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MASJID DIRAJA SULTAN
SULEIMAN KLANG
Masjid
DiRaja
Sultan
Suleiman telah
dibina
pada
tahun
1932,
sempena
pengisytiharan
Klang
sebagai
pusat
pentadbiran
negeri
Selangor.
Ia
adalah
satu
pemberian
dari
kerajaan
British
kepada
Sultan
Sir
Alaeddin
Sulaiman
Shah,
Sultan
Selangor
yang
ke
5.
Perasmian
masjid
ini
telah
di
sempurnakan
oleh
baginda
sultan
pada
tahun
1934
dan
dikenali
dengan
nama
Masjid
Suleiman
Jamiur
Rahmah.
Masjid
ini
pernah
dijadikan
masjid
negeri
Selangor
sehinggalah
terbinanya
Masjid
Sultan
Salahuddin
Abdul
Aziz
Shah
di
Shah
Alam.
Sekarang
ia
dimasyhorkan
sebagai
Masjid
Diraja
Klang.
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Masjid
Sultan
Suleiman.
Masjid
ini
terletak
di
Kampung
Jawa,
Klang,
berdekatan
dengan
Bukit
Istana
&
Hospital
Tengku
Ampuan
Rahimah.
Makam
Diraja
Klang
turut
ditempatkan
bersebelahan
dengan
masjid
ini.
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About
Sultan Sulaiman Royal Mosque |
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Sultan
Sulaiman
Royal
Mosque
is
Selangor's
royal
mosque,
which
is
located
in
Klang,
Selangor,
Malaysia.
It
was
constructed
by
the
British
in
the
early
1930s
and
was
officially
opened
in
1932
by
the
late
Almarhum
Sultan
Sir
Alaeddin
Sulaiman
Shah
of
Selangor
and
the
British's
Federated
Malay
States
High
Commissioner
Sir
Lawrence
Nuuns
Guillemard.The
mosque's
architecture
is a
combination
of
Western
Art
Deco
and
Neoclassical
styles.
Its
interesting
features
include
the
Tangga
Diraja
(royal
stairs)
from
Istana
Alam
Shah
and
a
royal
mausoleum.
The
late
Sultan
Salahuddin
was
buried
in
the
mosque's
grounds. |
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Senibina Masjid
Sultan Suleiman
Konsep rekabentuk
Masjid Sultan
Suleiman di Bandar
DiRaja Klang agak
berlainan dari
mana-mana masjid
yang ada di negeri
Selangor mahupun di
Malaysia. Daripada
hasil bacaan
buku-buku sejarah
Malaysia, ada yang
mengatakan Masjid
Sultan Suleiman
mempunyai pengaruh
campuran
senibina Islam
Moorish dan
senibina Inggeris.
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Ada pula yang
mengatakan Masjid
Sultan Suleiman
berkonsepkan
Art Deco
kerana elemen
dekoratif yang
minima digunapakai
di sini. Penggunaan
geometri yang mudah
pada pelan masjid
juga menjurus kepada
Art Deco.
Masih terdapat
unsur-unsur klasikal
terutama pada tiang,
namun ianya agak
minimal. Kubah
masjid berbentuk
separuh bulatan (separa
hemisfera) berwarna
kuning telur (tidak
keemasan). Kubah
besar ruang solat
utama dikelilingi
oleh beberapa kubah
yang lebih kecil.
Terdapat 8 menara
kecil disekeliling
masjid dan satu
menara besar lagi
tinggi dibahagian
tengah laluan masuk
dari anjung utama.
Menara ini juga
dihiasi dengan kubah
kuning di puncaknya.
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Arkitek yang
merekabentuk masjid
ini ialah L.Keste
Vend. Masjid ini
boleh menampung
lebihkurang 1000
jemaah dalam satu
masa. |
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Lihat senibina
bangunan di sebelah (Kansas
City Power and Light Building di USA)
yang dibina pada
tahun 1931, mempunyai persamaan senibina -
Art Deco
- dengan menara
Masjid Sultan Suleiman yang dibina pada tahun
yang sama. |
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Masjid Sultan
Suleiman yang ada
sekarang ini
telahpun melalui
beberapa proses
pengubahsuaian
dalaman dan di
kawasan `courtyard'
bangunan asal.
