Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Master of Science
Urban Development and Management
I declare that the work of this dissertation was carried out in accordance with the
regulations of Universiti Teknologi MARA. It is original and is the result of my own work,
unless otherwise indicated or acknowledged as reference work. This dissertation has not
been submitted to any other academic institutions or non-academic institutions for any
degree or qualification.
I, hereby, acknowledge that I have been supplied with the Academic Rules and
Regulations for Post Graduate, Universiti Teknologi MARA, regulating the conduct of my
study and research.
Signature of Student :
“BISMILLAHIRAHMANNIRRAHIM”
All praise to Allah S.W.T and with the thanks to His will, the dissertation which is a
partial requirement for the Masters Degree in Urban Development and Management
was finally completed. Although my hurdles have to be endured, however with the
blessing of patience and belief to oneself, this finally sparked the inside strength and
spirit to continue the struggle to complete this thesis.
I would also like to thank and give a special appreciation to my beloved father and
mother, Suran bin Sulaiman and Zaharah bte Md. Yassin and also family members
who sacrificed a lot to this success. Not forgetting to all my friends, especially Mohd
Hanif b. Mohd Yunos, who have given their encouragement and advices in
conducting this study, your good deeds will always be in my memory.
i
ABSTRACT
The city has always been a setting where the cultural manifestations of each historical
period have met and its image has transformed itself due to the different social,
political and economic situations. Public art is not a new concept; it has existed since
ancient times. It has always been closely linked to political, economic and religious
powers. The art that found in public space showed the present social and cultural
situation, as well as the artistic and aesthetic tendencies. There is a close relationship
between art and city. Public art is part of the broader visual environment of buildings,
landscapes and infrastructure. It can promote a sense of place, contribute to legibility
or way finding, and generally support efforts for quality urban design. It can be in the
forms of sculpture, street furniture, mural, and even fountain structure. This research
focuses on an integrating public art in Malaysian urban landscape, a case study of
Putrajaya. Putrajaya was selected as a case study because, Putrajaya is the new
administrative capital of Malaysia has seen the need to be distinctively outstanding in
both its characteristics and development. Putrajaya has revealed the influence of
public art in enforcing and strengthening the identity of the city. Hence, literature
review, document analysis and interview with experts from Putrajaya Corporation
were done to help justify the findings of the investigation. The first part of the research
examined public art as a contributor towards quality urban living environment. Then,
issues and problems which shield the Putrajaya urban landscape to be fully
integrated by public art will be highlighted. Subsequently, the recommendation have
been done to enhance the planning process and management system by local
authority in Putrajaya urban landscape. Therefore, this research will help to generate
the society’s awareness and understanding of the effort of integrating public art in the
Malaysia urban landscape.
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TABLE OF CONTENTS
PAGES
Acknowledgement i
Abstract ii
Table of Contents iii
List of Tables vii
List of Figures ix
List of Photos x
List of Abbreviations xi
List of Appendix xiii
CHAPTER 1 INTRODUCTION 1
1.1 Introduction 1
1.2 Problem Statement 3
1.3 Research Questions 4
1.4 Aim and Objectives 4
1.4.1 Objectives of the Research 5
1.5 Scope and Limitation 5
1.6 Organization of Dissertation Content 6
iii
2.4 Contribution Public Art to Enhance the Image of
Capital City 26
2.5 Public Art Planning 28
2.5.1 Public Art Strategies 29
2.5.2 Local Development Frameworks 30
2.5.3 Priority Development Site 32
2.5.4 Percent of Art 33
2.5.5 Persuading Developers to Work with Artists 33
2.5.6 Public Art for the Public Realm 35
2.5.7 Mechanisms for Securing Art 35
2.6 Public Art Funding and Partnership 37
2.6.1 Private Development ‘Percent of Art’ Program 37
2.6.2 Civic Capital Projects 38
2.6.3 Partnerships with other Departments 39
2.6.4 Partnerships with local Businesses 39
2.6.5 Partnerships with Transit and Pedestrian Projects 40
2.6.6 Partnerships with Arts and Cultural Organizations 40
2.7 Maintenance Process of Public Art 41
2.7.1 Documentation 41
2.7.2 Maintenance 42
2.7.3 De-accessioning 42
2.8 Integrated Public Art in Urban Landscape
Reference Cases 43
2.8.1 Background of Melbourne, Australia 43
2.8.2 Public Art Practice 44
2.8.3 Public Art Planning and Management 46
2.9 Summary 50
iv
3.3.4 Stage 4: Data Analysis and Finding 55
3.3.5 Stage 5: Recommendation and Conclusion 55
3.4 Rationale for Applying an Empirical Quantitative
Approach 56
3.3.1 Survey Method 57
3.3.2 Sampling Size 58
3.5 Case Study 59
3.6 Summary 60
v
5.5 Study Findings 120
5.5.1 Lack of Public Art that Integrate with Street
Furniture 121
5.5.2 Lack of Knowledge towards Public Art
among Community and Visitors 121
5.5.3 Inappropriate placement of Public Art 122
5.5.4 Lack of Special Committee that will
specifically handle Public Art 122
5.5.5 Lack of Interactive Public Art 123
5.5.6 Lack of Community Participation
Regarding to Public Art 123
5.6 Summary 124
BIBLIOGRAPHY
APPENDIX
vi
LIST OF TABLES
Table 5.11 : Types of Public Art that most Respondent Favoured 102
Table 5.19 : Public Art Enhancing the Image Quality and Identity
Table 5.20 : The Best Public Art Design Concept in Putrajaya 113
vii
Table 5.21 : Public Art Generate Local Economy Potential 114
Table 5.22 : Major Issue and Problem about Public Art 116
viii
LIST OF FIGURES
ix
LIST OF PHOTOS
Photo 1.1 : Picture (a), (b), (c) and (d) shows the example of……......... 2
Photo 2.1 : High Line is use as public space in New York City………… 12
Photo 2.2 : Picture (a) shown the Stained Glass Window, St Etienne… 14
Photo 2.3 : Picture (a) show the Open Hand Monument is a structure... 27
Photo 2.5 : Public Purse in picture (a) is one of the city's most unique.. 46
Photo 4.2 : Picture (a), (b), (c) and (d) show the art of architecture in… 79
Photo 4.4 : Putrajaya have drawn upon diverse influences resulting in... 81
Photo 5.1 : Most of the public art in Putrajaya are symbolised the…….. 87
Figure 5.2 : This pictures show the current public art in Putrajaya that… 120
x
LIST OF ABBREVIATIONS
AU : Australia
KL : Kuala Lumpur
MY : Malaysia
NC : North Carolina
xi
RTD : Rancangan Tempatan Daerah
UK : United Kingdom
xii
LIST OF APPENDIX
xiii
CHAPTER 1
INTRODUCTION
1.1 Introduction
Public art is a purposeful found space for instrumental action that ties the
relationship between art, architecture and society. Public art encompass integrated
works of art such as artist’s designed street furniture, artist-made architectural
details, lighting, and landscape design and also involved temporary installations of
artwork at public space. Normally, the impact of public art on the community is
invaluable. Public art can enhance the quality of urban living environment which
celebrates its community, emphasizes past memories, and event boosts up the
economical impact of a city (Ramlan, 2009). However, the understanding of public
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art among society and related professions is still quite low in Malaysia compared in
West Countries. There are some possible reasons which are lack of art education,
the placement of the public art, lack community’s participation, lack collaboration
and the quality of the public art itself.
Public Art, Seoul, South Korea Public Art, Chicago, United States
(a) (b)
(c) (d)
Photo 1.1: Picture of (a), (b), (c) and (d) shows the examples of public art in urban area.
Source : Google Image, 2013
The development of public art has created a richer appreciation for the value it
represents as it rarely commemorates heroes or events, or symbolises
accomplishments and goals. It appears to function as a community symbol or as a
tool for place-making. Public art not only has commercial value but it enhances its
settings culturally and aesthetically. This is often achieved with the employment of a
wide variety of images, forms and elements, including materials and techniques,
from everyday life, notably popular culture. Public art has not only promoted the
transformation of a setting but the appreciation for the artwork.
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Therefore, it is observed that there is a great potential in integrating public art in the
Malaysian urban landscape as it could provide a transparent image of a city’s soul
and also improve the quality living environment in the country. In carrying out this
study, literature review, document analysis and interviews were therefore done to
provide a comprehensive background study on public art and its importance in the
urban landscape planning.
The identity and image of a city’s soul can be reflected and shown by public art
(Chang, 2008). In Malaysia, however, the situation of public art differs from the way
it should be. The understanding of public art among the society and related
professions is still low. there are several critical issues of the public art which are
happening internationally and locally, as well as the reasons for the lack of public art
in Malaysia, have been identified.
In addition, the public is understood as being the principal viewer of the genre, and
the artworks intervene in public places, there is limited systematic knowledge about
the public’s perception of the genre or of its perception of individual pieces. It is still
unclear whether the public supports the creation of public art. Likewise, it is not
known if the general public views such artworks as conferring any benefits.
Nevertheless, in many modern cities in Malaysia, the local government spends
considerable quantities of tax revenue to integrated a lot of public art in Malaysian
urban landscape, mainly based on the belief that public art may benefit community
development.
So far, it is the technocrats, art administrators, artists, and some academic theorists
who have assumed that benefits will accumulate from public art projects and who
have proclaimed the success of such works. These advocates stress that the status
of public art has shifted from that of art work to be exhibited in public space to
artistic statement actively engaging with and contributing to public affairs. As sound
as this new definition of public art may seem, such claims have yet to be supported
by any solid research findings. It is certainly of concern that though public art
projects have consumed substantial government monies, the claims that public art
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ameliorates environmental/social problems remains largely untested and unproven
(Hall and Robertson, 2001).
i. What are the main factors that cause public art in Putrajaya is valuable by
community?
ii. What are the best criteria of public art in order to enhancing the image of
Putrajaya in term of physical, social, economy and environmental?
iii. Most of the people know that public art is one of the tools in enhancing
image of the city but why public art in Malaysia is less highlighted in urban
landscape planning by local authority?
The aim of this research is to indentifying the roles and values of integrating public
art in urban landscape along with formulating the best strategies to strengthen
Putrajaya identity as administrative capital of Malaysia
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1.4.1 Objectives
iii. To find the best strategies in order to solve the current issues and problems
related to public art.
iv. To provide the best criteria of the public art that give optimum impact in term
of physical, social, economy and environmental.
The scope of study focuses on integrated public art in urban landscape planning
and management by local authority and community in Putrajaya. The scope will
cover the following aspects which are;
ii. The site study of the research also only focused on the federal territory of
Putrajaya which are from precinct 1 until precinct 17 especially in
government/institutional district and commercial district . This is because,
Putrajaya is well-plan city that was integrated with a lot of public art
compared with the other city (Chang, 2007).
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iii. The type of the respondent in this research only from permanent community
in Putrajaya and also the visitor. 156 of respondents was selected randomly
via Taro Yamane’s theory. Interview with the experts about public art also
were selected only from landscape architect executive in department of
Landscape and Planning Control of Putrajaya Corporation only.
There are respondents that need to be surveyed which include all types of
respondents from different agencies, levels and specialty. But there might be that
the willing respondents are less than that due to the lack of cooperation of the
respondents. Other affecting factors also include time, distance and accessibility.
There might be a lack of information available to analyse due to the limited amount
of respondents. If the respondents are less than the targeted, it will affect the data
accuracy. Therefore, as the contingencies constraints have been pointed, the
preparation to overcome the constraints should be made. The alternatives way
should be planned, so that the constraints and the risk can be minimised.
The research questions are answered through a critique of relevant critical literature
and case studies, as well as through a consideration of social benefit. The review
and discussion sections of this research mainly focus on currently integrating public
art in Putrajaya. The thesis organization of each chapter is as follows:
ii. Chapter 2 briefly outlines the history of public art, offering it as a reference
background. Also, through literature reviews and case studies, this chapter
crystallizes the contemporary critiques of public art’s characteristics and its
possible impact on urban community.
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iii. Chapter 3 explains the methods and procedures in order to answer the
research questions.. It also discuss the model research model/framework
development, the instrument used, data collection methods, and related
matters. Study Area of Putrajaya also included in this chapter.
iv. Chapter 4 explains about the profile of the study area which is Putrajaya
including its history, background, current landuse distribution, planning and
urban design.
vii. Chapter 7 offers conclusions based on the research findings, discusses the
implications for the design field and research significant, and makes
recommendations for future research in public art.
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CHAPTER 2
LITERATURE REVIEW
2.1 Overview
The city has always been a setting where the cultural manifestations of each
historical period have met and its image has transformed itself due to the different
social, political and economic situations. Man and the physical environment created
by himself, sustain a relationship of reciprocity and interaction, the environment
being a reflection of the man who created it, and at the same time influenced him
and his behaviour.
Public art is not a new concept; it has existed since ancient times. It has deep
historical roots and traditions in different cultures and periods. It has always been
closely linked to political, economic and religious powers, and its functions and uses
have changed with time. The art we find in public space indicated the present social
and cultural situation, as well as the artistic and aesthetic tendencies. The policy
carried out in this sense contributes to the city having some distinguishing marks
and a particular image.
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At present there have been some changes in the meaning of public art, due to the
changes in conditions and possibilities in public life, as well as other profound social
changes. The concept had evolved and has extended its forms and functions, both
in the fields it performs and the possible placing. The use of large scales on open
spaces and environmental character are some of the most characteristic aspects.
As a result, the relationships among architecture, public and the patron have also
changed. A better understanding of the effects of the physical environment of man
and the interaction between the social, psychological and physical context, helps
one of the main aspects in public art: Its integration in public space in all ways.
In general, there are various different definitions based on different approaches and
points of view. In order to explain those definitions, concept and type, there are
several definitions or meanings that were stated by the researchers.
Guppy (cited in Landcom, 2008) explains that “art is an expression of the creative
spirit, of our endless capacity to see the world with wit and imagination, to be
innovative with materials and technologies, and to provide an engaging commentary
on the times and places in which we live”. A dictionary definition of art includes:
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are exhibited in art galleries. The boundaries are dissolved in
an all encompassing visual culture, in which the level of
sophistication is often higher in advertising than in art, as is the
level of financial support. Appearance, however, can be
deceptive, and the fusion of categories does not mean a
democratisation of art’s meta consciousness, a spreading of its
aura into the streets”.
(Miles, 2004)
This ambiguous nature makes art difficult to define and distinguish for people,
particularly when the art is placed in the public realm outside the context of a
gallery. On the other hand, the concept of “public” art is open to interpretation.
“Public art is not simply art placed outside. Many would argue
that traditional gallery spaces are public in their openness to
interested viewers, while, conversely, others would insist that
the privatisation of public space has meant that art placed in
public space is not necessarily for all. Thus, public art is art
which has as its goal a desire to engage with its audiences and
to create spaces - whether material, virtual or imagined - within
which people can identify themselves, perhaps by creating a
renewed reflection on community, on the uses of public spaces
or on our behaviour within them”.
(Sharp et al., 2005).
This blurring of the public and private domains is dynamic and there is an ongoing
need to re‐examine this (Crane, 2001). Therefore, public art is more than simply
sculpture in the open air as once contended (Selwood, 1995). It has shifted over
time to include:
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temporary or ephemeral works such as installations, lighting
works, new media and outdoor performance”.
(Landcom, 2008)
This broad scope of public art has provided many opportunities for its
implementation but has also posed an issue in terms of understanding its impact.
Whilst art can simply be considered as the creative work of people generally,
typically public art is defined by arts advocates through the involvement of a
professional artist.
A public space is a social space that is generally open and accessible to people in
the city (Jurgen, 1989). Roads (including pavement), public squares, parks and
beaches are typically considered as public space. Government buildings which are
open to the public, such as public libraries are public space. Although not
considered public space, privately owned buildings or property visible from
sidewalks and public thoroughfares may affect the public visual landscape, for
example, by outdoor advertising.
Public space has also become something of a touchstone for critical theory in
relation to philosophy, (urban) geography, visual art, cultural studies, social studies
and urban design (Margaret, 1995). Referring to PPS (2013), was stated that, the
term 'public space' is also often misconstrued to mean other things such as
'gathering place', which is an element of the larger concept of social space. One of
the earliest examples of public spaces is commons. For example, no fees or paid
tickets are required for entry. Non-government-owned malls are examples of 'private
space' with the appearance of being 'public space'.
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This sense of flux and change, informs how contemporary public art has evolved.
Temporal art in public spaces has been a long established practice. But the
presence of public art has become increasingly prevalent and important within our
contemporary cities. Temporal public art is so important because of its ability to
respond to, reflect, and explore the context which it inhabits. Patricia Phillips
describes the Temporal public art as:
Public art is an arena for investigation, exploration and articulation of the dense and
diverse public landscape. Public art asks its audience to re-imagine, re-experience,
re-view and re-live. In the design field, a heavy focus has been turned onto the city
as needing to discover new and inspired ways to re-use, re-establish and re-invent
the city, in step with an invigorated interest in rejuvenating our cities for a
sustainable future. Contemporary design has become obsessed with the need to
save the modern city from an industrialised, commercialised, urban pit of a death
bed.
