Adam, K. (2010) Article 153 of Malaysia’s Constitution and the Human Right to Non-Discrimination. GRIN.

[Online] [Accessed 21st October 2021] https://www.grin.com/document/267616

Adichi, C. N. (2015) ‘We Should All Be Feminists’

ArunGovil.In. (2020) The Dravidian Style of Temple Architecture. ArunGovil.In. [Online] [Accessed 18th November 2021] https://arungovil.in/the-dravidian-style-of-temple-architecture.html

Augustin, R. (2021) Remembering ‘King David’ of the Unions. Free Malaysia Today. [Online] [Accessed 4th November 2021] https://www.freemalaysiatoday.com/category/nation/2021/05/01/remembering-king-david-of-the-
unions/?__cf_chl_jschl_tk__=pmd_udAYTJbiTha7YPgLQSeO8Tcl6jWbVErGHa.ZatQU3bg-1634664176-0-gqNtZGzNApCjcnBszQrl

Chen, H. (2021) Dozens of Malaysian Indians Died in Police Custody, Not a Single Officer has been Charged. Vice News. [Online] [Accessed 28th October 2021] https://www.vice.com/en/article/qj8e95/malaysia-police-brutality

Dewan Perniagaan Melayu Malaysia (2020) Penang Malay Chamber of Commerce. SkyhighVIP. [Online] [Accessed 11th November 2021] https://www.skyhigh.vip/listing/listing/penang-malay-chamber-of-commerce-malaysia/

Fels, P. T. (1994) ‘Penang’s Shophouse Culture.’ Places, 9(1), pp. 46-55

Goh, M. (2021) The State of Minorities in Malaysia? What do the Indians Face?. UKECOnline. [Online] [Accessed 28th October 2021] https://www.ukeconline.com/the-state-of-minorities-in-malaysia/

Grusin, R. (2017) ‘Anthropocene Feminism: An Experiment in Collaborative Theorizing.’ Anthropocene Feminism, pp vii-xix

Ooze Architects. (n.d.) Temple Tanks. City of 1000 Tanks. [Online] [Accessed 18th November 2021] https://www.cityof1000tanks.org/temple-tanks

Penang Wikia (n.d. [a]) The Esplanade. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/The_Esplanade#History

Penang Wikia (n.d. [b]) Speakers Square. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/Speakers%27_Square#History

Penang Wikia (n.d. [c]) Dewan Sri Pinang. Penang Fandom. [Online] [Accessed 11th November 2021] https://www.penang-traveltips.com/dewan-sri-pinang.htm

Penang Wikia (n.d. [f]) Penang City Hall. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/Penang_City_Hall#History

Penang Wikia (n.d. [g]) Town Hall. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/Town_Hall#History

Penang Wikia (n.d. [i]) State Assembly Building. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/State_Assembly_Building#History

Penang Wikia (n.d. [j]) Pinang Peranakan Mansion. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/Pinang_Peranakan_Mansion#History

Penang Wikia (n.d. [k]) Supreme Court of Penang. Penang Fandom. [Online] [Accessed 11th November 2021] https://penang.fandom.com/wiki/Supreme_Court_of_Penang#History

Periasamy, M. (2008) Sepoys. Infopedia- National Library Board. [Online] [Accessed 11th November 2021] https://eresources.nlb.gov.sg/infopedia/articles/SIP_1352_2008-10-30.html

Prakaran, K. (2021) Viral Video with a Plea to Stop Racism Resonates with Malaysians. Free Malaysia Today. [Online] [Accessed 4th November 2021] https://www.freemalaysiatoday.com/category/nation/2021/09/08/viral-video-
with-a-plea-to-stop-racism-resonates-with-malaysians/?__cf_chl_jschl_tk__=pmd_eRmu5aOIs1PVapkfh3qf4yDvc_.kwS3JHhbQYmx.S2A-1634652194-0-gqNtZGzNAqWjcnBszQrR

Prestige. (2020) 40 under 40. Prestige Online. [Online] [Accessed 4th November 2021] https://www.prestigeonline.com/hk/prestige-40-under-40/ambiga-sreenevasan/

Rao, S. (n.d.) Hindu Temple and the Structure of Human Body. Sanskriti Magazine. [Online] [Accessed 22nd January 2022] https://www.sanskritimagazine.com/vedic_science/vastu-shastra/hindu-temple-and-the-structure-of-hu-
man-body/

Tan, Y. W. (2015). Penang Shophouses: A Handbook of Features and Materials. Tan Yeow Wooi Culture & Heritage Research Studio.

