INTERIOR DESIGN OF THE BABA-NYONYA

ECLECTIC SHOPHOUSES IN MELAKA

By

CHUNG SIAW TING

Thesis submitted in fulfilment of the requirements

for the degree of
Master of Science

February 2012
 ACKNOWLEDGEMENT

The most appreciation goes to my respectable supervisor, Associate Professor

Dr. Azizi Bahauddin who has been guiding and advising me all the way throughout

the present research. He had also constantly raised the problems I had not considered

and thus corrected my grosser errors. He had been courteous and patient, sparing his

precious time to read the manuscript, being very considerate towards my mistakes of

judgments and constantly guided me with his salient insight.

I own great debt to busy friends who had put their work aside to discuss with

this subject: Ho Khet Yen, Wee Siew Wai, Soo Pei Zhi, Matthew Wong, Tan Chin

Lun and other individuals I met in Melaka. All the motivation, confidence, comments,

suggestions and advices given are significantly important to the success of the

present research.

Lastly, I would like to convey my warmest appreciation to my family for

giving me their love, fullest support, confidence and motivation during the whole

research process. It is all these that have helped me pulling through all the obstacles

and then living life with the belief that with hard work and supports, it comes success.

ii
 TABLE OF CONTENTS

Acknowledgement…………………………………………………..……...… ii

Table of Contents…………………………………………………………...…. iii

List of Tables ……………………………………………………………...…... ix

List of Figures …………………………………………………………...…....... x

Appendices ……………………,…..……………….………………...….….... xvii

Abstrak…………………………………………………………………………. xviii

Abstract………………………………………………………………………… xx

CHAPTER 1 - INTRODUCTION

1.1 Introduction………………………………………………………………… 1

1.2 Research Background……………………………………………………… 1

1.3 Historical Background……………………………………………………... 4

1.4 Terminology of Baba-Nyonya…………………………………………….. 6

1.4.1 Origin of Baba-Nyonya, Peranakan Straits Chinese, Straits Born

Chinese, Baba and Nyonya…………………………………………. 6

1.5 Problem Statement…………………………………………………………. 11

1.6 Objectives…………………………………………………………………... 14

1.7 Focus and Scope of Research………………………………………………. 14

1.7.1 Main Focus - Architecture and Interior & Culture…………………. 14

1.7.2 Scope of Research………………………………………………….. 15

1.8 Summary…………………………...……………………………………….. 16

iii
CHAPTER 2 - LITERATURE REVIEW

2.1 Introduction………………………………………………………………… 18

2.2 Baba-Nyonya Culture……………………………………………………… 18

2.2.1 Religion…………………………………………………………….. 18

2.2.2 Language…………………………………………………………… 18

2.2.3 Costume……………………………………………………………. 18

2.2.3.1 Costume for Women…………………………………….. 19

2.2.3.2 Costume for Men………………………………………… 19

2.2.4 Food…………………………………………………………………. 20

2.2.5 Marriage…………………………………………………………….. 21

2.3 Architecture Style of Baba-Nyonya………………………………………… 22

2.3.1 Features of Early Shophouses………………………………………. 22

2.3.2 Architectural Style of Shophouses………………………………….. 24

2.3.3 Architectural Style of the Baba-Nyonya Shophouses………………. 24

2.4 Interior of the Baba-Nyonya Shophouses…………………………………... 26

2.4.1 Space………………………………………………………………... 27

2.4.1.1 First Hall (tiah datuk)……………………………………. 27

2.4.1.2 Second Hall (tiah gelap)…………………………………. 30

2.4.1.3 First Air Well……………………………………………... 30

2.4.1.4 Ancestral Hall…………………………………………….. 31

2.4.1.5 Second Air Well………………………………………….. 32

2.4.1.6 Dining Hall and Kitchen………………………………….. 32

2.4.1.7 First floor-Bedroom………………………………………. 33

2.4.1.8 Straits Chinese Furniture………………………………… 35

2.5 Summary……………………………………………….…………………… 40

iv
CHAPTER 3 - METHODOLOGY

3.1 Introduction………………………………………………………………… 41

3.2 Research Process…………………………………………………………… 41

3.3 Cultural Study of Baba-Nyonya Architecture Interior……………………. 44

3.4 Sampling and Case Study……...…………………………………………... 45

3.5 Duration of Fieldwork……………………………………………………… 46

3.6 Data Collection and Analysis………………………………………………. 46

3.6.1 Secondary Data: Documentation…………………………………... 47

3.6.2 Primary Data: Direct Observation & Visual Data Collection……... 48

3.6.3 Primary Data: Survey Method-Interview………………………….. 53

3.7 Constraint and Difficulties………………………………………………. 55

3.8 Summary………………...…………………………………………………. 56

CHAPTER 4 – CASE STUDY

4.1 Introduction………………………………………………………………… 57

4.2 Historical Site Background………………………………………………… 57

4.3 Field Work ……...…………………………………………………………. 64

4.3.1 Baba Interviewees…………………………………………………. 66

4.3.2 Non-baba Interviewees…………………………………………….. 72

4.4 Shophouses…………………………………………………………………. 75

4.4.1 Definition of Shophouses………………………………………….. 76

4.4.2 Men and Material………………………………………………….. 77

4.4.3 Shophouses of Today………………………………….…………… 78

4.5 Summary……………………………………………………………………. 81

v
CHAPTER 5 - DATA ANALYSIS

5.1 Introduction……………………………………………………………….. 82

5.2 Baba-Nyonya Shophouses Variables and Factors………………………… 82

5.3 Exterior of Baba-Nyonya Shophouses………………...………………….. 83

5.3.1 Facade………………………………………………….…………. 83

5.3.1.1 Five-foot Way - Ceramic Tiles………………………… 83

5.3.1.2 Column (Ground Floor), Pilaster (First Floor)…………. 87

5.3.1.3 Ornamentation………………………………………….. 89

5.3.1.4 Door-Main Entrance Doors, Half Door………………… 92

5.3.1.5 Window-Natural Ventilation (Ground Floor)……..…... 94

5.3.1.6 Louvered Shutter, Transom in Fan Light / Segmental

Arch Form (First Floor)……………………………..… 96

5.3.1.7 Cornice, Cornice Complete with Dentil…………….….. 97

5.3.1.8 Gables Wall End…………………………..……………. 98

5.3.2 Building Structure………………..……………………………….. 100

5.3.2.1 Roof…………………………………………………….. 100

5.3.2.2 Party Wall………………………………………………. 101

5.3.2.3 Floor and Beam…………………………………………. 101

5.3.2.4 Gable End…………….………………………………… 102

5.4 Interior of the Baba-Nyonya Shophouses….……..………………………. 104

5.4.1 Layout Arrangement of Straits Chinese British Association 104

Malacca (PPCM)…………………………………………………..