(a) (b)
Photo 2.1 : High Line is use as public space in New York City (picture a). Picture (b) show
the Crown Fountain as public art in public space in Chicago, United States.
Source : Google Image, 2013
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2.2.3 Definition of Urban Landscape and Planning
According to Taylor and Nigel (2007), urban planning is a technical and political
process concerned with the use of land and design of the urban environment,
including transportation networks, to guide and ensure the orderly development of
settlements and communities. It concerns itself with research and analysis, strategic
thinking, architecture, urban design, public consultation, policy recommendations,
implementation and management.
Therefore, urban landscape and planning is a technical process concerned with the
use of land akin to designing of outdoor public areas, landmark and structure
including public art to achieve environmental, social-behavioural or aesthetic
outcomes in urban environment in order to develop of settlement and communities.
It also includes with research and analysis, strategic thinking, urban design, public
consultation, policy recommendations, implementation and management.
According to Visual Arts Cork (2013), in the 1930s, the production of national
symbolism implied by 19th century monuments starts being regulated by long-term
national programs with propaganda goals (Federal Art Project, United States;
Cultural Office, Soviet Union) (Wikipedia, 2013).
This notion of public art drastically changes during the 1970s, following up to the
civil rights movement claims on the public space, the alliance between urban
regeneration programs and artistic interventions at the end of the 1960s and the
revision of the notion of sculpture. In this context, public art acquires a status which
goes beyond mere decoration and visualization of official national histories in public
space, therefore gaining autonomy as a form of site construction and intervention in
the realm of public interests.
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This change of perspective is also present by the reinforcement of urban cultural
policies in these same years, for example the New York Public art fund (1977) and
several urban or regional Percent for Art programs in the United States and Europe.
Moreover, the re-centring of public art discourse from a national to a local level is
consistent with the site-specific turn and the critical positions against institutional
exhibition spaces emerging in contemporary art practices since the 1960s. The will
to create a deepest and more pertinent connection between the production of the
artwork and the site where it is made visible prompts different orientations.
(a) (b)
Photo 2.2: Picture (a) shown the Stained Glass Window, St Etienne in 12th Century, Bourges
Cathedral. Stained glass was a major form of medieval public art. Picture (b) is The
Spire of Dublin, known as 'the spike'. 21st Century Public Art by Ian Ritchie RA.
Source : Google Image, 2013
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2.2.5 The Concept of Public Art
Public art in a generic sense is an art placed in public space. If we define it in the
traditional way it is the art ordered, paid and property of the State. According to its
accessibility we could say that it is normally found in the exterior. In its suitable
aspect it is conceived and achieved according to a set environment.
All these definitions are as broad as they are not concrete, and none fit wholly the
present concept of this term, that is distinguished for including diverse variants
according to its origin, placing or integration. Possibly the definition that best puts
together the concept is that by Suzzane:
Public art as an art see against private art, which is carried out and placed by public
initiative that is paid by all. Moreover, art in Public Space, private initiative art or
semi-public, where Corporate Art is also included. Art in space or public use which
we find in spaces that although have a public function, art of private or semi-public
nature.
Urban art as an integrated art in urban space. Environmental art as an art closely
linked to the environment or art in the landscape which we can find in gardens or
rural environments. In each of these cases its function and the relationship that will
be established with the environment and the public will vary significantly. But one
way or the other it will become part of the visual culture of a specific context.
Urban spaces can be defined as a series of gradations between public and private
use. It is evident that the concept of public art is closely linked with that of public
space, understood as "a common ground where people carry out the functional
activities and rituals that bind a community, whether it is in the normal daily routine
or the periodic festivities"
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There are different types of urban spaces, but as public life develops with the
culture, new spaces can be needed and the old ones remain discarded or
reactivated. The artistic intervention must be appropriate according to the different
placing on urban geography. All spaces except for those strictly private can be
considered public spaces. The ideal requirements that they must have are:
supportive, democratic and meaningful.
According to eHow (2013), defined that, public art is any kind of art in any kind of
medium that is put on display for public contemplation. Although often presented
outdoors and external to a museum, public art can also be displayed indoors as
long as it is accessible to all without an entry fee. At the same time, most public art
is displayed in public spaces frequented by heavy traffic. According to eHow (2013)
stated that, there are eight types of public art which are:
i. Monuments
ii. Sculpture
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iii. Performance Art
People who play music in the subway, perform mime on the streets and
engage in other free entertainment in a public place are examples of public
art known collectively as performance art. Another type of public art is a free
musical or theatrical performance that takes place on a stage and allows the
audience to sit in a particular place. Real performance art continues as
audience members stop for a moment or 10 minutes before continuing on
their way.
One potentially frightening type of public art is the living statue. This artwork
requires a person to be made up to resemble a statue. This makeup process
is usually quite elaborate and can bring about the illusion of the human being
actually seeming to be made of marble or bronze. Living statues typically
remain motionless for extended periods of time and often draw big laughs
from their audience by suddenly coming to life and scaring a person who did
not realize they are not actually a statue.
v. Fountain
Some public fountains are examples of public art. These fountains contain
sophisticated water jets that create the effect of dancing water. Other
fountains might use electronically controlled lighting designs or even
enhance their beauty with fog effects.
Land Art is created with naturally occurring elements such as water, leaves,
stones, flowers and grasses. Depending on the material, land art tends to be
the most transient sort of public art. Artists use land art to call attention to the
inherent beauty in a local area. This art form often relies on the particular
natural occurrences of each season. For example, the variety of leaf colors
in autumn or the snowdrifts of winter could be transformed into land art.
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vii. Building Architecture
Possibly the most overlooked public art is architecture. This may be because
it seems too utilitarian to be considered a work of art. Arguably the most
open and available type of public art, 20th century building design has been
dominated by Skyscraper Architecture, shaped by ever taller towers.
viii. Posters
Posters should definitely be considered public art. Posters can range from
elaborate and mass - produced movie posters to handmade posters
advertising local concerts to political posters. Posters can be put on display
in a variety of public places ranging from movie theaters to store windows to
light poles. Posters are probably the most disposable of all public art
because they are least able to withstand inclement weather unless protected
in a glass casing.
According to eHow (2013), there are five types of public art: integrated, semi-
integrated, discrete, community art and ephemeral art. Integrated public art draws
inspiration from the location and could not exist anywhere else. Integrated public art
uses the location's history, culture and social circumstances that make the work of
art distinctly a part of the community. Semi-integrated public art gathers its
inspiration, to a certain degree, from the location, but is not necessarily mutually
exclusive to that area; the piece of art works in different locations, provided the
locations share the same conceptual and physical locations.
Discrete works of public art are not integrated with a certain area, therefore having
no conceptual or physical dependence on the location. Community art focuses on
the community's belief system; these works of public art often have a community-
based design and allow people to express their goals or problems. Community
public art helps bring people's experiences in the community into the work of art
itself.
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expressed that; there have three types of public art which are permanent public art,
temporary public art and site-specificity. The descriptions for each public art are:
Most commonly, permanent public art projects are statues and monuments.
These will often commemorate a person or event rather than depicting the
artist's own themes or vision. With a permanent public art project, the city or
the individual who commissioned the project retains ownership of the work
rather than the artist. Since these projects are permanent, they can be
integrated into the architecture of public buildings or spaces.
Temporary public art projects are displayed for only a short period of time
before they are removed. The standard time frame for a temporary public
project is three to seven years. The commissioning body for the project
decides this time frame. Many cities have embraced the installation of
temporary public art projects to incorporate art into the everyday lives of their
residents. Temporary public art projects can be used to display the work of
world renowned artists outside of a gallery or museum setting, making them
more accessible to the general public.
iii. Site-Specificity
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2.3 Integrating Public Art in Urban Landscape
Consideration for sitting art works will depend of whether the work is part of the
architectural fabric, or is to be placed in relation to internal or external architectural
spaces or sites independently in an urban context. From the moment in which the
architect plans the presence of public art in the space, the aesthetic or strategic
value that it will have has to be considered and the implications for the environment
(Phillips, 2003).
According to Philips (2003), art can be another object in the environment or it can
contribute to a visual quality and convert spaces into places for people,
distinguishing an urban space and providing an identity, as well as contributing to
create pleasant environments. This possibility of helping to transform spaces
depends on having took physical factors as well as environmental and social factors
of context.
Philips (2003) stated that, the rapprochement among the different disciplines -
psychologists, anthropologists, planners, architects, artists - as well as the
implicated areas of responsibility - normally political and bureaucratic - had effects
on the attainment of more satisfactory and foreseeable results. It will be frequently
necessary to foment a better communication planning and execution. The artist has
to be fully integrated in this interdisciplinary work and having public art only as a
pretext for its orientation and the personal promotion on its work has to be avoided.
The process on artistic creation should be similar to that followed in an architectural
project in such a way that it could be changed according to needs.
The line maintained between public art and architecture is frequently very close in
the sense that the artist's performances are normally placed in the spaces created
on modified by architects. The space produced by the artist is inscribed and
operates in the architectural space. The classical concept on decorating frequently
thought as pejorative by contemporary art has evolved in public art according to
present needs and has adopted a more aesthetic. But decoration and
embellishment have to be distinguished from art considered as a plastic object that
decorates a space or an architectural object with a sense on submission and the
artistic decoration and environment configuration that implies an intervention at the
creation stage that will be applied to a form that is being performed.
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It is included in the conception and is not added subsequently be it an architectural
form on at environmental level. If contemporary public art tries to contribute an
integrated decoration this is to be a planned and thought intervention at the same
time creating the spaces where they have to be placed because they are part of the
project. This is totally different from the fact that once a project has been conceived
and elaborated the artist is invited to take part. Integral art in the environment stops
being merely a plastic work to become a generating focus on urban space.
The main feature on public art is its mobility and its permanent character. Once
installed it cannot be moved on sold and so does not respond to the speculative
interests that frequently surround gallery art. In contrast the physical and
environmental conditions in which is integrated are variable and are in constant
process on change - on temporary on irreversible character that will be evident in a
short on long term like meteorological phenomenon changes on season light
pollution type on public who use the space vandalism presence on cars. These
factors must be considered beforehand together with maintenance. Changes to the
urban environment have also to be added and the presence on other elements
which will be subsequently placed and that will consequently affect and modify it.
The integration of public art depends on the interaction that it maintains with the
environment and on the physical and ambience perception one has on it (Philips,
2003). The interaction on public art and the climate go closely linked with that on
man - considering the individual on society- and the environment. It takes us to the
triangle defined by public art the environment and man.
The aspects on the context which affect people depend on the social and cultural
variables as well as the nature on the scene and man's physiological and
psychological features. It can consider the simple aspects that exert stimulus on an
individual (light, sound, on the more general perception and the procedures used to
integrate the environmental stimulation and aesthetic experience and the way they
affect the use it makes on the environment.
Therefore, that it is necessary to define beforehand the public's needs and wishes in
the same way that aesthetic on stylistic aspects are considered and avoid form to
prevail oven function. Regarding stylistic reading it will only be accessible to specific
social on cultural group who knows the grammar on its forms.
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2.3.1 Roles of Public Art in Urban Area
i. Aesthetical Value
In term of aesthetical value, public art carries the basic notion of art which is
to beautify spaces. As argued by Hall (2003), art has traditionally been
placed in the public realm for reasons of aesthetic enhancement and
memories container. In addition, Baker (1998) was claims that art is seen as
a way to rejuvenate cities by enhancing public spaces.
In addition, Hall and Robertson (2001) claimed that, public art develops the
sense of the community with common identity, values, or culture. Hence, it is
an important revitalization in the public sphere when public art highlights the
sense of community.
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iii. Celebrating the Sense of Place
Public art has been identified to have the ability to transform the quality of a
place that has vanished or has been ignored from place by celebrating an
event and a local history (Himid, 1994). According to Hall and Robertson
(2001), public art typically influences towards the sense of a place, in two
ways. First, the public art triggers the awareness of tradition and emerges
the unique identity of a place. Secondly, it evokes the sense of place using
distinctive physical identities through the creation of artwork.
Addressing community needs can be associated with the usage of public art.
A simple example is the street furniture. It could diversify its use as an art
object to a very utilitarian usage (Peto, 1992), contributions to environmental
regeneration (Allan et al., 1997), improvement of city ecologies (Guest,
1992), as well as individual and communal empowerment (Baker, 1992). At
the same time, public art does not only serve as an elitist art, it is also
deployed to address as part of healing process within the healthcare (Baron,
1995).
v. Social Implication
Public art can also provide a means of tackling the social exclusion issue.
Blaney (1989) posited that the issue can be tackled in two ways. First,
personal participation can expand their art commission to a broader social
life of urban areas. Secondly, he also argues that the themes, contents and
concerns of art expression are able to forge diverse cultures and traditions.
Majority of the public are alienated of art; however as art stimulates the mind
of the public, it will slowly lead them to the full participatory in the society
(Blaney, 1989).
23
asserted by the Public Art Consultancy Team (1990), educational benefits
should be planted in public art programmes.
The identity and image of a city’s soul can be reflected and shown by public art
(Chang, 2008). In Malaysia, however, the situation of public art differs from the way
it should be. The understanding of public art among the society and related
professions is still low. Through the literature search, several critical issues of the
public art which are happening internationally and locally, as well as the reasons for
the lack of public art have been identified:
The mundane situation of public art may rise from the lack of understanding
of public art among the society and related professions. Artists have long
blamed this antipathy on the lack of emphasis on art education and public
discussion (Shunmugam, 2006). The relevance of Shunmugam’s article is
clearly supported by the current situation, which still has insufficient public
art programs and also the lack of quality of the public art.
The issue of placement is crucial; mostly public art done to fill the empty
spaces which contradict with the ultimate objectives of public art as public
objects. Several public arts in much country are situated at isolate places,
whereby it leads to vandalism and less public interaction. Moreover, most of
the chosen sites do not reflect the place history and other humanistic factors.
A recent study by Senie (2003) reported that each place has its own
evolving history, visual, social and other uses.
24
category is more to the placement within the public sphere. Therefore, the
public art erection in public spaces should eventually mould chemistry with
the public. Taken altogether, these findings suggest that the right placement
for public art in the public spaces may welcome an extra ordinary impact.
The issue regarding quality has been one of the main obstacles of public art.
The recent evidence in the article of Shunmugam (2006) shows that some of
the sculptures were suspiciously been selected by bureaucrats who do not
know much about art. Moreover, most of the sculptures were unable to
command people’s attentions and evoke deeper feelings. In addition, most
city godfathers are proudly presenting tacky, tastelessness public art that
reflect poorly on sophisticated and cultural mores. There is, therefore, a
definite need for improvement in term of selection and appearance of public
art.
v. Lack of Collaboration
Most of public art projects have been shown the neglect of artists’ functions.
In fact, it has been noted that the local councils are seldom consulted the
artists or art historians in putting up public art works (Shunmugam, 2006).
There is also a court case between a sculptor, Dato Syed Ahmad Jamal and
Dewan Bandaraya Kuala Lumpur or DBKL (Ooi, 2010).
25
The local council allegedly modified the artist’s sculpture entitled ‘Lunar
Peaks’ without his consent. As a result, the artist had been compensated
with RM750 000 and the opportunity to replicate the work anywhere in Kuala
Lumpur. Even worse, as stated by Redza Piyadasa in the article by
Shunmugam (2006), is that the town council did not have special committee
to decide on what is best to be put and what is not in Malaysian urban
landscape.
Malaysia has a lot of historical and culture values, starting from the tale of
the Malay archipelago to the opening of Malacca, the invasion of the
Portuguese, the British and the Japanese, the opening of Kuala Lumpur, and
many others which are very pertinent for the next generations to remember.
During the 1980’s and 90’s, Malaysia had one of the biggest building booms
in the world but nobody ever bothered to fill these new spaces with artworks
that are pertinent to Malaysia’s culture and history. Nowadays in the
Malaysian urban landscape, there are very few public arts that can revive
our pride of the nation and national spirit.
According to Dammy (2007), defined that, a capital city or capital town (or simply
capital) is the municipality enjoying primary status in a state, country, province, or
other region as its seat of government. A capital is typically a city that physically
encompasses the offices and meeting places of its respective government and is
normally fixed by its law or constitution. In some jurisdictions, including several
countries, the different branches of government are located in different settlements.
Most of the capital cities in the world such as Melbourne, Washington D.C., Brasilia,
Chandigarh etc. are fulfilling with a lot of administrative or governmental buildings
with beautiful architecture styles. The integrated of public art in the capital city will
enhance the image and visual quality of the surrounding area of the buildings and
also public space at the same time can create strong “sense of place”. The public
art design concept also should related with the concept of the capital city itself such
26
as in Chandigarh, there has public art known as open hand monument by Le
Corbusier that symbolized a sign for him of "peace and reconciliation. It is open to
give and open to receive". It represents the give and take of ideas (photo 2.3).
(a) (b)
Photo 2.3 : Picture (a) show the Open Hand Monument is a structure built in Chandigarh
by legendary architect, Le Corbusier. Metalmorphosis is a mirrored water
fountain as an interactive public art by David Cerny that was constructed at
the Whitehall Technology Park in Charlotte, North Carolina.
