10. Limitation
TABLES OF CONTENT
CHAPTER 2.0: HISTORICAL BACKGROUND
DECLARATION
2.1 Introduction to Kelantan Darul Naim
ACKNOWLEDGEMENT 2.1.1 Location
2.1.2 Brief History of Kelantan
ABSTRACT
2.1.3 Architectural Influences
LIST OF FIGURES 2.1.4 Local Cultural and Heritage

2.2 Introduction to Istana Jahar
CHAPTER 1.0: INTRODUCTION 2.2.1 Location
1.1. Aim and Objectives 2.2.2 Background History
1.2. Group structure and Organization 2.2.3 Ownership
1.3. Methods of Measurement 2.2.4 Architectural Influences
1.4. Equipments Used 2.2.5 Planning, Ideas and Concept
1.5. Methods of Research 2.2.6 Development of Istana Jahar
1.6. Literature Review
1.7. Background Study
1.8. Significance of Study
CHAPTER 5.0: BUILDING MATERIALS AND

CONSTRUCTIONS
5.1 Building Materials
CHAPTER 3.0: ARCHITECTURAL ELEMENTS
5.1.1 Structural
3.1 Architectural Style
5.1.2 Finishes
3.2 Door
5.2 Building Construction
3.3 Window
5.2.1 Roof System
3.4 Column
5.2.2 Wall System
3.5 Wall
5.2.3 Floor system
3.6 Staircases
3.7 Air vent
CHAPTER 6.0: SUSTAINABILITY AND CONSERVATION
3.8 Roof
4.1 Site and Building Orientation
3.9 Ornamentation
4.2 Passive Design
4.2.1 Ventilation
CHAPTER 4.0: SPATIAL ORGANIZATION
4.2.2 Lighting
4.1 Spatial Hierarchy and Circulation
4.2.3 Materials Selection
4.2 Function of Spaces
4.3 Building defects, Improvement and Maintenance
4.3 Spatial Comparison of old and current (1887 - 2021)
4.3.1 Changes in Exterior Functions
4.3.2 Changes in Interior Functions
 Floor structure plan of Balai Senjata

 Ground floor plan of Balai Senjata
CONCLUSION
 First floor plan of Balai Senjata
REFERENCES  Roof structure plan of Balai Senjata

 Roof plan of Balai Senjata
APPENDIX  Section C-C and Section D-D
 Key Plan, location plan and site plan  Front elevation and right elevation
 Floor structure plan  Rear elevation and left elevation
 Ground floor plan  Door and window schedule
 First floor plan  Wall detail of Balai Senjata
 Roof structure plan  Staircase detail of Balai Senjata
 Roof plan  Roof structure and trusses of Balai Senjata
 Section A-A and Section B-B  Ornamentation detail schedule of Balai Senjata
 Front Elevation and Right elevation  Internal elevation of Balai Senjata
 Rear Elevation and Left elevation
 Window and Door schedule
 Wall Details of Istana Jahar
 Staircase detail of Istana Jahar
 Roof and Truss Detail of Istana Jahar
 Ornamentation detail schedule of Istana jahar
 Internal elevation view 1 and 2
 Internal elevation view 3 and 4
1.7 Background of study

LIST OF FIGURES 1.8 Significance of study
1.9 Scope and limitations
CHAPTER 1.0: INTRODUCTION
1.1 Aim And Objectives
2.1 Location
1.2 Group Structure And Organization Figure 2.1: Kelantan Map
Figure 1.1: Organization Chart 2.2 Brief History of Kelantan
2.3 Architectural influences
Figure 1.2: Team Member
2.4 Local cultural and heritage
1.3 Methods Of Measurement
1.4 Equipments Used

2.2 INTRODUCTION TO ISTANA JAHAR
Figure 1.3: 50m/165ft Fiberglass Measuring Tape 2.2.1 Brief history of Kota bharu
Figure 1.4: Drone

Figure 2.2. Cultural Zone of Kota Bharu (Kota Bharu Local Plan Report, 2009)
Figure 1.5: Laser measure
Figure 1.6: 5.0m measuring tape 2.2.2 Kota Bharu as an Islamic City
1.5 Methods of research 2.2.3 Timeline of kota bharu
Figure 1.7: interview session with En. Muhammad Ali Hussaini Bin Md 2.2.4 Location of palace
Aminullah (Timbalan Pengarah Muzium Negeri Kelantan)
Figure 1.8: interview session with En Sabki bin Ibrahim 2.2.5 Background
Figure 1.9: interview session with En. Nik Rashidee Bin Nik Hussein Figure 2.3 The image showcases the front elevation of ‘Balai Penghadapan’
Figure 1.10: interview session with Pn. Rosnawati Othman Figure 2.4 The image shows the family of Sultan Muhammad IV
2.2.6 Ownership
1.6 Literature view
2.2.7 Cultural and architectural influences 4.3 Spatial comparison

Figure 2.5 front view of istana jahar, kota bharu as the Kelantan royal customs 4.3.2 Changes in interior functions
museum Figure: 4.2 Ruang Istiadat change to Ruang persandingan.
Figure 2.6 The picture of Istana Jahar during it was left abandoned before the Figure 4.3: Explanation about display
restoration process to became the Kelantan State Museum in 1982. (Source: CHAPTER 5.0: BUILDING MATERIALS AND CONSTRUCTION
Raykinzoku) 5.1 Building materials
2.7 Changes in architecture 5.2.4 Structural
5.2.5 Finishes
2.2.8 Planning, ideas and concept
5.3 Building Construction
2.8 Development of istana jahar
5.3.1 Roof System
5.3.2 Wall System
Figure 5.2.2.1: this is the wall outside the Istana Jahar
3.10Architectural Style
Figure 5.2.2.2: the interior walls of Istana Jahar
3.11Door
Figure 5.2.2.3: on the left side if the interior wall meanwhile on the right side is
3.12Window
the exterior wall of BalaiSenjata
3.13Column
5.3.3 Floor system
3.14Wall
Figure 5.2.3.1: Marble tiles at the ground floor
3.15Staircases
Figure 5.2.3.2: Floorboard panels at the first floor.
3.16Air vent
Figure 5.2.3.3: these pictures shows the materials used for Balai Senjata
3.17Roof
3.18Ornamentation
CHAPTER 4.0: SPATIAL ORGANIZATION

4.1 Spatial hierarchy and circulation
4.2 function of spaces (spatial program and experience)
Figure 4.1: Front hall of Istana Jahar located at ground floor of Istana Jahar
CHAPTER 1.0: INTRODUCTION Consequently, the architecture of the royal palaces also has certain
qualities in architecture which have significant impacts in society.
Measured drawing is an architectural drawing of an existing
This architecture even has multi layered structures of histories that
building required after the field measurement has been conducted
has its own unique features. Architecture of Malay Royal Palaces
and the data that have been collected must be accurate and precise.
are not just a study of forms, but they are a part of a larger social
(McGraw-Hill, 1998). To get accurate measurements, the right tools
cultural history. For instance, the Istana Jahar in Kelantan has gone
for measurement were used. After the field measurements, the data
through radical changes in terms of its architecture, forms and
that have been collected will be converted to CAD drawings, 3D
functionality.
models and reports. All the data will be compiled in one document.
Through the research of this palace, it develops the opinion of how
Architecture is a medium to explore and study the cultural and
the building was built, and what are the possible reasons behind its
hierarchical aspects of the society because of the built heritage
changes through times were, by investigating the influence of the
including palaces, monuments, and other built spaces defines
social and politics to its architectural changes in the palace, the
societies, providing them a sense of pride and belonging as well as
processes of their creation as the architectural forms draw upon
cultural identity and the articulation and transformation of
contemporary cultural and philosophical discourses. In order to
architecture is directly associated with the social and cultural
appreciate its heritage value and to convey the history of the
aspiration of its inhabitants. This connection creates unique
building to the next generation, thorough historical research requires
identities to the society which demonstrates the symbol of pride in
records on data such as video and drawings that can be easily
the society. Furthermore, the architecture and built spaces become
understand and accessible interactively has been made for the user.
sites of administration, residence, state formation, and exclusion
which generate multiple meanings to its existence (Khare, Delhi Thus, the SGA-2393 Architectural Heritage Studies I course
University). is a chance for us to applied measured drawing methods and
techniques using hands-on experiences. For this measured drawing 1.1 Aim and objectives
course, the documentation involves the history, drawing and
The main aim for this course is that the documentation produced can
information on Istana Jahar and Balai Senjata in Kelantan which is
be beneficial and acts as a reference for the future generations.
now becoming The Royal Custom Museum. We were given the
chances to measure Istana Jahar and Balai Senjata and the The objective for this measured drawing at Istana Jahar, Kelantan is
measurements were converted into CAD and 3D drawings. We also to show students how to do drawing, documenting and measuring a
have an opportunity to interview people that have a knowledge on real scale heritage building in a correct way. Drawing consists of
the data collections. With the data we collections, analysis has been floor plans, elevations and sections of the current state of the Istana
made mainly on the architectural styles with the influences and Jahar and Balai Senjata followed by the production of 3D graphic
consideration towards the passive building design. darwings.
Students have to write a report through on the chosen building

including the historical background, architectural influences,
building development and changes and finally passive building
design characteristics. Student were then exposed to do a proper way
of documenting all the data from the research and investigation
collected. To cater with the Covid-19 pandemic issue, students also
experience to handle on how to do online exhibition that will
showcases the resuls of the measured drawing research.
1.2 Group structure and organization
For this measured drawing, a total 28 students that were involved are
divided into three groups which are the measured drawing group, the
photographic documentation group, and written documentation
group. The drawing team will be handling the Computer-Aided
Design (CAD) drawings, and 3-dimensional model graphics.
Meanwhile, the media team will be doing interviews to get
information and make video presentations about Istana Jahar. The
Figure 1.2.1: Organization chart
report team is responsible to do a proper compilation of all the
gained information and data.
Since this measured drawing was carried out during COVID-19

pandemics, students who are in Kelantan will visit the site and need
to record all the measurements of the building while students who
are not in Kelantan will help with the task that was given to them.
The advantages for this group structure are all the students have
their own task thus can make them gain experience. It also makes
the work flow more efficient and makes the data more accurate.
Figure 1.2.2: Team member

1.3 Methods of measurement written down on butter paper with a rough drawing of the piece of
the building that was measured. Each part takes up its own page as it
During the process of documenting, 12 students were required to go
contains detailed information specific to the part, to avoid the
on-site to investigate and take on the measurements. This process
measurements being mixed up with a different part of the building.
took about am month on site. For those who are working from home
due to COVID-19 pandemic, they handled the task of documenting 1.4 Equipments used
data in Computer-Aided Design (CAD) and written documentation.
One of the project's major goals is to accurately document the Istana

Jahar's dimensions (Jahar Palace). The most difficult component of
taking measurements is making sure that the information is accurate
and correct. As a result, team members needed to agree on a
standard method of recording readings in order to reduce
measurement discrepancies while designing in Computer-Aided
Design (CAD). Precision equipment which only allowed a very
small margin of error was used to get the best possible
measurements in the shortest period of time. Figure 1.4.1: 50m/165ft fiberglass measuring tape
Fiberglass tape can be used for easy and accurate measuring while
A multitude of measuring techniques were used, including
also standing up to wear and tear at the job site. Not to mention, the
photographing a structure with a ruler next to it for scale so that the
added safety from electrical hazards. You can find a fiberglass tape
measurements could be adjusted after that in AutoCAD. The
measure in a variety of different units (such as metric, feet and
approach is especially effective for measuring parts of the structure
inches, as well as feet and tenths).
that are difficult to reach with equipment. The results were then
Figure 1.4.3: Laser measure
Laser measures are a highly efficient way of measuring distances on

all terrains. By using a laser to target and record a point of reference,
the device then calculates and displays the distance to that point with
Figure 1.4.2: Drone a high degree of accuracy.
Drones function for purposes, such as recreational, photographic,

commercial and military, the two basic functions of which are
aviation and navigation. To achieve the flight, the drone consists of
a source of energy to get a picture from above to see a picture of the
palace from the top corner
Figure 1.4.4: 5.0m measuring tape
The ribbon size mark represents a fraction of an inches facilitate the

group to measure correctly.
1.5 Methods of research details of the building. One example is the adoption of floor plans
The research for the project began two weeks prior to the site visit, and heights of government custom museum buildings. Extra
exploration of information through books, journal and previous references from Universiti Teknologi Malaysia Centre for the Study
measured drawing report also followed by the interview sessions of Built Environment in the Malay World (KALAM) books obtained
with the expertise. The primary data collected undertaken by all from the university library contributed to the general study of
members of the group. The research included mainly analysis done buildings in states such as halls of attraction, treasurer’s palace,
via online material and publications obtained from the university latitude and even depth of view of the Jahar dimension (Jahar
library. Research findings were compiled in a shared document in Palace), which coincidentally provided the design inspiration of
the cloud, accessible by all group members for editing or the Jahar dimension (Jahar Palace).
referencing. Photos were compiled and sorted accordingly in a
Online resources
specific folder online for ease of access.
Published online journals as well as recorded studies of the site and
The primary method of collecting the data involves reading method the building were abundant. The research process also includes
in collecting the data from the printing and publishing books of obtaining information about the site and history of Kelantan via
Istana Jahar and collecting online research paper related. The videos online
secondary method used is by doing the research on-site and going
Interview sessions.
through some interview sessions with the expertise to reconfirm the
In the interviews, information gathered includes the reasoning
original resources data.
behind ornamentations, the process and reasoning behind all
Printing and publishing constructions made to the palace, the space functions as well as the
Reference books and journals obtained from the University library impact and effect the palace had on the surrounding area and the
serve as the main source of information related to the history and society in Kota Bharu. Aside from that, information on how the
palace came to be was also revealed in the interview which gives a

deeper understanding on the use of the palace like ornament motifs,
functions of space, history of Istana Jahar.
Figure 1.6.3: interview session with En Sabki bin Ibrahim

Figure 1.5.1: interview session with En. Muhammad Ali Hussaini Bin Figure 1.6.5: interview session with En. Nik Rashidee Bin Nik Hussein
Md Aminullah (Timbalan Pengarah Muzium Negeri Kelantan)
Figure 1.5.2: interview session with En Sabki bin Ibrahim Figure 1.6.5: interview session with Pn. Rosnawati Othman
1.6 Literature view 1.7 Background of study