5.4.1.1 First Hall………………………………………………... 106

5.4.1.2 Second Hall……………………………………………... 110

5.4.1.3 Air Well………………………………………………… 114

vi
 5.4.1.4 Dining Hall & Kitchen………………………………….. 120

5.4.1.5 Bedrooms……………………………………………….. 120

5.4.2 Layout Arrangement of Kochi Kitchen..……………………..…... 121

5.4.2.1 First Hall………………………………………………... 123

5.4.2.2 Second Hall……………………………………………... 127

5.4.2.3 Air Well………………………………………………… 128

5.4.2.4 Ancestral Hall and Dining Hall & Kitchen………….….. 129

5.4.2.5 Bridal Chamber & Bedrooms……….………………….. 130

5.4.3 Layout Arrangement of Peranakan Restaurant…………………… 134

5.4.3.1 First Hall………………………………………………... 135

5.4.3.2 Second Hall……………………………………………... 138

5.4.3.3 First Air Well…………………………………………… 140

5.4.3.4 Ancestral Hall…………………………………………... 141

5.4.3.5 Second Air Well………………………………………… 142

5.4.3.6 Dining Hall & Kitchen………………………………….. 143

5.4.4 Layout Arrangement of Koh Baba-Nyonya House…………….… 145

5.4.4.1 First Hall………………………………………………... 147

5.4.4.2 Second Hall……………………………………………... 148

5.4.4.3 First Air Well…………………………………………… 149

5.4.4.4 Ancestral Hall…………………………………………... 149

5.4.4.5 Second Air Well………………………………………… 150

5.4.4.6 Dining Hall & Kitchen………………………………….. 150

5.4.4.7 Bedrooms……………………………………………….. 152

5.3 Summary…………………………………………………………………. 153

vii
CHAPTER 6 - CONCLUSIONS

6.1 Conclusions………………………………………………………………... 156

6.2 Findings…………..………………………………………………………... 161

6.3 Recommendations………………………………………………………… 162

6.4 Future Work………………………………………………………………. 163

REFERENCES ………………………………………………………………. 165

viii
 LIST OF TABLE

Table 4.1 Straits-born Chinese population, 1881 (Source: Tan, 1988) 59

Table 4.2 Number and percentage of local-born Chinese in the Straits

Settlements (1881 and 1891) (Source: Suryadinata, 2002) 60

Table 4.3 Number and percentage of local-born Chinese in the Straits

Settlements (Source: Suryadinata, 2002) 60

Table 5.1 Baba-Nyonya shophouses variables and factors 82

Table 6.1 Comparison between four layout arrangements collected by

researcher at Tun Tan Cheng Lock Road 153

ix
 LIST OF FIGURES

Figure 1.1 Portrait of Baba and Nyonya 2

Figure 1.2 Baba-Nyonya wedding costume. 3

Figure 1.3 Baba as a sub-group for straits Chinese and straits born 10
Chinese

Figure 2.1 Achar (Source: Lim, 2003). 21

Figure 2.2 Bakwan Kepiting (Source: Lim, 2003) 21

Figure 2.3 Features of shophouses 22

Figure 2.4 Layout of a typical houses in Melaka (Source: Chen, 2005) 26

Figure 2.5 Round marble topped table and round stool 29

Figure 2.6 Venetian glass mirror and ancestral portraits 29

Figure 2.7 Scrolls of Chinese painting and calligraphy 29

Figure 2.8 Screen door with intricately carved and gilded gold leaf 30

Figure 2.9 The area where young unmarried Nyonya could peer out at
male guest 30

Figure 2.10 Stack effect of hot air flow in air wells (Source: Rasdi, 1997) 31

Figure 2.11 Carved divider visible to divide air well and ancestral hall 32

Figure 2.12 Traditional stove at Singapore Peranakan Museum 33

Figure 2.13 Bridal chambers in master bedroom 34

Figure 2.14 Blackwood settee 35

Figure 2.15 Namwood sideboard 36

Figure 2.16 Teakwood cabinet. 38

Figure 3.1 Research methodology flow chart 42

Figure 3.2 The data gathering process (modified from Ellen, 1987 cited
by Gray, 2009) 49

x
Figure 3.3 Inventory and visual data collection flow chart 51

Figure 4.1 Map of Melaka 57

Figure 4.2 Jalan Tun Tan Cheng Lock, Melaka (Sourse: M. 62

Rasdi,1997)

Figure 4.3 Building use classification and implications for conservation

features (Source: Barisan Warisan Malaysia, Laporan
Pemeriksaan Rancangan Strucktur Majlis Perbadaran Melaka 63
(1987-2010))

Figure 4.4 Ten Baba families at Jalan Tun Tan Cheng Lock 68

Figure 4.5 Cyclamen Cottage 71

Figure 4.6 Chris's collection are displayed in this area 71

Figure 4.7 Chris's living room is full of teakwood antique furniture 71

Figure 4.8 Malaqa House. 73

Figure 4.9 Air well 73

Figure 4.10 8 Heeren 74

Figure 4.11 Original roof and structure of shophouse shown 74

Figure 4.12 Mr Koh's work station 75

Figure 4.13 Shophouses of yesterday 79

Figure 4.14 Shophouses of today 79

Figure 4.15 Baba Nyonya Heritage Museum Melaka 80

Figure 4.16 Straits Chinese British Association Malacca 80

Figure 5.1 Residents privatized the corridor space by fencing it, halting 85
pedestrian activities at their front door

Figure 5.2 (a) A pair of lanterns and "thain-teng" hung at five foot way 86

Figure 5.2 (b) Lanterns with family surname and jiho 86

Figure 5.3 (a) The design of "thain-teng" for Straits Chinese British
Association, Malacca 87

xi
Figure 5.3 (b) The design of "thain-teng" is different for every unit. 87

Figure 5.4 Principal classical orders of ancient Greek and Roman

architecture (McDowall, 2011) 88

Figure 5.5 The column was designed in classical order-composite order

of architecture 89

Figure 5.6 Pilaster with Composite order on the capital 89

Figure 5.7 Pilaster with Corinthian order on the capital 89

Figure 5.8 Design of ornamentations on the wall of shophouses may

greatly vary 91

Figure 5.9 (a) Colourful ceramic tiles on wall and floor of Baba-Nyonya
shophouses 92

Figure 5.9 (b) Colourful ceramic tiles on wall and floor of Baba-Nyonyas
hophouses 92

Figure 5.10 Couplets written in Chinese Characters 93

Figure 5.11 General couplets that can be seen on the main doors are "fu
hai" and "shou shan" 93

Figure 5.12 Half door 94

Figure 5.13 (a) Above the window can be natural ventilation windows 95

Figure 5.13 (b) Above the window can be Chinese characters 95

Figure 5.14 The signboard 96

Figure 5.15 Transom in fan light form with Venetian glass 97

Figure 5.16 The segmental arch form transom was decorated with Malay-
inspired carved grilles. 97

Figure 5.17 Dentil on Baba-Nyonya shophouse 98

Figure 5.18 Dentil on Greece architecture (Source: wikipedia, 2010) 98

Figure 5.19 Gable wall end are ornamented with flower pattern Figure
Bat on the gable wall end is Chinese symbol for fortune 99

Figure 5.20 Green bamboo shape glazed tile on the façade of a 99

shophouse

xii
Figure 5.21 Clay roof tiles 100

Figure 5.22 Purlin system to support roof of the shophouses 100

Figure 5.23 Existing party wall and Dutch period bricks 101

Figure 5.24 Timber beams which carry the weight of roof and floor 102

Figure 5.25 Wood element is showed on this gable end 103

Figure 5.26 Earth element is showed on this gable end 103

Figure 5.27 Feng shui influenced the shape of gable ends (Source: Neo, 103
2006).