Tong, G. (2017) ‘Tunku gave us Strength to Fight for Women’s Rights’. MalaysiaKini. [Online] [Accessed 4th November 2021] https://www.malaysiakini.com/news/395460

Unknown. (2022) Pulau Pinang Malaysia. Wisuki. [Online] [Accessed 30th January 2022] https://wisuki.com/tide/8939/pulau-pinang

Unknown. (2022) Vastu Shastra. Designing Buildings. [Online] [Accessed 22nd January 2022] https://www.designingbuildings.co.uk/wiki/Vastu_shastra

Unknown. (n.d.) Hisour- Hi So You Are. [Online] [Accessed 15th February 2022] https://www.hisour.com/shophouse-28090/

Wagner, A. (2017) Malaysian Shophouses: Creating Cities of Character. Architecture Undergraduate Honours Theses.
 When you see this symbol please hover for interactive elements.
The Dissection

SITE PLAN
The architectural proposal was enabled by the subtraction of
architectural elements within the existing infrastructure, through
the identification of ‘power-instilled’ elements.

Dissecting these elements and translocating these ‘pieces of

power’ to the site, allowed for a cluster of reclaimed identity by
bringing attention to the forgotten past of the Indian sacrifice.
ACTORS OF
ANGER
In Ethir, the Actors of Anger are the key players that encourage the
programme of the site. The actors are divided into two; Past Actors of
Anger and Current Actors of Anger.

The Past Actors of Anger, Ambiga Sreenevasan, David S. Vethamuthu

and Rasammah Bhupalan, were many involved in the political scene
to establish fair rights within the community. Trade unions, women’s
right for people of colour and education for all were among the many
causes that were part of the Indian change.

The Current Actors of Anger, Nandini Balakrishnan, Arwind Kumar

and Vaneesha Krishnasamy, are amongst a younger demographic
that has demonstrated themselves to be a huge presence on social
media. Social Media is used as a tool for freedom
site planofoverlay
speech and
everything
empowerment, thus increasing awareness and action-taking towards
fighting discrimination of South Indians within Malaysia.
 Hover over symbol on your left for interactive elements.
The Grid

GROUND
FLOOR PLAN
By utilising the Vastu Shastra that gives the directive principles
regarding construction of traditional Hindu buildings, a 64 grid
is applied.

The 64 grid is typically reserved for buildings that had been

commissioned by members of the Hindu religious caste
(Brahmins) thus as an act of reclaiming, the layout vetos against
discrimination of skin colour, caste or historical origin.
FIRST
FLOOR PLAN
To take into account of all users; including those on wheelchairs,
with prams or mobility issues, the site utlises lifts that offer users
the same experiential journey from one building to another. Due
to the varied heights of one dissected place of power to another,
lift capsules could navigate users on the first floor, rather than
my previous development of having staircases- thus removing
the discriminatory act towards a particular set of users.
 Hover over symbol on your left for interactive elements.
The Axis

SECOND
FLOOR PLAN
The Axis recognises the importance of east-west orientation as
noted through the case studies of a Malaysian Dravidian Temple
(Waterfall Hilltop Temple) and an Indian Dravidian Temple
(Palani Hill Temple) in Studio 1.