Istana Jahar is one of the old palaces in Kelantan. To study more Malay architecture of royal palaces are part of a wider social and
about this palace, a lot of research has been done. One of the sources cultural history, not merely a study of forms. The social and cultural
is from the “Muzium-muzium di Kelantan” book published in 2000 aspirations of its residents are intimately linked to the articulation
that explains about the Istana Jahar. and change of architecture. This building even includes multiple
historical structures, each with its own distinct characteristics. The
In this book, it tells a detailed story about the background story of
SGA-2393 Architectural Heritage Studies I course gives us the
Istana Jahar. The story starts with how the palace was built and who
opportunity to put measured drawing skills and techniques to use in
built it. It also explains about Sultan Kelantan who resides at the
the actual world.
Istana Jahar.in this book, it also explains about the spaces in the
palace. The function of every space was explained and the reason for We were requested to provide documentation for this measured
some of the spaces were built. In this book, they also explain the drawing course that included the history, drawings, and information
story of how Istana Jahar became a museum. The explanation about on Balai Senjata and Istana Jahar, Kelantan, which is today known
the ornament of the palace also helped us to study more deeply as The Royal Museum. We were given the opportunity to measure
about Istana Jahar. these two structures and have the measurements translated into CAD
designs. We also had the opportunity to interview people who knew
Istana Jahar has become a museum showing a Sultan’s collection
about their history and learn more about them.
and other preservation collections about Kelantan. Other resources
for this study are from the internet, and interviews. Questions about 1.8 Significance of study
Istana Jahar have been asked to get a better understanding. The purpose of this subject is to arouse interest in the legacy and
diversity of Malaysian architecture, which is frequently a direct
reflection of the country's rich history and culture. Built on the
foundation of a multicultural culture, Malaysian architecture benefits The limitation of this study mostly involves on-site which are caused
from a fusion of many styles, which are occasionally juxtaposed to by lacking number of manpower and difficult method for measuring.
create a fascinating fabric of built environment that is distinctly
Manpower
Malaysian. The Jahar Palace is an excellent example of this fusion,
Due to covid-19 pandemic, some of the team members cannot cross
blurring the lines between traditional vernacular architecture and
the state border because of a lockdown. The division of group has
modernist design. This project aimed to examine and deconstruct
become two which are focusing more on the on-site measuring
this fusion to raise awareness and interest in the study of local
progress and a work-from-home (WFH) team. Moreover, the on-site
historical buildings, with the goal of assisting in the preservation of
teams are lacking manpower since the on-site job scope is more
the Jahar Palace structure and other historical structures in Kelantan
difficult and challenging to handle. With this lacking issue, it
and Malaysia.
decreases the effectiveness of the work to be done faster.
Besides.For the work-from-home team also must be more efficient
1.9 Scope and limitations
in handling the data and information that the other team must derive.
The study focuses on the end-to-end assessment of Jahar Palace, a
Sometimes the miscommunication can bring confusion on both
historic structure in Kota Bharu, Kelantan. To guarantee that the
teams.
information gathered is backed by a thorough grasp of the structure's
physical and historical backdrop, extensive measurements and Roof access
documentation were obtained within the geographic and historic Some difficulty in collecting the right data an accurate measurement
content of Kota Bharu. The Jahar Palace was built as a wedding gift of the roof occurs since everyone is not allowed to access or walk on
to his grandson Long Kundur with Tengku Embong, daughter of the roof tiles during our measuring process. The closest we were
Tengku Puteh, King of Pattani III. able to do by using a drone which limits our movement to take the
accurate measurements and details.
INTRODUCTION TO KELANTAN DARUL NAIM
This chapter will provide background information about Kelantan

and its capital, Kota Bharu. This chapter will cover Kelantan Darul
Naim, Kelantan Culture, Kelantan History, Kelantan Sultanate Figure 2.1.1: Kelantan Map
History, and Kota Bharu History. Kelantan is located on the east coast of Malaysia. With a total area
of 1 684 323 hectares according to the survey and mapping office of
2.1 Location Malaysia (JUPEM). The capital city of Kelantan is located at Kota
Bharu and Kubang Kerian is a royal city. On the east side of
Kelantan is Terengganu while Perak on the west side of Kelantan.
Kelantan is also near Thailand which is located south of Kelantan
and Perak located north of Kelantan.Kelantan has 11 “Jajahan” or
districts and 67 “Daerah”.
In 1916, mufti of Kelantan state, Sahib al-Samahah Haji Wan

Muhammad bin Abdul Samad proposed “Darul Naim” for the state
of Kelantan name to State Council. “Darul Naim” definition is a Cerang Besar, also known as Penghijauan Besar, and is said to be as
state full of favours. wide as a leaf in traditional history.The mistake in Chinese history
refers to it as Chu-Yu-K'un, Tu-K'kun, or Tu-ya, and it became one
Population in Kelantan is overwhelming because 93% are Malays of the states under the reign of King Funan (Mountain), which is
and the rest are Chinese, Indians and Thai. Thus, Kelantan is known now based in Cambodia and is located in the Gulf of Siam
as the “Cradle of Malay culture”. region.Around the year 369 AD, Kusuma Citraraja or Jayapurusya,
Raja Kunjarakunja had revolted and emancipated himself from the
Mountain's power, renaming his land Kalathana, which means Land
of the Giants or known as Land of Kala in Kelantan folklore.
Yawakoti or Titik Jawa is the name of the capital, which is located
in Hilir Kelantan, about 10 kilometres west of Bukit Panau, which
was formerly on the coast. It is reported that the city has sunk into
the ground. Kalhana's king invaded and overthrew the Mountain
Empire two years after the name was declared. In its place, the
2.2 Brief History of Kelantan
Kalathana Empire grew. The Kalathana Empire lasted only a few
2.2.1 Relationship between Kelantan and Langkasuka
years before being conquered by Kaundinya, the heir of Funan in
Researchers are confused by the history of Old Kelantan. Its name
371 AD. Kusuma Citaraja replaced Juru Mataraja as second
has changed a lot. It was known as Medan Gana, Nusa Medan, or
government of Kalathana. The war between Kalathana and Funan is
Medan in the first century AD. The territories from Segenting Kera
prolonged. Juru Mataraja ambushes Funan in 401 AD after Funan is
to the Peninsula were known as Yawadwipa or Java Area as early as
in disorder because of the attack from China and Annam. The
the second century.The State of Medan Gana changed its name to
sudden ambush successfully oust the Funan Empire. In 412 AD,
Kunjarakunja in the 2nd century AD, which means Cerang Gajah or
eleven years later Bhadrawarman the Emperor of Champa took over Bhadreswaraja and Hyang Maya developed an agreement that
Funan. resulted in the formation of a powerful navy that was able to
overcome the hijackers at Wiadhapura, Champa's capital.The
Despite being invaded by Funan and Champa, Kalathana has Maharaja Bhadrawarman did not recognise Kalathana's efforts and
remained in its original position, namely Kelantan. While services; in fact, he disputes the existence of special regions as
Bhadrawarman, also known as Wan Bhadra, is gathering forces to agreed by Hyang Maya, claiming that he was not aware of the
attack the island of Sumatra, his capital was overrun by a coup. subject and that he did not have the agreement of the Emperor of
When he realised the danger, he returned to the palace and instructed Funan, Wan Srestha.
his son, Hyang Maya, to secure Champa.Due to a lack of troops,
Hyang Maya requested Bhadreswaraja, the King of Kalathana who In 427 AD, Funan used Langkasuka to undertake a punitive invasion
had replaced Juru Mataraja, for assistance in gathering men from the on Kalathana. The attack, however, was effectively repelled, and
peninsula's towns. Bhadreswaraja was able to take Langkasuka and Tambrlinnga in the
Kra Strait. He then set Kalathana free completely. Kalathana was
As a result of this opportunity, King Kalathana has commanded that controlled by Kalinggawarman, Bhadreswaraja's grandson, by 550
Champa acknowledge the Peninsula as a special Champa province, AD. In 556 AD, he attacked Funan and conquered the throne of the
equal to Funan.This holds true for the deliverance of Kalathana from maritime empire. It took 5 years to re-establish Funan's dominance
its long-time foe Funan. by conquering the former empire's countries.Kalinggawarman
declared himself Maharaja of the Mountain in 561 AD, and his
Although Hyang Maya agreed to the terms, he refused to allow younger brother was crowned King of Kalathana and Governor of
Langkasuka and Kedah to join the Special Region. Bhadreswaraja Funan for the entire Peninsula. His younger brother, on the other
consented and established a coalition with Kalathana, Thathana, hand, managed to elude his administration by establishing
Gangganagara, and Kuli. Kalathana is the name of the federation.
diplomatic contacts with the Chinese government and, as a result,

creating the Raktamrittika or Chih Tu government. 2.2.3 Relationship between Kelantan and Champa
Champa is a kingdom that has existed from the first century AD, and
2.2.2 Relationship between Kelantan and Majapahit is thought to be considerably earlier. In Kelantan's cultural
The Majapahit empire was created in 1293 AD by Raden Wijaya, a performances, such as the famous narrative Syair Siti Zubaidah
prince of the Singhasari kingdom, after the Singhasari kingdom Perang China, the Champa kingdom's name is also immortalised.
defeated Sriwijaya's rule of Java in 1920. According to Kelantan's Champa is supposed to have originated in Vietnam, according to this
legend, the kingdom of Majapahit existed in the Malay Peninsula, narrative. However, after the final battle, this kingdom fell apart,
according to the Nagarakartagama Bible. forcing the Champa Malays to flee Southeast Asia. The majority of
them migrated to Cambodia, where they became known as the Cham
The capture of the Malay Peninsula by Majapahits is regarded as a of Champa Malay, a Malay ethnic group. Pengkalan Chepa is a
fantastic event because it resulted in the formation of the Western district of Kelantan, Malaysia, located in the Kota Bharu district.
Empire, which was intended to ward off the invasion of united The district was named to honour the entrance of the Champa Malay
forces. From now, the people of Kelantan and Javanese begin to tribes. Pengkalan Chepa is supposed to be the location in Kelantan
share cultural history, living practises, language, and art. where the Champa people moored. In World War II, it was also the
Javanese Batik, Wayang Kulit, Dialect, Armament, and a variety of beginning point for the Japanese imperialist military invasion on the
other elements, including certain places named after various areas on Malayan Peninsula.
the island of Java, are among the cultures that have survived.
Kelantan was titled Kembayat State in Classical Malay literary
writing, according to Malay history. Many Cempas are reported to
Based on the concept of Pamalayu and the Majapahit-Champa link,
have stayed in Malacca according to Malay history, although this
the relationship between Kelantan Tua and Java has also endured a
contradicts the tradition that claims Champa Malays are more
long time.
closely and directly related to the state of Kelantan. The alliance

Sulaiman (Yang Dipertuan) :
with Champa is significant in Kelletan's history since it paved the 1765 - 1795
way for the Champa-Jembal Dynasty to continue. As a result, the
2. Tengku Muhammad bin Tuan NA
Nik and Wan faction has risen to the top of the state government's
Dalam @ Sultan Mansur 1,
power structure.
Terengganu (Yam
2.2.4 Kelantan’s Sultan Tuan atau Yang Dipertuan
Long Yunus was Kelantan's first king in 1765 and established the Kelantan) : 1796 - 1801
new Sultanate of Kelantan until now, the age of this system has 3. Long Muhammad bin Long NA
reached almost two centuries. During this period, a total of 14 Yang Yunus (Sultan Muhammad I):
Di-Pertuan, Raja-Raja and Sultan had occupied the throne. 1801 - 1837.
After passing away, he was
known as Marhum Mandul.
4. Long Jenal @ Long Zainal bin • Was previously known

Long Yunus (Yang as Raja Bendara Banggol,
Dipertuan) : 1837 - 1838. Kelantan.
The lists are as follows; 5. Tuan Senik bin Long Tam bin • Tuan Senik Kampung
Long Yunus (Sultan Sireh or Sultan Mulut
No Name of Sultan. Titles carried before being
Muhammad II): 1838 - Merah.
. the Sultan.
1886. • Raja Kelantan (1830-
1. Long Yunus bin Long NA After his passing, he was 1837)
known as Marhum Tua. • Raja Temenggong Arya 9. Long Senik bin Long Kundur • Tengku Sri Indera
Pahlawan (1837- (Sultan Muhammad ke-IV): Mahkota (1886-1890)
1838). 1900-1920. • Raja Muda (1890-1898)
6. Long Ahmad @ Long Sulung • Tengku Indera Mahkota Ruled with the title Raja • Raja Kelantan (1898-
bin Tuan Senik (Sultan (1851-1868) Kelantan from 1900 until 1911 1911)
Ahmad): 1886-1890. • Raja Kelantan (1868- and changed title
He was also known as Sultan 1886). name to Sultan Muhammad ke-
Tengah or Marhum Tengah. IV from 1911 until 1920.
7. Long Kundur bin Long Ahmad • Raja Bendahara (1868- 10. Tengku Ismail bin Long Senik • Sri Indera Mahkota
@ Long Sulung (Sultan 1886) @ Sultan ke-IV (Sultan (1900-1911)
Muhammad III): • Raja Kelantan (1886- Ismail):1920-1944. • Raja Kelantan (1911-
1890-1891. 1890). 1920)
Other titles given are Sultan 11. Tengku Ibrahim bin Long • Tengku Sri Indera
Bendahara or Sultan Bongsu. Senik @ Sultan Muhammad Mahkota (1911-1921)
8. Long Mansur bin Long Ahmad • Tengku Muda (1868- ke-IV (Sultan Ibrahim): 1944- • Raja Kelantan (1921-
@ Long Sulung: 1891-1900. 1886) 1960. 1944)
Ruled with the name Raja • Raja Muda (1886-1890).

Kelantan until 1898 and
changed it to Sultan
Mansur until 1900.
12. Tengku Yahya Petra Ibn al- • Tengku Temenggong

Marhum Sultan Ibrahim (Sultan (1939-1945)
Yahya Petra): 1960-1979 • Tengku Bendahara
(1945- January 1948)
• Tengku Mahkota (1st
February 19948 until 9th
July 1960).
13. Tengku Ismail Petra Ibni al- • Tengku Mahkota