Figure 5.28 Layout arrangement of Straits Chinese British Association

Malacca(PPCM) 104

Figure 5.29 Section of Straits Chinese British Association Malacca

(PPCM) 105

Figure 5.30 Façade of unit 149 106

Figure 5.31 A grand deity altar stood facing outside the front house 108

Figure 5.32 Carving on altar represents archaic form - cloud and thunder 108

Figure 5.33 Interior of the shophouse has a lofty ceiling and a chandelier
is hung from the ceiling beam 108

Figure 5.34 A rounded marble top and Poland made bentwood chair are
displayed in the centre of first hall 110

Figure 5.35 Melaka armchair and marble top side table 110

Figure 5.36 A pair of carved teakwood-frame beveled mirror is put

opposite each other on the wall 111

Figure 5.37 European picture and festoon ornaments are displayed on the
wall 111

Figure 5.38 Second hall layout arrangements 112

Figure 5.39 Hexagon marble top table and shield-back chairs can be 112
found in this area

Figure 5.40 Reclining chair with folding leg rests 112

xiii
Figure 5.41 Reclining chair in rattan and blackwood 112

Figure 5.42 Teakwood bookcase with books related to Peranakan Cina 113

Figure 5.43 Wooden wall screen with two barred windows 114

Figure 5.44 Staircase built with hardwood balusters and a polished

hardwood banister 114

Figure 5.45 Balustrades or railing pattern below the windows 115

Figure 5.46 Air well 116

Figure 5.47 Fish sculpture as outlet to convey rainwater from drain pipes 116

Figure 5.48 Passageway converted to furniture display area 116

Figure 5.49 Antique Victorian parlor safe 116

Figure 5.50 Teakwood rolltop desk and bentwood swing chair 116

Figure 5.51 Coat hanger 117

Figure 5.52 Teakwood side table and chairs 117

Figure 5.53 Teakwood wash-stand 117

Figure 5.54 Wooden divider with auspicious symbols 118

Figure 5.55 Woodcarvings with dragon and sun symbols in the upper
part, while bamboo is drawn on the panel of divider 118

Figure 5.56 Ancestral hall 119

Figure 5.57 Ornate carving altar 119

Figure 5.58 George III style teakwood dining chair with triple claw-feet
leg support table 119

Figure 5.59 Layout arrangement of Kochi Kitchen 121

Figure 5.60 Section of Kochi Kitchen 122

Figure 5.61 Façade of Kochi 123

Figure 5.62 Grand altar stood against the red wall with deity picture and
Chinese couplets on wooden plague 125

xiv
Figure 5.63 Carving on altar with modern meander diaper pattern 125

Figure 5.64 A pair of 1900's teakwood-framed bevelled mirror is hung

oppositely on the wall 126

Figure 5.65 Long dining tables are prepared for big groups of customers 127

Figure 5.66 A passageway leading to the air well area 127

Figure 5.67 Air well 128

Figure 5.68 Imitation china armchairs and teapoy 128

Figure 5.69 Teakwood sideboard 129

Figure 5.70 L-shape staircase leading to the first floor 130

Figure 5.71 Antique chairs arranged in front of the entrance to the

owner's bedroom 130

Figure 5.72 Windows openings 131

Figure 5.73 A resting area providing the owner space to have his leisure 131
activities

Figure 5.74 The front room change to an informal living area 132

Figure 5.75 Peeking hole to the ground floor - the evidence of the Baba-
Nyonya culture 132

Figure 5.76 Layout arrangement of Peranakan Restaurant 134

Figure 5.77 Façade of Peranakan Restaurant 135

Figure 5.78 Perspective of main entrance and windows from inside 137

Figure 5.79 1900's teakwood frame, beveled mirrors with motifs 137

Figure 5.80 Wooden carved divider 138

Figure 5.81 British pawn shop counter used as reception counter 139

Figure 5.82 Wedding sedan chair 139

Figure 5.83 Settee and side table as display items 140

Figure 5.84 Hardwood staircase with colourful geometric floor tile 141

Figure 5.85 Air well area transformed to dining area 141

xv
Figure 5.86 Passage way link to second air well 142

Figure 5.87 Different geometric floor tiles and wall tiles 142

Figure 5.88 Second air well with classic order column 143

Figure 5.89 Build-in carved cabinet 143

Figure 5.90 A small lounge in air well area 144

Figure 5.91 Dining hall for serving food and doing preparation work 144

Figure 5.92 Layout arrangement of Koh Baba-Nyonya house 145

Figure 5.93 Façade of Koh Baba-Nyonya house 146

Figure 5.94 Interior of the first hall of the house 148

Figure 5.95 Glass with vase motif on the wood carved divider 149

Figure 5.96(a) Ornamentation on the wall from first air well 150

Figure 5.96(b) Interior around first air well 150

Figure 5.97(a) Second air well and dining hall area 151

Figure 5.97(b) Semi-circular carved wood panel on the entrance 151

Figure 5.98 Traditional stove 152

xvi
 APPENDICES

Appendix A Pelan Tindakan Kawasan Warisan Melaka: Jalan Tun Tan 169
Cheng Lock dan Jalan Hang Jebat/Gelanggang disediakan oleh
Badan Warisan Malaysia untuk Majlis Perbandaran Melaka

Appendix B Sample of Questionnaire 175

xvii
REKABENTUK DALAMAN RUMAH KEDAI EKLEKTIK BABA-NYONYA

DI MELAKA

ABSTRAK

China Selat, juga dikenali sebagai Baba-Nyonya atau Cina Peranakan, pada

dasarnya terhasil daripada gabungan dua budaya, iaitu Melayu danCina. Budaya

Baba-Nyonya mempunyai tanda-tanda budaya rakyat Kepulauan Melayu (Jawa,

Batak), budaya Thai dan Eropah (Belanda, Portugis dan British) namun

kebanyakannya berkisar kepada budaya Melayu dan Cina. Pada masa kini, rumah

kedai eklektik yang menonjol dengan tahap pencapaian seni bina yang begitu unik

telah menghadapi kesukaran untuk mencapai kesinambungan akibat daripada

kekurangan kemahiran dan pengetahuan mengenai pemuliharaannya. Oleh itu, tujuan

kajian ini adalah untuk meneroka keunikan budaya Baba-Nyonya yang boleh

dibentangkan melalui kajian seni bina dan reka bentuk dalaman. Sasaran empat buah

rumah kedai yang menjadi keutamaan kajian ini adalah rumah-rumah kedai yang

boleh terdapat di Jalan Tun Tan Cheng Lock, Melaka. Kajian ini mengkaji pelbagai

cara untuk menganalisis dan mengkaji seni bina dan ciri-ciri rekabentuk dalaman

rumah kedai Baba-Nyonya. Ia menggunakan kaedah kualitatif termasuk

mendokumenkan bukti, temu bual dan pengumpulan data visual sepenuhnya yang

mengandungi nilai warisan budaya di Malaysia. Kajian ini juga mementingkan

falsafah, adat dan ritual yang berkaitan dengan seni bina. Hasil kajian ini

mendedahkan bahawa kawasan pedalaman mencerminkan semangat keluarga Baba

Nyonya dan gaya hidup masyarakat Baba. Ruang dalaman mereka juga

mencerminkan gaya hidup keluarga dan komuniti Baba. Peruntukan dan perhiasan

ruang dalam bangunan warisan ini direka dalam cara untuk mempamerkan imej

rohani dan budaya masyarakat Baba Nyonya.Sejak Melaka disenaraikan di dalam

xviii
senarai warisan dunia UNESCO, ia adalah penting bagi memajukan senibina Baba-