The Axis is a bridge that offers wayfinding and reflection between

current historical landmarks to the site. It is a vertical place that
causes juxtaposition to the current layout by the act of slicing.
THIRD
FLOOR PLAN
The Place of Law Protection uses the tallest dissected piece
of power at the sea entrance into Ethir. Just like traditional
Gopurams seen in Dravidian architecture, the ornamented
tower acts as a monumental landmark that signifies the arrival
of displaced South Indians.

(The Place of Law Protection repeats this GFA from Level 3-11)
 Click over symbol on your left for separate link to GIF.
The Tidal Change

ANTHROPOCENE
FEMINISM
The overall feminist technological strategy for Ethir is Anthropocene Feminism;
where a set of systems are manipulated and intervened within the current
conditions of the environment, that allow for the creation a thriving background
for achieving set of goals (in Ethir’s case- a space for the freedom of speech,
debate and protest).

The existing environment of having the building on the sea, resulted in a drastic
change of footprint during the low tides, average tides, and high tides of the sea.
THE JOURNEY
Ethir is narrated through a journey; one of an Indian that begins in Little India.
The protagonists makes their way through the city and ends up at the site; which
the user will then explore the Place of Protest, Brahma, Place of Compassion,
Axis, Place of Debate and The Arrival consecutively.

Dissected Pieces of Power

Site Context

Circulation (Opaque Red)

Indianfication (Transparent Red)

Axis and Floor Plate

 MODEL (EXPLAINS THE JOURNEY)

Dissected Pieces of Power

Site Context

Circulation (Opaque Red)

Indianfication (Transparent Red)

Axis and Floor Plate

Hover over parts of the drawing for interactive elements.
The Trail
 THE PLACE OF PROTEST
The Place of Protest is designed to overcome the un-feminist nature of the site; where there is a lack in the opportunity for the freedom of speech.

Speaker’s Corner Penang was established, on this site, to allow members of the public to speak between 6:00pm to 10:00pm every Wednesday and Sunday.
Although this shows great promise, rules such as speaking at your own risks, the denial of using loudspeakers, megaphones and any other sound amplifiers
and a cautionary note that writes; “the Penang state government and the Penang Island City Council are not responsible for any prosecution or legal action
taken by the Royal Malaysian Police” indicates a hostile environment for any user.

The Place of Protest creates a safe space where protest is encouraged! Noise is encouraged! Participation is encouraged!

The Trail Place of Protest The Brahma Place of Human Compassion The Axis Place of Debate The Arrival

The True Speaker’s Corner

The Place of Protest, Second Floor Plan

+13.370
Hover over parts of the drawing for interactive elements.
The Place of Protest
A FEMINIST DETAIL
The Place of Protest threshold offers a flexible
1

experience depending on the need of the users. Here,

the threshold assumes notions of expression as the
indoor-outdoor quality of the space is further emphasised
through the reinterpretation of Juliet windows. The 3
2
columns free hall uses visual and noise links to create
4
an architectural experience that connects users from
pavement level directly into building, increasing the 5
freedom of individual vocalisation

9
11

10

1. Triple glazed skylight with steel frame

2. Corrugated metal sheet roofing with insulation and waterproofing
3. Parapet brick wall with rail and hinges suitable for saree cloth
12
suspension
4. Metal sheet cladding
14
5. Steel pratt truss
13
6. Plasterboard ceiling with ceiling tees 15
7. Glazed aluminum curtain wall system
8. Box window with square hollow section, metal sheet cladding
and metal flashing
9. Double swing doors with aluminum frame and glass infill
10. Handrail to 1100mm height
11. Shophouse louver shutters with secondary steel frame
12. Precast concrete staircase
16
13. Existing polished concrete flooring
14. Tempered glass floor with sectional rubber strips
15. Steel universal beam
16. Existing RC column
17. Ceramic Peranakan floor tiles (only on ground floor)
18. Granite columns with traditional Indian carvings

Feminist Technologies that Amplify Indianfication 17

18
 THE BRAHMA
The Brahma is based on similar design aims as traditional Dravidian Brahmas as seen in Vastu Shastra. The aims are; to integrate architecture with
nature (the sea), the relative functions of various parts of the structure (the dissected pieces of power), ancient beliefs utilising geometric patterns
(the grid) and directional alignments (the axis).