Marhum Sultan Yahya Petra Kelantan (11th November
(Sultan Ismail Petra): 1979- 1967 until 28th March
2009. 1979).
2.2.5 Timeline Of Kelantan
14. Tengku Muhammad Faris Petra • YTM Tengku Mahkota
Ibni Sultan Ismail Petra (Sultan (6th October 1985- 23rd
1760 - Kelantan fragments
Muhammad V): 2010- until May 2009)
unified. The Sultanate of
now. • Pemangku Raja
Kelantan, with nearby
Kelantan (24th May 2009
Pattani, was under Siamese
until 12nd December
rule
2010) 1909-1946 The Anglo-Siamese Treaty
of 1909 handed over
Kelantan along with Perlis,
Kedah, Upper Perak and
Terengganu to Great the fact that Kelantan was under a few rulers before it merged under
Britain.Kelantan was the union of Malaya. Some of the factors including:
unfederated Malay States.
1942-1945 Under Japanese occupation i. The Siamese Emperor.
1957-1963 Part of the Federation of
ii. The presence of British colonization.
Malaya
1963 Part of Malaysia iii. The westernization of the royalty of Kelantan and
Siam, such as the Sultan Muhammad IV and King Rama the 5th, the
former emperor of Siam.
2.3 Architectural influences All the above mentioned factors have contributed in shaping the
Ever since the early 19th century, Kelantan’s traditional architecture architecture of Kelantan. It reflects the society’s way of life, their
used in buildings and structures in Kota Bharu has been influenced beliefs and philosophy. These, altogether, form important
by their previous Sultans including the Siamese Kingdom and other components in the uniqueness of a culture. Hence, it has always
colonial counterparts. Palaces of royalty and the elite were often been the main source of references in social and cultural studies in
designed and built based on the Kelantan indigenous architecture by architecture.
the local handicrafts men as well as the highly skilled carpenters. All
the architecture elements were thoroughly designed including Kelantan-Pattani architecture was fundamentally similar to
facade, interiors, furniture, antiques and patterns were typically from Kelantan’s architecture as it was once ruled together under the
Malay traditional architectural style with the combination of some ‘Great Pattani’ (Pattani Besar), besides having similar geographical
elements from the European country. Such influences were evident features and the people were normally blood related and families.
only in the properties of royalty and the elites. A few factors that This southern part of Thailand’s architecture shows the unique
might contribute to architectural changes in the society considering Malay Architectural features which have significant influence in
building the royal palaces in Kelantan. It was stated in history where double story masonry structure. It was believed that the European,
the King of Siam had visited Kelantan in 1905 during the reign of especially British, had started to make its move in influencing the
Suiltan Muhammad IV, then some of features in Royal palaces was architecture in Malaysia before World War II.
renovated and changed to look almost similar in architecture and it’s
characteristic. The most distinctive features that are both Kelantan The combination of Malay and European influence architecture can
and Siamese were sharing is the use of Singgora tiles as the roofing be seen with the installation of concrete columns in Istana Jahar.
material. This type of material is hardly to find and only a few Furthermore, the semi octagonal porch and metal cylindrical
manufacturers available currently. The relationship between staircases inside the Istana Jahar strengthen the argument about this
Kelantan and Pattani is still going on with the trading activities, combination in architecture. Furthermore, due to the other external
exchange of goods, visiting their relatives between these regions. factors mainly from colonization, their impact in changing the
perception about architecture in Malaysia has influenced social,
Architecture in Kelantan is a mixture of many styles of architecture politics, as well as architecture. This phenomenon can be seen from
and not exclusive to only Malay architecture even though it has many aspects including architecture and culture. These distinctive
some unique identity. Some of them include the European architectural styles have significant cultural and heritage values,
architecture fusion with the Kelantan indigenous Architecture to suit many of which are being conserved by the relevant authorities until
the climate and local condition of this region. New construction today.
technologies and materials have been introduced in the construction
inducing the glass, metal staircases, masonry structure building and 2.4 Local cultural and heritage
many more. Consequently, the royal palaces were also influenced by
Kelantan is known for its rich cultural traditions and heritage, which
this movement where the reconstruction of the royal palaces also
the Kelantanese are highly proud of. Culture is a reflection of the
used those new types of construction. Istana Jahar which was
surrounding society's existence. We may determine a society's level
constructed originally from timber was renovated by adding the
of civilization by looking at the rhythm of its culture. Visitors to Kuala Lumpur. Speakers from Kelantan and adjacent areas, such as
Kelantan may witness this for themselves. For example, traditional those residing in districts on the Kelantan/Terengganu Border,
music from Dikir Barat, a Mak Yong game that is frequently Kelantan/Pahang, and certain districts in Southern Thailand, such as
conducted by the government, and there are still many communities Sungai Golok, Narathiwat, Yala, and Pattani, speak the Kelantan
who are unaware of Main Teri and Wayang Kulit performances. dialect. Apart from the Malays, the Chinese, Indians, Pathans, and
These performances are also unique to Kelantan, as they are a part others who dwell in Kelantan also utilise the dialect as their
of the local culture. everyday spoken language, whether in commerce or in formal
matters. In a scenario that is relatively different from the district
2.4.1 Language located in the lower portion of Kelantan, such as Kota Bharu, the
According to Norazila (1986), the effect of various types of nature district's location in the Kelantan division also impacts the
and surroundings can cause a language or dialect to differ from one consumption of Kelantan dialect among its speakers in terms of
another. This distinction may be noticed in the sound system as well intonation and choice of words.
as the lexicon. A dialect, according to Abdul Hamid Mahmood
(1990), is a variant of a given language spoken by a group of Kelantan dialect is a distinct dialect that is lovely to hear when
speakers in a single linguistic community. Dialects are spoken spoken. For society's identity, ability and eloquence with a ‘Klate
versions of a language that differ from the mainstream language accent’ are required. The Kelantan accent makes these communities
form in terms of pronunciation, syntax, and the use of specific recognised and valued, as well as bringing their connections closer
words. The disparity is not significant enough to suggest that one and building friendship bonds despite Kelantan's many nationalities.
language is superior to another.
2.4.2 religion
Kelantan has its own dialect, which differs in sound and meaning
from the mainstream Malay language spoken in other states such as
Kelantan is a Malaysian state that identifies itself as "Serambi Increase the marketing of the tourism industry in Kelantan. This is
Mekah," which refers to it being an Islamic state. The majority of done because with the existence of unique historic buildings and
Kelantan residents are Muslims, with a small number of Christians valuable aesthetic value, it can improve the economy and tourism
and Buddhists. Kelantan was controlled by the Malaysia Pan-Islamic industry in Kelantan which is growing and can be used further.
Group, a political party with the capability of establishing an Islamic
Each objective of the study, qualitative research tools were used
state (PAS). PAS is the oldest Malaysian oposition Islamic party and
such as observations, interviews, and comparisons with all museums
one of the first political organisations to arise in Tanah Melayu. The
to identify each uniqueness applied and accepted each time to the
reason it is the oldest may be traced back to history.
building.
There were sources that claimed Kelantan was one of the first states The museum is considered an invaluable national heritage because
in Tanah Melayu to accept and embrace Islam, dating back to the of its function of serving as an informal educational institution. The
10th century, with the establishment of the Islamic State of Kelantan resources and materials available in the museum can provide
in the 11th century. There is also a belief that the adoption of Islam understanding and interest whether related to history, literature,
occurred as a result of the entrance of individuals from Pattani who science or nature.
propagated the faith to the natives. If that hypothesis is correct, it
indicates that the Kelantan community has long accepted Islam,
contrary to widespread assumption in our history that Islam only
began to spread during the 14th century during the Malay Sultanate
of Malacca on the west coast of West Malaysia.
2.4.3 Economy
was defeated and pushed out by the Japanese army, although they
returned in 1945. New administration centres, judicial buildings,
post offices, security, and police headquarters were established by
the British.
Post Independence (1957-Present)
Sultan Ismail Petra, the previous monarch of Kota Bharu, named the
city a cultural city in 1991. The city's name was changed to Kota
Bharu Islamic City in 2005. The goal was to resurrect early Islamic
identity while still preserving traditional culture, architecture, and
2.2 INTRODUCTION TO ISTANA JAHAR
monuments. It is envisaged that this would result in the growth of
2.2.1 Brief history of Kota bharu
Kelantan as a whole.
Early development period (1777-1909)

Kota Bharu as a Cultural City
Sultan Muhammad II erected a new palace at Sabak in 1844 to

Through its Islamic perceptions, Islam has begun to expand and
replace the previous one, which had been damaged by flood. The
merge among Malay civilizations. This may be observed in the form
new Palace, Istana Balai Besar, began to flourish and expand once
of mosques, which are places where Muslims can worship in
its construction was completed.
congregation on Fridays. Mosques were frequently constructed
British Colonization Period (1909-1914,1945-1957) adjacent to a ruler's residence, utilising local materials and designs.
The major mosque at Kota Bharu was also close to the royal palaces,
Following Perjanjian Bangkok, British involvement in the Kelantan which served as the kings' residence. Sultan Ismail Petra named
government began in 1990. During World War II, the British army
Kota Bharu a cultural city in 1991. With the assistance of the royalty Kota Bharu received two awards: one from the National Land of
and kings, the great mosque in the palace grounds was enlarged. The Japan, which designated it as "The City of Cultural Heritage"
historical territory of the city includes the beginning point at 'Kota alongside eight other cities, and the other from the Ministry of
Balai Besar' and the new capital state of Kota Bharu. Culture, Arts and Tourism Malaysia.
2.2.2 Kota Bharu as an Islamic City
In 2005, the state government of Kelantan designated Kota Bharu as

an Islamic city. The city was built with the intention of adhering to
and practising Islamic values throughout. This includes the use of
Jawi, which is a Malay-adapted version of Arabic script. While
remaining varied, it is also able to provide additional religious
places and facilities for the community. Islamic values as well as the
identity of Kelantan was incorporated into the design principles of
Figure 2.2.1. Cultural Zone of Kota Bharu
(Kota Bharu Local Plan Report, 2009)
the Kota Bharu Municipal Council – Islamic City 2006-2015 Master
Plan Report (MPKB-BRI, 2006)33 and the criteria are as follows:
Along Jalan Hilir Kota and Jalan Sultan, the cultural zone of Kota
Bharu surrounds the main royal palace. Several royal palaces, i. Spiritual development of the community between humanity and
including Istana Jahar, Istana Balai Besar, Masjid Muhammadi, God.
Bank Pitis, Merdeka Square, and the Royal Gate, are located inside
ii. Clean Environment as one of the Islamic requirements. The
the property. New structures in the surrounding region, such as a
community has to treat the environment as God-created, to be cared
Handicraft Village, Pasar Siti Khadijah, and Buluh Kubu Textile
for.
Bazaar, may be found inside the zone. According to A. Ghafar 31,
iii. A social relationship among the community.

located at the west bank of Sungai Kelantan in between
Kampung Pekan and Kampung Wakaf Bharu today.
Following those landscape planning, the design principles of the

1706 The last king who ruled over Kubang Labu was Long
buildings and urban development were also proposed as follows.
Muhammad bin Long Sulong @ Tuan Long Nik, who
i. Every design has to remind people about the almighty God. was defeated by Long Yunus, from Terengganu and
attacked Kelantan.
ii. Every design has a good quality of space.
1760 After Long Yunus won, he took over the ruling in
iii. Every design has to work well at the human scale in order to
Kelantan and used the title Yang DiPertuan and built his
produce feelings of comfort and safety.
Palace in Kampung Galuh.
iv. Garden design should consider the human senses of feeling,
smell and sight. 1902 English and Siamese treaty was signed. They agreed and
considered the state of Kelantan under the auspices of
v. Garden space should consider the flow and circulation for two British officers and one Siamese High Commissioner
people’s privacy. in Kelantan.
1903 The city and new palace developed as the centre of

2.2.3 Timeline of kota bharu
government and administration of Kelantan and the city
YEAR EVENT began to grow.
1700 The capital city of the state is Kubang Labu, which is 1909 Kelantan has been handed to British by Siam under
‘Perjanjian Inggeris Siam’ and Bandar Kota Bharu grew

gradually from 1909 to 1941.
1941 Kota Bharu is a landmark landing site of the Japanese

Invasion on 8th December 1941 during World War II.
1991 25th July 1991, DYMM Al Sultan Kelantan announced

Kelantan as a city of Culture.
2005 1st October 2005, Kota Bharu was declared as an Islamic

City.
Table 2.2.3.1: Timeline of Kota Bharu

Istana Jahar is located in Kelantan capital city, Kota Bharu and
located in front of the Istana Balai Besar. Istana Jahar is surrounded
by the Jahar tree which is where Istana Jahar got the name.
Two Jahar trees, one on either side of the gate, have been planted.
The flagpole and the entrance to the Istana are visible from the main
entrance. In the area around Istana Jahar, new green landscapes have
been planted. The “Pance persada” may also be viewed from the
2.2.4 Location of palace
outside of the Istana, and the craving can be seen demonstrating the Citing the article "The Architecture of Istana Jahar: Apprehend the
Istana Jahar's identity. Parameters of Historical Changes" (2014), the construction of the
palace was initiated by Sultan Muhammad II, but was completed in
Building accessibility 1887 or the era of Sultan Ahmad's reign. The building and the entire
Conversion Istana Jahar, a traditional Malay building, a conflict Jahar Palace at that time were reserved for the dowry of Long
between the preservation of heritage buildings or renovation Kundur, the son of Sultan Ahmad. Later, the prince then sat on the
excessively to make the appropriate museum to house the valuable throne as Sultan Muhammad III.
artifacts. This article analyzes the suitability of adapting Istana
Jahar, Kelantan, by turning it into a government museum. Istana Some structures in it, such as a screw stair, balustrades, and a variety
Jahar is a presidential palace built using traditional Malay of furniture, exposing elements of Georgia. Perpaduan arsitektur
architectural technology with a two-story wooden building. It is the European-style Malay architecture and Europe, among other things,
only building in Kelantan that is listed in the National Heritage look at the appearance of concrete pillars at the Istana Jahar. The
Register and has the highest national heritage recognition. shape is a slender cylinder with bright yellow on the exterior pillars
and shiny white on the interior. A spiral staircase made of metal
In 1965, the historic area turned its function into a museum of connects the two floors. The ground floor is lined with marble to
Kelantan culture and art. The original form of Istana Jahar consisted reflect the effects of European architecture. The upper floor is
of only one floor. Once restored, then there is an increase in the entirely made of wood.
number of floors to two levels. Its architectural style suggests
mixing elements of Malay culture and Europe. Parts such as roof,
wall panels, and various ornaments found there clearly show the
pattern Malay-Sabah.
2.2.5 Background ruler, the state government decided to sustain the name of ‘Sultan
The history of Kelantan can be traced through the reign of the Muhammad’ to all future King of Kelantan.
previous rulers called ‘Sultans’ of Kelantan. Beginning from the first
2.2.5.1 Construction of palace in gunung city
Sultan of Kelantan, Sultan Muhammad I (1800-1835), the early
During the reigning of Sultan Muhammad I, the center of
capital of Kelantan was located in Gunung. It is located near Bachok
government was located in Gunung City. Hence, a palace was built
and it is about 22.5km from Kota Bharu. The capital city was then
in Gunung to accommodate the people in the government. During
moved to Kota Lama which is an island located near Kuala Sungai
the reigning of Sultan Muhammad II, the Sultan ordered his men to
Kelantan. As years passed, the island became eroded by water.
construct another palace in from of the Istana Balai besar in Kota
Eventually, the city of Kota Lama is found to be no longer suitable
Bharu. The Sultan wanted to accommodate his grandson namely
as the capital of Kelantan.
Long Kudur, also known as Raja Bendahara.
Due to geographical concern, a new palace was built in Kota Bharu.
Part of the newly built palace in front of the Istana Balai Besar was
The palace was completed in 1840 and was named Istana Balai
from the Gunung palace. The part is known as Balai Tarik as it was
Besar. The completion of Istana Balai Besar was done during the
said to be moved and pulled by elephants from Gunung city to Kota
reigning of Sultan Muhammad II (1837-1886). The Istana Balai
Bharu city. However, there are claims that the work ‘tarik’ comes
Besar became the official royal residence for Sultan Muhammad II
from a fan called ‘kipas tarik’ that was placed in the middle of the
and other future rulers. As rapid development and expansion
Balai Tarik.
happened around the city, Kota Bharu became the city center as well
as the center of government of the state. When it was completed, the Gunung Palace was resided by Sultan
Muhammad I, his son, Raja Bendahara and his wife, Tengku
According to the state history, Sultan Muhammad II was formerly
Ambong Patani. As his son was fond of the palace, the Gunung
known as Long Kundur. However, after being crown the new state
Palace was eventually named as Istana Raja Bendahara.
The Gunung palace was constructed in 2 stages. The first stage was double-storey roof and has ‘tebar layar’. ‘Tebar Layar’ is a sun-
done during the reign of Sultan Muhammad I. The second stage took shaped plank covering the roof. There is a four-leaf door that is
place during the reigning of Sultan Muhammad IV. During the located in the middle of Balai Lintang and a stepping stone or
second stage, Sultan Muhammad IV resided in Istana Balai Besar in previously known as ‘anak kelung’ located behind the decorated
Kota Bharu. This is because the Sultan wanted the former palace as wall of the Balai Lintang.
the official royal resort.
Other than that, there are two chrome walls placed in the Balai
The Istana Raja Bendahara has 4 individual buildings. All the Lintang. These walls as shown in the picture above have two support
buildings were constructed facing east. There is a roof located at the planks. The plans have long glass facing to the steps or ‘anak
entrance of the building. It is in a pentagonal shape that connects the kelung.’
entrance to the Balai Tarik. During this time, the Balai Tarik was
There are other elements constructed in the Balai Lintang which are
used as a meeting point between Raja Bendahara and the
listed as follows:
government officers of Kelantan. The Balai Tarik was constructed
using ‘Bumbung Pemilih’ while the porch was constructed using
Chromes Wall:
‘Bumbung Perabung Lima’.
The chrome wall was used as the background or backdrop of Raja
2.2.5.2 Construction of Balai Lintang Bendahara during his official meeting with his government. The
Balai Tarik is connected to another special room known as Balai chrome wall was also used in wedding ceremonies for the royal
Lintang. Balai Lintang is a higher platform from the Balai Tarik. It members.
is where the ruler, Raja Bendahara is seated. Balai Lintang is also
The chrome wall is carved with golden songket threads that were
the place where Raja Bendahara conducts state discussions with his
designed by Tengku Mahmud, the son of Sultan Muhammad I. The
government officers. The roof of Balai Lintang is constructed as a
beautiful and delicate carvings were carried out by Nik Salleh from The ‘Balai Penghadapan’ was renovated due to the previous design
Kampung Atas Bonggol. having showcased influences from other foreign states. For
Kitchen: example, the walls were made of bricks that are from the south of
The kitchen house for the Istana Raja Bendahara is a rectangular Siam (Thailand). Meanwhile, the pillars were made of reinforced
individual building. The kitchen is attached to the palace bridge or iron and wrapped in concrete, round cuttings. The use of these
‘jambatan istana’. The roof of the kitchen house is constructed using modern materials is believed to have been influenced by western
‘Bumbung Rumah Panjang’. states.
During the reign of Sultan Muhammad III, the front part of the Because of that, some parts of the ‘Balai Penghadapan’ were
kitchen house was fixed. The repair was tasked to Encik Muhammad changed. The front of ‘Balai Penghadapan’ is a decorated wall plank
Salleh, also known as Datuk Kaya Bakti. After Datuk Kaya Bakti with oval-shaped glass openings. In addition to that, the kitchen,
passed away, the repairing tasks were continued by his disciple, room and garages were also added to other individual units of the
Encik Sulaiman. palace especially on the west and north side.
Balai Penghadapan: These renovations were done to accommodate the son of Sultan
Muhammad IV, Raja Ismail who had already settled in the palace at
There were no major changes to the Istana Raja Bendahara during
the age of 12 years old (1908). In addition to these renovations done
the reign of Sultan Mansor (1890-1899). However, during the Sultan
on the Istana Raja Bendahara, the name of the palace was changed
Muhammad IV (1900-1920), some parts of the palace was
to Istana Jahar in conjunction with the Jahar tree trunks that floated
renovated. One of the parts that were renovated was the ‘Balai
into the palace during the flood season. After that incident, the
Penghadapan’
government planted Jahar trees in the palace compound.
2.2.5.3 Additional alterations and demolishment