Nyonya untuk memastikan kewujudan pemuliharaan budaya secara berterusan.

xix
 INTERIOR DESIGN OF THE BABA-NYONYA ECLECTIC

SHOPHOUSES IN MELAKA

ABSTRACT

The Straits Chinese, fondly known as the Baba-Nyonya or China Peranakan.

The Baba-Nyonya culture features a hint of the people’s cultures of the Malay

(Javanese, Batak), Thai and European (Dutch, Portuguese and British) cultures but

mainly revolves around Malay and Chinese cultures. Nonetheless, the supreme

architectural achievement of this minority group- their eclectic shophouses is now

facing a crisis which may determine its survival. The problem is critical for there is

inconsistently lack of sound knowledge in conservation of their shophouses. It is,

therefore, the aim of this research to explore the uniqueness of the Baba-Nyonya

cultures which are can be unfolded through inspecting their architecture and interior

design. The targeted four shophouses of interest of this research are those that can be

found on Jalan Tun Tan Cheng Lock, Melaka. This research analyzes the

architectural aspects and focuses on the interior design features of the Baba-Nyonya

shophouses. The methodology adopted herein is qualitative in which documenting

evidence, direct observation, twenty interviews and visual data are utilized to fully

conceive the value of this cultural heritage in Malaysia. The results are then related

to their cultural philosophies, customs and rituals. The findings of this research

revealed that the culture of Chinese, Malay and European have strong influences on

the furniture and, interior space and details of Baba-Nyonya eclectric shophouses.

The result also displayed that the allocation and embellishment of wood carving,

building facade and furniture within these old buildings are designed in a way to

exhibit their spiritual images. The significance of these shophouses comes from its

seamless connections with every daily lifestyle in any Baba-Nyonya enclave. Since

xx
Melaka has been listed under the UNESCO world heritage list, it is essential to study

the Baba-Nyonya architecture to ensure a continuous conservation of its cultural

existence.

xxi
 CHAPTER 1 - INTRODUCTION

1.1 Introduction

This chapter presents the background of the culture of the Baba-Nyonyas,

terminology of Baba-Nyonya, problem statements, objectives, focus and scope of

research.

1.2 Research Background

Chinese migration to the Malay Peninsula began six centuries ago, from the

time of the Melaka Sultanate around 1400, and continuing until the formation of an

independent Malayan state in 1957. Common geographic and linguistic origins in

China have shaped the geographic, economic and social patterns of Chinese

immigration in their new settlements. Only in the 1930’s-50s, these Chinese

communities of different linguistic origins eventually integrated for their common

interests, participating actively in the political, economic and social institutions of

Malay Peninsula.

Baba-Nyonya are the result of intermarriages between Chinese and local

Malay women. There are no artefacts that recorded when the acculturated Chinese

first identified themselves as Baba-Nyonyas (Figure 1.1). The large number of

Chinese immigrants in the nineteenth century gave rise to a consciousness in

distinguishing between the early Chinese settlers and the new immigrants. These late

comers were generally known as sinkheh or new guests to make their distinction

from the Baba Nyonya communities. Generations of Baba-Nyonya are found

throughout the Straits Settlement - Melaka and Penang, Peninsular Malaysia.

1
 Figure 1.1 Portrait of Baba
and Nyonya

There are arguments in defining Baba-Nyonya and its origin. To avoid

confusions, the researcher explored the cultural elements of Baba-Nyonya and

prepared additional appropriate definitions to the term Baba-Nyonya. They included

the term Peranakan, Straits Chinese and Straits Born Chinese. These terms have been

used interchangeably by the people themselves and by people describing them (Khoo,

1998; Emmanuel, 2008).

The Baba-Nyonya spoke Baba Malay, dialect of the Malay language that

contains Hokkien words. They retained most of their ethnic and religious origins but

assimilated into the culture of Malays. They tended to dress in Malay costumes, but

their customs are heavily influenced by the Chinese in certain aspects, especially in

marriage (Figure 1.2), festival celebrations and ancestral beliefs. The Baba-Nyonya

food displays an intermixture of various cultures, where it combines Malay and

2
Chinese cuisine with influences from Indonesia, Thailand, India, Holland, Portugal

and England (refer Chapter 2).

Figure 1.2 Baba-Nyonya wedding

costume

The Chinese race is one of the major races after the Malays and followed by

the Indians and other indigenous people in Malaysia. The Baba-Nyonya is

categorized as a minority among the groups. Surveys of literature in the Baba-

Nyonya culture claimed that the culture had undergone substantial acculturation and

formed a distinct socio-cultural group among the ethnic Chinese (Png, 1969; Lee and

Tan, 2000). The Baba culture emerged in Melaka before the arrival of the British

and the society thrived under British rule in the nineteenth century.

This research explores the cultural heritage of the Baba-Nyonya in Melaka:

the place of its origins. Today, the trace of Baba-Nyonya architecture is still

prevalent in the Melaka town, and delightfully, the Baba-Nyonya community

continues to practice part of the main traditions in religions ritual and festivals. The

3
historic city of the Straits of Melaka was added to UNESCO’s world heritage list in

2008. The honour of this award has caught enormous attention towards the

preservation and conservation of Baba-Nyonya architecture heritage and catapulted

the city of Melaka to an even more important position in the success of this campaign.

The research site is located on Jalan Tun Tan Cheng Lock in Melaka. It is

chosen for this research since it first evolved as a gallery of Straits Chinese material

aspiration from the early 19th century to World War Two (refer Chapter 4). The

literatures on Baba-Nyonya cultural elements are emphasized as they contributed

essential influences in the architecture design and interior arrangements of the Baba-

Nyonya shophouses. Elements are the main focus in this research because they are

interrelated closely to present a completeness of the Baba Nyonya shophouses.

Therefore equivalent efforts had been devoted to study these two subjects.

1.3 Historical Background

The China Peranakan or Straits Chinese, also fondly known as the Baba-

Nyonya, was a prominent community of acculturated Chinese in the Straits

Settlements (Penang, Melaka and Singapore). The Baba-Nyonya culture also exhibits

an integration of the Malay Archipelago (Javanese, Batak), Thai and European

(Dutch, Portuguese and British) cultures. Their origins dated back to approximately

600 years ago when the first Chinese traders settled in Melaka awaiting the

prevailing winds required for sailing home. Most of them were Hokkiens from the

Fujian province that set off from ports such as Amoy (now Xiamen). Others were

from Guangdong province. They had business links between southern China,

Malaysia and Indonesia.