Source : Google images, 2013
Generally, the type and the design of public art in the capital city such as in
Melbourne, Washington D.C. and others cities are really interactive, smart and
sophisticated which means that public art has been developed to a high degree of
complexity. The photo 2.3 shows the interactive public art in the Technology Park in
Charlotte, North Carolina, NC which has combination with a lighting, water system
and mechanical to spin the public art. Furthermore, most of the interactive public art
is permanent. Integrated of Interactive public art in urban environment will upgrade
the image of the capital city to be more energetic and exciting.
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2.5 Public Art Planning
Designing for place is a key objective of advisory bodies such as the Commission
for Architecture and the Built Environment (CABE), and artists have a role to play in
responding to a specific site and adding identity, distinctiveness, interpretation and
relevance. Public art encourages partnership between artists, craftspeople, design
professionals, developers and local communities (Barbara et al., 2010). It can help
stimulate the local economy, creating employment opportunities for artists,
craftspeople, manufacturers and suppliers. In some cases public art can attract
additional funding to a scheme, from grant giving bodies and sponsorship.
This guide promotes a range of planning led approaches for securing the integration
of public art, both within key development schemes and through the delivery of
public realm improvements. In addition, it considers the mechanisms and benefits of
developing strong public art strategies for incorporation into local authority policy
frameworks. Written from the planning perspective these guidelines are in the first
instance aimed at planning officers and policy makers wishing to develop best
practice public art as part of a broader design agenda (Barbara et al., 2010). In
addition, it is hoped that the issues covered will offer artists, developers and agents
an insight into the provision of public art though the planning system.
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2.5.1 Public Art Location Strategies
Refer to Barbara et al (2010) stated that, the most successful strategies allow for
being opportunistic, as well as planning ahead to deliver well considered priorities.
They will include a focus on key development sites as part of more strategic
guidance related to the delivery of both stand alone public art initiatives and
integrated work within public infrastructure such as schools, hospitals and
transportation systems.
Local authorities should be clear regarding aspirations and locations where high
quality design is required and how public art is expected to contribute to the built
environment. Local planning policies should provide certainty with regard to what is
expected from developers, and planning guidance should establish criteria against
which major new developments are judged or appraised with regard to the
integration of public art.
At the strategic level it is important for authorities to set out their specific approach
to public art, highlighting how they will integrate work within their own capital
projects as well as their expectations for others through the planning system
(Barbara et al., 2010). The importance of leading by example should not be
underestimated in creating a positive context where local communities value the
benefits of public art.
Referring to Barbara et al, (2010) declared that, principles and objectives for public
art should be given local emphasis and made relevant to local circumstances and
expectations. Local traditions and recent work should be highlighted in order to
legitimise the way in which existing public art contributes to the distinctiveness and
identity of local areas. A strategy should establish consistent guidelines for
selecting, recruiting and briefing artists, and ensure the effective and appropriate
project management support, maintenance and where appropriate
decommissioning.
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2.5.2 Local Development Frameworks
According to Public Art Online UK (2013), in planning terms policies carry more
weight if the authority formally adopts them. Local planning policies are set out
within a portfolio of documents, which together form the Local Development
Framework (LDF); this replaces the all-encompassing and slow to produce Local
Plans. The system is intended to produce better policies for development that are
more proactive and responsive to local needs and circumstances. Responsibility for
producing LDFs is given to Unitary Authorities, Borough and District Councils.
The LDF contains a number of types of documents which set out development
policies and proposals, and which provide both detailed and supplementary
guidance. These documents are required to be consistent and complementary to
national and regional planning policies, and in particular the location and quantity of
new development established through the Regional Spatial Strategy (RSS). There
are, however, opportunities to develop a finer level of detail that responds directly to
local issues and cover more specific aspects of the design agenda.
According to Barbara et al, (2010), a range of public art issues can be covered
within LDFs, from principles to support creative design approaches to more detailed
site briefs and guidance. Each individual document is approved by the Secretary of
State following a prescribed process of community consultation. The main
documents include:
i. The Core Strategy is the key document, which sets out the broad objectives
for the area. Typically a Core Strategy will define the main areas of
development priority, an analysis of the areas main characteristics and
strategic policies covering infrastructure requirements, the use of land and
standards of design quality. With regard to public art it is useful for Core
Strategies to include a commitment to achieving public art to support both
aesthetic and cultural standards within the local area.
ii. Area Action Plans (AAP) provides a detailed framework for areas where
significant change or conservation is needed and focus on the delivery of
development objectives. The main purpose is to ensure that development is
of an appropriate scale, mix and quality. Here specific sites for landmark
30
buildings or public realm improvements can be highlighted in greater detail
along with aspirations for the integration of public art.
iii. Generic Development Control Policies are set out to provide an additional
and limited set of policies to guide decisions on planning applications. These
can include detailed requirements for public art provision, such as the scale
of development where planning obligations requiring public art will be
expected.
Supplementary Planning Documents (SPD) does not carry the legal weight of
Development Plan Documents but are produced to elaborate on specific policies
and proposals, and are taken into account when assessing planning applications.
SPD are not subject to Secretary of State Approval but are subject to community
consultation. Examples of SPD would include individual site briefs or topic-based
guidance on issues such as affordable housing, or public art.
Another form of SPD might be the increasingly common drawing up of design codes
for an area or larger development scheme. There is some debate as to the drawing
up of codes and whether they sit comfortably with the concept of artists delivering
interpretive work, within what are sometimes regarded as strict design rules and
constraints (Barbara et al., 2010). In such circumstances it is useful to look at the
experience and conclusions from the US where design codes are more established
as a planning tool:
Although focusing on building design, the same can be said of the streets and public
spaces, and the role of public art can be seen to contribute to making places
31
distinctive and identifiable. Whilst this may appear harder to code for, it is
reasonable to identify locations, uses and activities where a more bespoke design
approach is required
The current practice of negotiating public art from planning applications is of value,
but the present system largely relies on individual planning officers and can be
difficult to administer (Barbara et al., 2010). It should be understood that not all
applications offer the same opportunities, and that the result of a development led
approach to public art can result in a cluttered and uncoordinated delivery of smaller
public art works. In itself this approach can bring about criticism of public art,
particularly where the resultant works are seen to be of less value in enhancing the
public realm, and where the purpose of including public art within development
schemes may be seen by some as a tick box exercise.
Referring to Barbara (2010), one approach to delivering public art through the
planning system may be to limit the number of sites where public art is negotiated
and delivered as an integral part of development proposals. By focusing on a small
number of key sites where the location, prominence and use make the inclusion of
public art most appropriate and deliverable, efforts can be focused on establishing
key criteria, expectations and delivery mechanisms. Outline briefs for each of the
key sites identified should be drawn up to establish a stronger rationale for the
inclusion of public art as a priority, when balanced against other development
contributions. This will particularly help development control officers in brokering
public art as an integral part of the development at the pre-application stage.
Key sites should be limited in number. Factors that will lead to a site being looked at
in this way might include the need to establish a landmark design at a key gateway
or junction, to interpret an aspect of the site's history, to improve legibility within the
townscape or to act as a focus or activity for a new community.
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2.5.4 Percent of Art
According to Americans for the Arts (2013), public art is usually installed with the
authorization and collaboration of the government or company that owns or
administers the space. Some governments actively encourage the creation of public
art, for example, budgeting for artworks in new buildings by implementing a Percent
for Art policy. 1% of the construction cost of art is a standard, but the amount varies
widely from place to place. ‘Percent for Art’ can be a useful way to gauge the
contribution that might be expected from a specific new development. However, the
phrase should generally be loosely applied in the context of the British planning
system.
The term originated in the United States where concerns over the aesthetic qualities
of development resulted in the concept of using one percent of the capital costs of
any development to enhance the development by incorporating works of art or craft.
The scheme, linked to city ordinances or local enforceable laws, was pioneered in
Philadelphia in 1958 and was soon adopted by many of the larger cities including
New York, Chicago and San Francisco.
In 1989 the Arts Council promoted the use of ‘Percent for Art’ in Britain. It
recommended that this should be done through the planning system, and by the
incorporation of policies within local plans. The capital costs of any development are
not, however, a determining factor within British planning legislation, and as such
the local authorities may not know the precise cost of development. ‘Percent for art’
cannot therefore be taken literally and is encouraged on a voluntary basis rather
than imposed. Many authorities have adopted such voluntary policies; however the
cost of public art can be a grey area for many planners.
The next consideration for our purposes here is to look at the particular role of the
artist in public art. First the artist, when charged with making a public art, acts in the
name of the community. The artist is a professional artist is defined by the Canada
City Council and similar granting organizations as meeting the following criteria first
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has produced an independent body of work, and then maintained an independent
professional practice for at least three years after receiving specialized training and
lastly, made at least three public presentations of work in a professional visual arts
context over a three year period.
It is particularly useful in areas where there are expectations for high quality design,
such as town centres, conservation areas or prominent sites, to explain the
contribution that artists bring as part of the overall quality of design from concept
through to detail, and how this will be considered as a positive aspect of achieving
the required design quality.
Pre-application discussions can be aided by the use of locally produced public art
strategies, which formally set out policies and rationale that cover the inclusion of
public art. Demonstrating the contribution of existing and planned work, through
illustrations and maintaining a record of good local practice, provides a strong
argument that a creative approach to design in the public realm is an essential
characteristic of the local area.
The integration of work as opposed to freestanding work can also help to persuade
developers who have particular concerns about the financial viability of projects.
Many of the essential elements that make up a building or landscape are often
suitable for artistic interpretation, and can be provided at a relatively small
proportion of the overall budget, over and above that of a standard item. For
example, entrances, surrounds, cladding, doors, windows, balconies, lighting,
signage, gates railings, seating and paving areas can be individually commissioned
to give a development special identity.
Being flexible is a key aspect of encouraging artworks. Each development will have
different circumstances with regard to the site, funding, the experience of the project
34
team, and the nature of the scheme. Ideally artists should be included at the earliest
possible stage of scheme design, however, the developer may be unwilling to fund
a multi-disciplinary design team until the principle of development or scheme
viability has been fully determined.
Many designs evolve after the formal planning process, and with appropriate
agreements or conditions in place further design development to incorporate public
art can be achieved (Barbara et al., 2010). In such cases it is essential that a
strategy for developing the public art elements has been agreed before permission
is granted. Where an artist is not involved in developing the strategy it is important
to allow for a reassessment of the public art potential following the appointment of
the artist.
There is great potential for public art to contribute to the public realm; however the
best locations will not necessarily correspond with potential development sites able
to deliver the level of infrastructure required (Jurgen, 1989). This is particularly true
in areas with little large-scale development activity or potential, but where there are
aspirations to enhance the public realm in order to stimulate economic regeneration,
reinforce town or local central identity, or to establish more attractive destinations for
visitors.
In this instance authorities should aim to better define and estimate the costs of the
public art aspirations as part of a defined strategy, and develop these requirements
as part of public funding initiatives or as the basis of standard charges applying to
development sites that are not considered key with regards to integrated public art
delivery.
Referring to Public Art Online UK (2013), the preferred method for securing public
art though the planning system would be to have the artist work with the design
35
team at the concept stage through to planning design, and for the fully developed
public art proposal to be an integral part of the scheme that is given permission.
Physically integrated works would mean that the scheme could not be completed
without the artwork, unless a formal design amendment, usually now in the form of a
new application, were to be submitted and approved.
It is common, however, that public art proposals are not fully developed at this
stage, and as such there is a need to put in place some form of agreement with the
planning permission to ensure that the proposal is worked up and implemented
alongside the development.
Public art conditions should relate back to an agreed outline proposal or site specific
public art strategy developed as part of the planning submission, and should focus
on the processes of artist involvement, quality and delivery, as well as the nature of
the work (Barbara et al., 2010). It is an advantage of using conditions that the detail
and preferred nature of the public art can be left more to the client and developer
and as such a strong advocacy for the work is maintained. In approving the
condition the planning authority should ensure that the work is an artist led, is of an
appropriate quality, and conforms to health and safety requirements.
In some circumstances where there is a chance that the artwork could be left out of
the finished development it may be appropriate to include that the development will
not be occupied until the public art is completed. As with all conditions is useful to
add the phrase ‘unless otherwise agreed in writing with the local authority’ to cover
any unforeseen circumstances or delays in the production of the work.
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2.6 Public Art Funding and Partnership
As public art has been embraced by agencies around the world, models for funding
are developing and evolving. According to Public Art Fund (2013), have outlined
several approaches and provided examples of interesting established and emerging
models. It will notice that Public Art Programs rely upon partnerships and
collaboration, which reflects the nature and conditions of working in public spaces.
According to Public Art Online UK (2013), a private sector “percent for art” Program
allows a city or region to attain the advantages of public art in exchange for
negotiating benefits for the developers, such as height and density bonuses. The
development sector often embraces public art as a way to enhance their own image
in the marketplace, while providing alternative and interesting amenities for their
employees and residents to enjoy. The contribution for art projects can be used for
the public areas of the development site or allocated to the Public Art Program in
general, and managed by the city. Partnerships with private development work best
when the Public Art Program:
i. Establishes the principles and standards to which all parties will adhere
ii. Clearly defines the role of developers in the process and the terms of their
contribution
iv. Employs an Art Plan to outline an opportunity and selection process prior to
announcing a competition
37
vi. Offers an option for the developer to contribute to a Public Art Reserve
managed by the agency as an alternative to offering a commission
Private sector public art policies were designed to ensure that developers
recognized the standards of contemporary art in selecting projects (Barbara et al.,
2010). Over the years, companies have embraced public art and become informed
about the practice and have begun to “think outside the box,” sometimes taking on
projects even when there is no specific requirement.
As the awareness of the developer community (along with the public in general)
grows more curious and experimental, it is important to allow flexibility within the
Program. This will encourage entrepreneurial thinkers to creatively address the spirit
of the public art requirement in new ways . Recent examples include ongoing
temporary projects, as well as editions of variations of commissioned artworks. In
keeping with trends in contemporary art, some developers with public art experience
acknowledge the role of curation and the potential of art to
According to Public Art Online UK (2013), a civic Public Art Program can provide
leadership to potential partners and demonstrate their commitment to art on public
lands by dedicating funds from the city capital budget for the development and
management of public art projects.
38
projects of a minimum size. It may be used on the project site or pooled
towards overall Program plans and costs.
ii. Allocating a fixed amount of the overall city capital budget for public art
projects. The amount depends on the size of the city or the profile of the
special projects. Since public art projects most often develop over more than
one year, the Program should be allowed to accumulate at least a
percentage of these funds in order to facilitate larger projects and to collect
the necessary financial resources before a project is undertaken.
According to Public Art Online UK (2013), Public Art Programs may augment limited
budgets by partnering with Planning, Engineering, and Parks and Recreation
Departments. Planning Department funds can assist the development of public art
plans, as shown in the development of the Carrall Street Greenway project linking
Gastown and Chinatown in Vancouver. Public infrastructure such as utility covers,
benches, and street paving can offer opportunities for artist design commissions
with production costs already in place for replacing city infrastructure.
For smaller civic projects, a pre-adjudicated pool of artists available for public art
projects is one way to keep budgets manageable and respond to limited timelines.
This pool of approved artists can be a resource for Engineering, Streets and other
city departments when projects arise. Direct selection from the list is possible, but
most often several artists are interviewed for a specific opportunity, with input from
art professionals on the interview team (Barbara et al., 2010).
39
number of interests involved in a project and require more investment in managing
communication and dialogue.
According to Public Art Online UK (2013) was listed that, a partnership with small
business works will be best when:
i. All proposals are subject to the best practices of selection and production
ii. The roles of the collaborators are clearly stated
iii. Initiatives reflect existing area plans and art plans
Art organizations are natural allies for public art and can play a significant role in the
development of your Program and in promoting your activities. Galleries and
museums, collectives and service organizations may have access to sources of
funding and expertise to contribute and have an important part to play in the
promotional strategy for your Program and projects through their networks and
membership. In addition to co-sponsorships of artworks, they may offer
opportunities for partnering with education programs, artists’ lectures, or panel
discussions. Organizations formed specifically to present public art can provide
inspiring ways of working with artists, new forms of public art, and innovative
marketing methods.
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2.7 Maintenance Process of Public Art
2.7.1 Documentation
A database is an invaluable resource for the agency and for the public. It can be
searchable by neighbourhood to create local maps of the artworks for schools,
residents and visitors. It can link to works by the same artist in the collection as well
as the artist’s own website. A good registry is also a resource for curators and other
public art professionals worldwide.
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2.7.2 Maintenance
Public artworks are exposed to natural forces such as weather conditions and the
human forces of pollution, acts of vandalism and accidents (Barbara et al., 2010).
Ideally, regular condition reviews should be carried out. Maintenance reviews and
plans can be developed in collaboration with other city departments which are
responsible for public spaces. The agency will need to develop a maintenance fund
to cover future conservation and maintenance costs for all artworks. Ten percent of
the project budget is a good guideline, and may be included in the project budget
requirements at the time of the commission. The technical review of any public art
proposal should consider the anticipated maintenance cost over time.