After Sultan Muhammad IV died in 1920, his son Raja Ismail was
installed as Sultan Ismail. Sultan Ismail continued to reside in the
Istana Jahar, unlike the previous Sultans who preferred to reside in
the official state palace, Istana Balai Besar. It is known that Sultan
Ismail prefers to associate with the people who manage him in the
Istana Jahar as those in the Istana Balai Besar. Sultan Ismail finds it
difficult to manage his work in Istana Balai Besar as it is usually
accommodated for customary ceremonies.
During the reign of Sultan Ismail (1920 – 1944), some changes were
made to the ‘Balai Penghadapan’. The ‘anjung’ was built to cover
the frontal part of ‘Balai Penghadapan’. The ‘anjung’ area was
designed for the Sultan. The function of the ‘anjung; is to cover the Figure 2.2.5.3.1 The image showcases the front elevation of
Sultan when he is witnessing events such as buffalo fights. ‘Balai Penghadapan’
Electricity was also supplied to the palace during his reign in 1932.
The Jahar trees are still standing tall until today. Sultan Ismail did
not have any heirs to the throne. Hence, he decided to take care of
his nephew, Raja Yahya Petra as his adopted son. Raja Yahya
resided at Istana Jahar throughout his life before he was crowned the
Sultan of Kelantan.

ornaments from the chrome walls. Some of the ‘anak kelung’ were
purchased by Perak artisan Pak Lah Kudung Abdullah.
Unfortunately, none of the parts of the palace was sold as a whole
unit. The parts were sold separately to make other buildings.
Balai Lintang and Balai Tarik were also purchased by The Manager
of Malaysian Tobacco Company. Later, it was sold to Datuk H. L.
Wriggleworth who is a lawyer in Kota Bharu. Both buildings were
originally erected at Pantai Dasar Sabak which is located about
11km from Kota Bharu. Balai Tarik was turned into Datuk
Figure 2.2.5.3.2 The image shows the family of Sultan Muhammad IV Wriggleworth personal resort while Balai Lintang was turned into a
Ship Club.
After Sultan Ismail passed away, Sultan Ibrahim was crowned at
Istana Jahar. After the coronation of Sultan Ibrahim, all royal In 1969, Balai Lintang was moved to Kuala Besar while Balai
descendents resided in different palaces. Sultan Ibrahim resided in Lintang was officially established as a Ship Club by the Kelantan
Istana Sri Cemerlang. Raja Yahya Petra resided in Istana Kota and ruler himself, Sultan Yahya Petra in 1970. However, due to the
Raja Yahya Petra’s daughter, Tengku Salawani was given Istana flood season and climate challenges, the club is no longer suitable to
Jahar to reside. host marine sports. The floods hoarded the sand over the years in
Kuala Besar. In 1975, the Ship Club was leased to the Rothmans
To respect the origins and architecture of the building, the wooden
Manager while being under the care of Datuk Wrigglesworth.
parts of the building were torn down, piece by piece. Each piece was
sold to different buyers. Among the buyers are Mufti Kelantan Hj. During the transition of owners of the Balai Tarik, the frame of the
Ahmad Mahir (deceased). He purchased part of ‘anak kelung’ and roof was maintained. However, improvements were made for the
kitchen, which was connected to the back of the house. Meanwhile, later years, Istana Jahar was once proposed to be a museum for the
additional bricks and verandah were seen on the front of Balai state of Kelantan, but this proposal was withdrawn due to
Tarik. undisclosed problems.
It is the remains of Istana Jahar after the demolishment. Today, the Development and changes
‘bumbung Perabung Lima’ is seen on the Istana Jahar. The The alterations of Istana Jahar can be categorised in 2 distinct
‘bumbung Perabung Lima’ is a two-storey roof that was originally phases. The first phase of alterations comprises the Balai Tarik,
placed on the kitchen house as well as on two car porches. The stone Balai Lintang, Anak Kelung, Peranjungan, Kitchen House, car
building in the background of the image above is the residence of porches, and other wooden parts of the palace. The second phase of
Raja Aslan and his wife, Tengku Salwani (daughter of Sultan Yahya alteration comprises the Balai Penghadapan of Istana Jahar.
Petra). The expansion of the kitchen house and two car porches was
Foundation:
done during the reigning of Sultan Muhammad IV. The kitchen
Original State
house now stores most of the previous goods originating from Istana
The wood column did not have any foundation as a base. The end of
Jahar.
the column was buried 6ft into the ground. Then, the foot of the
The ‘Balai Penghadapan’ was demolished and rebuilt with stone and column was covered in a concave covering called ‘tempurung’.
can be seen until today. It is rebuilt on its original site. However, the
Current State
‘Balai Penghadapan’ is not used to house the Sultan anymore. This
During the reconstruction of Balai Penghadapan, strip footing or
historical setting is now the office of Bumiair Sendirian Berhad, a
commonly known as shallow foundation was done on the site.
transportation enterprise directed by Raja Azlan Shah bin Raja Hj.
Bricks were also used to reconstruct the walls as bricks could carry
Shahar, husband of Tengku Salwani. Raja Azlan Shah was also
heavier loads. Each column had a pad foundation to carry load.
known as Tengku Sri Kelana according to Raja Melayu Perak. In the
The following images describe the connections between the beams

Framework: and the columns throughout the interior of Istana Jahar in its
Original State reconstructed state.
The columns were constructed and assembled by using the wooden
Both of these images show the concrete column which is supported
beams and joists. It is also used to carry the load from the roof to the
by a reinforced I-beam. These columns and beams are not attached
ground. The column is considered the skeleton of the building as it
to the brick walls as it was built as an exterior wall.
supports the outer and interior walls.
The concrete beam has a round or oval-shaped top that hold the
The following images describe the connections between the beams
intersection of I-beam. The long I-beams measuring about 7”x5” and
and the columns throughout the interior of Istana Jahar in its original
supported by metal sheets.
state. Both images describe the columns and beams in their original
state where there are fine engraved lines on the wooden beams. The Floor:
ceiling is overlapped by wooden planks to create a support for the Original State
roof. The floors were covered in wooden floorboards throughout the
palace. The floorboards are placed using wooden nails known as
Current State
dowels.
During the reconstruction of Balai Penghadapan, the columns were
reconstructed using concrete columns and I-beams. The top of the Current State
columns had a cylindrical shape where the beams are placed and During the reconstruction of Balai Penghadapan, the upper floor
supported with metal sheets. maintains its original floorboards. Meanwhile, the lower floor was
covered with a shallow foundation and marble flooring.
seen as a repetitive theme throughout all curtain walls in the Balai

Penghadapan. Another thing about the curtain wall is that it does not
bear load. Instead, it acts like a partition and barrier in the Balai
Ornamental Walls: Penghadapan.
Original State
Partition Walls:
The original design was a square wooden frame in a form of lattice
There are partition walls that were placed in the Balai Penghadapan.
to create a pattern. Another board is placed in the square wooden
The partition walls were made out of wooden planks. It is located in
frame.
both upper and lower floors of the Balai Penghadapan. The partition
Current State walls were placed in between the spaces and hallways or stepping
During the reconstruction of Balai Penghadapan, the ornamental surrounding the area. The height of the partition wall is about 2.4
walls were replaced with brick walls. The bricks were brought from metres. It is attached to the column but does not bear any load.
Thailand with a measurement of 9”x2”x1”. Meanwhile, the upper

The partition walls also had a lattice framework. It is made out of
floors had a slightly different dimension with the bricks at a
repetitive square wooden frames and the frames are plastered onto
measurement of 10”x2x1 `` to carry the load from the roof and
the wall. The top part of the building is decorated in small louvers
transfer it to the ground.
and netting.
Curtain Walls:
The images below showcase the partition walls and lattice patterns
The curtain wall is positioned at the front side of both the upper and
available in the Balai Penghadapan.
lower floors of the Balai Penghadapan. This curtain wall has an
opening with an oval-shaped glass opening at the centre of the wall.
The glass is embossed in floral patterns. The floral pattern can be
Bendahara became a palace for Long Senik, a prince of the late

Sultan Muhammad III. In 1911, Long Senik became a Sultan of
2.2.6 Ownership Kelatan also known as Sultan Muhammad IV. During the reign of
According to the Kelantan Museums Corporation, the erection of the Sultan Muhammad IV, the Istana Raja Bendahara was renovated
palace was started at the end of the reign of Sultan Muhammad II several times. Sultan Muhammad IV had ascended the throne after
(1837-1886) and completed in 1887 during the reign of Sultan the sudden death of Sultan Muhammad III. He has made the Istana
Ahmad (1886-1889). The palace was built as a wedding gift for Balai Besar as his residence and Istana Jahar still in use for other
Sultan Ahmad’s prince, Long Kundur, who later succeeded him as purposes. The palace was named Istana Jahar after Sultan
Sultan Muhammad III (1889-1890). The palace was named as Istana Muhammad IV’s visit of Singapore in 1911. The name Istana Jahar
Raja Bendahara after the official title of the crown prince ‘Raja was given to that palace when a Jahar tree was planted inside the
Bendahara’. During the reign of Sultan Muhammad III, the palace compound of Istana Raja Bendahara, under the order of Sultan
was used as an administrative center for the state of Kelantan. Muhammad IV. Since then the palace was famously known as the
Nevertheless, Sultan Muhammad III was on the throne for only one Istana Jahar. Later, the palace was given to his son Tengku Ismail
and a half years. Long Mansur, a brother of the late Sultan using the title Tengku Sero Indera Mahkota. After the death of
Muhammad III, was enthroned as the next Sultan. During the reign Sultan Muhammad IV in 1920, Tengku Ismail replaced him with the
of Long Mansur, he used another place as his official palace known title of Sultan Ismail and stayed at Istana Jahar, endowed by his late
as the Istana Balai Besar (the Central Palace). father. Later, Sultans of Kelantan which then as Sultan Ibrahim
(1944-1960) and Sultan Yahya Petra (1961-1979) no longer resided
Historically (Since 1844) Istana Balai Besar was the main
at the Istana Jahar.
administrative centre of the state. It works as place to hold the
coronations, installations, investitures and many other ceremonies. From the time of its completion, Istana Jahar has gone through
This also accommodates the office of the Sultan. Istana Raja several renovation and adaptive reuse processes. There was a time
when the palace was left abandoned since the succeeded Sultans had
Figure 2.2.7.1 front view of istana jahar, kota bharu as the
their own palace of residence. The original Istana Jahar was
Kelantan royal customs museum
revamped in 1965 after so many years of abandonment. During the
time of Sultan Yahya Petra, the Istana Jahar was refurbished and
reconstructed to its current form. After a few series of renovation
and refurbishment works, Sultan Ismail Petra has lent the Istana
Jahar to the Kelantan Museums Corporation for restoration and
adaptive re-used as the Kelantan State Museum, which was later
converted to Kelantan Royal Tradition and Customs Museum
Figure 2.2.7.2 The picture of Istana Jahar during it was left abandoned
2.2.7 Cultural and architectural influences
before the restoration process to became the Kelantan State Museum
in 1982. (Source: Raykinzoku)
Architecture is a medium for exploring and studying the culture and

hierarchy of a society because the built heritage including palaces,
monuments, and other built spaces define a society, giving them a
sense of pride and belonging as well as a cultural identity.
Architecture is also the study of form, plan, design, motif and how it
evolves over time. The articulation and transformation of
architecture is directly related to the social and cultural aspirations
of its inhabitants. As a result, the architecture of government palaces
also has certain qualities in architecture that have a significant
impact in society. For example, in this case, Istana Jahar in Kelantan Museum.Figure 02: The picture of Istana Jahar during it was left
has undergone radical changes in terms of its architecture, form and abandoned before the restoration process to become Kelantan State
function. Through this research of the palace, he developed an Museum in 1982. (Source: Raykinzoku)
opinion on how the building was built, and what the possible by the social changes particularly when issues concerning society
reasons behind its changes over time were, by investigating the are in question. The changes in architectural elements in the society
social and political influence of architectural changes in the palace, illuminate the fusion in the community which combines several
the process of their creation as architectural forms using cultural fundamental features from other parts of the world
discourse. and contemporary philosophy. To appreciate its heritage
2.2.8 Planning, ideas and concept
value and to pass on the history of a building to future generations,
Istana Jahar early planning has been divided into two phases. The
thorough historical research requires a kind of record that is easily
first phase has been completed during Sultan Muhammad II reign
accessible and interactive in the user interface.
and during Sultan Muhammad IV become a Sultan, the second
phase have started. During Sultan Muhammad II reign he asked his
2.2.7.1 Changes in architecture
minister to build another palace for his grandson at the carrying Raja
The changes taking place in every element which affects
Bendahara title. Balai Tarik is the first space that was built before it
architecture including the economics, politics, social, as well as the
was moved from Gunung to Kota Bharu.
technology has given significant influence on architecture in some
regions. The changes in these parts of the social structure affect the It is currently a two-story brick structure with a mix of native
trend of the high-class people in the society to change their taste in Kelantanese and European architecture. Because this palace served
the built environment to suit their needs and pleasing their superior as the residential palace for at least two Kelantan Sultans, it must
or emperor. The discourse leading towards the notion of include some amenities and services for them to carry out their daily
architectural changes affected Figure 01: The Current condition of routines and activities. It's conceivable, though, that these types of
Istana Jahar, Kota Bharu as the Kelantan Royal Customs
service spaces were removed when the palace was converted into a
museum.
Typical Malay royal palaces can be thought of as a larger and Table 2.2.6.1: Chronology of renovations in Istana Jahar
grander version of a traditional Malay home. The building of the Year Construction/Renovation
Royals was also a reflection of the traditional Malays' ideals and 1887- The construction of the original structure: a single-story
beliefs, as the Malay culture is a strongly nature-associated 1889 timber building bearing the traditional architecture of
Kelantan-Patani.
civilization. As a result, ancient Malay royal palaces' architectural
1900- Renovation into a double-storey timber building
components featured design allowances for environmental
1905
conditions, privacy and safety of occupants, as well as gender
1905- The additional portion of Istana Jahar was constructed
segregation of male and female family members. 1920 using a double-story masonry structure with a semi-
octagonal porch
2.2.8.1 Development of istana jahar 1965 A series of renovations before being converted into the
Istana Jahar was built during the reign of Sultan Muhammad II Kelantan State Museum
(1885) and completed during the reign of Sultan Ahmad (1887). The 1990 Another series of renovations to facilitate its conversion
to a Royal Tradition and Customs Museum
palace was initially being named Istana Raja Bendahara, as it was
meant to be a gift for the Raja Bendahara (the crown prince of
Kelantan), Long Kundur, who proceeded to ascend the throne as
Sultan Muhammad III. The name ‘Istana Jahar’ was coined during
the reign of Sultan Muhammad after a Jahar tree was planted inside
the palace compound. For 130 years, this palace has undergone
several significant architectural changes, as shown in Table 1.
Wood column 40
First floor
3.1 Column
Balai Senjata
Istana Jahar
Types of column Location Quantity
Types of column Location Quantity
Wood column with 56
Main concrete column 37
stump
Ground floor
Exterior
I-beam support column 3
Ground floor
3.3 Roof
Interior view of
column
3.2 Wall
 chengal timber and along the top of the wall panels

3.4 Staircase
Istana Jahar 3.5 Door

Istana Jahar
Types of door Location Quantity
Main door 1
Ground floor
The Georgian wrought iron spiral staircases in the Istana Jahar.