4
 Chinese women were not allowed to leave their country by law until the

middle of the 19th century; hence almost all traders from China were males. Inter

ethnic marriages with local folk were practices; whom then became the guardians of

business during the absence of the china men (Moore, 1986).

In the 18th and 19th centuries Babas were the merchants of opium, sireh

(betel leaf), nutmeg and liquor farming, pepper and gambier cultivation, tin mining,

commodity trading and property. In the early 20th century, they switched their

investments to rubber estates in Peninsular Malaysia. They played as the middlemen

for big Western companies and banks because most of the educated Baba could

speak fluent English. Good relationship with colonial government led the Baba

community to affirm themselves as already rooted in Malaya, and hence they became

active participants in civic projects or served in the local government. Some of them

even evolved as the pioneers to acquire national independence for Malaysia and

Singapore. Many Nyonyas also played the key roles in female emancipation (Khoo,

1998).

Nowadays, this minority Chinese community faces the same dilemmas and

problems, such as the decline of traditions, the inability to speak the dialect and the

growing number of mixed marriages. All these factors lead to great changes in the

culture and uncertainty about the future. However the increasing numbers of Baba

cultural activities as well as growth in memberships of Baba organisations indicate

an improved awareness toward the Baba heritage. Thus, both public and private

sectors have begun to devote more efforts in preservation and conservation of Baba

Nyonya legacies.

5
1.4 Terminology of Baba- Nyonya

When studying the ethnic identity of Baba-Nyoya, several different terms

such as Baba-Nyonya, Peranakan, Straits Chinese and Straits Born Chinese are used

to address the same group. The study of community identity is essential in positing a

better understanding about the group under investigation, whom the interviewees are

Baba-Nyonya, before further exploring their perception towards the subjects of study.

1.4.1 Origin of Baba-Nyonya ,Peranakan, Straits Chinese, Straits Born Chinese,

Baba and Nyonya

Babas, among the minority race in Malaysia, stand out as the most unique

ethnic group. This unique culture was found in Melaka before the arrival of the

British. There are a few possibilities that may explain the origins of Baba-Nyonyas.

Purcell (1967) stated in his examination of Chinese settlements in Melaka, that there

are three important periods in the history of Melaka and Singapore. He lists them as

follows: (1) the Melaka Sultanate up to 1511 (2) the Portuguese’s ruling up to 1641

and (3) the Dutch and British’s ruling up to the end of British colonisation and

prestige in 1941 with the fall of the fortress of Singapore to the Japanese.

Purcell (1967) stated that during the ruling of the Melaka Sultan, a Chinese

community already resided in Melaka although there was no record of how big and

permanent this Chinese community was. The Chinese of that time mostly were

Hokkiens from Fujian province or from Guandong province. These seafarers and

traders were staying in Melaka to wait for the changing winds that could take them

back to China. Another possibility is that the Babas were the descendants of the five

hundred attendants who accompanied Princess Hang Li Po of China to Melaka. The

Princess was given in marriage to Sultan Mansur Shah (1459-1477). She was then

6
given a hill named Bukit China (China Hill) by the Sultan. This hill now has the

largest Chinese cemetery beyond the frontier of China. Other than that, there are

maps showing a section of the Melaka Town as Kampong China (China Village)

during the Portuguese’s ruling, but the records were not clear about the size and

permanency of the Chinese people during their ruling. In 1641, the Dutch welcomed

more Chinese to reconstruct Melaka after they took over Melaka. The Dutch also

brought in other races such as the Balinese, Javanese, Ambonese, Sundanese, Bataks

and others from various parts of Sumatra.

The exact date when the acculturated Chinese first identified themselves as

‘Baba’ or ‘Peranakan’ is unknown, but in the nineteenth century there was a clear

distinction between the early Chinese settlers and the new immigrants from China,

whom they called sinkheks (new arrivals). Sinkheks were politically oriented towards

China while the Babas were oriented towards Malaya and loyal to the British

government. According to Lee (2008), the word Peranakan is derived from Malay

‘anak’ which means ‘child’. The term refers to the local born and the descendants of

foreigner-native union.

The term “straits Chinese”, “straits-born Chinese”, and “Baba” have often

been used to refer to the same group - the Chinese of the Straits Settlements which

consist of Singapore, Melaka and Penang. Kwok (1994) stated that the term “straits

Chinese”, “straits-born Chinese”, and “Baba” were used interchangeably and applied

generically to the local-born Chinese, regardless of their dialect background.

However, some believe that these words have different meanings. According to Tan

(1998, cited by Teo 2003), he stated that the term “Baba” is a term with middle

Eastern (probably Turkish) origin meaning “father”, “grandfather”, or “venerable

man”. Tan (1988) claimed “Baba” was introduced to the South-east Asia through

7
India. The term was meant for the indigenous people of the region. Vaughan (1971)

also stated that the term Baba is used by the natives of Bengal to designate the

children of Europeans and it is probable that the word was applied by the Indian

convicts at Penang to Chinese children and that was why it came into use. The word

“Baba” was collected in Douglas’s Hokkien dictionary with the meaning a half-caste

Chinese from the Straits.

Referring to P’ng (1969), R.J. Wilkinson (1959) gave the following two

meanings: “descriptive name applied to colonial-born European, Eurasian and

Chinese males to distinguish them from men born in Europe and China”, and

“descriptive name applied to male Straits-born Chinese.” On the other hand, Tan

(1988) stated that Frank Swettenham explained the term “Baba” was used for Straits-

born males, whether children of English, Chinese or Eurasian parents, and was of

Hindustani origin. Chia (1994) declared that a “Baba” can be said to be one whose

first ancestor married, or made a union with, a local woman of the pre-Islamic era.

From these definitions, the view of Chia is in common with the definition of

Melaka Baba - the Baba combines Chinese and Malay culture, a throwback to early

Chinese settlers marrying local Malay women. To preserve and propagate the Baba-

Nyonya community, intermarriage between the Babas and the Malays eventually

ceased. The Baba-Nyonyas were given marriage within their own community that is

Babas marry Nyonyas, and usually from generation to generation.

Babas refer to the male descendants and the Nyonyas the females. According

to Lee (2008), he claimed that the word Nyonya is said to have originated from Java.

The word Nyonya (also commonly misspelled nonya) is a Javanese loan honorific

word from Dutch Nona (grandma) meaning: foreign married Madam. Because

8
Javanese at the time had a tendency to address all foreign women (and perhaps those

who appeared foreign) as nyonya, they used that term for Straits-Chinese women, too,

and it was gradually associated more exclusively with them. However, based on the

definition from Peranakan Association Singapore, Lee (2009) claimed that the term

nona, or nonha, is known throughout the lands of the old Portuguese world and even

in Mozambique (Portuguese Africa) and in Macau, where it was a term for a

Eurasian, or a young native girl married to a European. It may be connected to the

Portuguese 'Dona' or in Spanish "Doña" (pronounced "donya"), meaning "Lady".