Ethir’s Brahma is a modern interpretation of a temple tank by using design principles of a traditional Brahma. As the centre is dedicated to Brahma, Lord of
Speech, the temple tank serves as a social space where user’s congregate and disperse when need be. The centre sees big shifts with the tide thus, the
environment constantly evolves making users unaware of the scenario they may lend up in.

The Trail Place of Protest The Brahma Place of Human Compassion The Axis Place of Debate The Arrival

The Centre of the ‘World’

The Brahma, Ground Floor Plan

±0.000 -0.900 ±0.000

-0.900
-0.900

+0.175 +0.520 +0.520 +0.175

-0.900

±0.000 -0.900 ±0.000

Click over symbol on your left for separate link to GIF.
The Brahma
Click over symbol on your left for separate link to GIF.
The Brahma
Vi
su
al
Li
nk
on
th or
e
Ax d Flo
is o un
e Gr
t h
k on
Lin
u al
Vi s
Visual Link from
Circulation Weaving through Upper Floor
the Wall

Hi slan
gh ds
I

Ti
de
s Circulation around Brahma
lu mn
o
g hC
ou
t hr
L ink
u al
Vi s

r
g Pie
n Water flow down
l o ati ma Fountain
F h
r o m Bra Vi
F to su
al
Li
nk
on
th
e
Ax
is

Dissected Pieces of Power

Site Context

Circulation (Opaque Red)

Indianfication (Transparent Red)

Axis and Floor Plate

 THE PLACE OF COMPASSION
The Place of Compassion was introduced to encourage participation within the existing users of the site with the Actors of Anger.

The Human Library is based on the notion where topics concerning the discrimination of South Indians as a minority are discussed openly between our the
Actors of Anger, as human books, and the users of the site, their readers. By using one’s experiences as content for conversation, the Actors of Anger are
able to challenge stigma and stereotypes that revolve around the South Indian community.

The Place of Compassion creates a safe space for dialogue where emotional empathy for one another is needed!

The Trail Place of Protest The Brahma Place of Compassion The Axis Place of Debate The Arrival

My Story, Your Story, Our Story

The Place of Compassion, Ground Floor Plan

-0.175 ±0.000 +0.700 -0.175

±0.000

±0.000 +0.175
Hover over parts of the drawing for interactive elements.
The Place of Compassion
A FEMINIST DETAIL
In the midst of the journey, the Place of Compassion threshold corresponds to the everyday
3 2
1

experience within Penang. Steel shutters and grilles reminds the visitors of shophouses whilst
the threshold requires the visitor to enter its puncture. On the arriving out the other side,
the notion of sharing is planned based off the position of the shutters that act as dividers
4
(varying on the privacy needed). The floor then changes from Peranakan floor tiles into the
existing timber flooring, identifying that the wayfinding tool is at its end-point. This reduces 5
the architecture of anxiety by returning the South Indian identity as an act of redemption.

12
10

11

13

1. Clay roof tiles

2. Timber truss
3. Brick pediment
4. Plasterboard ceiling with ceiling tees and shadow gap on edge
5. Glazed aluminum curtain wall system
6. Box insertion with square hollow section, metal sheet cladding and metal flashing
7. Steel shophouse shutter doors as support structure for box insertion
8. Steel metal grille from shophouse
9. Brick wall infill
10. Single swing doors with aluminum frame and glass infill
11. Precast concrete block flooring with screed and rubber flooring finish
12. Handrail to 1100mm height
13. Existing timber flooring attached with timber joists and joists hangers
14. Double swing doors with aluminum frame and glass infill
15. Steel shophouse shutter doors as flexible divider
16. Precast concrete block flooring with screed and Peranakan tile flooring finish 14

17. Existing timber flooring attached with timber joists, joists hangers and additional joists support to allow for air gap
18. Retractable staircase to manufacturer’s detail
19. Platform lift (when staircase is retracted) 15
20. Platform lift with Peranakan tile finish to mimic the Floating Pier (used only at high tide)

Feminist Technologies that Amplify Indianfication

16

17
18
20
19
 THE AXIS
The Axis signifies the remembrance of fallen victims within the South Indian community from unjust discrimination.