Ground floor (side) 4
Balai Senjata
Ground floor 3
Ground floor 2 Side door 1
First floor 8 5
First floor 1
1
Balai Senjata 1
Types of door Location Quantity
Main door 1
3.6 Window
Because of the narrow apertures, such as windows and doors, only a

little amount of natural light can reach the palace's spaces. Natural Ground floor 16
light does, however, enter the structure through a small hole on the
First floor 16
roof constructed of plastic and glass.
Istana Jahar Ground floor 10
First floor 10
Types of windows Location Quantity
Ground floor 8 Wooden panel 2
Ground floor
First floor 20 Ground floor 19
Ground floor 8
First floor 6
First floor 8
Ground floor 4
First floor 20 Side 63
Balai Senjata
Types of windows Location Quantity
Main 2
Side 37 3.7 Air vents
Tiny air ventilation motions flowed throughout the palace due to the
small holes within the walls. As a result, the jejala and tiered roofs
were employed to act as an air ventilator and sunlight penetrator,
allowing for fluid circulation throughout the palace and a
comfortable climate. The jejala serves as a particular ornament as
well as aiding in the cross-circulation of the palace. However, in
today's world, the jejala is more of a solar penetration system than developed civilizations have evolved a complex matrix of symbols,
an air ventilation system for the palace. ideas, beliefs, and values that have become ingrained in the rubric of
societal relations commonly referred to as ‘culture’ (Spirit of Wood,
The art of Malay Woodcarving).
The existence of decorative elements in traditional Malay houses

represents the integration between functionalism and architectural
aesthetics. Its ornamentation, shape and pattern, especially in wood
carving, reflect the uniqueness of the local craft and the master
carvers. Defined as a non-load-bearing and "additional" element of
the building.
The ornamentations, although considered primitive or antiquated,

have always been the main source of social and cultural references
for architects, historians, and anthropologists. Thus, architecture is
3.8 Ornamentations the manifestation of society and their cultural practices. It reflects
The ornamentation principle of Istana Jahar the society’s way of life, their belief and philosophy; all
encompassing; forms important components in the uniqueness of a
Understanding the principles of Malay art requires knowledge of a
culture. ‟ (Ezrin Arbi, 1997).
specific semiotics, linguistic and philology that help us to decode the
hermeneutics of Malay art and culture. That such a hermeneutic Besides, it also ‘depicts the Malay’s great respect and development
approach is required in order to fully comprehend the depth of for the nature which is tree in general and there are many recurrent
meaning found in Malay art is hardly surprising given that most motifs and symbols still in circulation in the Malay world that testify
to the importance of trees to the Malay mind-set’ (Spirit of Wood, is itself no stranger to cultural innovation and development’ (Spirit
The art of Malay Woodcarving) . Malaysian cosmology has always of Wood, The art of Malay Woodcarving).
been based on the separation between the visible and the invisible,
Before the arrival of Islam, the woodcarvings were seen depicting
the material and the metaphysical, zahir dan batin.This duality is
images of living and non-living things but it has then been
reflected in the Malaysian understanding of everything that has
transformed to follow the rules of Islam. Since then, there have been
entered the orbit of the Malay universe, which includes the natural
many beautiful and intricate works of floral patterns within the
world ( Puan Rosnawati,2021)
design, forming different types of floral motifs the carvers used. It
At the exoteric level of life in the profane world, wood was an can be concluded that the characteristics of Malay woodcarving
invaluable material that the Malays could not do without, the mainly comprises design attributes such as types of flowers, types of
success or failure of their kingdoms depended on it, and the Malay leaves, design elements and manifestation into carving. (Nursuriani
world necessarily has one that is built into nature. But this and Ismail, 2011).
dependence on wood as an enabling, empowering and life-sustaining
Architecturally, traditional houses in Malaysia were classified
resource was not just a relationship that lived on a profane and
according to roof design, spatial organization and geographic
material level.
environment, which were eventually named after states. Each
‘Malay art, which has evolved since the pre-Islamic period and traditional house in the state of Malaysia represents a particular style
which has absorbed elements, forms, ideas, and values from a and architectural features of that particular state. ‘For Istana Jahar, it
number of civilizational and cultural sources, ranging from is one of the building trendsetters which become everyone’s
paganism, animism, the hindu---Buddhist era, the philosophy and attraction for the new development and references of the decorative
culture of Islam, as well as influences from Europe, China and India, element in the previous era’ (Puan Rosnawati,2021).
In the state of the development and expansion of the ornamentation

for the Istana Jahar is an interesting collection of architectural study.
Architectural study involved for Istana Jahar has been influenced by
the changes in colonialism which are Traditional Malay Architecture
and Colonial Architecture.
There are at least 15 (fifteen) decorative elements of the traditional

Malay house showing the aesthetic design which are Tunjuk Langit,
Sisik Naga, Ande-Ande, Pemeleh,Ekor Itik, Genung, Lebah
Bergantung, Kekisi, Gerbang, Gerbang Pintu, Sesiku Keluang,
Pagar Musang, Kepala Pintu and Kepala Tingkap.
Floral Motifs
The use of flowers and the reasoning may differ from a woodcarver N Loc Ornaments Description
to another, so is their depiction of the flower itself. Despite the o atio s
n
differences in the design of a flower, each woodcarver is able to
Roo  Sirip Naga Dimension :
maintain the flower’s critical features and is able to preserve its 1 130mmx16
f It is located along the ridge of the
beauty. This variety of design attributes and floral motifs depicts the roof on top of Anjung area where 0mm
the Sirip Naga actually symbolises Shape:
craftsman’s expression and creativity (Zumahiran and Ismail, 2008). Organic
the higher
Element:
status of the Royal Family Nature
This makes it harder for the flowers to be recognised by the viewers Motive:
Flora (Daun
as only the craftsmen understand their artistic expression. In Sulur
Kacang)
common, the flowers do have a specific trait, for example Bayan
Ornamentati
Peraksi, Peluput Flowers, Ketam Guri, Dala Dani, Kenanga Flower, on style:
Ukiran
Cempaka Flower and Chinese Flower are all plants that are tebuk
commonly expressed in woodcarving and they all are plants that tembus
Technique:
produce fragrance or have a beautiful flower. Tidak
Bersilat
Compositio
The selection of flower motifs for each craftsman depends on its The motif’s name data was collected nal Pattern:
Symmetrica
appropriateness and composition, characteristic uniqueness and based on the interview session with
l
master carver’s : Principal
properties of plants, food and medicinal plants, plant status and spirit Form:
of the plants (Mohd Pakarul, 1980). Thus, each carving within the Puan Rosnawati Othman on 14th Singular
September 2021 pattern
palace can carry a different meaning according to who the craftsmen Nik Rashidee Nik Hussein on 15th Material:
were. September 2021 Steel
Function: Function:
Decoration Decoration
No. of No. of
pieces: 36 pieces: 655
2 Roo  Sirip Naga Dimension :

f It is located along the ridge of the 150mm x
roof on top of Balai Penghadapan 150mm
where the Sirip Naga actually Shape:
Organic
symbolises the
Element:
higher status of the Royal Family The motif’s name data was collected
Nature
Motive: based on the interview session with
Flower master carver’s :
(Bunga
petola) Puan Rosnawati Othman on 14th
Ornamentati September 2021
on style:
Nik Rashidee Nik Hussein on 15th
Ukiran
tebuk September 2021
tembus
3 Roo  Sirip Naga Dimension :
Technique:
f It is located along the ridge of the 100mm x
Tidak
roof on top of Balai Penghadapan 160mm
Bersilat
where the Sirip Naga actually Shape:
Compositio
Organic
nal Pattern: symbolises the higher status of the
Element:
Symmetrica Royal Family Nature
l
Motive:
Principal
Flora (Sulur
Form:
kacang laut)
Singular
Ornamentati
pattern
on style:
Material:
Ukiran
Steel
tebuk
tembus
Technique: Puan Rosnawati Othman on 14th
Tidak September 2021
Bersilat Nik Rashidee Nik Hussein on 15th
Compositio September 2021
nal Pattern:
Symmetrica 4 Roo  Andam-andam/Ande- Dimension :
l 150mm x
f ande/Andang-andang/Undan/
Principal 150mm
Form: Rupur
It is located at the ridge of the Shape:
Singular Organic
pattern public restrooms roof consisting of
Element:
Material: multiple pieces with carvings on Nature
Steel multiple timber pieces arranged Motive:
Function: side by side Flora
Decoration
(Pucuk
No. of
pieces: 155 rebung)
Ornamentati
on style:
Ukiran
tebuk
tembus
Technique:
Tidak
Bersilat
Compositio
nal Pattern:
Symmetrica
l
Principal
The motif’s name data was collected Form:
based on the interview session with Singular
master carver’s : pattern
Material: Ukiran
Steel tebuk
Function: tembus
Decoration Technique:
Tidak
Bersilat
Compositio
nal Pattern:
Symmetrica
l
Principal
Form:
Singular
pattern
The motif’s name data was collected Material:
based on the interview session with Steel
master carver’s : Function:
Decoration
Puan Rosnawati Othman on 14th No. of
September 2021 pieces: 1
September 2021
5 Roo  Tunjuk Langit Dimension :
f Tunjuk Langit literally means 220mm x
pointed to the sky. Located at the 310mm
center of the roof on top of Balai Shape:
Organic
Penghadapan which signifying the
Element:
monotheistic religion, pointing to Nature
the sky. Motive:
Flora
Ornamentati
on style:
l
Principal
Form:
The motif’s name data was collected Singular
based on the interview session with pattern
master carver’s : Material:
Concrete
Function:
Puan Rosnawati Othman on 14th Decoration
September 2021 No. of
Nik Rashidee Nik Hussein on 15th pieces: 24
September 2021
6 Roo  Ekor Itik/Som/Sulur daun Dimension :
f It is located at the edges of the 120mm x
roof also symbolising the power 100mm
and the status of the Royal family. Shape:
Organic
Element:
Nature The motif’s name data was collected
Motive: based on the interview session with
Tangan master carver’s :
Laksamana
Ornamentati Puan Rosnawati Othman on 14th
on style: September 2021
Ukiran Nik Rashidee Nik Hussein on 15th
tebuk September 2021
separuh
Technique: 7 Roo  Andam-andam/Ande- Dimension :
Tidak f ande/Andang-andang/Undan/ 194mm x
Bersilat Rupur 370mm
Compositio Shape:
nal Pattern: Organic
It is located at the whole roof of
Symmetrica Element:
Istana Jahar and Balai Senjata
consisting of multiple pieces with Nature First

carvings on multiple timber pieces Motive: Floor -
arranged side by side. Flora 479
(Kekacang
)
Ornamentati The motif’s name data was collected Balai
on style: based on the interview session with Senjata -
Ukiran 104
master carver’s :
tebuk
tembus Puan Rosnawati Othman on 14th
Technique: September 2021
Tidak Nik Rashidee Nik Hussein on 15th
Bersilat
September 2021
Compositio
nal Pattern: 8 Roo  Andam-andam/Ande- Dimension :
Symmetrica 150mm x
l 150mm
Principal Rupur
It is located at the right wakaf of Shape:
Form: Organic
Singular Istana Jahar consisting of multiple
Element:
pattern pieces with carvings on multiple Nature
Material: timber pieces Motive:
Wood arranged side by side. Flora
Finishing:
(Bunga
Varnished
Function: putu dan
Decoration kekacang)
No. of Ornamentati
pieces: on style:
Istana Jahar Ukiran
tebuk
Ground tembus
Floor - 234 Technique:
Tidak
Bersilat
Compositio
nal Pattern:
Symmetrica
l
Principal The motif’s name data was collected
Form:
based on the interview session with
Singular
pattern master carver’s :
Material:
Wood Puan Rosnawati Othman on 14th
Finishing: September 2021
Varnished Nik Rashidee Nik Hussein on 15th
Function: September 2021
Decoration
9 Roo  Andam-andam/Ande- Dimension :
f ande/Andang-andang/Undan/ 100mm x
Rupur 130mm
Organic
Istana Jahar consisting of multiple
Element:
pieces with carvings on multiple Nature
timber pieces arranged side by Motive:
side Flora
(Kekacang
)
Ornamentati
on style:
Ukiran
tebuk
tembus
Technique:
Tidak
Bersilat
Compositio
nal Pattern: Puan Rosnawati Othman on 14th
Symmetrica September 2021
l Nik Rashidee Nik Hussein on 15th
Principal September 2021.
Form:
Singular 1 Roo  Andam-andam/Ande- Dimension :
pattern 0 150mm x
Material: 150mm
Wood Rupur
Finishing: Organic
Varnished Istana Jahar consisting of multiple
Element:
Function: pieces with carvings on multiple Nature
Decoration timber pieces arranged side by Motive:
side Flora
(Bunga
bakong)
Ornamentati
on style:
Ukiran
tebuk
tembus
Technique:
Tidak
Bersilat
Compositio
nal Pattern:
Symmetrica
l
Principal
Material: Motive:
Wood Flora
Finishing: (Bayam
Varnished peraksi)
Function: Ornamentati
Decoration on style:
Ukiran
tebuk
separuh
Technique:
Tidak
Bersilat
Compositio
nal Pattern:
Symmetrica
l
Principal
Material:
Puan Rosnawati Othman on 14th Wood
September 2021 Finishing:
Nik Rashidee Nik Hussein on 15th The motif’s name data was collected Varnished
based on the interview session with Function:
September 2021
master carver’s : Decoration
1 No. of
Roo  Andam-andam/Ande- Dimension :
1 110mm x pieces:13
f ande/Andang-andang/Undan/ Puan Rosnawati Othman on 14th
Bala Rupur 210mm September 2021
i It is located at the the back stairs of Shape: Nik Rashidee Nik Hussein on 15th
Organic September 2021
senj Istana Jahar which are the single
Element:
ata piece type with carvings on a Nature
single long timber piece
1 Ceil It is located at the corner of the ceiling and Dimension :

2 ing connected under the void at the ground floor 1060mm x Puan Rosnawati Othman on 14th
of Balai Sambutan 1060mm September 2021
Shape: Nik Rashidee Nik Hussein on 15th
Triangular September 2021
Element:
Nature 1 Ceil  Ceiling lamp Dimension:
Motive: 3 Diameter
ing It is located at the ground floor of
Flora 610mm
(Bunga Istana Jahar, and every spaces in
Balai Senjata. Shape:
getam guri) Round
Ornamentati Element:
on style: Nature
Ukiran Motive:
tebuk Geometry
separuh Ornamentati
Technique: on style:
Bersilat Ukiran
Compositio tebuk
nal Pattern: tembus
Symmetrica Technique:
l bersilat
Principal Compositio
Form: nal Pattern:
Complete Symmetrica
pattern l
Material: Principal
Wood Form:
Finishing: Complete
Varnished pattern
Function: Material:
The motif’s name data was collected Decoration Wood
based on the interview session with No. of Finishing:
pieces: 4 Varnished
master carver’s :
The motif’s name data was collected Function: Finishing:

based on the interview session with Decoration Varnished
master carver’s : No. of Function:
pieces: 6 Decoration
and natural
Puan Rosnawati Othman on 14th
lighting
Nik Rashidee Nik Hussein on 15th pieces: 26
September 2021
1 Wal  Janda Berhias at Istana Jahar Shape:

4 l It is used as the exterior front wall Oblong
panel which connects the Balai Element:
Sambutan room with Bilik Nature
Ornamentati
Peraduan and Bilik Persalinan.
on style:
The existing wall panel which The motif’s name data was collected
Ukiran
remains up until now is a based on the interview session with
tebuk
combination between the solid master carver’s :
separuh
wood panel and the oval shape of Technique:
the glass pane which allows the Tidak Puan Rosnawati Othman on 14th
penetration of light entering the Bersilat September 2021
building. It is also applied as the Compositio Nik Rashidee Nik Hussein on 15th
main facade for the Istana Jahar nal Pattern: September 2021
Symmetrica
l 1 Wal  Janda Berhias at Istana Jahar Dimension :
Principal 5 l It is located at Balai Penghadapan 230mm x
Form: area which used as an internal 1365mm
Singular partition wall in segregating the Shape:
pattern Vertical
spaces and its
Material: Element:
function
Wood and Nature
frosted glass Motive:
Corak ladu
Ornamentati
on style:
Ukiran
tebuk
separuh The motif’s name data was collected
Technique: based on the interview session with
Tidak master carver’s :
Bersilat
Compositio
nal Pattern:
Symmetrica September 2021
l Nik Rashidee Nik Hussein on 15th
Principal September 2021
Form:
Singular 1 Wal  Janda Berhias at Balai senjata Shape:
pattern 6 l Rectangular
Material: Bala Element:
Wood i Nature
Finishing: Ornamentati
senj
Varnished on style:
ata
Function: Ukiran
Decoration tebuk
and separuh
partition Technique:
wall Tidak
No. of Bersilat
pieces: 3 Compositio
nal Pattern:
Symmetrica
l
Principal
Form:
Singular
pattern Ukiran
Material: tebuk
Wood separuh
Finishing: Technique:
Varnished Tidak
Function: Bersilat
Decoration Compositio
and nal Pattern:
partition Symmetrica
wall l
between the Principal
spaces Form:
No. of Singular
pieces: 60 pattern
Material:
Wood
Finishing:
The motif’s name data was collected Varnished
based on the interview session with Function:
master carver’s : Decoration
and
partition
wall
September 2021 between the
Nik Rashidee Nik Hussein on 15th spaces
pieces:15
1 Wal  Janda Berhias at Balai senjata Shape:
7 l Rectangular
Bala Element:
i Nature
Ornamentati
senj
on style:
ata
nal Pattern:
Symmetrica
l
Principal
based on the interview session with Complete
pattern
master carver’s :
Material:
Wood
Puan Rosnawati Othman on 14th Finishing:
September 2021 Varnished
Nik Rashidee Nik Hussein on 15th Function:
September 2021 Decoration
No. of
pieces: 4
1 Wal  Janda berhias at Istana Jahar Dimension :
8 l It is located at the front door of main 592mm x
Ista entrance of Istana Jahar which works 324mm
na as the main facade for the palace. Shape:
Horizontal
Jaha
Element:
r Nature
Motive:
Flora
(Bunga
getam guri) The motif’s name data was collected
Ornamentati based on the interview session with
on style: master carver’s :
Ukiran
tebuk
separuh
Technique: September 2021
Bersilat Nik Rashidee Nik Hussein on 15th
Compositio September 2021
1 Wal  Janda Berhias at Istana Jahar Dimension :

9 l It is located at the front door of main 162mmx46 2 W  Jejala Dimension :
Ista entrance of Istana Jahar. 6mm 0 all It is located at the first floor at 190mm x
na Shape: the entrance of Anjung area of 190mm
Vertical Shape: Vertical
Jaha Istana Jahar
Element: Element:
r Nature Nature
Motive: Motive: Flora
Flora (Bunga
(Bunga lawang)
getam guri) Ornamentation
Ornamentati style: Ukiran
on style: tebuk tembus
Ukiran Technique:
tebuk Tidak bersilat
separuh Compositional
Technique: Pattern:
Bersilat Symmetrical
Compositio Principal Form:
nal Pattern: Singular
Symmetrica pattern
l Material:
Principal Wood
Form: Finishing:
Complete Varnished
pattern Function:
Material: Decoration,ven
The motif’s name data was collected Wood tilation and
based on the interview session with Finishing: lighting
master carver’s : Varnished The motif’s name data was collected No. of pieces:
Function: based on the interview session with Ground Floor -
Puan Rosnawati Othman on 14th Decoration master carver’s : 4
pieces:8 First Floor - 3
Nik Rashidee Nik Hussein on 15th Puan Rosnawati Othman on 14th
September 2021
September 2021 The motif’s name data was collected

Nik Rashidee Nik Hussein on 15th based on the interview session with
September 2021 master carver’s :
2 W  Jejala Dimension : Puan Rosnawati Othman on 14th
1 all It is located at the ground and 1690mm x September 2021
first floor of Istana Jahar 856mm
Shape:
Triangular September 2021
Element:
Nature
Motive: Flora 2 W  Jejala Dimension :
(bayam) 2 all It is located at the first floor at the 1200mm x
Ornamentation entrance of anjung area of Istana 650mm
style: Ukiran Jahar. Shape:
tebuk tembus Vertical
Technique: Element:
Tidak bersilat Nature
Compositional Motive: Pola
Pattern: pemidang
Symmetrical Ornamentatio
Principal Form: n style:
Complete Ukiran tebuk
pattern tembus
Material: Technique:
Wood Bersilat
Finishing: Composition
Varnished al Pattern:
Function: Symmetrical
Decoration,ven Principal
tilation and Form:
lighting Complete
No. of pieces:4 pattern
Material:
Wood Complete
Finishing: pattern
Varnished Material:
Function: Wood
The motif’s name data was collected based Decoration,v Finishing:
on the interview session with master entilation and Varnished
lighting Function:
carver’s :
No. of pieces: Decoration,
Ground Floor air ventilation
Puan Rosnawati Othman on 14th - 100 and lighting
September 2021 No. of pieces:
Nik Rashidee Nik Hussein on 15th First Floor 230
September 2021 - 72
2 W  Jejala Dimension :
3 all It is located at the area of Bilik 230mm x
Peraduan at the first floor of Istana 980mm
Jahar Shape:
Vertical
Element:
Nature
Motive: Pola
pemidang
Ornamentatio
n style:
Ukiran tebuk
tembus The motif’s name data was collected based
Technique: on the interview session with master
Bersilat carver’s :
Composition
al Pattern: Puan Rosnawati Othman on 14th
Symmetrical
September 2021
Principal
Form: Nik Rashidee Nik Hussein on 15th
September 2021

2 Wall  Partition wall Dimension : September 2021
4 It is located at Ruang Serambi 155mm Nik Rashidee Nik Hussein on 15th
and Ruang Surung of Istana Jahar Shape: September 2021
Horizontal
Element: 2 Wall  Exterior wall Dimension :
Nature 5 It is located at the public 230mm x
Motive: restroom. 980mm
Getam guri Shape:
Ornamentati Vertical
on style: Element:
Ukiran tebuk Nature
separuh Motive:
Technique: Geometri
Tidak Ornamentati
bersilat on style:
Composition Ukiran tebuk
al Pattern: tembus
Symmetrical Technique:
Principal Tidak
Form: bersilat
Complete Composition
pattern al Pattern:
Material: Symmetrical
Wood Principal
Finishing: Form:
Varnished Singular
Function: patten
Decoration Material:
No. of Wood
The motif’s name data was collected pieces: 6 Finishing:
based on the interview session with Varnished
Decoration
The motif’s name data was collected Finishing:

based on the interview session with Varnished
Decoration
No. of
The motif’s name data was collected pieces: 4
September 2021
2 Door  Janda berhias at Balai Senjata Dimension : Puan Rosnawati Othman on 14th
6 Balai It is located at the front door of main 260mm x September 2021
senja entrance of Balai Senjata 275mm Nik Rashidee Nik Hussein on 15th
ta Shape: September 2021
Rectangular
Element: 2 Door  Janda Berhias Dimension :
Nature 7 It is located at the front door of main 440mm x
Balai
Motive: entrance of Balai Senjata 1040mm
Flora (Sulur senja
ta Shape:
kacang) Vertical
Ornamentati Element:
on style: Nature
Ukiran tebuk Motive:
separuh Flora (Bunga
Technique: sulur

Bersilat kacang),
Composition Fauna
al Pattern: ( Burung
Symmetrical petalawati)
Principal and khat
Form: Ornamentati
Complete on style:
pattern Ukiran tebuk
Material: separuh
Wood
Technique:
Bersilat
Composition
al Pattern:
Symmetrial
Principal
Form:
Complete
pattern
Material: The motif’s name data was collected
Wood based on the interview session with
Finishing: master carver’s :
Varnished
Function: Puan Rosnawati Othman on 14th
Decoration September 2021
No. of Nik Rashidee Nik Hussein on 15th
pieces: 4 September 2021
2 Door  Genung Dimension :
8 It is located at the front door of main 402mm x
Balai entrance of Balai Senjata 230mm
senja Shape:
Triangular
ta
Element:
Nature
Motive:
Flora
(Kekacang)
Ornamentati
on style:
Ukiran tebuk
separuh
Technique:
Bersilat
Composition The motif’s name data was collected

al Pattern: based on the interview session with
Asymmetric master carver’s :
al
Principal Puan Rosnawati Othman on 14th
Form:
September 2021
Complete
pattern Nik Rashidee Nik Hussein on 15th
Material: September 2021
Wood
Finishing: 2 Arch  Jejala Dimension :
Varnished 9 It is located at the first floor at 300mm x
Function: the entrance of Anjung area 300mm
Decoration Shape:
No. of Triangular
pieces: 2 Element:
Flora
Motive:
Getam guri
Ornamentati
on style:
Ukiran tebuk
tembus
Technique:
Tidak
bersilat
Composition
al Pattern:
Symmetrical
Principal
Form:
Singular
pattern
Material:
Wood
Finishing: bersilat
Varnished Composition
Function: al Pattern:
Decoration, Symmetrical
ventilation Principal
and lighting Form:
No. of Singular
pieces: pattern
Ground Material:
The motif’s name data was collected Floor - 2 Wood and
based on the interview session with glass
master carver’s : First Floor Finishing:
-2 Function:
Puan Rosnawati Othman on 14th Decoration
September 2021 and lighting
Nik Rashidee Nik Hussein on 15th No. of
September 2021 pieces: 8
3 Arch  Kepala Pintu Dimension :

0 It is located at the first floor of 880mm x
Istana Jahar 470mm
Shape: Semi
dome
Element:
Nature
Motive:
Sinar pagi The motif’s name data was collected
Ornamentati based on the interview session with
on style: master carver’s :
Ukiran tebuk
tembus
Technique: Puan Rosnawati Othman on 14th
Tidak September 2021
Nik Rashidee Nik Hussein on 15th Puan Rosnawati Othman on 14th pieces: 18
September 2021 September 2021
3 Spira  Riser Dimension : September 2021
1 l Located at the right and left wing of 530mm x
Stair Balai Penghadapan at the 235mm 3 Spira  Thread Dimension :
case ground floor Shape: 2 l Located at the right and left wing of 534mm x
Triangular 280mm
Stair Balai Penghadapan at the
Motive: Pola Shape:
case ground floor
pemidang Triangular
Ornamentati Motive: Pola
on style: pemidang
Ukiran tebuk Ornamentati
tembus on style:
Technique: Ukiran tebuk
Tidak tembus
bersilat Technique:
Composition Bersilat
al Pattern: Composition
Asymmetric al Pattern:
al Symmetrical
Principal Principal
Form: Form:
Singular Complete
pattern pattern
Material: Material:
Cast iron Cast iron
Finishing: Finishing:
Yellow and Function:
green oil Decoration
The motif’s name data was collected painting No. of
Function: pieces: 18
Decoration The motif’s name data was collected
master carver’s : No. of based on the interview session with

Decoration
Puan Rosnawati Othman on 14th The motif’s name data was collected No. of
September 2021 based on the interview session with pieces: 20
Nik Rashidee Nik Hussein on 15th master carver’s :
September 2021
3 Spira  Balustrade Dimension : September 2021
3 l Located at the right and left wing of 360mm x Nik Rashidee Nik Hussein on 15th
Stair Balai Penghadapan at the 970mm September 2021
case ground floor Shape:
Vertical 3 Spira  Riser Dimension :
Motive: Pola 4 l It is located at the right and left wing 810mm x
pemidang 255mm
Stair of Balai Penghadapan at
Ornamentati Shape:
on style: case the ground floor.
Vertical
Ukiran tebuk Motive: Pola
tembus pemidang
Technique: Ornamentati
Tidak on style:
bersilat Ukiran tebuk
Composition tembus
al Pattern: Technique:
Symmetrical Bersilat
Principal Composition
Form: al Pattern:
Singular Symmetrical
pattern Principal
Material: Form:
cast iron Singular
Finishing: pattern
Yellow and Material:
Green oil Cast iron
painting Finishing:
Green oil Form:

painting Singular
Function: pattern
Decoration Material:
No. of Cast Iron
pieces: 18 Finishing:
Yellow and
The motif’s name data was collected
green oil
based on the interview session with painting
Decoration
September 2021 The motif’s name data was collected pieces: 107
3 Balc  Balustrade Dimension : Puan Rosnawati Othman on 14th
5 ony It is located at the void on the first 150mm x September 2021
floor 953mm
Shape:
Vertical September 2021
Motive: Pola
3 Parti  Pagar Musang Dimension :
pemidang
6 tion It is located at the right and the left 745mm x
Ornamentati
pane wing of the ground floor as 722mm
on style:
l the entrance partition for each space Shape:
Ukiran tebuk
and at the stairgate Vertical
tembus
Element:
Technique:
Nature
Tidak
Motive:
bersilat
Geometri/Su
Composition
lur kacang
al Pattern:
Ornamentati
Symmetrical
on style:
Principal
Ukiran tebuk
tembus 3 Raili  Wood Panel Dimension :

Technique: 7 ng It is located at the back area of 167mm x
Tidak Istana Jahar staircases. 862mm
bersilat Shape:
Composition Vertical
al Pattern: Element:
Symmetrical Nature
Principal Motive:
Form: Combination
Singular of buah
pattern delima and
Material: chinese
Wood pattern
Finishing: Ornamentati
Varnished on style:
Function: Ukiran tebuk
Decoration tembus
No. of Technique:
pieces: 24 Tidak
bersilat
Composition
al Pattern:
Symmetrical
The motif’s name data was collected Principal
based on the interview session with Form:
Singular
master carver’s :
pattern
Material:
Puan Rosnawati Othman on 14th Wood
September 2021 The motif’s name data was collected
Finishing:
Nik Rashidee Nik Hussein on 15th based on the interview session with Varnished
September 2021 master carver’s : Function:
Decoration
September 2021 pieces: 24 No. of