Each artwork should have a maintenance manual supplied by the artist at the time
of completion. This lists specifications of the materials and where they were
sourced, relevant fabricators and skilled trades’ people. The manual includes a
preferred maintenance schedule.
2.7.3 De-accessioning
The Public Art Program should develop the criteria to guide the process of de-
accessioning work within its collection. In keeping with moral rights legislation,
professionals with conservation and collection management should be engaged to
42
evaluate the condition of the artwork and the circumstances of the location before
acting to remove. The artist must be notified and any stipulations in the contract
considered. Citizens, donors and others who may have an interest in the work and
the site need to be considered in the process of reaching a decision.
In this section, reference cases related to case study will be analyzed in order to
study the public art practices internationally especially in capital cities. The selected
capital cities which are Melbourne, Australia will be discussed. Analyzing the
reference cases will guide to the study in term of the integrating public art in urban
environment, public art planning and management.
Figure 2.1 : Key Plan of Melbourne Figure 2.2 : Location Plan of Melbourne
Source : Google Map Source : Google Map
Melbourne is the capital city in the state of Victoria, Australia. Melbourne is the
common name for the urban agglomeration area and Census statistical division of
the greater metropolis. The city developed around the large natural bay of Port
Phillip with its metropolitan hub, the Melbourne City Centre, located at the
northernmost point of the bay - near the estuary of the Yarra River. The City Centre
is situated in the municipality known as the City of Melbourne, and the metropolitan
area consists of a further 30 municipalities. The metropolis has a population of 4.25
million and the inhabitants of Melbourne are called Melbournians.
43
Melbourne was founded in 1835, in what was then the Colony of New South Wales,
by settlers from Launceston in Van Diemen's Land. It was named by Governor of
New South Wales Sir Richard Bourke in 1837, in honour of the British Prime
Minister of the day, William Lamb, 2nd Viscount Melbourne. Melbourne was officially
declared a city by Queen Victoria in 1847. In 1851, it became the capital city of the
newly created Colony of Victoria. During the Victorian gold rush of the 1850s, it was
transformed into one of the world's largest and wealthiest cities. After the federation
of Australia in 1901, Melbourne served as the interim seat of government of the
newly created nation of Australia until 1927.
Melbourne has been ranked as the world's most liveable city in ratings published by
the Economist Intelligence Unit in year 2011 until 2013. Melbourne is also the fifth
most expensive city in the world to live in according to the Economist Intelligence
Unit worldwide cost of living index in 2013. It has also been ranked in the top 20
Global Innovation Cities by the 2thinknow Global Innovation Agency since 2007.
Referring to Melbourne Town Hall (2013) stated that, most of the public art in
Melbourne was integrated in term of wall painting (mural, street art and graffiti),
sculpture, monuments or memorial, water fountain, art in park and garden, and also
architectural styles. Some of public art in Melbourne also was not specifically
designed for the place in which it stands. Stand alone sculptures were often
purchased by the city burgers or donated by public spirited citizens and erected
outside public buildings or in the parks.
44
Moreover, a lot of public art in Melbourne has been commissioned, created or
chosen to form part of the urban landscape and enhance the experience of living,
working or passing through a particular precinct. When the Docklands area was
redeveloped starting in the 1990s, developers were required to set aside a portion
of their budget for public art. As a result this area has some of the greatest
concentration of public art works in Melbourne. Outside the Telstra Dome are the
works Threaded Field and Art Wall, while close by is John Kelly's Cow up a Tree
with its oblique reference to William Dobell. The shiny white sculptures at Newquay
are Silence by Adrian Mauriks. Many buildings choose to enhance their public
spaces - forecourts, atriums, etc with the sculpture and other art.
Much public art in Melbourne is in buildings which may be only open to the public at
certain times and under certain conditions. Public buildings such as Parliament
House may have restricted access depending on their daily functions. Theatres and
sporting arenas may only be open to paying customers. Commercial buildings are
unlikely to welcome tour groups that disrupt their daily business. Certain clubs may
only be open to guests of members and certain corporate and government areas
may require an appropriate dress and behaviour code and introduction from a
trusted client. Thus there is quite a continuum of what may or may not be
considered as 'public'.
45
(a) (b)
Photo 2.4 : Three Businessmen in picture (a) is a life-sized sculpture pays homage to
Melbourne's three pioneers, returning them to the city's streets as pedestrians.
‘Reed Vessel' in picture (b) is a filigreed and elevated form embracing themes
of migration, the journey and survival, the river and the sea.
Source : Google Image, 2013
(a) (b)
Photo 2.5 : Public Purse in picture (a) is one of the city's most unique and distinctive
forms of street seating. Legal street art in picture (b) contributes to a vibrant
urban environment and can change continually on a day to day to basis.
Source : Google Image, 2013
According to Melbourne 2013-17 Council Plan, in section 4, goal 2 stated that the
concept of Melbourne city is a “creative city”. Council Plan 2013-17 is a statement of
what the City of Melbourne will do to help achieve the community’s vision of
Melbourne as a bold, inspirational and sustainable city. The plan describes the
46
outcomes the Council aims to achieve during its term, the priorities that will shape
its program of work over the next four years and the resources required this.
i. Indigenous arts and culture: Reflecting Indigenous art in the fabric of the
city.
iv. Arts spaces and places: Promoting Melbourne public space as a living, ever-
changing museum or art gallery.
v. Art, heritage and history: Ensuring the City of Melbourne’s art and heritage
collection is widely and publicly accessible via the Council’s website.
vi. Investing in the arts: Developing flexible support for artists, arts
organizations and the wider community through training and mentoring
opportunities, in kind support professional advice and physical resources.
vii. Ideas, discussion and critical debate: Creating partnerships with individuals
and organizations, including those with a focus on art, community, culture
and education, in order to share ideas and provide an understanding of a
diverse range of perspectives
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In order to achieve the goal, the public art program was established in Melbourne to
community. In addition, a public art program is not an obvious way to encourage
physical activity. However, if it is implemented the right way, it helps make a place
more attractive which draws people to an area. Drawing people to an area
encourages people to be out and about and at the same time, more physically
active. A street art program can also contribute to increasing economic viability,
encouraging growth, increasing community interaction and social networks.
Creative and collaborative activities can help agencies to implement their policies
and contribute to individual and community wellbeing. These activities need to be
integrated with, and respond to, social, environmental and economic development.
Activities should take the form of partnerships between government and non-
government agencies; communities and multi-disciplinary teams; artists, health
workers, planners, scientists, policy makers and community workers.
The arts and creative industries make a crucial contribution to the long-term
sustainability and economic vitality of Melbourne, and are growing in importance.
Their contribution includes the direct value of arts activities and importantly, extends
to the position Melbourne as a desirable and vibrant centre for business, residents,
workers, students and visitors.
i. Establish a public art program taskforce - the taskforce can provide council
with advice on all aspects of council’s arts and culture portfolio and can
include artists, arts and design professionals who live, work or are directly
associated with a project area
ii. Develop an arts strategy - the strategy places emphasis on the importance
of the creative agenda for the council’s future sustainability, including its
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economic vitality. The development of an art strategy can outline the
council’s key directions and initiatives in supporting the arts
iii. Develop a public art plan – the plan provides a description of the major
public art opportunities and sites; terms of reference for the selection of sites
and artists; budget allocations to sites; a schedule of approximate dates of
artist or art selection, installation and documentation; progress reports; and
any anticipated needs for dedication, encroachment, maintenance and
commissioning agreements. Include workplace health and safety procedures
and grievance or dispute procedures as part of tenure and management
processes.
iv. Develop public art guidelines - outline the general engineering and other
considerations to determine how acceptable public art installations are on
council streets and footpaths, such as: All proposed artwork must respect
the primary function of the street, which is to enable the safe and orderly
movement of pedestrians and vehicles. Streets also function as utility
corridors, and access must be maintained for present and future services
above and below ground
v. Source funding - there are possible funding sources for community public art
including existing grant schemes
Therefore, current practice in contemporary public art involves diverse activities that
integrate art and design into the public domain. The preferred approach to
commissioning public art is to include artists in project development teams at the
outset of planning. This enables artists to create more meaningful work that has a
direct relationship to the local environment.
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2.9 Summary
Based on the theoretical research that has been done, the understanding of the
definition, function and role of integrated public art in urban landscape planning and
management is important to evaluate and create public art that really functional and
serve as a space that are appropriate to the theme of the city itself.
Public Art is not an art-form. It's a principle, a principle of improving the changing
environment through the arts and is a term given to the practice of involving artists
in the conception, development and transformation of a public space. It is
specifically commissioned for a known site and its audience is the public or
community, be it social or working, who occupies that space.
Successful public art is work that resonates with the site and context, creates an
opportunity for the range of people using the site to engage with it and which meets
the clients, communities and artists' intentions. It can contribute to urban
regeneration and can benefit adjacent buildings from both a local character/image
perspective. In terms of added value, it can bring benefits both financially and in a
more general community and environmental sense.
Public Art is often viewed as permanent, but temporary works or interventions have
an important role to play as they can provide a test bed for a programme of work
that occupants may decide to pursue as part of the animation of their surroundings.
It can also introduce innovation and help inform and influence long term planning
and decision-making, as well as being a very useful consultative tool.
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CHAPTER 3
RESEARCH METHODOLOGY
3.1 Overview
This chapter explains the methods and procedures employed to examine the
research problems this study sets out to address. It discusses the profile of the
study area, methodologies, data-collection methods, and related matters.
In addition, the observation method is also done in carrying out this study. The
observation study is important in achieving the purpose of the study. However, this
method only provides certain information and is limited. With observation methods,
the author can view the actual condition of the study from various aspects of either
physical or non-physical. Observation is way of gathering data by watching
51
behaviour, events, or noting physical characteristics in their natural setting. Through
observation author be able to monitor or watch a process or situation that are
evaluating as it occurs.
It is observed that there are existing functional public art which provided as a
convenience to the public daily usage.
This study will consist of two methods the primary data followed by conducting
interview session, secondary data is collection via survey and questionnaire in four
days on weekends and working days and started at 3 pm until 6 pm. Furthermore,
the information is obtained from two main sources. The sources are from the
observation, literature review, and interview and site survey.
The literature review is an understanding of the topic based from books or articles
concern with the public art in urban environment. Interviews are conducted to obtain
general and specific information regarding to the subject. While, observation and
site survey will be carried out in the study area are using a specific number of
samples. The methods that being used work as guidance to ensure the study went
smoothly and systematic. All the data that will be obtained will be analysed.
Primary data consist of interview, survey and observation. For the interview session,
the respondents will be represented from the government agency, Putrajaya
Corporation and do a survey to local community and visitor of Putrajaya. In this
study, the samples were selected based on various level groups either lived within
or related direct or indirectly to the study area.
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3.2.2 Secondary Data
Secondary data were been obtained from the secondary sources. In this study, to
gain the relevant information about integrated public art in Malaysian urban
landscape will be collected from the Putrajaya Corporation. This includes any past,
present and future information’s on the public art, related acts and policy, working
papers and reports. Data that are needed also been referred from scholar’s articles,
dissertations, books, journals or any documents relating to the study.
There are five steps in doing this study. These steps are used to ensure the study is
carried out systematically and comprehensively. The five main stages in doing this
research will be described as below:
Preliminary study is important and forms the basis for the study. It is needed to
comprehend the study in more detail to ensure the purpose and objectives can be
achieved. To get better understanding, the reading method, the discussion with the
professionals and the awareness of the issues are important and need to be done. It
is to make sure that the issues are strong enough. At this stage, sensitivity and
awareness towards emerged issues especially related to public art and urban
landscape planning. Current development issues and conditions to the study also
being taken into consideration as major sources for obtain all data needed and
adapted to the topic study.
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3.3.2 Stage 2: Theoretical Study
There are some techniques that can be used when doing the research to collect the
data which are of two types namely:
i. Primary Data
The data will be obtained by interview session from the selected respondent
through the selected sampling. The respondents that will be selected as a
sample are from those involved in the integrated public art in landscape
planning such as the local authority, local community and visitor. Interview
with a group of people from the government and community to obtain
primary data. Site visit to selected area are also being done to obtain on site
data. Photos of each element are taken to support the written data.
This data can be obtained by reading from materials such as books, reports
journals and the data that have been processed whether in printed or
electronic material. The sources can be gained from the library, web or audio
visual. Besides that, any information other than interviews that has been
gathered from government agencies and NGO’s are also considered as
secondary data.
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3.3.4 Stage 4: Data Analysis and Finding
All data that have been collected will be analysed supported with other theory or
thinking by other scholars. Data will be classified base on it value and features.
Understanding and referencing to other related information or methods are
important to produce a good outcome or output. Then it will be used for the next
stage in producing a model with proper guidelines thus design outcome for the site
study.
The recommendations and conclusions are put forward at the end of the study to
fulfil the purpose and objectives formulated in the preliminary stage. The
recommendation of the integrating public art in Malaysian Urban Landscape
Planning and Management will come out with the best formula in upgrading current
public art practice by local authorities and also community. The recommendation will
highlight the advantages and benefits in implementing public art in urban
environment. Overall flow of the study is shown in the Figure 3.1.
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Figure 3.1: Flow Chart of the Research
Most contemporary public art research has relied on qualitative criticism with less
support from empirical evidence. Such research has, however, contributed
significantly to explorative knowledge. Although quantitative field studies are few
and far between, those that are available tend to focus on discussions of very
limited public art objects and are likely to describe individual experiences. To
compensate for the drawbacks of studies of major contemporary public art, this
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research adopted a quantitative approach and focused on the public art pieces at a
larger scale (a city) in order to confirm the untested hypotheses proposed in some
of the published studies to date.
The research operation process is shown in the flowchart (Fig. 3.1). To answer the
research questions, the conceptual frameworks/hypotheses (as described in detail
in the following subsection) were developed based on the literature review and case
studies. A questionnaire consisting of both structured and open-ended questions
was developed and employed as the instrument for collecting data from the general
public (Appendix). Before the formal survey, interviews were conducted with people
unfamiliar with the methodology used in this research in order to improve face
validity (a qualitative measure).
Interview by using questionnaire were carried out with the public involved
community in Putrajaya and visitors coming to Putrajaya. Number of Samples
chosen based on a formula. Sample chosen were 156 from 320,000 populations,
the total number of population in Putrajaya is 320,000 populations by using the
Random Sampling Technique.
Survey form is used to obtain information from the respondent’s views, opinion and
recommendations about integrating public art in Putrajaya urban landscape were
important in the successful planning and management.
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3.4.1 Sampling Size
Sample is taken using Random Sampling Method Technique with a desired degree
of accuracy. A sample is taken from a total population in Putrajaya; a formula must
be used to take into account confidence levels and margins of error. Confidence
level of 95 percent (giving a margin error of 0.8) with 320,000 of population via Taro
Yamane formula (Zuckerman, 1977) has been set as follows:
n= N / (1 + Ne^2)
n= Number of Samples
N= Total Population
e= Error sampling, +- 0.08
N
n = ………………..
1 + Ne2
320 000
n = ……………………
1 + (320 000) (0.08)2
n = 156.17
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3.5 Case Study
The case study was carry out in Putrajaya urban landscape. Putrajaya was selected
as a case study because Putrajaya is the first Intelligent Garden City with a
sophisticated information network. In Putrajaya, for example, public art is used as
part of urban enhancement which plays a vital role in making the image of the city
and make livelier to the environment. The use of local crafts helps to differentiate
and assert a Malaysian identity through a stylistic approach that is unique to the
country. Strong visual images lent for public art help make easy a memorable
structure and give the city its identity. Additionally, the report states that “Putrajaya
will become a vital developmental catalyst due to the role it will assume as a model
city – as the nerve centre of the nation and an ideal place in which to live, work,
conduct business and engage in sports and recreational activities”.
Putrajaya is located about 25km from Kuala Lumpur and 20km from Kuala Lumpur
International Airport Sepang in the south (Figure 2). Putrajaya is located within the
Multimedia Super Corridor (MSC), which is the fastest growing region in Malaysia.
MSC represents Malaysia’s first technology region stretching from KLCC to KLIA
covering a length of 50km and a width of 15km. This garden corridor development is
supported by a high capacity, digital telecommunication infrastructure designed to
meet international standards in all aspects relating to capacity, reliability and pricing
On the western side of Putrajaya, 5km away is Cyberjaya city, another technology
township which functions as the nodus of MSC. The latter is equipped with a broad
range of the latest technology and infrastructure.
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The planning of Putrajaya city is the largest integrated urban development project
since Malaysia gained Independence in 1957. It is a landmark project in the
development history for the local design team to embark on a project which
represented Malaysian’s values and culture. The project combines the development
of Government institutions with accompanying amenities and infrastructure and
commercial cum residential development. It is planned as the new federal
Government administrative centre of Malaysia.
The design of Putrajaya has adopted an urban form that is designed to suit
topography, local climate and cultural norms, the creation of an interesting
cityscape, the optimisation of scenic panoramic views and spatial experiences,
promoting local flora as a Malaysian landscape identity, creating a network of open
spaces and finally the incorporation of intelligent buildings and infrastructural
features.
