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Hargai Warisan Sejarah Bandar Klang - Bandar DiRaja Selangor

DIRECTORIES KLANG A ROYAL TOWN OF SELANGOR, MALAYSIA
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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.

Masjid Sultan Suleiman - Masjid DiRaja Klang
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.

About Sultan Sulaiman Royal Mosque

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.

 

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.

Art-Deco Masjid Sultan Suleiman

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.

   

Arkitek yang merekabentuk masjid ini ialah L.Keste Vend. Masjid ini boleh menampung lebihkurang 1000 jemaah dalam satu masa.

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.

 

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.

   
Kubah Masjid Sultan Suleiman

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.

   

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.

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.

Masjid Sultan Suleiman

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.

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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