September 2021
3 Porc  Railing Dimension :
8 h It is located at the porch of main 200mm x
gate entrance of Istana Jahar. 818mm 3 Raili  Railing Dimension :
Shape: 9 ng It is located at Anjung area at the 159mm x
Vertical 959mm
first floor of Istana Jahar
Motive: Pola Shape:
pemidang Vertical
Ornamentati Motive: Pola
on style: Pemidang
tembus on style:
Tidak tembus
bersilat Technique:
Composition Tidak
al Pattern: bersilat
Symmetrical Composition
Principal al Pattern:
Form: Symmetrical
Singular Principal
pattern Form:
Material: Singular
Cast iron pattern
Finishing: Material:
Yellow and Cast iron
green Finishing:
The motif’s name data was collected painting Yellow and
based on the interview session with Function: green
master carver’s : Decoration painting
The motif’s name data was collected Function: The motif’s name data was collected Finishing:
based on the interview session with Decoration based on the interview session with Varnished
master carver’s : and safety master carver’s : Function:
No. of Decoration
pieces: 48 No. of
Puan Rosnawati Othman on 14th Puan Rosnawati Othman on 14th
pieces: 2
Nik Rashidee Nik Hussein on 15th Nik Rashidee Nik Hussein on 15th
4 Colu  Ornamentation panel Dimension : 4 Arch  Kepala pintu Dimension :
0 mn It is located at the Balai Senjata. 1130mm x 1 gate It is located at the arch of Pintu 880mm x
Balai 8000mm Pong 470mm
senja Shape: Shape: Semi
Vertical dome
ta
Element: Element:
Nature Nature
Motive: Motive:
Sulur kacang Daun
Ornamentati bawang
on style: bakong
separuh on style:
Bersilat tembus
Composition Technique:
al Pattern: Bersilat
Asymmetric Composition
al al Pattern:
Principal Symmetrical
Form: Principal
Complete Form:
pattern Complete
Material: pattern
Wood Material:
Wood Form:
Finishing: Complete
Varnished pattern
Function: Material:
The motif’s name data was collected Decoration,v Wood
based on the interview session with entilation Finishing:
and lighting Gold
master carver’s : The motif’s name data was collected
No. of painting
pieces: 1 based on the interview session with Function:
Puan Rosnawati Othman on 14th master carver’s : Decoration
4 Panc  Stairs Dimension : September 2021
2 a It is located at the staircases of 100mm x
Pers Panca Persada 50mm
ada Shape: 4 Door  Janda Berhias Dimension :
Organic 3 It is located at Pintu Pong 162mm x
Stair gate
Element: 466mm
case Nature Shape:
Motive: Vertical
Daun dala Element:
Ornamentati Nature
on style: Motive:
Ukiran tebuk Kekacang
separuh Ornamentati
Technique: on style:
Tidak Ukiran tebuk
bersilat separuh
Composition Technique:
al Pattern: Bersilat
Symmetrical Composition
Principal al Pattern:
Asymmetric 3.9 ARCHITECTURAL STYLE

al Architecture is a progress created by society after successfully
Principal
Form: mastering nature for the sake of survival. It is said to be a high level
Complete
and a reflection of the achievements and civilization of a nation with
pattern
Material: the production of architectural design that results through the
Wood
Finishing: influence of lifestyle, beliefs and beliefs, cultural practices, history
Gold and environment of an area in particular since it is the main trigger
painting
Function: in architectural inspiration. As it relates to the use of local and
Decoration
No. of building materials, the community is not left behind in the field of
pieces: 4 architecture as can be seen in production of traditional houses as a
result of hereditary inseparable with life.
As known, the state of Kelantan has a long history and often

changes at the helm of government. In fact, due to these changes, the
beliefs and principles of belief often change, causing it to have an
impact on architectural design in Kelantan and making it unique and
The motif’s name data was collected distinctive. In the beginning, the beliefs and philosophy of the Old
master carver’s : Kelantan government did not directly affect the built environment.
But after the country became one of the hotspot for merchants
September 2021 during the reign of the Chermin Kingdom, causing the influence of
Nik Rashidee Nik Hussein on 15th Islam to enter and complemented the architectural philosophy of
September 2021
Melayu Kelantan.
However, owing to a variety of factors, the building's function has CHAPTER 4.0: SPATIAL ORGANIZATION
undergone significant alterations in order to meet the Sultan's needs
at the time. It is currently a two-story brick structure with a mix of
4.1 Spatial hierarchy and circulation
native Kelantanese and European architecture. It is an issue that has
Organization of space is fundamental to create better composition
to be explored, whether it was originally influenced by Europeans or
within spaces of the building. It is necessary in order to bring
altered as a result of European colonisation.
together different forms and shapes to provide cohesive structure to
the design. Spaces in Istana Jahar are organized into their own
Inside this palace, the fusion in design can be seen in the roof
special patterns so each of the spaces can be related to one another
shapes, wall panels, and other decorations, all of which obviously
in a specific way. Spatial hierarchy that can be observed in Istana
belong to Kelantanese architecture. Wrought iron spiral staircases,
Jahar is a grid organization.
iron balustrades, and a semi-octagonal porch, on the other hand,
reflect the foreign influence, notably Georgian architecture, on
A grid organization consists of a 3-dimensional composition of
Istana Jahar's architecture. The Kelantan Royal Tradition and
linear reference points. Usually, they are perpendicular from one
Customs Museum is the present role of Istana Jahar. Because this
another, though they need not be. The continuity and regularity
palace served as the residential palace for at least two Kelantan
created by the grid gives the composition a strong sense of stability
Sultans, it must include some amenities and services for them to
and organization. It helps unite forms of dissimilar shape and scale.
carry out their daily routines and activities. It is indeed conceivable,
Functionally and visually, it helps regulate the orientation of the
though, that these types of service spaces were removed when the
composition.
palace was converted into a museum.
The circulation of Istana Jahar shows the sequence of which the is also used to display various types of women's personal adornment
architect wants the user to experience. The following sub such as anklets, necklaces, figures, brooches and others.
components will further elaborate on the circulation intended by the
owner for Balai Tarik, Ruang Peraduan and Anjung at the first floor.
4.2 function of spaces (spatial program and experience)
Front hall (Balai Penghadapan)

The throne is described as a seat for a king or ruler of a country with
a king or sultan, particularly in the Malay society. The throne will be
kept in a designated area of the palace, such as the main hall, and
will only be used for particular rituals. A throne is an essential
symbol of magnificence that represents the ruling king's or sultan's
majesty and authority.
Figure 4.2.1: Front hall of Istana Jahar located at
ground floor of Istana Jahar
This space is used for formal events such as weddings, thanksgiving,
venues, artistic performances such as dance and singing as
4.3 Spatial comparison
entertainment.
4.3.1 Changes in exterior functions
Now this central space is used as the main space to showcase the Istana Jahar is an important heritage site found in the State of
Royal Bridal Wedding Ceremony. Apart from that, this central space Kelantan. It was a palace used during the reign of Sultan
Muhammad II in 1837-1886. The purpose of its construction was
bestowed on his grandchildren. This palace is located in Kota Kota these symptoms. Among them are bean suckers, daia flowers, tikam
Bharu and now uses the Kelantan State Royal Museum. This flowers, dumpling flowers, and others
museum displays the history of the Sultanate of Kelantan from the
beginning to the reign of the current Sultan of Kelantan. The
exhibition space in the Museum building is divided into several 4.3.2 Changes in interior functions
sections such as weapons equipment, traditional clothing, and other Several renovations have been made to this day. The renovation
matters related to the sultanate. The time when the Museum of the started before Raja Ismail settled in the palace (1908). For Balai
original design of this building is still preserved. The unique Penghadapan, There were no major changes to the Istana Raja
architecture with beautiful carvings has further enhanced the palace Bendahara during the reign of Sultan Mansor (1890-1899).
buildings created by the museum. Istana Jahar uses wood. Among However, during the Sultan Muhammad IV (1900-1920), some parts
the motifs and decorative patterns found in this Jahar palace while of the palace was renovated. One of the parts that were renovated
being inspired by nature using flora and fauna. These motifs will be was the ‘Balai Penghadapan’
arranged and shaped to show compatibility and harmony with each
other. Everything else (function, form, and motif) is woven, The ‘Balai Penghadapan’ was renovated due to the previous design
combined, and applied into the sculpture in the Istana Jahar building having showcased influences from other foreign states. For
to show the uniqueness and beauty of the architecture and the example, the walls were made of bricks that are from the south of
building itself. because it is part of the symbol of the majesty and Siam (Thailand). Meanwhile, the pillars were made of reinforced
sovereignty of its owner. A large number of decorations in Istana iron and wrapped in concrete, round cuttings. The use of these
Jahar started with the concept of creating a 'cloud larat'. Arabesque modern materials is believed to have been influenced by western
pattern starting from a place and destitute (creep) by the philosophy states.
of the famous French artists such as fin pattern dragon, duck, torch,
torch and also gejala.Terdapat various motifs are used in the form of
Because of that, some parts of the ‘Balai Penghadapan’ were

Bilik Bendahari Puri Pertunangan
changed. The front of ‘Balai Penghadapan’ is a decorated wall plank
Kitchen Ruang Pameran
with oval-shaped glass openings. In addition to that, the kitchen,
Ruang Istiadat Ruang Persandigan
room and garages were also added to other individual units of the
palace especially on the west and north side.
When Sultan Ismail (1920-1944) ruled Kelantan, “anjung” or

“Peranjungan Istana” was added to cover front Balai Penghadapan.
The addition functions as a shelter device for the Sultan to witness
important events.
For the kitchen, During the reign of Sultan Muhammad III, the front
part of the kitchen house was fixed. The repair was tasked to Encik
Muhammad Salleh, also known as Datuk Kaya Bakti. After Datuk
Kaya Bakti passed away, the repairing tasks were continued by his
disciple, Encik Sulaiman. Figure: 4.3.2 Ruang Istiadat change to Ruang persandingan.
On the second floor, every room has changed become display area
Comparison Interior Function such as room showing “Istiadat Belah mulut”, “Istiadat Beranak”,
“Istiadat melenggang perut”, “Istiadat bersiram”, “Istiadat
Old Function New Function
berkhatan” and “Istiadat Pijah Tanah”.
Balai Penghadapan Ruang Pameran
Balai Lintang and Balai Tarik Ruang Pameran

Every display area has a material for the space and explanation in
Bahasa Malaysia and English to give explanation about the display. When it is finished, other pious people are welcome to do the same
until they persuade people to take blessings or in conjunction with
ascension”
CHAPTER 5.0: BUILDING MATERIALS AND
CONSTRUCTION
5.1 Building materials
5.1.1 Structural
CENGAL TIMBER
 The Cengal timber is classified as a heavy hardwood. The
Figure 4.3.3: Explanation about display
Cengal timber has been well known for its ability to sustain

heavy load, its resistance towards powder-post beeties,
For example, “Istiadat Belah Mulut” is when “Prince or princess is
termite attack and fungal infestion ( Ismail Said, 2001 )
located under the yellow fabric, then the mufti or any prominent
which will contribute to a higher percentage of safety for
pious person among them who is in the mosque performs the
consumers.
ceremony of "belah mulut" by reciting "Bismillahirrahmanirrahim".
The Mufti or the pious people will pray with a short prayer and miss
all kinds of mouth-watering items that have been prepared. That is
the mouth of the Prince or the princess. It begins with a ring of gold
or salt and ends with zamzam water.
the interior walls of Istana Jahar

Ground floor
GLASS
CONCRETE
 Glass is made by melting together several minerals at very
 Cement like water , aggregates and sometimes admixtures
high temperatures. Silica in the form of sand is the main
are one of the ingredients of concrete. The mixing of these
ingredient and this is combined with soda ash and limestone
materials in specified proportions produce concrete.
and melts in a furnace at temperatures used for the top of the
 It is customizable , tactile , organic , dynamic , durable,
doors, windows .
green, earthy and permanent has mass, can be formed into
any shape can be polished and textured can be stained.
window
Istana Jahar ground level flooring material is marble tiles. Marble

5.1.2 Finishing offers a feeling of spaciousness and also makes Balai Tarik or
5.1.2.1 Flooring Ruang Tengah appear brighter. It is also known for its purity and it
The floorings in Istana Jahar are timber flooring, marble has built up a reputation for durability over hundreds of years now.
tiles, cement screed and interlocking pavement brick. While synthetic flooring options also offer excellent durability,
many people choose marble because it is completely natural.
Interior:
Exterior:
Timber flooring
Istana Jahar first level flooring material is timber planks that are
nailed on timber joist supports. The joists act as the load bearing
Cement screed
members and are exposed underneath as the ceiling of the ground
Cement screed is made of cement, sand and water mixtures. They
floor. The weight of timber plank flooring is lighter than concrete
are laid at the ground around Istana Jahar and Balai Senjata. It is a
flooring but has poorer acoustic proofing as noise of walking can be
durable and non-absorbent material therefore it is suitable to be used
heard at ground level.
as flooring for the open area connected between the entrance of
Balai Senjata and the public restroom which is exposed to rainwater.
Marble tiles
It also gives a smooth finishing surface that requires only low Many of the wooden components such as windows and doors are
maintenance. finished in wood stain. Wood stain allows the natural grain textures
on the wooden surface to be visible after the application. Besides,
Interlocking pavement brick with the application of wood stain, the wooden components are
The interlocking pavers are made of brick and used for exterior protected from moisture, sunlight and termites, mold that can cause
pavements applications. Pavers require low maintenance as rot and degradation.
compared to the plain concrete or asphalt pavement. The pavers are
more environmentally-friendly as compared to the solid lain surface. Wood Varnished
Solid surface causes water and chemical runoff that may pollute Wood varnished is also used to paint varnished components in the
natural water sources. It will also prevent rainwater from gathering building. A varnish finish provides the floor with a very real
or flooding, allowing a better drainage system on the driveway. protective shield that makes the floor waterproof and highly resistant
to wear and tear. It is therefore a very practical solution that requires
5.1.2.2 paint & colours little maintenance and can be treated much like flooring made with
Paints and colours are used to enhance the aesthetic and durability of other materials.
the building components. The significant colouring substances used
in the shophouses are limewash method, wood stain, wood paint and Gilding Metallic Paint
gilding metallic paint. Metallic paints are applied on the carvings and ornaments to give a
metallic finish to enhance the aesthetics. Figure shows the metallic
Limewash paint on the door carving and panca persada stairs.
The walls of Istana Jahar are presumed to be limewash finishing.
Wood Stain
Beams were placed between rafters to support the timber batten and
“singgora tiles”.
Balai Penghadapan consists of a variety of roof types. “Singgora

tiles”were used for the porch of the hall to form a flat roof in the
middle of the porch, concrete covered every ridges.The “singgora
tiles” are ornaments that were influenced from Malay architectural
features. At the end of the roof, “Ekor Itik” and “Sisik Naga” were
installed on the ridge of Istana Jahar roof. These two ornaments
show cultural influence from Kelantan and Siam architectural
elements.
5.2 Building construction
5.2.1 Roof system
Because the roof has 2 layers, it shows sloping to differentiate the
upper and lower floor. Supported by beams, roof frames between
Timber roof systems were mainly used for Istana Jahar roof
first floor and second floor were laid on the floor deck. Beams were
constructions. The Istana Jahar and Balai Senjata used King Post
placed in the middle of the roof rafters.
Roof Trusses as their roof structure. The mortise and tenon
technique is used to attach pieces of wood in structural connections.
Ridgeboard, “tunjuk langit,” and fascia board were all connected
together. To install "singgora tiles," timber battens were placed on
rafters, and purlins were inserted between the battens and rafters.
5.2.2 Wall system

Parts of the walls feature decorative carved panels in solid relief
known as Janda Berhias, a method popular on the East Coast of
Peninsular Malaysia. Decorative wall panel (Janda Berhias) inside
Istana Jahar (BalaiTarik) is a type of wall that is widely used by the
The Image shows “Singgora tiles”.
aristocracy and the wealthy. Dinding janda berhias is a wall panel,
usually made with wooden material. These walls are usually found
Roof structure:
in the houses of high social status in ancient Malay.
Janda Berhias wall

decorative pattern can also be adapted in contemporary homes.
However, when adapting the design pattern, the ratio must be
maintained to ensure the aesthetic is maintained and sustained.
Istana Jahar:
Figure 5.2.2.1: this is the wall outside the Istana Jahar 5.2.3 Floor system
The foundation is an important element of the building's framework

since it supports the structure's load and allows it to move to the
Figure 5.2.2.2: the interior walls of Istana Jahar ground. The difference between a foundation and a pillar is that the
foundation is rolled into the earth (substructure), whilst the pillar is
Balai Senjata: at the surface (superstructure).
Original part:
The floor is made up of panels that are nailed to the joists. Beams
are used to support these joists. These floorboards are connected
between one piece to another using a dowel.
Balai Penghadapan:
The top floor of this hall is built in the same way as the original
Figure 5.2.2.3: on the left side if the interior wall meanwhile on the
part's floor. For the ground floor used marble pieces that were put on
right side is the exterior wall of Balai Senjata
top of the concrete floor.
Istana Jahar: CHAPTER 6.0: SUSTAINABILITY AND CONSERVATION
6.1 Site and building orientations