Rekabentuk asalnya
bagaikan sebuah
palang seperti yang
selalu digunapakai
dalam pelan
gereja-gereja di
Eropah. Namun
sekarang bentuk
Masjid Sultan
Suleiman sudah
kelihatan seperti
segi empat.
Ruang solat utama
Masjid Sultan
Suleiman berbentuk
oktagon (segi lapan)
di bahagian bawah
dan mula bertukar ke
bentuk bulat pada
aras 10 meter.
Sebelah dalam kubah
utama boleh dinaiki
kerana ianya
mempunyai dua aras
seperti balkoni.
Aras keduanya boleh
diakses dengan `catladder'.
Ada satu lapisan
kerangka besi
dekoratif dibawah
kubah digunakan
untuk menyokong `gelas
warna' yang disusun
ber`pattern'. Gambar
di bawah menunjukkan
bahagian kubah dari
pandangan dalam
ruang solat Masjid
Sultan Suleiman.
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Dongak ke atas dan anda
dapat dilihat dengan jelas kaca-kaca gelas
berwarna-warni di puncak kubah utama. Adanya
gelas-gelas kaca ini memberikan sinar ke dalam ruang
dalaman masjid. Apabila cahaya matahari menembusi kubah
terutamanya ketika waktu tengahari, kilauan warna-warni
akan terpancar di atas lantai ruang solat. Ianya memberi
satu impak yang amat menarik.
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Serambi
asal Masjid Sultan
Suleiman juga
berbentuk oktagon.
Dari ruang solat
utama ianya
dicabangkan ke empat
arah - mihrab,
anjung masuk sisi
kanan, anjung masuk
utama dan ke tempat
wuduk di sisi kiri,
berdekatan dengan
Makam Diraja.
Tempat wuduk nya
adalah yang asal,
tetapi kolah wuduk
telahpun diubahsuai.
Kolah yang asal
berada pada aras
tanah. Kolah
sekarang telah
dinaikkan keparas
600mm dan disediakan
pili air.
Pintu pagar besi
dekoratif di setiap
laluan masuk
ber`arch' adalah
yang asal.
.
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Lantai asal Masjid
Sultan Suleiman
disudahi dengan
marmar putih dengan
kambi (skirting)
marmar setinggi
400mm. Sayang sekali
ianya telah ditutupi
dengan jubin baru
Mihrab Masjid Sultan
Suleiman telah
diubahsuai. Mihrab
asal berlantaikan
marmar dan mempunyai
pancaran cahaya
lampu dari lantai
tersebut. Sekarang
ini, seperti semua
masjid-masjid di
Malaysia, ruang
solat utama Masjid
Sultan Suleiman
sehingga ke mihrab
disudahi dengan
permaidani. Dinding
mihrab disaluti
dengan plaster
gypsum dekoratif .
Mimbar kayu keras
dengan susur tembaga
asli dekoratif
adalah yang asal. |
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Rekabentuk
dalaman Masjid
Sultan Suleiman.
Gelas-gelas berwarna
yang terdapat di
bahagian atas
dinding ruang solat
utama adalah yang
asal. Ini adalah
ciri-ciri rekabentuk
gereja-gereja Eropah.
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Masjid ini mempunyai
kawasan lapang yang
luas & disediakan
rumah
petugas-petugas
masjid serta wakaf.
Untuk menlihat lebih
banyak koleksi
gambar Masjid Sultan
Suleiman di bandar
di raja Klang ini,
sila layari
Ku
Nadzri Fotopages. |
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Art
Deco
Architecture
The
History
of
Art
Deco
Art
Deco
was
a
popular
international
design
movement
from
1925
until
1939,
affecting
the
decorative
arts
such
as
architecture,
interior
design,
and
industrial
design,
as
well
as
the
visual
arts
such
as
fashion,
painting,
the
graphic
arts
and
film.
This
movement
was,
in a
sense,
an
amalgam
of
many
different
styles
and
movements
of
the
early
20th
century,
including
Neoclassical,
Constructivism,
Cubism,
Modernism,
Bauhaus,
Art
Nouveau,
and
Futurism.