One of many example is that Indians have disproportionately suffered from police custodial deathsThe official figure showed that 23.4% of the victims of
police custodial deaths between 2002 and 2016 were Indians (who only comprise 7% of total national population) however, the figure is projected to be as
high as 54.8%.

Corten steel with engravings of names of those who have passed, in both Tamil and English, are seen when ascending within the Axis as well as
on its outer facade. The Axis is a bridge of reflection, where the journey resembles Indian Hilltop Temples through never ending stairs, till one
reaches the top.

The Trail Place of Protest The Brahma Place of Human Compassion The Axis Place of Debate The Arrival

A Reflection
The Axis, Second Floor Plan
 THE PLACE OF DEBATE
The Place of Debate is designed to affirm and remind users about the misgivings that South Indians have been through past and present.

By allowing intended individualistic vocalisation within users, the Place of Debate enables open dialogue, thus resulting in the opportunity for debate. Although
this can be seen as aggressive, creating managed conflict that will co-exist within the space and architecture could create fertile ground for innovation.

The Place of Debate enables users to vent anger and frustrations through productive means in a safe space of conflict!

The Trail Place of Protest The Brahma Place of Human Compassion The Axis Place of Debate The Arrival

The Managed Conflict

The Place of Debate, Ground Floor Plan

-1.075

-0.900 +0.700 -0.175

-0.350 -0.175 ±0.000

Hover over parts of the drawing for interactive elements.
The Place of Debate
A FEMINIST DETAIL
1. Clay roof tiles
2. Timber truss
3. Brick pediment
4. Plasterboard ceiling with ceiling tees and shadow gap on edge
5. Glazed aluminum curtain wall system
Towards the end of the journey, the Place of Debate demands the creation of safe 6. Timber columns with traditional Indian carvings
spaces of conflict that allow for the open discussion of social injustices faced by 7. Handrail to 1100mm height
the South Indian community. The visual threshold, whether on the ground or first floor, 8. Timber flooring attached with timber joists and joists hangers
9. Brick wall infill
constantly reminds visitors of Captain Francis Light and the real truth he deserves. 10. Double swing timber doors with timber frame
The notion of disagreement is experienced, as the function of amphitheatre-like seating 11. Brick wall with plaster and paint finish
creates an architectural experience that turns the traditional ‘soap-box’ on its head (where 12. Mezzanine floor with 1100mm height
the user speaking is looked down upon). Visitors that require ‘further’ distance may view 13. Concrete arch with plaster and paint finish
the debate from one of multiple mezzanine balconies. 14. Indian timber screen
15. Amphitheater concrete flooring with vinyl finish
16. Platform lift with Peranakan tile finish to mimic the Floating Pier (used only at high tide)
17. Captain Francis Light Statue with RC structure

Feminist Technologies that Amplify Indianfication

2
3

17
7

12

13 11 9

14
10

15

16

2.6 meter

1.2 meter

0.3 meter
 THE ARRIVAL
The Arrival signifies the symbol of new beginnings for the South Indian community. The tall Gorpuram acts as a landmark that commemorates the
Indian sacrifice.

Historically, lives of Indians have changed within the site. Captain Francis Light of the British East India Company first brought Indians as indentured
labourers and the (now demolished) field was used to segregate Indians either into a plantation worker or a sepoy soldier. This was the point of Arrival for
South Indians that were displaced from their origin.

The Floating Pier reaches out into the sea, signifying a docking point for those on arrival.
The pier acts as a social space, one that contemplates the injustice that is constantly repeated then and now.

The Trail Place of Protest The Brahma Place of Human Compassion The Axis Place of Debate The Arrival

Back to Where it All Started

The Arrival, Roof Plan