3.6 Summary
This chapter was explains the methods and procedures employed to examine the
research problems of integrating public art in Malaysian urban landscape and sets
out to address. It discusses the profile of the Putrajaya and it was selected as case
study because of there have a lot of integrated public art in Putrajaya compared with
the other cities in Malaysia,
The methodologies are from qualitative which is interview with the experts
(landscape architects) in Putrajaya Corporation and also quantitative methods which
is questionnaires for respondent which are from the community and visitors in
Putrajaya. The total of respondents are 156 via Taro Yamane formula.
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CHAPTER 4
STUDY AREA
4.1 Overview
This section will describe the information about the study, this information is
important for researchers to conduct a study of an area. In addition, this information
is also very important to know the exact position of the study area. The researcher
will also explain a few other things such as history, land use, urban planning and
design including current public art.
The planning of Putrajaya city is planned to embrace two main themes which are
city in a garden and an intelligent city. It showcases a new approach adopted by
Malaysian built environment professionals in building future cities. It incorporates
innovative ideas of community building, townscape, transportation planning, urban
ecology and adopting new technologies in city building.
In order to be an intelligence city and also city in the garden concept, the urban
environment also integrated with a lot of public art that reflected the image of the
Putrajaya itself. Furthermore, Putrajaya is a plan-driven city built on a green field
site developed based on carefully structured layers of plans and guidelines. Its
planning is guided by the city in a garden concept where greeneries and nature are
built into the urban fabric.
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4.2 History of Study Area
The Federal government negotiated with the state of Selangor on the prospect of
another Federal Territory and in the mid-1990s, the Federal government paid a
substantial amount of money to Selangor for approximately 11,320 acres (45.8 km²)
of land in Prang Besar, Selangor. As a result of this land purchase, the state of
Selangor now completely surrounds two Federal Territories within its borders,
namely Kuala Lumpur and Putrajaya.
Planned as a garden and intelligent city, 38% of the area is reserved for green
spaces by emphasising the enhancement of natural landscape. A network of open
spaces and wide boulevards were incorporated to the plan. Construction began in
August 1995 and it was Malaysia's biggest project and one of Southeast Asia's
largest with estimated final cost of US$ 8.1 billion. The entire project was designed
and constructed by Malaysian companies with only 10% of the materials imported.
The Asian Financial Crisis of 1997/1998 had somewhat slowed the development of
Putrajaya. In 1999, 300 staff members of the Prime Minister's office moved to
Putrajaya and the remaining government servants moved in 2005. On 1 February
2001 Tun Dr. Mahathir declared Putrajaya as a Federal Territory with the ceremony
of handing over Putrajaya Township from the Selangor state authorities.
In 2002, a rail link called KLIA Transit was opened, linking Putrajaya to both Kuala
Lumpur and KL International Airport in Sepang. However, construction of the
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Putrajaya Monorail which was intended to be the city's metro system was
suspended due to costs. One of the monorail suspension bridges in Putrajaya
remains unused.
A site originally rubber and oil palm plantation is now being transformed into a city in
a garden. For a city of only 4931 hectares in size it is a big sacrifice to designate
almost 40% for parks and lake in pursuit of environmental sustainability
against demand for property development. The lake, parks and green open
spaces are connected to all parts of the city creating a quality living environment
and boost the value of property compensating the loss of land for the use.
Later in 2009, Putrajaya has been declared by the Malaysian government to be the
pioneer Green City in response towards the global effort towards reducing carbon
footprint. The emphasis now is not limited to providing green and blue spaces and
also tree planting but goes beyond changing the life style of city dwellers,
developers and other stakeholders to practice green. Nevertheless, the prominence
of green and blue areas in its physical development will enable Putrajaya to achieve
a balanced and sustainable city eco-system.
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The building up of community started in June 1999 when 40 families moved
in together with the fourth Prime Minister of Malaysia, Tun Dr. Mahathir Mohamad to
Putrajaya reaching to more than 80,000 residents now (June 2013) with a day-time
population estimated of up to 150,000 people.
The Structure plan for Putrajaya was prepared based on Part III of the provision of
the Town and Country Planning Act 1976 (Act 172). The Structure Plan provided
basic information and guidance on land use planning, infrastructure and socio-
economic development. In general, Putrajaya and Sepang Structure Plan (1995)
provided basic framework in terms of efficient and comprehensive strategies to
meet Government objectives for the new administrative centre.
The Structure plan also provided the regional framework for Putrajaya city in the
context of MSC and Klang Valley development which covered a total of 4,400
hectares as it was under the jurisdiction of Sepang District Council. The Sepang and
Putrajaya Structure plan targeted a total of 570,000 persons for the whole area of
Sepang District Council and Putrajaya city. Out of this total, 250,000 persons were
designated for Putrajaya administrative centre and 320,000 persons for the
Corporatization area and Malay reserve area of Sepang district council area.
Putrajaya Corporation also adopted the Master plan to guide the implementation,
land use and infrastructural development and all physical form for the entire
designated area. The original Masterplan of Putrajaya was started with collaboration
between a consortium of master planners and Government authorities, comprises
mainly the Federal Town and Country Planning planners. It was planned with two
major themes which are “City in the garden” and “Intelligent City”.
The Garden city concept emphasized the physical aspects such as landform,
vegetation, visual quality and water bodies. The Integration of metropolitan parks
such as Taman wetlands and botanical garden with other urban and pocket parks
will function as green lung for the city. The planning concept for Putrajaya was
based on the Total Planning Doctrine specifically 3 main principles of relationships
(Putrajaya Local Plan, 2013):
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i. Relationship between Man and Creator
ii. Relationship between Man and Man
iii. Relationship between Man and Environment
The Structure Plan’s population target of 250,000 persons was then reviewed to
accommodate about 335,000 persons on 4,400 hectares of land. The original
Master plan had provided for a total of five precincts at the Core Area and 17
precincts with 16 neighbourhoods. Besides, 2.1 km stretch of boulevard forms part
of the new Core Area design, a green network connecting on precinct to another is
also being planned.
Subsequently upon, review of the Master plan, the population target was increased
to 330,000 persons based on a total dwelling of 67,000 dwelling units. The Core
area was projected to accommodate over 10,000 dwelling units while the Periphery
will have 57,000 dwelling units. Figure 3 shows the key diagram of the Structure
Plan approved in 1995 indicating Putrajaya and its surrounding Corporatized Zone
and Malay Reserved areas.
In terms of development framework, Precinct block is used. Precinct blocks are like
planning zones which can be parcelled into several neighbourhood units. The entire
area is divided into 20 distinct Precincts and each precinct is demarcated by
roadways or green spaces. Broadly, the Core Area consists of the 5 precincts
(Precinct 1 to precinct 5) and the remaining 15 precincts are located at the
Periphery Area. Each precinct has a neighbourhood commercial site; public facilities
include public school and complex site. The clear demarcation assists to reinforce
the identity of each precinct and also facilitate implementation of the project. All
precincts have residential area with the exception of Precinct 1 (Government
Precinct) and Precinct 13 (Wetland and Utility).
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4.3.2 Implementation Agency and Mechanism
There are four main parties in the implementation of the Putrajaya projects. Table
3.1 shows the main parties in the implementation of Putrajaya project. Two main
bodies were created which are Putrajaya Corporation and Putrajaya Holdings
Company and they functioned as local authority and developers respectively.
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All of the team are responsibility in order to produce a Master plan for the
implementation of Putrajaya city. In addition, there are other planning documents to
complement the development control and monitoring of development. The planning
guidelines are based on comprehensive policies and guidelines in documents
namely; Structure Plan, Local Plans, Landscape Master Plan, Lake use and
Navigation Master Plan, Utilities Master Plan, Transportation Master Plan, Irrigation
Master Plan, Lighting Master Plan, Urban Design Guidelines, Fencing Design
Guidelines, Signage and Advertisement Design Guidelines.
Besides the planning guidelines, urban design guidelines were also being prepared
by the local planning authority by respecting the Urban Context. Among the
planning and urban design considerations were concepts like Form of the City,
Scale of the City, Scale of the Waterfront, Local Culture and Tradition, Mixed Uses,
Street Level Activities, Entry Points/Gateways, Buildings form Outside ‘Rooms’ and
also Public Art including sculptures, monument, land art, water fountain and others.
67
68
69
4.4 Putrajaya Corporation
Photo 4.1 : View towards Putrajaya Corporation office building (main headquarters)
that located at Persiaran Perdana, Putrajaya.
Source : Putrajaya Corporation, 2013
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Putrajaya Corporation is also entrusted with the functions of a local authority and
local planning authority by various orders and notifications, namely:
On the other hand, Putrajaya Corporation also has 8 departments with their own
specific function which are:
i. Legal Department
ii. Inner Auditing Department
iii. Corporate Services Department
iv. City Service Department
v. Finance Department
vi. City Planning Department
vii. City Development Department
viii. Park and Landscaping Department
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Figure 4.4: Organization chart of Putrajaya Corporation, 2013
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4.5 Landuse Distribution
In line with the garden city concept, more than a third of the total area (39.7%) is
reserved as open space (Figure 4.2) (Putrajaya Local Plan 2013). It was important
to introduce nature into the city. It had a total area of 4,254 acres for open space
which included large Metropolitan Park, Urban Park (Dataran) and City Parks,
wetlands, buffer areas and water bodies. Besides, the three main metropolitan
parks are not only supported the urban ecology but also provided attraction to local
and foreign tourists.
Putrajaya is the largest integrated urban development in Malaysia and has a lot of
landuse distribution. Therefore, overall distribution of the landuse in Putrajaya has
been shown in table 4.2:
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i. Large proportion of the city area is designated as green open space
ii. Water body (man-made lake and wetlands) created within the city
iv. City is divided into twenty precincts; core employment and commercial
precincts located on Core Island
vi. 4.2km long Boulevard forms the central spine of the city
In Putrajaya, residential land use have average number of public art. On the other
hand, residential landuse constituted the second largest land use category with
25.5% of the total area, covering a total of 2,888.8 acres which is capable of
supplying about 67,000 dwelling units. This residential land is divided into 14
exclusive precincts in the Periphery (2,713 acres with 57,033 units) with some
parcels within the Core area (175.8acres with 10,119 units). A total of 52% of the
total housing units will be allocated for Government servants and the remaining 48%
or 32,000 units for private sector.
Due to premier location of the Core area, the housing density permitted in these
areas is all high density housing that is Plot Ratio of 3.2 or more than 40 units per
acre. The gross housing density within the periphery areas ranged from low density
(Plot ratio to 1.0 or density of 1 to 8 unit per acres), low medium density (Plot ratio to
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1.5 or density of 9 to 13 unit per acres), medium density (Plot ratio up to 2.1 or
density of 14 to 20 unit per acres), medium- high density (Plot ratio up to 2.5 or
density of 21 to 41 unit per acres) and Plot ratio of 3.2 or more than 40 units per
acre.
The Road and utility reserves covered a total area of 2,132 acres or 18.8% of the
total area. There have a plenty of public art in form of street furniture on the
roadside especially Putrajaya’s Boulevard. Effective and efficient transportation
system is a key element in the planning of Putrajaya. Great emphasis had been
given to public transport and the promotion of park and ride concept (modal split of
30:70 split of private and public transport). Hence the transportation system was
developed around the integrated bus and LRT public transportation complemented
with highway network. There were 8 utilities services planned for Putrajaya
development. Among the 8 utilities are; water supply, drainage, wastewater, solid
waste; electricity; telecommunication; gas and chilled water (gas district cooling).
The range of Government land use included areas designated for Government
offices, institutional use, VIP retreat, training centre and official residence. All the
Government uses were located in the Core Area and it consisting numerous public
art here. This comprised 597.7 acres or 5.3% of the total land area. Out of this total,
334.1 acres of Government offices or 70.7% of the total Government land and the
balance of 263.6 acres were reserved for other uses such as VIP hotel, Istana
Hinggap, Sport and Training Centre and exhibition centre in the Sport and
Recreational Precinct.
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4.5.4 Community Facilities
The highest number of public art is located in commercial land area. The
Commercial land area in Putrajaya is about 327.8 acres or 2.9% of the total land
area. The Main commercial land use comprising 282.9 acres is located in Putrajaya.
Out of this total, 224.8 acres were located in the Core area and 58.1 acres located
in Precinct 7 and 8. A total of 44.9 acres were allocated for neighbourhood
commercial area. A local neighbourhood centre has an area of about 3.5 acres to
accommodate different type of shops like convenience stores, laundry shops, small
cinemas and petrol kiosks. These areas consist of all commercial area in the core
area as well as the neighbourhood commercial area.
76
and water taxis), broad band width global multi-media communication platform (2.5
to 10 gigabyte fiber-optic digital network), Common Utility Tunnel (CUT) for
services, smart hospitals and schools. About 38% of the land is being developed
into parkland. Putrajaya has the largest manmade wetland with a total area of about
200 ha, which is used for recreational activities as well as scientific and biological
research.
The city is to be developed in two phases over a period of 15 years. Phase 1 was
carried out from years 1996-2000 (completed) and Phase 2 which commenced in
the year 2000 is scheduled for completion in the year 2010. Putrajaya Holdings Sdn
Bhd which was incorporated in 1995 is the developer of the township while
Putrajaya Corporation (incorporated in1996) serves as the body to administer and
manage Putrajaya.
By year 2012, more than 2.0 million sq metres or half of the Government building is
completed. About 20,000 houses are under-construction to cater to the demand of
the population in Putrajaya, the majority being public officers’ family residents.
Alamanda Shopping Centre was opened in 2004 with Retail, Food and Beverage,
Cinema, Bowling Alley, Hypermarket, Departmental Store and Leisure activity.
Other major commercial development included the Putrajaya Shangri-La Hotel, a 5-
star hotel with 118 rooms operational since 2003.
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Table 4.3: Current Development Position of Putrajaya
Urban design and landscape architecture are part of town planning process. Urban
design helps to organize and structure the urban realm; strengthen the legibility and
image of the city as well as to create visual unity out of a diversity of urban elements
including public art. Putrajaya adopted the traditional spatial qualities in order to
achieve the objectives of efficient, coherent and human Scale. The Detailed Urban
Design Guideline (DUD) of Putrajaya focuses on the following guiding principles
based on urban structure, urban form and urban character.
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(a) (b)
(c) (d)
Photo 4.2 : Pictures (a), (b), (c) and (d) show the art of architecture in Putrajaya
that strengthen the legibility and image of the city as well as to create
visual unity out of a diversity of urban elements.
Design parameters that are used as control includes land use detail, building height,
skyline, urban rooms, visual axis and termination, street façade, building massing,
building typology, pedestrian linkages, open space coverage and streetscape.
The planning of the Boulevard in Putrajaya is inspired by the Champ Elysees, Paris.
It is 100 meter wide and 4.2 kilometer long. The furniture along the Boulevard is
predominantly developed from the traditional ‘tempayan’, the large ceramic water
pot that has an elegant narrow base and a flaring full form that tapers to a narrow
opening at the top. Signages with local craft motif are used. There is also a
hierarchy of identification Signages.
The design of Putrajaya has also adopted an urban form that is designed to suit
topography, local climate and cultural norms; the creation of an interesting
cityscape; the optimisation of scenic panoramic views and spatial experiences;
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promoting local flora as a Malaysian landscape identity; creating a network of open
spaces and finally the incorporation of intelligent buildings and infrastructural
features.
(a) (b)
Photo 4.3 : Most of the architecture and others structure in Putrajaya are colonised by
images and styles essentially Middle-Eastern and a Malay reassertion like in
picture (a) which is Putra Mosque and Sauq-Bazaar in picture (b).
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Putrajaya is a city that is inevitably a pinnacle of Malaysian political programming.
Its unique ‘ceremonial’ space and the symbolism of the architecture of Putrajaya
have drawn upon diverse influences resulting in buildings that are uniquely
‘Malaysian-Islamic’ in character and universal in outlook (Mohd Ali, 2006). As the
new administration centre of Malaysia, Putrajaya symbolises the Malaysian national
identity in architecture. According to Ali (2006), while Malay and Islamic design
idioms dominate the architecture of Putrajaya, it also incorporates classical and
contemporary elements that reflect the universal outlook of the Malaysian psyche.
(a) (b)
(c) (d)
Photo 4.4 : Putrajaya have drawn upon diverse influences resulting in buildings that
are uniquely ‘Malaysian-Islamic’ in character and universal in outlook and
symbolises the Malaysian national identity in architecture (Picture of a, b, c
and d)
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The Federal Territory Putrajaya best represents recent growth and interests in
public art practices and also provides samples of different styles in public art
development. Putrajaya was created as a city with a memorable design by providing
identity and structure to its public realm.
(a) (b)
(c) (d)
(e) (f)
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(g) (h)
(i) (h)
Photo 4.5 : Urban Landscape in Putrajaya is integrated with variety of public art in
form of monument, land art, wall painting and also street furniture. The
majority of the public art concept are adapt from Islamic-Malay design that
give strong ‘sense of place’ to Putrajaya itself (refer to the Picture a, b, c,
d, e, f, g, h and i). Public Art also can be a landmark in the city like
Millennium Monument in Picture (h).