Its
popularity
peaked
in
Europe
during
the
Roaring
Twenties[1]
and
continued
strongly
in
the
United
States
through
the
1930s.[2]
Although
many
design
movements
have
political
or
philosophical
roots
or
intentions,
Art
Deco
was
purely
decorative.
At
the
time,
this
style
was
seen
as
elegant,
functional,
and
modern.
The
structure
of
Art
Deco
is
based
on
mathematical
geometric
shapes.
It
was
widely
considered
to
be
an
eclectic
form
of
elegant
and
stylish
modernism,
being
influenced
by a
variety
of
sources.
Among
them
were
the
so-called
"primitive"
arts
of
Africa,
Ancient
Egypt[5],
and
Aztec
Mexico,
as
well
as
machine-age[6]
or
streamline
technology
such
as
modern
aviation,
electric
lighting,
the
radio,
the
ocean
liner
and
the
skyscraper.
It
is
in
Streamline
Moderne
styles
that
this
technology
fully
manifests
itself
and,
although
it
is
not
antithetical
to
Art
Deco,
it
is
now
considered
to
be a
separate
architectural
style.[7]
Art
Deco
design
influences
were
expressed
in
fractionated,
crystalline,
faceted
forms
of
decorative
Cubism
and
Futurism,
in
Fauvism's
palette.[8]
Other
popular
themes
in
Art
Deco
were
trapezoidal,
zigzagged,
geometric,
and
jumbled
shapes,
which
can
be
seen
in
many
early
pieces.
Two
great
examples
of
these
themes
and
styles
are
in
Detroit,
Michigan:
the
Fisher
Building
and
the
Guardian
Building.[9]
Corresponding
to
these
influences,
Art
Deco
is
characterized
by
use
of
materials
such
as
aluminium,
stainless
steel,
lacquer,
inlaid
wood,
sharkskin
(shagreen),
and
zebraskin.
The
bold
use
of
stepped
forms
and
sweeping
curves
(unlike
the
sinuous,
natural
curves
of
the
Art
Nouveau),
chevron
patterns,
and
the
sunburst
motif
are
typical
of
Art
Deco.
Some
of
these
motifs
were
ubiquitous
—
for
example,
s
unburst
motifs
were
used
in
such
varied
contexts
as
ladies'
shoes,
radiator
grilles,
the
auditorium
of
the
Radio
City
Music
Hall,
and
the
spire
of
the
Chrysler
Building.
Art
Deco
was
an
opulent
style,
and
its
lavishness
is
attributed
to
reaction
to
the
forced
austerity
imposed
by
World
War
I.
Its
rich,
festive
character
fitted
it
for
"modern"
contexts,
including
the
Golden
Gate
Bridge,
interiors
of
cinema
theaters
(a
prime
example
being
the
Paramount
Theater
in
Oakland,
California)
and
ocean
liners
such
as
the
Île
de
France,
the
Queen
Mary,
and
Normandie.
Art
Deco
was
employed
extensively
throughout
America's
train
stations
in
the
1930s[10],
designed
to
reflect
the
modernity
and
efficiency
of
the
train.
The
first
art-deco
train
station
in
the
United
States
was
the
Union
Station
in
Omaha,
Nebraska.[11]
[12]
The
unveiling
of
streamlined
trains
paralleled
the
construction
of
the
art
deco
stations.
A
parallel
movement
called
Streamline
Moderne,
or
simply
Streamline,
followed
close
behind.
Streamline
was
influenced
by
the
modern
aerodynamic
designs
emerging
from
advancing
technologies
in
aviation,
ballistics,
and
other
fields
requiring
high
velocity.
The
attractive
shapes
resulting
from
scientifically
applied
aerodynamic
principles
were
enthusiastically
adopted
within
Art
Deco,
applying
streamlining
techniques
to
other
useful
objects
in
everyday
life,
such
as
the
automobile.
Although
the
Chrysler
Airflow
design
of
1933
was
commercially
unsuccessful,
it
provided
the
lead
for
more
conservatively
designed
pseudo-streamlined
vehicles.
These
"streamlined"
forms
began
to
be
used
even
for
mundane
and
static
objects
such
as
pencil
sharpeners
and
refrigerators.
Art
Deco
celebrates
the
Machine
Age
through
explicit
use
of
man-made
materials
(particularly
glass
and
stainless
steel),
symmetry,
repetition,
modified
by
Asian
influences
such
as
the
use
of
silks
and
Middle
Eastern
designs.