Due to the social custom, behaviour, language and identity, there is a distinction

made between straits Chinese, straits-born Chinese and Baba. Straits-born Chinese

referred to the first generation local born Chinese who still adhered to Chinese

culture, speak Chinese, celebrated Chinese festival and acted like his immigrant

Chinese parents. Straits Chinese were defined as those born or living in the Straits

Settlements and who maintained a basically Chinese identity, they gradually abandon

close link of kinship, sentiment, political allegiance and financial remittances to

China. This behavior is clearly contradicted with the characteristic of the non-Baba

Chinese (Clammer 1980 cited in Lee 2008)

According to Rosie Tan (1958) cited by P’ng (1969) about the qualifications of a

Baba are as follows:

a) One who identified himself as a Baba

b) At least one if not more female members of his family habitually wore

somewhat Malay-styled dress

c) Either he or at least some members of his family, if not all, spoke the Straits

Chinese patois- Baba Malay

9
 d) His family had a strong preference for Malay and/ or Straits Chinese food.

By the statement above, we can conclude that those who were born in the Straits

Settlements did not qualify as Babas. Therefore all Babas would be straits Chinese,

but all the straits Chinese were not necessarily be Babas. In the same way, all straits

Chinese would be straits born, but not all straits born were straits Chinese. Thus

straits-born Chinese comprises all Chinese who born in the Straits Settlements be

independent of their cultural and social background, while straits Chinese are

identified by their cultural and social considerations. This can be concluded clearly in

figure 1.3.

Straits-born
Straits Chinese
Chinese
Baba

Figure 1.3 Baba as a sub-group for straits Chinese and straits born Chinese.

The wearing of the sarong and kebaya, incorporation of local herbs and spices

in their cuisine and adoption of local Malay dialects into their daily language reveal

that the culture of Baba-Nyonya is assimilated into Malay culture. They retained

some practices of Chinese cultures especially in marriage, festival celebrations and

ancestral worship but at the same time emulated into the local culture and lifestyle in

10
order to minimize the culture shock. There are three centres of Baba communities -

Melaka, Penang and Singapore. The Babas in Singapore were originally migrants

from Melaka and they have similar culture. According to Chia (1994), Melaka Babas

were influenced by motherhood (Malays), while Penang Babas were influenced by

fatherhood (Chinese). The language spoken and the literary orientations influenced

by this dominance. The Melaka Babas speak in a Malay accent interspersed with

Chinese words, whereas the Penang Babas speak Hokkien juxtaposed with Malay

words.

1.5 Problem Statements

Today, the continuation of Baba culture faces crisis considering the decline of

traditions, the growing number of mixed marriages and its gradually forgotten dialect.

Furthermore, many of its customs and rituals are less practiced. For example,

nowadays marriage ceremonies are conducted in a single day, unlike the previous

marriage ceremonies which lasted 12 days in the traditional Baba-Nyonya culture.

Most of the younger Babas, engrossed in the pursuit of material success, show less

interest in the Peranakan culture. They are not familiar with the Baba Malay and are

unaware of their heritage. In addition, the influx of immigration of Chinese into

Malaya in the 19th century also contributed to the disintegration of the Baba culture.

Since the 1940s, many Babas have slowly indulged themselves into non-Baba

Chinese communities. An important factor which caused this is the marriage between

Baba and non-Baba Chinese. (Lee and Tan, 2000)

Being influenced by local mainstream culture, the Baba traditions have

diminished rapidly in modern days as a result of cultural assimilation. In many

11
circumstances, the identity of the Baba descendants has been looked upon as a

predominant Hokkien-speaking Chinese community. Social and political factors in

Malaysia have also contributed to its deterioration (Salleh, 1998). Government

policies in Malaysia classify Baba-Nyonyas as ethnically Chinese. They study

Mandarin Chinese as their mother tongue in schools which has resulted in a sharp

decline of the speakers of Baba Malay or Malay Patois, their traditional mother

tongue, in most Baba families. The Baba language or Baba Malay is a patois of the

Malay language, with many words borrowed from Chinese (especially Hokkien),

Portuguese, Dutch, Tamil and English.(Lee, 2008) Furthermore, the standardization

of Malay as Bahasa Melayu has led to the disappearance of the unique characteristics

of Baba Malay.

The Baba-Nyonya culture is a wonderful hybrid of cultures that gave birth to

splendid architecture, traditional and aesthetic information. The hybrid of the Baba

culture are mostly extracted and refined from Chinese, Malay, Javanese, Batak, Thai

and European elements, forming new remarkable decorative embellishments which

are named as the Straits Eclectic style. It is very difficult for one to fully comprehend

as well as digest these sophisticated fusions in Baba culture, let alone to take

appropriate actions for its restoration. Poor understandings toward the use pattern of

interior space in Baba-Nyonya shophouses are the result from superficial

observations on their cultural behaviour. Very few written records or documentation

on the embellishment and detailing in terms of architecture and interior space have

been produced so far.

In addition, it is very hard to identify the origin of the cultural influences on

Baba-Nyonya shophouses. New generations of the Baba-Nyonya have largely

abandoned these traditional lifestyle and culture practices. Without any

12
documentation as reference, it is difficult to trace its roots. With the passing away of

the old master-craftsmen and reluctance of the younger generations to persist in

traditional craftsmanship, any preservation and restoration works becomes arduous.

The knowledge about the Baba-Nyonya shophouses in terms of architecture and

interior design, if becomes unknown, will then cease to exist in human history.

Most of the Baba-Nyonya populate in two well known cities of Malaysia. The

historic city of the Straits of Melaka and Penang were added to the UNESCO’s world

heritage list on 2008. The town constitutes a unique architectural and cultural

townscape in East and Southeast Asia. However, most historical structures including

the Baba-Nyonya shophouses have shown dramatic changes to fit modern lifestyle.

Due to the change in the use of space and new owner’s preference renovation, some

of the buildings have been immensely modified. There is no effective legal

protection to date that can preserve and conserve the heritage building that leads to

destructive renovations or demolition (Lim and Jorge, 2006). Rules and regulations

in preserving and conserving the Baba-Nyonya shophouses currently are not

standardised in this country. The deterioration of the Baba culture has caused the

fading of its identity and this can lead to the loss of place in World Heritage City list.

Therefore, the shophouses must be restored through using appropriate methods

regarding design, materials, methodologies, techniques and workmanship, in

accordance with new conservation guidelines and principles that are yet to come.

13
1.6 Objectives

The main objectives of this study are:

a) To analyse the interior design features of the Baba-Nyonya shophouses.

b) To examine the embellishment and detailing of the Baba-Nyonya shophouses

in terms of architecture and interior space.

1.7 Focus and Scope of Research

This research involves an observation on the culture of Baba-Nyonya Melaka,

with special reference to their architecture and interior design. The researcher

investigates the interrelationship between culture and interior architecture that

directly reflects the Baba-Nyonya tradition and practices in their physical activities

and creations. In fact, Baba-Nyonya shophouses are built to fulfil both realistic needs

and cultural values of the Baba-Nyonya who originate from China, by transforming

the alien land to a more familiar, comfortable environment as their new homes.

1.7.1 Architecture & Interior and Baba-Nyonya culture

Architecture and interior design are form of the cultural expressions.