(a) (b)
Figure 4.5 : Putrajaya Boulevard pattern is adapted from mengkuang mats and
traditional songket wave pattern like in figure (a) and the street furniture
developed from the traditional tempayan, (refer Figure b).
Source : Putrajaya Corporation 2013
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4.8 Summary
In line with the Garden City concept, a large proportion of the city area is designated
as parks and open space ranging from metropolitan parks to local neighbourhood
playgrounds. On the other hand, reinforcing these provisions are urban features
such as landmarks, squares, plazas and bridges that form part of the cityscape,
providing a wide range of spatial experiences that further enhance the spatial quality
of the city. It is also a city with a clear identity and character rooted in local culture
and tradition as evidenced by its local architecture and urban design including public
art. It shows how the ideas of garden city and intelligent city are translated on
ground. Putrajaya is an excellent showcase for a city for administrative centre that
integrated with a lot of art for the new millennium.
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CHAPTER 5
5.1 Overview
This chapter is an analysis of the data and identification of issues and problems and
of the survey conducted in the study area. This section will also examine the roles of
public art to urban environment so far and explore the efficiency in planning and
management of integrating public art in Putrajaya. Focus groups consulted about
the study involved the public and community in Putrajaya. The public and
community in the areas of commercial, government, open space and recreational
park and mixed use are randomly selected as a respondent based on
questionnaires.
Through this analysis, all the important information about advantages, function,
issues and problems regarding to public art in the study area will be discuss.
Furthermore, respondent’s opinion and suggestion need to be highlighted in order to
formulate the best planning and management system for Putrajaya. The analysis
and findings will be the basis in forming recommendations to achieve the purpose
objectives of this study.
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5.2 Observation Analysis
Based on observation carried out, it showed that the condition of public art in
Putrajaya are good in terms of maintenance management. This is because; there is
no mark from vandalism activity, corrosion and much of interactive public art are still
working. The good maintenance system that is seen emphasises to the provision
and diversity of public art for the community and visitors and was creating high
quality urban environment. While, maintenance of public art also very satisfactory,
because there is no dried leaf and garbage in the surrounding of public art and it
showed that, the garbage were collected properly by Putrajaya Corporation.
In term of planning, some of public art are not located in suitable area and also not
integrated with street furniture. Public art in Putrajaya also is not variety in types,
this is because majority of public art form in Putrajaya are in monumental and
landscape design only. Furthermore, there is lack of street art or wall painting in
Putrajaya. In term of public art design concept, most of public art are symbolised the
Malaysian national identity which is combination with Islamic and Malay art. In term
of safety, the public art that was provided is safe for community and visitors
because there is no dangerous design form of public art.
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(a) (b)
Photo 5.1: Most of the public art in Putrajaya are symbolised the Malaysian identity
(picture a). Maintenance system of public art also good because there is no
corrosion at the public art structure which is Sri Saujana Bridge and also garbage
in the public art’s surrounding (refer Picture b).
This part is to presents the finding made out of interviews analysed according
interview session with representative of Putrajaya Corporation about integration
public art in urban landscape of Putrajaya including planning and management
system. Putrajaya Corporation is tasked with the responsibility of providing services
and basic amenities to all Putrajaya’s residents under the 1976 Local Government
Act (Act 171). As a local authority, Putrajaya Corporation is also responsible for the
Development plan and Community Service Plan.
Interviews with two (2) experts which are Mr. Haris bin Haji Kassim as a Principle
Assistant Director of Unit of Landscape Planning and Control and also with Mdm.
Suhana binti Abdullah as an landscape architect were done to get their view
regarding to integrating public art in urban landscape planning of Putrajaya including
the concept of public art, funding, planning system and management that were
practiced.
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a. About Putrajaya
The design of Putrajaya has also adopted an urban form that is designed to
suit topography, local climate and cultural norms; the creation of an
interesting cityscape; the optimisation of scenic panoramic views and spatial
experiences; promoting local flora as a Malaysian landscape identity;
creating a network of open spaces and finally the incorporation of intelligent
buildings and infrastructural features. This is an ideal and wholesome city
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Most of the public art form in Putrajaya are monument, sculpture, building
architecture, landscape design, outdoor structure (such as bridge design in
Putrajaya), and floor pattern. Majority of public art in Putrajaya is permanent
public art and certain of its integrated with street furniture such as lamp post,
bollard and floor pattern. All the concept of public art in Putrajaya are
sustainable to surrounding in order to support the local agenda 21.
According to experts, financial supports for public art in Putrajaya are from
government which is assessment tax and also fund from Petroleum National
Berhad, PETRONAS. Besides, in term of partnership, public art programs
may augment limited budgets by partnering with Planning, Engineering, and
Parks and Recreation Departments. Planning Department funds can assist
the development of public art plans. Public infrastructure such as utility
covers, benches, and street paving can offer opportunities for consultants
design commissions with production costs already in place for replacing city
infrastructure.
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Most of the artist that involved in public art project in Putrajaya are
landscape architecture consultant such as Malik Lip Associate. On the other
hand, Putrajaya Corporation also was opened a public art program to
community participation. This program allowed students and teachers from
Sekolah Menengah Kebangsaan Precinct 8 - 2 to involve in mural/wall
painting that theme from ‘under the sea’ along the tunnel under the Warisan
Bridge.
In the future, the Putrajaya Corporation is plan to increase the public art
program for the community/public and also community collaboration towards
public art in Putrajaya. Moreover, the numbers of interactive public art also
need to be increase in order to suit with the concept of intelligent city. The
one of the example of interactive public art in their planning is dance water
fountain in Putrajaya wetland in precinct 1. This water fountain will dance
with the colourful lighting in the night.
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5.4 Survey Analysis
Survey with the public and community that live in Putrajaya is to know the response
of public and community perception towards public art in term of values,
functionality, roles, issues and problems in the study area. Results from the analysis
of public and community are important to evaluate the efficiency and effectiveness
of integrating of public art in study area. Results of analysis carried out were as
follow:
The profile of community and the public has been identified through questionnaires
concerning those residents of private owned land. However, in Putrajaya there have
group of tenants who live in Putrajaya community. Respondent profile include
information about race, age, gender, respondents status, religion, types of
respondent occupation, respondent’s status which are community or visitor, marital
status, and educational level. Survey results carried out with the community in
Putrajaya and the public has indentified the following:
There are four (4) respondents over the age 60 years old, including female and
male respondents. The number of female respondents and male respondents
respectively is two respondents.
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According to Table 5.1, this show the total number of female is more than the
number of male respondents in each group of age.
Male Female
Age Number Percentage (%) Number Percentage (%)
<18 9 6 12 8
18 - 30 18 12 24 15
31 - 40 17 11 21 13
41 - 50 13 8 29 19
51 – 60 4 3 5 3
>61 2 1 2 1
Total 63 40 93 60
b. Respondent’s Race
According to the Table 5.2 which is the table of respondent’s race analysis, the
race which dominated the territory of Putrajaya is Malay which is 150 peoples
or 96 percent and secondly is Chinese which are 6 peoples or 4 percent.
Furthermore, there is no another race in Putrajaya. This is because; Putrajaya
was established as administrative city and have a lot of Malays government
servants.
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c. Respondent’s Religion
Analysis showed in Table 5.3 that the majority of community and visitors in
Putrajaya is a Muslim which is 150 peoples or 96 percent. Then, the religion of
Christian is merely four (4) peoples or 3 percent following with Buddha only two
(2) peoples or 1 percent. All of the Muslim respondents are Malay peoples and
then, Christian and Buddha are Chinese peoples.
d. Respondent’s Occupation
As shown in the occupation table analysis (Table 5.4), the residents being the
majority works within the vicinity of Putrajaya, Cyberjaya and Dengkil. Besides,
other locations including those who work outside the Sepang which are works
in Puchong and Kajang.
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Table 5.4: Respondent’s Occupation
e. Respondent’s Status
The tenant community were that who had long inhabited in the study area and
has become a large community of tenant and live together with the
communities (permanent residents) in the study area. They have formed a
neighbourhood environment that shares the same facilities and infrastructure
together (Table 5.5).
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f. Respondent’s Marital Status
Analysis showed that the 65 percent of respondents are married and the rest
are single is about 35 percent. Respondents who were married are majority in
public area in Putrajaya compared with single people. During conducting this
study, most of the respondents like to visit Putra Mosque in precinct 1 because
at this area have a lot of public spaces including recreational park, playground
and also have much of public art. Precinct 1 also was planned as a major
landmark and nodes for Putrajaya by Putrajaya Corporation.
According to the result of questionnaires that were analysed in Table 4.7, the
majority of the community and visitors in Putrajaya are educated. Most of them
have a diploma holder which is 35 percent to be the highest and the second is
bachelor degree holder which is 30 percent. Moreover, people who have
master degree only 10 percent. This showed that, community and visitors in
Putrajaya are knowledgeable and have their own expertise.
On the other hand, peoples who have only Sijil Tinggi Pelajaran Malaysia
(SPM) are 13 percent and this number is lower than Sijil Tinggi Pelajaran
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Malaysia (STPM) which are 15. Those peoples who not have any diploma level
and above are currently studying in college and university. Therefore, most of
the educated peoples are different compared with uneducated people in term of
level of thinking and maturity. This is the reason why community and visitors in
Putrajaya do not involved in any vandalism activity like in another places.
This section is about respondent’s knowledge, this part is very important to know
about the level of knowledge among the respondents. Respondent’s knowledge
analysis is important, because it will show the level of awareness on what happen
around them. This knowledge also enables the respondent to become sensitive
about development in their community and how they understand about their right as
a community in Putrajaya. Survival of living can sometimes depend on how much
knowledge they have.
Besides that, knowledge is an understanding about the how things work. The more
knowledge they have, the more advanced we can become in term of improvement
and upgrading the function in our development. This study needs knowledge of
respondents to discover and to help the demand of the public.
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a. What is the Public Art?
Public art is a creative form and reflect on the circumstances, freedoms and
constraints of the spaces we think “public” is the most popular definition among
respondents in interpret definitions of the public art. This shows that, the
respondents consider that, public art should have form and the element of
creativity in it. 28 percent of respondents interpret the public art is a creativity
structure use for public like monument and sculpture.
While, 21 percent of respondents are very sure with their own definition about
public art, where they interpret it as an art expression that is situated in a freely
accessed public space for the public to utilize and enjoy. This group consider
that public art is art expression in public space such as wall painting, street art,
graffiti and mural. Furthermore, some people stated that the art expression
should democratic and not restricted in any guideline and policy.
In addition, 11 percent respondent’s defined public art is any piece of art that is
accessible to all for public enjoyment. This may include, but is not restricted to
sculptures, landscapes, fountains, murals, pieces that function as public
amenities, and any type of community beautification project. Respondent also
strongly agreed that public art is art use for public for enjoyment.
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Table 5.8: Definition of Public Art
Based on the Table 4.8, two conclusions are derived such as follows:
ii. Another conclusion is, the respondents have high expectation on the
provision of integrated public art in urban environment
In general, from the analysis definition of public art to the public, they know the
basic information regarding to public art and this is shown that they are alert
about the changes and developments around them.
From the data analysis, it was found that 148 from the 156 of the respondents
know what the Public Art is. This is because, in Putrajaya, there have a lot of
public art compared with the others city. Moreover, in this era, pubic art is really
famous among citizen. We can see public art through internet, mass media,
and others such as Lady of Liberty in United States, graffiti artwork, sculpture
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and so on. Furthermore, majority of the respondents are the community in
Putrajaya and among them are student and government servant.
However, there are a number of respondents did not know what is Public Art.
They consist of retires and those who not productive of respondents who do not
work and only have Sijil Pelajaran Malaysia (SPM) and also Sijil Tinggi
Pelajaran Malaysia (STPM) as their educational level. Respondents who did not
know what public art are 5 percent only.
Information from the respondents about their perception towards public art is
extremely important information; this is because, the public art has an important role
to play in transforming the public realm and contributing to the urban revitalization.
The arts are animators - they can inspire and revitalise. Public art, taking art beyond
the gallery space and into public spaces, can be an effective way of changing the
way people feel about their environment. Besides, public art is expected to
contribute visually and experientially to the quality of life of those who experience it
as an element in their daily environment
From the data analysis from the Table 5.10 which is the table of respondents
like public art, it was found that 100 percent of respondents which mean all of
the respondents are like public art. This is because; a nature of human is
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always appreciates anything that has aesthetical value. Furthermore, anything
form that integrated with aesthetical elements like sculpture, monument,
landscape design, wall painting and etc. will enhance the visual quality at the
place and also offer “sense of place” and “sense of belonging” to community.
This is a reason why all of the community and visitors in Putrajaya like and
appreciate towards public art.
Table 5.11 show the types of public art that most respondents favoured and it
can be seen that 19. percent of respondent like public art in form of
monumental and sculptural. This is because, public art in form of monument
and sculpture are the common types in Malaysian urban landscape. It can be
seen in many places internationally and locally like Tugu Negara at Istana
Negara and Lord Morugan Statue at Batu Caves, Kuala Lumpur, Lady of
Liberty in United States, the sculpture of fruit and many more. On the other
hand, monument and sculpture can contribute in enhancing the “sense of
place”.
On the other hand, art of planting design got 16 percent and lower than public
art in monumental and sculpture form. Planting design or well known as soft
landscape like topiary, bonsai, or any planting design elements are very well-
known in Malaysian urban landscape. Most of the community and visitors in
Putrajaya know about the art of planting design and they are really familiar with
it. The combination natural elements such as green colour and flowers can
enhance the visual quality and can be as ornamental elements to the ground.
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Besides that, only 13 percent of respondents like public art in the form of mural
and wall painting and it are lower than public art in monumental/sculptural form
and also the art of planting design. The reason are, wall painting consisting in
many styles such mural and graffiti. Usually, many of elderly peoples do not
attract with the art of graffiti and it was reduce the percentages of like in the
questionnaires. Generally, the graffiti art only become as favourite for
teenagers.
In addition, the art of architecture merely 15 percent got liked from respondents.
Art of architecture is a building design that integrated with art and aesthetical
value. Moreover, art of architecture is one of important element in the city. It
can be a landmark and focalization element for community. On the other hand,
building that integrated with art is a big scale type of public art and it possibly
becomes main focus for community in urban area compared with other form of
public art.
Interactive public art got 35 which are the highest among another public art.
Moreover, in globalization era, interactive public art becoming very popular type
of public art among urban community in this world because this type public art
was integrated with sophisticated elements such as lighting, water fountain, and
also mechanical system along with all of these elements will make the public art
more dynamic, energetic and also contemporary. Furthermore, interactive
public art will make community and visitors like they can interact with it.
Moreover, another 2 percent respondents does not agree with all options that
has been given to them. They stated that, they like any form of public art that
integrated with landscape design. They also stated that, integrated with
landscape element will boost the image of public art itself and look more nature.
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Table 5.11: The Most Favored Public Art
On the other hand, 15 percent of respondent stated that public art in Putrajaya
endorse them in term of historical value. When interview, they also stated that
Millennium Monument have a lot of information about history of Malaysia and
that is the reason why they stated that public art in Putrajaya have historical
value.
Then, majority of respondents stated that, the main value of public art in
Putrajaya is aesthetical value which are 53 percent and to be the highest
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among another values. This is because, not many people understand in
detailed what is the meaning of public art. They just think that public art is a
something forms with a beauty elements, attractiveness and also good looks.
Hence, this is a reason why aesthetical value got the highest rating among
community and visitors.
Referring to Table 5.13, most of the respondents which is 56 percent stated yes
and they agreed that public art in Putrajaya offer them “sense of Belonging”.
The design aspect of public art in Putrajaya itself contributes “sense of
belonging” to community and visitors because their designs are distinctive and
unique compared with the others cities which are combination with Islamic and
Malaysian identity.
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Lastly, another 15 percent of respondents are not sure about that. This is
because; they do not understand what is exactly the meaning of “sense of
belonging” along with them does not familiar with that term. Moreover, it also
showed that, certain of respondents have lack of knowledge towards public art
and lack of information about public art in current Malaysia’s mass media.
On the other hand, there have fewer respondents that agreed with promote
educational value which are 8 percent and to be a lowest between another
benefits. They said, the design of the public art in Putrajaya symbolized the
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Malaysian identity such Malays carving and Islamic pattern and they learned a
lot of Malay culture here. Furthermore, the respondent that chose educational
value as their benefit is a visitors and not a permanent residents in Putrajaya.
This section will explain the analysis about respondent’s opinion and this part
important to explore about what community want and need towards pubic art. This
is because they more understand and know about their area. For many, a proper
and refined understanding of public opinion has been critical to the success of
improvements the quality of public art provided.
When planned well, public art can provide multiple functions, benefits and value that
deliver numerous social and urban environmental benefits. In addition, it also needs
to investigate the roles and positions of public art to the community. Moreover,
public art can have a profound impact on the visual character of a community.
Respondent’s opinion too imperative because public art supplies another layer of
sensitivity to the development process, complementing (and challenging) the work
of architecture and landscape design. From opinion from the respondents, public art
projects can do more than simply make public spaces and infrastructure more
beautiful. From those points, public art can also make places more distinct and
memorable, thereby strengthening people’s attachment to the civic landscape,
through the creation of artworks that are unique to each site.