Istana Jahar is located at the front of Istana Balai Besar. In the Istana
Jahar area, many green landscapes have been added after it became a
Figure 5.2.3.1: Marble tiles at the ground floor. museum. This green landscape makes the area make the temperature
around Istana become more comfortable to visitors since Istana
Jahar is also near to the main road and the vehicle using the main
road can temperature become high thus cannot make visitors or
users feel comfortable at the area. Building Orientation of Istana
Figure 5.2.3.2: Floorboard panels at the first floor. Jahar is quite strategic because the main entrance to enter Istana is
facing the south axis.
Balai Senjata:
6.2 Passive design
‘Jejala’ as the air vent to allow cross ventilation in order to provide
and achieve thermal comfort inside the building as concept as Malay
vernacular architecture. Opening are designed in every axis in order
Figure 5.2.3.3: these pictures shows the materials used for Balai to receive the sufficient daylight for every space.
Senjata
Majority materials of the building are used timber wall, timber

construction, ‘Singgora roof tile’, marble floor and timber floor as
the main materials of the building in order to reduce the heat gain of
Building component Defect and maintenance
building inside.
Wall Peeling Paint:
It is caused by moisture on the
6.3 Building defect, improvement and maintenance wall, direct painting over dirty
walls and poor surface painting
Building defect is defined as aging of building, design flaws, system or treatment.
construction faulty, material defect, workmanship defect or side
Maintenance:
effects from natural disasters that may impact on both exterior and -make workspace ready
interior in the building which leads to the reduction of a building's -problem areas should be
removed
life span. Building defects may cause aesthetic issues but also will -make any repairs that are
Figure: Part of the paint peeling off required.
bring impacts on the safety of the users. However, there are various the exterior wall of Istana Jahar -create a smooth surface
defects that can be found and detected from Istana Jahar such as -walls ready to be painted
peeling paint, efflorescence, mould growth, decay and crack of
timber structure, broken and missing roof tiles, and steel corrosion. Efflorescence:
Wall It is caused when water is
present in or on brick or
concrete building surfaces,
efflorescence forms as a
crystalline layer of salts. It has a
greyish colour and is made up
of salt deposits left behind after
Fig
water evaporation.
ure: Efflorescence in the interior
wall of Istana Jahar
Maintenance:
Condensation within a wall,
leaking pipes and defective
drains are some of the most
frequent water sources that can It is caused by various defects

cause efflorescence. An such as a biological attack
investigation may be necessary within the wood by certain
to identify all probable causes fungus species, construction
of condensation in a home or faulty, material defects, or
office before any work needs to workmanship defects.
be carried out.
Maintenance:
Mould growth: Completely replacing timbers

Moisture condenses (dampness) with new timber or, when
and produces water droplets
suitable and tastefully utilised,
when it comes into contact with materials like steel or reinforced
cold surfaces such as walls, concrete can also be used to
mirrors, wall tiles, and restore buildings. Secondary
windows. When it's warm, wet constructions and in-fills, such
air rises and commonly ends up Figure: Crack on the timber construction of
Balai Senjata as brick panels, or packing-up
on the ceiling or roof (on beneath partially rotted timbers,
Singgora roof tile surface) and may also be used to lessen
causes mould growth. loads.
Roof
Maintenance: Roof Broken and missing roof
Keeping a roof mold-free tiles
requires general care and It is caused by improper roof
regular washing to remove installation and strong wind, it
leaves, twigs, and other organic is because strong wind can
debris. create wind uplift pressure on
Figure: Mould growth on the
Singgora roof tile surface of Balai the roof, which can cause tiles
Senjata to loosen, exposing structure
and damaging the property and
Structure Decay and crack of leak in the roof.
timber structure
Figure: Broken and missing roof tiles on

Istana Jahar
CONCLUSION
Staircase Steel corrosion
It is caused by moisture and Cultural heritage locations, historic cities or towns, cultural
peeling paint on the surface of landscapes, natural sacred places, mobile cultural heritage,
the steel spiral staircase.
museums, underwater cultural heritage, handicrafts, documentary
Maintenance: and digital heritage, and cinematographic heritage are all examples
Applying protective coatings
such as rust-resistant paint or of tangible cultural legacy. In Kota Bharu, Kelantan, Malaysia, the
solutions to steel sections and Istana Jahar was a royal palace. Sultan Muhammad II of Kelantan
parts is a useful preventative
step that can assist to protect erected Istana Jahar for his grandson Long Kundur in 1855. As a
steel sections and components result, this legacy structure may be classed as tangible cultural
against rust. These solutions
assist to give an extra layer of heritage, and it is critical to conserve it since heritage refers to the
protection against rust-causing past, which should be preserved for the present and future.
factors, extending the life of
Figure: Rusting steel spiral staircase in steel components and sections.
Istana Jahar
Considering this is one of the historic buildings that has stood
proudly for over two decades, it is unavoidable that there are several
flaws and damages. As a result, during the activity of conserving

and maintaining the heritage value elements, the basic concept of After all, this historic structure is significant in terms of our history
building conservation should be addressed. The preservation of the and historical worth. As a result, proper maintenance is
building should not only focus on the physical element of it, but also recommended to avoid construction component failure. It is critical
on the structure's spirit. The most important ethical concept to to evaluate each flaw and failure in each building and determine the
remember is to keep the building's main form. This includes the use root causes of each defect and failure. After that, make the necessary
of building construction materials, even if certain modifications to corrections. The variables that contribute to these problems must be
the building thoroughly studied. Once the probable causes of flaws and failures
have been discovered, it is critical to determine ways to avoid them
in the future and minimise their impact.
structure have been made, because the addition of the structure is We learned about the relevance of historical value and the
regarded as one of the efforts to extend the building's lifespan. distinctive worth of heritage architectural principles and building
Other fundamental techniques of conserving the building include methods in this course, SGA 2392 Architectural Heritage Study
building flaw analysis, which is one of the most essential steps to (Measured Drawing). Apart from that, we were able to work
consider in order to assure the effectiveness of the maintenance and together and conduct hands-on measurements, conduct interviews
conservation strategy used to safeguard historic structures. To with the Istana Jahar's workers and caretakers to extract more
ensure a continual effort to conserve and maintain these structures, information about our building, translate measured data from our
the proper methods of building condition investigation, building fieldwork into scaled drawings, and explain and classify information
assessment, and building defect identification and analysis are based on our research.
required. These heritage structures can be effectively maintained and
safeguarded if extensive building surveys, inspections, appraisals, To summarise, the entire experience of making this calculated
and investigations are conducted on a regular basis. drawing is exhausting yet unforgettable and valuable. In summary,
we hope that many other historical buildings will be recorded in the

same way as Istana Jahar was, in order to preserve this historical
structure, which not only benefits the city and community in which
it stands, but is also a precious irreplaceable treasure of national
significance.
REFERENCES
Chan Yi Qin. (2016). Measured Drawings Report by Chan Yi Qin -

issuu (p. 202). issuu.
https://issuu.com/chanyiqin/docs/measured_drawings_report
Kelvin Chong. (2017). Measured drawings report by Kelvin Chong -

issuu (p. 159). issuu.
https://issuu.com/kelvinchongdesign/docs/report_final_ommd_small
-compressed
Nik Din, N. A. A., Rashid, M., & Salleh, N. H. (2014). The

architecture of Istana Jahar: apprehend the parameters of historical
changes. 725–734. https://doi.org/10.14575/gl/rehab2014/073
Mohd Nasir, M. R. (2011). A study of the Kelantan Malay cultural

landscape: Recent trends and future prospect. December, 187.
https://etheses.whiterose.ac.uk/14661/1/574566.pdf
Rizqa, H. (2020). Istana Jahar, Akulturasi Budaya Melayu Kelantan. Architecture As Lingua Franca, June 22 & 23, 2005, Trisakti
https://www.republika.id/posts/11157/istana-jahar-akulturasi- University, Jakarta, Indonesia
budaya-melayu-kelantan
Data Asas Kelantan Darul Naim 2015/2016, Unit Perancang
Ekonomi Pejabat Setiausaha Kerajaan Negeri Kelantan
Perbadanan Muzium Negeri Kelantan - Muzium Adat Istiadat. Perjanjian Inggeris Siam 1909, 18 November 2014, Nota Sejarah
(n.d.).https://muzium.kelantan.gov.my/index.php/ms/muzium3/muzi
um-adat-istiadat-istana-jahar Moens, I., & De Touche, R. (1940). SRĪVIJAYA, YĀVA EN
KATĀHA. Journal of the Malayan Branch of the Royal Asiatic
Historical, D. (2014). Heritage Design Paradigm and Cultural Society, 17(2 (134)), 1-108. Retrieved July 9, 2021, from
Authenticity Sustainable tradition : Root or Route ? 1–15. http://www.jstor.org/stable/41559943
http://www.pam.org.my/images/notes/2014/pammizanur_opt.pdf
Persatuan Pencinta Sejarah Negeri Kelantan, Laut Champa : Satu
Shuaib, A. A., & Enoch, O. F. (2013). Enhancing contemporary Nama Yang Dilupakan, http://pp-sk.blogspot.com/2016/03/laut-
home furniture with Malay tangible cultural heritage. Creative champa-satu-nama-sengaja-dilupakan.html, 27 Mac 2017.
Technology Entrepreneur Conference, 1–11.
http://umkeprints.umk.edu.my/1729/1/furniture.pdf Persatuan Pencinta Sejarah Kelantan, Chermin Kerajaan Tua Yang
Dilupakan, http://pp-sk.blogspot.com/2016/03/chermin-kerajaan-
Siti Norlihaiza Harun, Pemuliharaan Bangunan Warisan, DBP, 2020 tua-yangtelah.html, 12 Mac 2016.
Abdul Razak Mahmud, Bahrain Ilias, 2019, Pelajaran Tata Rakyat
Siti Aisyah, M., Nur Athmar, H., & Tengku Fauzan, T. A. (2020). Negeri Kelantan (I), Majlis Agama Islam dan Adat Istiadat Melayu
An Analysis Of The Suitability Of Adapting Istana Jahar To Be A Kelantan.
Royal Museum Using Green Building Index Tools (Vol. 29, Issue 9,
pp. 1701–1713). Persatuan Pencinta Sejarah Kelantan, Makna Bendera dan Jata
https://www.researchgate.net/publication/341343224_An_Analysis_ Negeri Kelantan, 15 June 2015, http://pp-
Of_The_Suitability_Of_Adapting_Istana_Jahar_To_Be_A_Royal_ sk.blogspot.com/2015/06/makna-bendera-danjata-negeri-
Museum_Using_Green_Building_Index_Tools kelantan.html,
NA Yusuff, 2018, Loghat Kelantan Pemangkin Jati Diri Kelantan,

Siti Norlizaiha, H. (2005). The Conservation Of Heritage Buildings http://umkeprints.umk.edu.my
In Malay Early Towns: Cultural City Of Kota Bharu, Kelantan,
Malaysia. Paper presented at International Seminar on Malay
Hashim Abdullah (et.al.) (1998), Perspektif Islam di Malaysia,

Kuala Lumpur: Jabatan Pengajian Media Universiti Malaya & Hizbi
Sdn.Bhd., h. 4.
Haji Abdul Halim Basha, Raja Campa dan Dinasti Jembal dalam
Patani Besar Patani, Kelantan dan Terengganu. (Pustaka Reka,
Kelantan 1994) hal 46-48
Russell, R. (2016). Structural Timber Repairs (pp. 3–5).

http://www.buildingconservation.com/articles/structural-timber-
repairs/structural-timber-repairs.htm APPENDICES
What is Efflorescence_ _ How to Prevent it and Remove it _

Nitterhouse Masonry. (2019).
https://www.nitterhousemasonry.com/tips-advice/what-is-
efflorescence/
Regan Steel Blog. (n.d.). How to Repair Damaged or Corroded

Steel. In Regan Steel Blog. https://reganindustrial.com/blog/repair-
damaged-corroded-steel/
Roberson, K., & Bennett, J. (2020). How to Fix Peeling Paint and
Prevent Walls from Chipping Again | Better Homes & Gardens. In
Better Homes & Gardens.
https://www.bhg.com/decorating/paint/how-tos/how-to-fix-peeling-
paint/
Key Plan, Location Plan,Site Plan

Floor Structure Plan
Ground Floor Plan First Floor Plan

Roof Structure Plan Roof Plan

Section A-A Front Elevation

Section B-B Right Elevation
Rear Elevation Window Schedule

Left Elevation Door Schedule
Wall Detail of Istana Jahar Wall Detail of Istana Jahar

Staircase Detail of Istana Jahar Roof and Trusses Details of Istana Jahar
Ornamentations Detail Schedule Istana Jahar Ornamentations Details Schedule Istana Jahar
Internal Elevation View 1 and 2 Internal Elevation view 3 and 4

Floor Structure Plan of Balai Senjata Ground Floor Plan of Balai Senjata
First Floor Plan of Balai Senjata Roof Structure Plan of Balai Senjata
Section C-C
Roof Plan of Balai Senjata
Section B-B
Front Elevation Rear Elevation

Right Elevation Left Elevation
Door and window detail of Balai Senjata Wall detail of Balai Senjata
Staircase detail of Balai Senjata

Roof structure and trusses of Balai Senjata
Ornamentation detail schedule of Balai Senjata Internal elevation of Balai Senjata

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FACULTY OF ARCHITECTURE AND EKISTIC

SGA 2393 – ARCHITECTURE HERITAGE STUDY I (MEASURED DRAWING)

UNIVERSITI MALAYSIA KELANTAN

DEPARTMENT OF ARCHITECTURE, FACULTY OF ARCHITECTURE AND EKISTICS

Measured drawing report submitted by INDERA MEASURED DRAWING TEAM consists of

ACKNOWLEDGEMENT Mohamad for spending time with us in Istana Jahar, providing us

We would like to thank our lecturers; Ar Azli Abdullah, En. Mhd

All the information and data collected throughout these measured

1.9. Scope and Limitations

LIST OF FIGURES 2.1.4 Local Cultural and Heritage

CHAPTER 5.0: BUILDING MATERIALS AND

 Floor structure plan of Balai Senjata

REFERENCES  Roof structure plan of Balai Senjata

1.7 Background of study

1.4 Equipments Used

Figure 1.4: Drone

1.5 Methods of research 2.2.3 Timeline of kota bharu

2.2.7 Cultural and architectural influences 4.3 Spatial comparison

CHAPTER 4.0: SPATIAL ORGANIZATION

Students have to write a report through on the chosen building

1.2 Group structure and organization

Since this measured drawing was carried out during COVID-19

Figure 1.2.2: Team member

One of the project's major goals is to accurately document the Istana

Figure 1.4.3: Laser measure

Laser measures are a highly efficient way of measuring distances on

Drones function for purposes, such as recreational, photographic,

Figure 1.4.4: 5.0m measuring tape

The ribbon size mark represents a fraction of an inches facilitate the

palace came to be was also revealed in the interview which gives a

Figure 1.6.3: interview session with En Sabki bin Ibrahim

1.6 Literature view 1.7 Background of study

CHAPTER 2.0: HISTORICAL BACKGROUND

INTRODUCTION TO KELANTAN DARUL NAIM

This chapter will provide background information about Kelantan

In 1916, mufti of Kelantan state, Sahib al-Samahah Haji Wan

diplomatic contacts with the Chinese government and, as a result,

closely and directly related to the state of Kelantan. The alliance

4. Long Jenal @ Long Zainal bin • Was previously known

Ahmad): 1886-1890. • Raja Kelantan (1868- and changed title

He was also known as Sultan 1886). name to Sultan Muhammad ke-

Tengah or Marhum Tengah. IV from 1911 until 1920.

@ Long Sulung (Sultan 1886) @ Sultan ke-IV (Sultan (1900-1911)

Muhammad III): • Raja Kelantan (1886- Ismail):1920-1944. • Raja Kelantan (1911-

1890-1891. 1890). 1920)

@ Long Sulung: 1891-1900. 1886) 1960. 1944)

Ruled with the name Raja • Raja Muda (1886-1890).

12. Tengku Yahya Petra Ibn al- • Tengku Temenggong

13. Tengku Ismail Petra Ibni al- • Tengku Mahkota

Post Independence (1957-Present)

Early development period (1777-1909)

Sultan Muhammad II erected a new palace at Sabak in 1844 to

2.2.2 Kota Bharu as an Islamic City

In 2005, the state government of Kelantan designated Kota Bharu as

including Istana Jahar, Istana Balai Besar, Masjid Muhammadi, God.

iii. A social relationship among the community.

Following those landscape planning, the design principles of the

1903 The city and new palace developed as the centre of

‘Perjanjian Inggeris Siam’ and Bandar Kota Bharu grew

1941 Kota Bharu is a landmark landing site of the Japanese

1991 25th July 1991, DYMM Al Sultan Kelantan announced

2005 1st October 2005, Kota Bharu was declared as an Islamic

Table 2.2.3.1: Timeline of Kota Bharu