THE SABAH TRADITIONAL ARTS CENTRE

Abstract

With the interference from foreign and modem influences, traditional culture undergoes change, adapting to new needs in an attempt to achieve balance for its harmonious existence in time and place. Such balance has important implications for the preservation and continuity of tradition. Often, this aspect has been neglected. Especially in the promotion of tourism, traditional cultural activities have become to be used as a 'commodity' at the expense of the enculturation of the traditional values of arts. Traditional arts is a form of living arts and therefore its learning can never be institutionalised. Hence, the idea of this project is to provide a setting catering to a set of dualistic requirements compromising to economic progress as well as allowing traditional arts to flourish. The thesis project addresses two dialectical groups of people. Foreign and local visitors constitute the first group while the second group includes people directly involved with the traditional arts. The main thrust of the project is about these two groups coming to 'awareness'. For example, visitors will be aware of the traditional arts while engaging in visual or direct participation with the arts and artists; while at the same time, the artists will be aware of what they practise and the needs of the visiting group. When the former engage themselves in the learning of the arts, the latter will involve themselves in the teaching. The participatory and interactive actions of the two groups is thus the highest kind of awareness about one another. Yet on their own, these two groups are by itself independent, distinct and disparate. Architecturally, the building consists of two main parts. The first being 'outward looking' which houses commercial facilities and its openness serves as an immediate draw for external activities. The second being 'inward looking' which houses the various arts workshop studios and its arrangement serves to contain internal activities. The intermediary space where the two interweave becomes the first point of contact between the two groups of people. At this point, 'cross-over' of people from Group One may proceed in a filtering manner into the internal activities to further interact with people from Group Two. The site has been chosen such that there is easy accessibility to both foreign and local visitors in a natural setting near the sea but far enough to place the architecture almost like a sculpture anchoring to the site among green. While the 'landward' approach to the building by foot is almost synonymous to a pilgrimage to heighten aware ness, the building facing the sea extends and opens to integrate with the abundant existing activities along the beach. To summarise, the Traditional Arts Centre seeks to best illustrate the coexistence of different groups, activities and requirements programmatically as well as architecturally. It is hoped that at the end, the place will serve to be enjoyed by people from all walks of life.