It
was
strongly
adopted
in
the
United
States
during
the
Great
Depression
for
its
practicality
and
simplicity,
while
still
portraying
a
reminder
of
better
times
and
the
"American
Dream".
Art
Deco
-
Decline
and
resurgence
Art Deco slowly lost patronage in the West after reaching mass production, when it began to be derided as gaudy and presenting a false image of luxury. Eventually, the style was cut short by the austerities of World War II. In colonial countries such as India and the Philippines, it became a gateway for Modernism and continued to be used well into the 1960s. Before destruction in World War II, Manila possessed many art-deco buildings; a legacy of the American colonial past. Theatres and office buildings have been lost in the war or later demolished and abandoned for new development. A resurgence of interest in Art Deco came with graphic design in the 1980s, where its association with film noir and 1930s glamour led to its use in ads for jewelry and fashion. South Beach in Miami Beach, Florida has the largest collection of art-deco architecture remaining in North America, as well as a section of Tulsa, Oklahoma.
Appropriate to the rich diversity of sources, some of the finest surviving examples of art-deco art and architecture are found in Cuba, especially in Havana. The Bacardi Building is the best known of these; however, the style is found throughout the city of Havana and other cities of Cuba. The style is expressed in the architecture of residences, businesses, hotels, and many pieces of decorative art, furniture, and utensils in these public buildings, as well as in private homes. [13]
Another country with many examples of rich art-deco architecture is Brazil, specially in Goiânia and cities like Cipó (Bahia), Iraí (Rio Grande do Sul) or even Rio de Janeiro, especially in Copacabana. Also in the Brazilian Northeast — notably in countryside cities, such as Campina Grande in Paraiba State — there is a noticeable group of Art Deco buildings, which has been called “Sertanejo Art Deco” because of its peculiar architectural features [1]. The reason for the style being so widespread in Brazil is its coincidence with the fast growth and radical economic changes of the country during 1930-1940.
Napier, New Zealand has an almost entirely art-deco town centre, rebuilt after a devastating earthquake, and mostly left unchanged since then.
Neoclassical
architecture
Neoclassical
architecture
was
an
architectural
style
produced
by
the
neoclassical
movement
that
began
in
the
mid-18th
century,
both
as a
reaction
against
the
Rococo
style
of
anti-tectonic
naturalistic
ornament,
and
an
outgrowth
of
some
classicizing
features
of
Late
Baroque.
In
its
purest
form
it
is a
style
principally
derived
from
the
architecture
of
Classical
Greece.
Origin
Siegfried Giedion, whose first book (1922) had the suggestive title Late Baroque and Romantic Classicism, asserted later[1] "The Louis XVI style formed in shape and structure the end of late baroque tendencies, with classicism serving as its framework." In the sense that neoclassicism in architecture is evocative and picturesque, a recreation of a distant, lost world, it is, as Giedion suggests, framed within the Romantic sensibility.
Intellectually Neoclassicism was symptomatic of a desire to return to the perceived "purity" of the arts of Rome, the more vague perception ("ideal") of Ancient Greek arts and, to a lesser extent, sixteenth-century Renaissance Classicism, the source for academic Late Baroque.
Many neoclassical architects were influenced by the drawings and projects of Étienne-Louis Boullée and Claude Nicolas Ledoux. The many graphite drawings of Boullée and his students depict architecture that emulates the eternality of the universe. There are links between Boullée's ideas and Edmund Burke's conception of the sublime. Ledoux addressed the concept of architectural character, maintaining that a building should immediately communicate its function to the viewer.
There is an anti-Rococo strain that can be detected in some European architecture of the earlier 18th century, most vividly represented in the Palladian architecture of Georgian Britain and Ireland, but also recognizable in a classicizing vein of Late Baroque architecture in Paris (Perrault's east range of the Louvre), in Berlin, and even in Rome, in Alessandro Galilei's facade for S. Giovanni in Laterano. It is a robust architecture of self-restraint, academically selective now of "the best" Roman models, which were increasingly available for close study through the medium of architectural engravings of measured drawings of surviving Roman architecture.
Mohd Azeri 2008.
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