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a. Placement of Public Art
There are two types of public art placement which are permanent and
temporary public art. Therefore, based on Table 5.15, majority of respondents
which is 71 percent really like permanent public art because, normally,
permanent public art consist from sculpture, monument, water fountain and also
public art that integrated with street furniture. Besides, all this permanent type
of public art very hard to move to another place. Moreover, most of the
respondents stated that, they do not like any change in their area in term of
sense of place and sense of belonging. That is why the rating of permanent
public art got the highest.
Temporary public art just got 29 percent. This is because, most of temporary
public art just provisional such as only when have any event or celebration.
Additionally, for the most part of temporary public art including mural, wall
painting and graffiti. All this types of public art commonly are temporary and
maybe have its time period depending on local authority such as 1 year, 2 year
and so on. On the other hand, as discussed before in Table 5.11, most of the
elders do not like graffiti art and temporary public art lack contributing to the
sense of place.
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b. The Appropriateness Placement of Public Art
The issue of placement is crucial; mostly public art done to fill the empty spaces
which contradict with the ultimate objectives of public art as public objects.
Placement plays an important role in highlighting the existence of public art in
public arena. Placement can be categorized into two categories. The first
category of placement is in the scope of physical location, while the second
category is more to the placement within the public sphere.
From the data analysis in Table 5.15, it was found that 54 percent of the
respondents stated yes that placement or location of public art in Putrajaya are
appropriate. The respondents which are disagreed only 46 percent and lower
than agreed. Most of the respondents that stated no, was give the reason
because of they hard to find the main public art in Putrajaya example like
Putrajaya Mercu Tanda with ‘time capsule’ in Perdana Putra Park, Millennium
Monument and some public art in building yard.
In Malaysia, the current issue of public is, most of public art are used to fulfilling
the empty spaces in urban area. Furthermore, the location of public art situated
at isolate places, whereby it leads to vandalism and less public interaction.
Moreover, most of the chosen sites do not reflect the place history and other
humanistic factors.
Table 5.17 shows that most of the respondents which are 61 percent of them
declared that quality of public art in Putrajaya are good. The materials that have
been used to build public art are in high quality because most of the public art
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material here made from steel, aluminium, wood and so on. Besides, these
materials are hardy, durable and long lasting.
On the other hand, 32 percent of respondent stated the qualities of public art in
Putrajaya are average. They just assume that some of public art in Putrajaya
are good quality and the others are poor. Public art that are located in public
space that use as focus point was build in high quality material but, the public
art that located in isolated area just build from medium quality of material. They
also stated that, the example of average or medium quality of public art is mural
painting in Warisan Bridge that used from paint and acrylic media. So, these,
public art need frequent maintenance to sustain it.
Only 7 percent of respondent stated poor quality of public art. This minority of
respondents give the reason because most of the water fountain in Putra
Mosque are not working during they visited it. Moreover, the quality of plants in
planting design are poor because the growths of trees are irregular and most of
the leaves are damaged. The issue regarding quality has been one of the main
obstacles of public art. It shows that some of the monuments or sculptures were
suspiciously been selected by bureaucrats who do not know much about art.
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d. Landscape Area Need More Public Art
Location of public art in the types of landuse areas are really important to
determine which one landscape area is more important and need to integrate
with more public art in order to make it more functional. This is because, public
art increases a community’s assets and expresses a community’s positive
sense of identity and values. It can enhances roadsides, pedestrian corridors,
and community gateways; it demonstrates unquestionable civic and corporate
pride in citizenship and affirms an urban environment. A community with public
art is a community that thinks and feels.
According to Table 5.18, it shows the majority of the community and visitors
which are 40 percent in Putrajaya want to integrate with more public art in
commercial landscape area. This is because; commercial landscape area is the
land that is specifically allocated for retailing purposes. The main use of the
land can be for manufacturing products, offices, restaurants, shopping malls or
even service stations. Besides, usually the commercial area have a lot of public
space for community gathering with each other and with the public art, it has
the power to energize public spaces, arouse creative thought and transform the
places we live, work, and play into more welcoming and beautiful environments
that invite interaction.
On the other hand, the second highest is government landscape area which is
31 percent agreed with it. Government landuse is known as area for
administrative building clusters. Moreover, government land use included areas
designated for Government offices, institutional use, VIP retreat, training centre
and official residence. All the Government uses were located in the Core Area.
Furthermore, it is really important to install a lot of public art in this landscape
area because majority of community in government area occupied by
government servant and visitors. So, the public art will enhance the identity of
this landscape area and also it need to give a sense of place and belonging to
government servant via the formal design of public art in order to increase the
spirit of the place.
Park and Open Space area are the third highest agreed with the respondents
which are 21 percent compared with the others landuse areas. A park is an
area of open space provided for recreational use. It can be in its natural or
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semi-natural state, or planted, and is set aside for human enjoyment or for the
protection of wildlife or natural habitats. It may consist of rocks, soil, water, flora
and fauna and grass areas, but may also contain buildings and other artefacts
such as play grounds. Public art is requiring installing in this landscape area
because, park is an active area that use for publics to do recreational activities
in any range of age level. So, public art can be another object in the park or it
can contribute to a visual quality and convert spaces into places for people,
distinguishing and providing an identity, as well as contributing to create
pleasant environments
Residential landscape area just got 6 percent from respondent because this
area is a passive area and respondents only use this area for resting.
Additionally, a residential area is a land use in which housing predominates, as
opposed to industrial and commercial areas. Housing may vary significantly
between, and through, residential areas. On the other hand, 2 respondents or 1
percent of respondents stated ‘others’ because they are confused which one
the accurate landscape areas which need to integrate with public art in
Putrajaya and both people are visitors and not a community in Putrajaya. Then,
they also do not familiar with any landscape areas in Putrajaya.
e. Public Art Enhancing the Quality, Identity and Image to the City
The purpose of public art is to make a city more memorable by giving identity
and structure to its public realm. Place making is use to focus, importance and
cohesion to public spaces; to develop images and provide experiences which
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reflect the historical and cultural essence of a community. It transforms spaces,
giving them context and relevance, making them places of community interest
and pride.
There are 12 percent of respondent disagreed that public art in Putrajaya was
enhanced the image quality and give strong identity to Putrajaya because the
collection of public art here do not be as their desired. 23 percent of
respondents stated not sure and this is relatively high compared with
respondents that said no. It was shown that, the current public art in Putrajaya
still not success in fulfilling 100 percent the community and visitors need. This is
quite hard because that every human in this world do not have the same taste
towards the design of public art. Moreover, the aesthetic value is subjective
towards everybody.
Table 5.19: Public Art Enhancing the Quality, Identity and Image to the City
Public Art Enhancing the Quality, Identity and Number Percentages (%)
Image to the City
Yes 102 65
No 18 12
Not Sure 36 23
Total 156 100
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f. The Best Public Art Design Concept in Putrajaya
The design of Putrajaya has adopted an urban form that is designed to suit
topography, local climate and cultural norms; the creation of an interesting
cityscape; the optimisation of scenic panoramic views and spatial experiences;
promoting local flora as a Malaysian landscape identity; creating a network of
open spaces and finally the incorporation of intelligent buildings and
infrastructural features. So, this section a bit important to determine which one
is the best public art design concept in Putrajaya via community and visitor’s
opinion and suggestion.
Table 5.20 analyse that, 19 percent of respondents proclaimed that the best
concept design of public art in Putrajaya is Historical attribute. They want all of
the public art in Putrajaya to incorporate and amalgamate with the element of
Malaysia history. Furthermore, Putrajaya is the central of Federal Government
of Malaysia, it is awfully right when Putrajaya to be as though formulation of
Malaysian history.
Finally, 2 percent of respondents choose the “others” answer. When the author
ask them, they gave the reason because of they do not know detailed about
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public art and also do not care about public art in urban area. They think that,
public art is a small matter in urban design component. There is no serious
issue about it.
The Best Public Art Design Concept in Putrajaya Number Percentage (%)
Historical 30 19
Local Culture and Tradition 53 33
Interactive and Sophisticated 70 45
Others 3 2
Total 156 100
The impact of public art goes beyond social value and identity. Public art in
Putrajaya also contributes towards economic benefits. The phrase the
“economic benefits of the arts” has gained currency in arts sectors around the
world, largely as a result of a new economic rationalism in public policy. As with
all areas of public policy, arts and cultural policies have come under the scrutiny
of economics.
Based on the Table 5.21 which is the table of analysis public art in generate
local economic potential, it found that 77 percent of respondents declare yes.
This is because; Putrajaya has created a high quality public environment, which
has significant impact on the economic life of the urban centre to attract
investment. The presence of good parks, squares, public art and public spaces
becomes a vital business and marketing tool - investors are attracted to
locations that offer well designed, well managed public places and these in turn
attract customers, employees and services.
Public art is also used for tourism in Putrajaya. For example the Mercu Tanda
monument, Perdana Boulevard sculpture and Millennium monument in Precinct
2 are examples of public art used to attract visitors. Tourism in Putrajaya offers
visitors an introduction into Malaysian cultural constructs where the mode of
representation is instrumental in determining the progress of integration.
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Besides, a good public landscape offers very clear benefits to the local
economy in terms of stimulating increased house prices, since house buyers
are willing to pay to be near green spaces.
The identity and image of a city’s essence can be reflected and shown by public
art. In Putrajaya, however, the situation of public art differs from the way it
should be. Through the survey research and analysis, several critical issues of
the public art which are happening in Putrajaya, as well as the reasons for the
lack of public art in Malaysian urban landscape have been identified.
Referring to the Table 5.22, it found that the foremost crucial issues towards
public art in Putrajaya which are; lack of understanding about public art among
the society (28 percent), situated in inappropriate area (17 percent), lack of
quality (12 percent), neglected artist function (10 percent), lack of pertinent
memories and identity in the public art (10 percent) and also lack of community
participation (20 percent).
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The understanding of public art among the society and related professions is
still low. When the appreciative concerning in public art is lack among society,
as a result will diminish the role of public art at the whole country. This is
because, the level of awareness, knowledgeable and understanding of public
art is a priority criteria of the successful of public art. Without extra knowledge
regarding to public art, so there is lack of methods and techniques to improve
public art to be more functional and practical in urban environment.
The issue of placement is common in Putrajaya; certain part of public art in this
area is done to fill the empty spaces which contradict with the ultimate
objectives of public art as public objects. Several public arts in Putrajaya are
situated at isolate places, whereby it leads to vandalism and less public
interaction. Moreover, most of the chosen sites do not reflect the place history
and other humanistic factors.
The issue regarding quality has been one of the main obstacles of public art in
this area. Based on previous analysis, certain of Putrajaya’s sculptures were
unable to command people’s attentions and evoke deeper feelings. There is,
therefore, a definite need for improvement in term of selection and appearance
of public art. In Putrajaya, major public art projects have been shown the
neglect of artists’ functions. In fact, it has been noted that the Putrajaya
Corporation seldom consulted the artists or art historians in putting up public art
works.
A previous analysis study has reported that the public has to be involved in the
process of developing the public art right from the beginning. The Putrajaya
Corporation nowadays does not put full effort in bringing the community in the
process of public art commission, which has compounded the problem of
getting the public to have the interest in the public art. Last but not least, in the
Putrajaya urban landscape, there are very few public arts that can revive our
pride of the nation and national spirit.
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Table 5.22: Major Issue and Problem about Public Art
This section is very imperative because it will discuss about the planning system
and also management practice that community needs from the local authorities in
integrating public art in Malaysian urban landscape. Furthermore, when approaches
to design standardised and development have been widespread, it is acknowledged
that public art has a significant role when creating successful places and helping to
establish successful and vibrant communities. The planning system is central to the
control of development, and is increasingly concerned with the quality and longer-
term sustainability of new development. Design has become a material
consideration, not only in visually sensitive areas, and planning authorities are
encouraged within national planning policy statements to reject ‘design which fail to
take the opportunities available for improving the character and quality of an area’.
From the previous analysis, public art encourages partnership between artists,
craftspeople, design professionals, developers and local communities. It can help
stimulate the local economy, creating employment opportunities for artists,
craftspeople, manufacturers and suppliers. In some cases public art can attract
additional funding to a scheme, from grant giving bodies and sponsorship. This
section promotes a range of planning led approaches for securing the integration of
public art, both within key development schemes and through the delivery of public
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realm improvements. In addition, it considers the mechanisms and benefits of
developing strong public art strategies for incorporation into local authority policy
frameworks.
Based on the Table 5.23, it shown that 46 percent of the respondents agreed
and willing to shell out of their money for public art project via assessment tax by
local authority which is Putrajaya Corporation. A tax assessment (or millage tax)
is a levy on property that the owner is required to pay. The tax is levied by the
governing authority of the jurisdiction in which the property is located; it may be
paid to a national government, a federated state, a county/geographical region,
or a municipality. Multiple jurisdictions may tax the same property. While the
benefits of public art to the community (streetscape, street furniture, a painting
or a sculpture) are not the kind that show up on the balance sheet or lead to tax
rebates or go well beyond cash registers and tax revenue, it has value, both in
economic and social terms.
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b. Community and Artist Participation in Public Art
Public art programs are charged with administering the development and
management of public art in their communities. The methods used to build and
sustain a public art program include but are not limited to commissioning or
purchasing artwork for permanent or temporary display, placing artists on project
design teams, and creating artist in residence opportunities. This public art
programs was agreed and approved by respondents in Putrajaya which are 58
percent.
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c. Upgrade Planning and Management Process in Integrating Public Art
by Local Authority
According to the previous analysis in Table 5.22 which is major issues and
problems regarding to public art in Putrajaya, there have a lot of issues that
respondents stated. It shown that, most of the crucial issues towards public art
are; lack of understanding about public art among the society, situated in
inappropriate area, lack of quality, neglected artist function, lack of pertinent
memories and identity in the public art and also lack of community participation.
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Figure 5.2 : This pictures show the current public art in Putrajaya that need to be
improve by Local Authority in term of planning and management system in
other to make it more efficient and effective.
Analysis found that feedbacks from the respondents in the study area are very
positive. This clearly shows that the public art design plays a key role in all forms of
development, generating a sense of regional identity and pride. Successful public
art is work that resonates with the site and context, creates an opportunity for the
range of people using the site to engage with and in terms of added values it brings
benefits to both the community and the environment.
The findings were obtained from the community and the public involved. This finding
is important to examine and determine the demand of community and the public for
human well-being. Analysis in integrating public art in Putrajaya urban landscape as
an effort to increasing the role, quality and functionality of public art found that some
aspect should be taking into account.
This finding also has important conclusion for integrating public art in Malaysian
urban landscape planning and management.
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5.5.1 Lack of Public Art that Integrate with Street Furniture
Based on the analyses that were conducted before, it found that most of the public
art in Putrajaya are in monumental form and also in form of planting design such as
topiary trees. In fact, the public art which integrated with street furniture and other
unique objects in the public right-of-way, including pedestrian amenities are
important elements that can create an active, safe, and attractive public realm.
Examples of street furniture include benches, litter and recycling receptacles, bike
racks, multiple publication modular newsstands, water fountains, pedestrian-scaled
lighting, bollards, and planters. Public art may include art installations that have a
functional or aesthetic component and that is both owned and maintained by a
private or public entity.
The current public art that integrated with street furniture are inadequate because
many visitors do not got much sitting area when they want to rest. They have to
scramble with other peoples to get any facilities that were provided by Putrajaya
Corporation. The design of public art that integrated with street furniture also is less
attractive and interactive. Therefore, community and visitors in Putrajaya should
acquire the practical and multiple function of public art.
5.5.2 Lack of Knowledge towards Public Art among Community and Visitors
The common situation of public art may rise from the lack of understanding of public
art among the society and related professions in Putrajaya. Artists in Malaysia have
long blamed this opposition on the lack of emphasis on art education and public
discussion. This is because, it is still has insufficient public art programmes and also
the lack of quality of this art in this country. When the community and visitors have
lack of knowledge about public art, as a result, they do not totally appreciate
towards art and will misuse the public art.
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5.5.3 Inappropriate placement of Public Art
The issue of placement is common in Putrajaya; public art in this area is mostly
done to fill the empty spaces in public space which contradict with the valid
objectives of public art as public objects. Several public arts in this area are situated
at segregate places, whereby it leads to vandalism and less public interaction.
Moreover, most of the chosen sites do not reflect the place concept and other
humanistic factors. Placement plays an important role in highlighting the existence
of public art in public arena. Placement can be categorized into two categories. The
first category of placement is in the scope of physical location, while the second
category is more to the placement within the public sphere.
Therefore, the current Putrajaya’s public art erection in public spaces do not
eventually mould chemistry with the public. Taken altogether, these findings suggest
that the right placement for public art in the public spaces may welcome an extra
ordinary impact.