Architecture and interior are part of a culture. Though buildings are constructed of

durable materials, they also provide invaluable, long-lasting information about the

past. Through architecture researchers can gauge information about Baba-Nyonya

lifestyle, social structures and more importantly, their incomparable, unique artistic

sensibilities that can only be bred under a great fusion of Eastern and Western

cultures. The creation of architecture and interior designs are to suit owners’ needs,

where the space created will honestly informs us of almost-everything about the

users.

14
 An investigation was conducted to understand the relationship between

shophouses and the Baba-Nyonya culture. Expression of perceptions, changing

values and ways of life can be illusively noticed through intricate pieces of building

decorations and layouts. Its uniqueness arises from the blend of multiple cultural

elements, especially the combination of Malay and Chinese culture which have

displayed well-developed-acculturation process in the Malay Peninsula. It is an

appropriate activity by surveying the Baba-Nyonya shophouses to examine the

products of cross culture.

1.7.2 Scope of Research

Following tasks will be undertaken as a part of the research:

1. Origins of Baba-Nyonya culture and whereabouts of the cultural influences on to

Baba-Nyonya shophouses.

This study discusses both culture and macro concept under the ethnographic.

The Baba-Nyonya culture is studied as support to macro concept, by acquainting the

exact meanings or values that have brought up the design rationale for details of

Baba-Nyonya architecture and interior. Cultural understanding is preferred since

architecture and interior are interrelated to culture life. This approach is important to

clarify origins of Baba-Nyonya culture and whereabouts of the cultural influences

onto shophouses.

2. To identify the characteristic of Baba-Nyonya shophouses in term of Architecture

and interior design.

Baba-Nyonya shophouses are observed to identify the function,

characteristics and space planning. The relationship between exterior and interior can

15
be identified clearly and provides a whole picture on Baba-Nyonya lifestyle. It is

important to comprehend social interaction in Baba-Nyonya shophouses to unveil

social relations that have been established.

3. To evaluate the differences of past Baba-Nyonya houses and present Baba-Nyonya

shophouses in Melaka.

Special attention is paid to traditional Baba-Nyonya houses and present Baba-

Nyonya shophouses to analyze the evolution of building from residential purpose to

multipurpose use. The details of shophouses in terms of embellishment, furniture,

ornamentation on interior elements are constantly observed when field work is

conducted. It is crucial to evaluate traditional and new elements or material applied

in the shophouses.

1.8 Summary of the Chapters

The main contents in this chapter cover the introduction of Baba-Nyonya,

historical background and research background. The objectives have proclaimed the

issues that can be explored and studied in details - with the intention to gain a closer

inception of this architectural heritage regarding its interior design, in the hope that

this refined document will aid to improve the quality of future preservation and

conservation works.

To have a better comprehension of the Baba-Nyonya culture and its

architectural style and materials have been studied and summarised in the literature

review of Chapter 2. In Chapter 3, it shows the various methods that have been

employed to scrutinise the culture of Baba-Nyonya, their people and also buildings.

16
In general, the methodology of documenting evidence, interviews and visual data

collection had been adopted in order to fully conceive the value of this cultural

heritage in Malaysia.

The finding parts in Chapter 4 cover about the importance of the historical

elements to the details of Baba interior architecture, which have been the main

ingredients to shape the inherent cultural achievements imbued within Baba-Nyonya

shophouses. Exterior decoration and layout arrangements of shophouses that serve

commercial and residential purposes have been analysed in Chapter 5 to reflect the

connection between the applied physical design and the lifestyle of Baba families.

Lastly, in Chapter 6, conclusions have been drawn for this paper to briefly

summarise the researcher’s findings and her suggestions to the direction of future

research.

17
 CHAPTER 2 – LITERATURE REVIEW

2.1 Introduction

This chapter discusses on previous research being conducted. In chapter 2,

materials from Lee (2008), Lim (2003) and Cheo (1983), have been studied and

summarised to have better understanding of the Baba-Nyonya culture .Previous

researches from Chen (2005), Kohl (1984), Ho (2008), Ahmad (1994) , Kamal

(2008) and (M. Rasdi, 1997) provide information on architecture style of Baba-

Nyonya shophouses ,interior space of Baba-Nyonya shophouses and its furniture.

2.2 Baba-Nyonya Culture

This research delves to investigate Baba-Nyonya culture, including its

religion, language, costume, food and marriage where all are tightly related to the

architecture and interior of Baba-Nyonya shophouses.

2.2.1 Religion

Baba-Nyonya maintained their forefather’s belief in Chinese religion, yet

they have also adopted the Malay beliefs of keramat (a “thaumaturgic gift” akin to

the miracles of prophets) and guardian spirits of sacred sites. They primarily practice

Taoism, Confucianism, Chinese Buddhism and ancestor worshiping. They

celebrated all major traditional Chinese festivals, such as the Lunar New Year , the

Lantern Festival and the Dragon Boat Festival (Lim, 2003).

18
2.2.2 Language

Referring to Lee (2008) and Cheo (1983), the Baba language or Baba Malay

is a patois of the Malay language, with many words borrowed from Chinese

(especially Hokkien), Portuguese, Dutch, Tamil and English. It is a Creole language

for intra-group communication and was the lingua franca of the Straits Settlements.

The Baba Malay language is dying fast today and many of the young cannot speak it,

having been brought up to concentrate on English, Malay and even Mandarin.

2.2.3 Costume

Baba-Nyonya costumes are different between men and women. Basically, the

costume is influenced by Chinese, Malay and European culture.

2.2.3.1 Costume for Women

The Nyonya's clothing was identical to that of the native Malay. Baju

panjang (long dress), a batik sarung (batik wrap-around skirt) and three kerongsang

(brooch) are worn by the elderly Nyonya. Accessories such as hairpins and bracelets

are worn beside plain long dress. Elderly Nyonya preferred conservative colours and

simple designs while young Nyonya preferred patterned and brighter attires. A

square batik or Chinese silk handkerchief is tucked into the right or left shoulder of

the attire for formal occasions. According to Lim (2003), by the late 1910s and 1920s,

the Nyonyas started wearing the kebaya which is a fashion that started in the Dutch

West Indies. It is embroidered and is worn with batik sarongs with floral designs.

Beaded slippers called Kasut Manek were hand-made products made with

much skill and patience: strung, beaded and sewn onto canvas with tiny faceted glass

beads from Bohemia (present-day Czech Republic). In modern times, glass beads

19
from Japan are preferred. Traditional Kasut Manek design often has European floral

subjects, with colours influenced by Peranakan porcelain and batik sarongs. They

were made onto flats or bedroom slippers. But from the 1930s, modern shapes

became popular and heels were added (Wikipedia, 2009). Nyonyas would dress up in

cheongsam and samfoos, Chinese fashion occasionally. From 1930s onwards,

nyonya attire tended to divert to western style. It is portrayed as a status symbol and

worn during associating with British.

2.2.3.2 Costume for Men

For Baba, they are wearing the baju lok chuan , chinese-style jacket and loose

trousers. Later, the Baba costume converted to a baju tutup (men’s suit with a high-

collared jacket). Same as Nyonya, the Babas wore western attire most of the time

from 1930s onwards.

2.2.4 Food

Peranakan food is a combination of Malay and Chinese cuisines with

influences from Indonesia, Thailand, India, Holland, Portugal and England. The

unique cuisine was developed using ingredients such as lengkuas (galangal), serai

(lemon grass), chillis, kunyit (turmeric), halia (ginger), tau cheow (bean paste) ,

tamarind, lime juice, belachan (shrimp paste) , buah keras (candlenuts), gula Melaka

(palm sugar), spices such as star anise, cinnamon, cardamom, cloves, nutmeg, leaves

such as daun kesum (sweet basil leaves), daun limau purut (Kaffir lime leaves),

pandan leaves, from which the Nyonyas concocted a unique cuisine, with

predominantly spicy and piquant flavours (Lee, 2008).

20
 A Nyonya’s cooking ability could be assessed in the old days from the

rhythm of the way she pounded the spices to make sambal belachan (shrimp paste).

Delicate cakes, pastries and sweets were laboriously prepared as skill in cooking

these delicacies was considered a great asset in the marriage stakes. Peranakan eat

the way Malays do, with their fingers. Chopsticks are however used during elaborate

festive celebrations and festivals. Some well-known Peranakan dishes are: Otak Otak

(a cake made of fish meat and spices), Ayam Pongteh (Nyonya Soy braised chicken),

Assam Laksa (noodle in tangy first soup), Achar (type of salad) (Figure 2.1), Bakwan

Kepiting (crab and pork balls cooked with bamboo shoots in a fragrant prawn stock)

(Figure 2.2), Cincalok (fermented small shrimps) Omelette and Pork Liver Balls.

Figure 2.1 Achar Figure 2.2 Bakwan Kepiting

(Source: Lim, 2003) (Source: Lim, 2003)

2.2.5 Marriage

From the 19th and the early 20th centuries show that Baba usually took their

brides from within the local Baba-Nyonya community. Marriages within the

community and of similar stature were the norm. Wealthy men preferred to marry a

chin choay: or matrilocal marriage where husband moved in with the wife's family.
21
Proposals of marriage were made by a gift of a proposal, a 2-tiered lacquered basket,

to the intended bride's parents brought by a go-between who speaks on behalf of the

suitor (Wikipedia, 2009). The traditional wedding ceremony ran for twelve days but

it is hardly celebrated this long nowadays. The Chinese style gowns were elaborately

embroidered and crowned with a headdress of gold and diamonds. At weddings, the

Dondang Sayang, a form of extempore rhyming song in Malay, is sung and danced

by guests at the wedding party. By studying the culture of Baba-Nyonya, the design

rationale of interior space in Baba-Nyonya shophouses can be understood in ease as

most of the design decisions are a reflection to the lifestyle of Baba community.

2.3 Architecture Style of Baba-Nyonya

This part will discuss the conventional forms and features of Baba-Nyonya

shophouses (Figure 2.3).

Figure 2.3 Features of shophouses

22
2.3.1 Features of Early Shophouses

The shophouse is a building with two or more storeys which serves both the

commercial and residential purposes. The tenants of the shophouses run businesses at

the front section of the ground floor, while their living areas were located at the rear

of the house and the upper floors. According to Chen (2005) and Kohl (1984), the

origin of the shophouses can be traced back to the Chinese immigrants from the

densely populated southern coastal provinces of China in the 19th century. They

utilized and modified their knowledge and methods of construction into the Malaysia

urban shophouses to adapt to the local climate.

The early shophouses were narrowed in width and long in depth, usually

around 6-7 metres wide and 30 metres deep, sometimes extending to 60 metres. The

narrow façade, which is usually less than 10 metres in width, is due to the taxation

rules imposed by the Dutch on the number of windows per façade. Shophouses were

built side by side with common party wall. The walls were built of bricks and were

plastered.

One of the typical interior features – air-well located inside the centre of

shophouses. The air-well functions as an internal courtyard which is typical of

residences all over China. Long internal spaces with no openings on the side of the

shophouses require the use of several air-wells. It enhances ventilation of the

shophouses and lights up the rear section to ensure a good flow of life force or ‘chi

energy’.

Adjacent to the entrance are square windows, and above the windows is the

ventilation opening. This entire ventilation opening is carved out of wood with a

pierced decoration or painted in auspicious colours or even partially gilded. They are

23
carved with motifs carrying symbolic meanings. For example, the peony is a symbol

of wealth and renewal while the bat carving brings good luck and happiness.

Every shophouse has a verandah or “kaki lima” with a minimum width of five

feet. Chen (2005) stated that Sir Stamford Raffles, the British colonial administrator

of Singapore in 1822 first regulated that all shophouses had to include a minimum

five-foot wide verandah on the ground floor. Tropical weather conditions with its

heavy rains and hot sun led to the appearance of the five foot way. It provides a

shading area for pedestrian and a place to display goods, improvise workshops and

even a place for resting on a rattan chair.

De Bierre (2006) states that shophouse façade are a main attraction because

they comprise of tiling catered from all periods – Victorian, Edwardian, Art Nouveau,

Art Deco, 1950’s mosaic and even 60’s pop art. The function of tiling is to protect

walls from water splashing off road. The China Peranakan transforms it into an art

form by mixing colours and patterns to bring out a style for the doorstep. Most of the

tiles were imported from Britain with English Rose as motif.

2.3.2 Architectural Style of Shophouse

There are four architectural styles of shop houses in Malaysia: early

shophouse (18th century) traditional shophouse (19th century), Straits Eclectic

shophouse (1900-1940) and Art Deco shophouse (1940-1960’s) (Ahmad, 1994;

Kamal, 2008). The Baba-Nyonya shophouses belong to the style of Straits Eclectic.

24
2.3.3 Architectural style of the Baba-Nyonya Shophouse

Shophouses in the Straits Settlements emphasize the design on full-length

French windows with a pair of full-length timber shutters, an arched or rectangular

transom over window openings, pilasters of classical orders and plaster renderings

(Ahmad, 1994). From 1910’s the use of reinforced concrete allowed wider roof

overhangs and more elaborated cantilevered concrete decorations. The shophouse

has two or three moulded openings. Plaster renderings such as bouquets of flowers,

fruits, mythical figures and geometrical shapes were used to decorate the pilasters

placed between openings, the spaces above the arched transom and below the

openings. Baba- Nyonya shophouses have highly intricate ornaments and carvings to

show off their wealth and status in the local community.

Brightly coloured ceramic tiles can be found in the Baba-Nyonya shophouses

on walls and floors. Coloured floor tiles made of terra-cotta are commonly seen in

the verandah walkway and inside of shophouses. Most of the tiles were imported

from Britain. English rose is a popular motif that can be found commonly in Baba-

nyonya shophouses. Coloured ceramic tiles are not only popular in the Baba-Nyonya

shophouses of the eclectic style but they are also used by the Malays to decorate their

main stairs (Lim, 1987). A typical Baba-Nyonya shop house usually has tiah datuk

(first hall), tiah gelap (second hall), one or two courtyards or chim chae (air wells),

ancestral hall, bedrooms, bridal chamber and kitchen.

25