5.5.4 Lack of Special Committee that will specifically handle Public Art
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5.5.5 Lack of Interactive Public Art
Most of the public art in Putrajaya only in monumental form and landscape design
and it is lack of interactive style of public art. Currently, Putrajaya Corporation does
not provide much of interactive public art. It just uses it when Putrajaya have any
event and celebration and this types of public art are temporary. Towards the era
that full with technology in every aspect, Putrajaya should not miss to install
interactive public art because, Putrajaya is well plan city and a as the new
administrative capital of Malaysia has seen the need to be distinctively outstanding
in both its characteristics and development along with to be a role model for the
others cities.
Putrajaya faces the problem of the lack of community’s participation in public art
commission. A previous study has reported that the public has to be involved in the
process of developing the public art right from the beginning. The Putrajaya
Corporation nowadays does not put full effort in bringing the community in the
process of public art commission, which has compounded the problem of getting the
public to have the interest in the public art.
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5.6 Summary
The purpose of including public art within the development areas in Putrajaya is to
contribute towards positive social growth, developing a cultural identity and ensuring
the economic value of each precinct. It is also being employed to engage the public
in a way that contributes to their understanding of the spaces and places they
inhabit; to inject places with definable qualities; to create artworks in public spaces
that are site-specific and integrated into built and natural forms and places; to reflect
the character of each precinct and open space by recording past and present
histories, culture and ideas; and to expand public awareness of contemporary art
practices outside of galleries.
But there also still have a lot of weaknesses regarding to public art in study area
such as lack of understanding about public art among the society, situated in
inappropriate area, lack of quality, neglected artist function, lack of pertinent
memories and identity in the public art and also lack of community participation. The
planning and management system also need to be improve by Putrajaya
Corporation in effort to make the greatest functionality of public art in Putrajaya.
Putrajaya Corporation plays an important role to monitor the planning process and
management practice of public art.
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CHAPTER 6
RECOMMENDATION
6.1 Overview
After conducted the analysis and the finding were obtained, the final stage in this
study is to produce and formulate appropriate recommendations to overcome
problems that have been identified. Proposals submitted are intended to achieve the
goals and objectives of the study in addition to help resolve problems or issues that
arise in the integrating public art in urban landscape planning and management in
Putrajaya. Proposals submitted area divided into several sections or categories that
will be described further in this chapter.
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Government Organization (NGO), developers and the artist. Therefore, each party
must understand and realize the importance of public art in urban environment and
has a responsibility to collaborate with it in order to make it more functional,
practical and also efficiently. Hence, several proposals are submitted to ensure
public art management be planned and developed with a success and the best way.
The integration of the public art in urban landscape, will upgrading the image of
places, heightens the nationalism spirit, celebrate the culture and rejuvenate the
sense of place. However, integrating public art in an urban landscape is not an easy
task. Interviews with landscape architect and town planner in Putrajaya Corporation
were done to get their opinions regarding the need to integrate public art in urban
landscape of Putrajaya. The result is solidly encouraging, with over 90% of the
respondents agreed that there is a need to integrate this approach and only 10%
responded that the issue of public art is not much of importance. Therefore, in order
to integrate public art in Putrajaya, several moves need to be taken:
From the data analysis and findings in the chapter 5, there have a lot of issues and
problems regarding to integrating public art in Putrajaya urban landscape which are;
lack of understanding about public art among the society, situated in inappropriate
area, lack of quality, neglected artist function, lack of pertinent memories and
identity in the public art and also lack of community participation. In order to solve
the current issues and problems in integrating public art in urban landscape, it was
formulated 3 strategies as follow:
Appropriate placement of public art is very important aspect in urban design. There
are two strategies consecutively to solve problems about placement of public art in
Malaysian urban landscape as follow:
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a. Provide More Functional Public Art in Form of Street Furniture
In the Putrajaya, there have plenty of public art especially in precinct 1 until
precinct 4 along the Putrajaya Boulevard. According to analysis and finding
that was conducted in chapter 4 explained that, most of the respondent’s
perception towards public art just for aesthetical value merely, no more than
that. In addition, from the observation, majority of the community and visitors
are like to visit the area of precinct 1 which is area of Putra Mosque and
Putra Perdana Park because this area is a landmark and nodes for
Putrajaya. Moreover, it has recreational area, Hauq-bazaar and also public
space but, the numbers of public art here still inadequate for the public and
impractical in form.
Hence, the number of public art in this area should be increased, specifically
integrated with street furniture in order to make it more functional, not just for
aesthetic value. The street furniture should be includes, lamp post, bollard,
dustbin, fence, signage, bench, planter box, road divider, water fountain, and
etc. Moreover, the integration of public art would elevate the understanding
towards as it highlights related issues and history in a visual form. Besides,
the exposure to new ideas can be illustrated to the people as this will further
encourage more creative and critical thinking of the messages brought about
by the public art and it will also amplify the awareness of the people towards
the art.
Addressing community needs can be associated with the usage of public art.
A simple example is the street furniture. It could diversify its use as an art
object to a very practical usage contribution to environmental regeneration,
improvement of city ecologies, as well as individual and communal
empowerment. At the same time, public art does not only serve as an elitist
art, it is also deployed to address as part of healing process within the
healthcare.
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b. Public Art be Located in Special Zones or Themes which are
Demarcated by the Government.
The placement of public art is important to attract more attention to it. Public
art be located in special zones or themes which are demarcated by the
government. Places with large open spaces are recommended for the public
art as these will welcome more pedestrians to appreciate the work of art.
However, public art should not stand alone, but it should be integrated with
other landscape elements to uplift its potential and to evoke the public’s
feeling to interact with it.
Successful public art is work that resonates with the site and context, creates
an opportunity for the range of people using the site to engage with and in
terms of added values it brings benefits to both the community and the
environment. In order to understand this, it is important to look at the
distribution of public art in Putrajaya. Almost eighteen public sculptures were
located and found within a radius of two kilometres from the central core
zone (Precinct 1–5), which is also the administrative and financial district.
Most public artwork in the administrative and financial areas carries a style to
coincide with the visual language of Putrajaya’s built environment.
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6.2.2 Theme and Concept of Public Art in Putrajaya
Public art should be more interactive rather than merely monumental and it
could nurture tangible interactions between the public and the public art.
Nonetheless, it still requires some relationships with the identity of the
surrounding areas to inculcate the sense of place. The impact of the public
art in term of interaction could be seen when the selected locations and
suggested public art comprised the entire humanistic elements, such as the
sense of place, attractive form and interactive characteristic. Moreover, a big
scale of public art will trigger the attractive sensation and evoke the sense of
sublime. As the result, the need to integrate public art in Putrajaya is
inevitable.
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culture of Malaysia need to be done because the culture accelerates the
sense of place and it also evokes the spirit of nationalism. The impact of
cultural devoid in the community is that they will not know the roots of the
culture, and thus, obstructs them from experiencing and implanting it as part
of their way of life. The use of public art in Putrajaya should to help enforce a
political and cultural imagery and it is the surface expression of a deeper
cultural layer conveyed in design of the city.
The identity has been the key issue in the broad processes of political and
cultural practice in any nation whilst the use of identity in public art has
symbolic tradition in which the adornment of the city focuses in an effort of
place making. It is a powerful tool for the declaration of the socio-political
and cultural representative of cultural tradition in a country like Malaysia.
Culture is the context within which we need to situate the self, for it is only by
the virtue of interpretations, orientations and values provided by culture that
we can formulate our identities, say ‘who we are’, and ‘where we are coming
from’.
The new urban landscapes are just not simply an expression of broader
economic and socio-cultural changes, but it also plays an active role in
shaping the external and internal image of the cities. Public art is also used
to promote the cultural identity of the city, through the use of a diverse range
of art forms and design applications. In Putrajaya, public art is not fully
utilised into three different roles: public art as place making, public art as
social interventionism and finally public art as publicity.
Public art can contribute the great economic impact and enhancing social
activity to the urban environment when it was setting up with a powerful
strategies. Public art installations, especially temporary and event-based
projects, can generate substantial amounts of foot traffic and by extension,
visitor expenditures and business revenue. The small amount of research in
this area tends to support that conclusion for blockbuster events and major
capital investments, at least. In order to give powerful economic and social
impact to Putrajaya so, several suggestions below need to be followed;
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a. Public Art Should Contribute to the Development of Economy Potential
It has been claimed that public art provides an impetus for both economic
and tourism development. Economic decline is frequently cited as creating or
exacerbating communal fragmentation whereas public art projects may
attract companies and investment, create employment, and add to property
value. Certainly, public art contributes to local distinctiveness that may
attract tourists, and recreation and tourism directly and indirectly benefit the
local community economy with outside revenue.
Although public art rarely commands entrance fees of any kind, tourists who
come to see it contribute to the local community by paying for transportation,
meals, lodging, and other goods and services. Art itself is a renewable
resource that can be enjoyed in a community context, thereby contributing to
the ongoing well-being of an area due to a variety of confounding
parameters, it is difficult to quantitatively measure the contribution of public
art to the development of tourism; however, some indirect evidence does
provide an alternative way to gauge its effects.
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i. Partnership with other Departments
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iii. Partnerships with Transit and Pedestrian Projects
Art organizations are natural allies for public art and can play a
significant role in the development of public art program and in
promoting public art activities. In Malaysia, there have National Visual
Arts Development Board under Ministry of Tourism and Culture
Malaysia. Thus, Putrajaya Corporation can partnership with it in order
to get extra funding and establish more public art that celebrate our
culture and tradition.
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v. Partnerships with Industry or Academic Research
c. Setup More Special Committee that will specifically handle Public Art
This limited knowledge about the public’s views and expectations of public
art may result, one could argue, has resulted, in considerable negative
impact on public art projects and the neighbourhood in which they have been
built. In order to enhance public’s knowledge towards public art, educators
are responsible in educating the public to have a greater awareness
regarding public art as a need to improve the quality of life, and not solely as
an aesthetical improvement. This is important to ensure that the people will
not have the thought of art as being worthless and that in term of the
development of art, it will lead to unimportant and lack of art explorations.
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contribute their position and role in educating citizen about public art. They
are able to do a seminar with a lower fee, make a video about the function of
public art and upload it in the internet such as YouTube, Facebook, Geek,
and blog, and then they also can write a book about the benefit of public art
to the community and sell it with the lower price.
When the community and visitors have great of knowledge about public art,
thus they totally appreciate towards art and will participate any public art
programs and possible to contribute their labour to help in installation public
art. Moreover, they also willing to spend their money just for public art and
do not feel regret when their tax money use for integrating public art in their
urban environment.
At the state level, local authority will essentially be responsible for the overall
improvement and upgrading. The state Authority may also identify may also
identify public spaces for public art within the development plan area. In
effort to enhance the functionality of public art together with smooth planning
process and excellent management practice, it requires the continuous
involvement and support of government officials.
Local Authority need to run several programmes that are related to the art
scenes. It encourages everyone to experience and engage with the arts; and
values and encourages artistic contributions of people in all life stages. The
significant support of Putrajaya to ensure the greater access to arts
programs in the city for artists and communities from culturally diverse
backgrounds, and also to strengthen relationships between and within
communities, and has been essential in the development of quality public art
development projects and multicultural arts events.
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Participation Program, it will look at ways to increase public programs in the
city’s residential neighbourhoods. Furthermore, working with other agencies
will increase engagement with culturally and linguistically diverse artists and
communities across all key programs and facilities, creating programs that
encourage reconciliation and respect for cultural difference. On the other
hand, local authority also should encourage triennial arts grants applicants to
look at ways in increasing the number of people with a disability attending,
participating in and creating programs.
6.3 Summary
What this speaks to most is the steady vision that has guided the program
Putrajaya’s public art policy, its public art master plan, and the leadership,
partnerships and community engagement that have catalyzed and guided projects.
As the fruits of Putrajaya Public Art’s efforts come into view, these strategies is for
looking at the value of public art provide a clear framework for carrying the vision
forward.
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CHAPTER 7
CONCLUSION
Public art is difficult to define; yet the question of whether it is successful may best
be answered by understanding and appreciating public opinion. Based on the
empirical evidence gathered in Putrajaya, this research found that the public’s own
definition of public art can reasonably be summarized thus: public art is an art
expression in any form that is positioned in a freely accessed public space for the
public to use and enjoy. It requires the act of absorbing the locality spirit and the
appearance of the locality in the public art. It is this co-evolving relationship that
affirms the quality of the work over time. Although the genres of public art vary, they
generally have several features in common, including contributing positively to
urban development as in Putrajaya.
Based on literature reviews that were conducted, public art is an art form that exists
in public area for public view. It can be in the forms of sculpture, mural, sculpture
fountain, planting design, and even stabile. Its existence breaks the mundane
environment and engages some kind of social flux towards public spaces. As urban
landscape serves as urban retreat place, it is a much boost of a better quality urban
environment when art approach is becoming part of urban landscape components.
Seeing that the combination of site, art and people as one organization, it generates
the aura of sustainability towards the urban landscape.
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7.1 Enhance the Quality of Urban Landscape
Furthermore, the first part of the paper examined public art as a contributor towards
quality urban living environment. Subsequently, issues and problems which shield
the Malaysian urban landscape and to be fully integrated by public art will be
highlighted as well. It is argued that the process which artworks fusing with the
urban landscape leads to an awareness and an understanding of the public issues
to the notion of public art. Therefore, this paper was help to generate the society’s
awareness and understanding of the effort of integrating public art in the Malaysia
urban landscape planning and management.
The design of Putrajaya has also adopted an urban form that is designed to suit
topography, local climate and cultural norms; the creation of an interesting
cityscape; the optimisation of scenic panoramic views and spatial experiences;
promoting local flora as a Malaysian landscape identity; creating a network of open
spaces and finally the incorporation of intelligent buildings and infrastructural
features. This is an ideal and wholesome city.
This research looked at the roles and values of public art and how it is being utilised
in Putrajaya. Furthermore, this research also studied about the planning system and
management practice that was conducted by Putrajaya Corporation as local
authority. The Federal Territory Putrajaya best represents recent growth and
interests in public art practices and also provides samples of different styles in
public art development. Putrajaya was created as a city with a memorable design by
providing identity and structure to its public realm.
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7.2 Strengthening the Identity of Putrajaya
The analysis of Putrajaya has revealed the influence of public art in enforcing and
strengthening the identity of the city. Putrajaya as the new administrative capital of
Malaysia has seen the need to be distinctively outstanding in both its characteristics
and development. This is because Malaysia is in the position to set an example for
other Islamic countries and it sees itself as championing a successful and modern
Islamic Malay state. Instead of adopting Malay vernacular architecture in its design,
Putrajaya uses an Islamic architecture style mimicking that in the Middle East which
enforces Malaysian resolve to move away from their colonial past and asserting
themselves as a powerful Islamic bloc outside the Middle Eastern belt.
The ability of public art to meet the needs of social objectives for an inclusive
society also largely depends on the quality of the built environment. In public places,
there are many forms of art that enhance the space and give it character. In the
case of Putrajaya, public art helps break the rigidity of building complexes and the
formal outlook of its urban landscape. In general, it improves the physical
environment to benefit the residents and visitors. It also helps to humanise public
spaces and create meaningful places where people feel comfortable and relaxed.
The purpose of including public art within the development areas in Putrajaya is to
contribute towards positive social growth, developing a cultural identity and ensuring
the economic value of each precinct. It is also being employed to engage the public
in a way that contributes to their understanding of the spaces and places they
inhabit; to inject places with definable qualities; to create artworks in public spaces
that are site-specific and integrated into built and natural forms and places; to reflect
139
the character of each precinct and open space by recording past and present
histories, culture and ideas; and to expand public awareness of contemporary art
practices outside of galleries.
On the other hand, public art in urban landscape is used to shapes the places
where community live and work. Public art is a process of engaging artists’ creative
ideas in the public realm. Moreover, a significant amount of public art in Putrajaya is
commissioned via the planning system. At a time when standardised approaches to
design and development have been widespread, it is acknowledged that public art
has a significant role when creating successful places and helping to establish
successful and vibrant communities. Design has become a material consideration,
not only in visually sensitive areas, and Putrajaya Corporation is encouraged within
national planning policy statements.
The most successful strategies allow for being opportunistic, as well as planning
ahead to deliver well considered priorities. They will include a focus on key
development sites as part of more strategic guidance related to the delivery of both
stand alone public art initiatives and integrated work within public infrastructure such
as schools, hospitals and transportation systems.
At the strategic level it is important for authorities to set out their specific approach
to public art, highlighting how they will integrate work within their own capital
projects as well as their expectations for others through the planning system. The
importance of leading by example should not be underestimated in creating a
positive context where local communities value the benefits of public art.
Principles and objectives for public art should be given local emphasis and made
relevant to local circumstances and expectations. Local traditions and recent work
should be highlighted in order to legitimise the way in which existing public art
contributes to the distinctiveness and identity of local areas. A strategy of public art
140
programs should establish consistent guidelines for selecting, recruiting and briefing
artists, and ensure the effective and appropriate project management support,
maintenance and where appropriate decommissioning.
Last but not least, the sustainable planning and management in integrating public
art in Putrajaya urban landscape means meeting the needs of the present without
compromising the needs of future generations to achieve this, management,
societal and economic systems need to be aligned.
Public art is routinely expected to bring benefits to society and the individual by
reclaiming and humanizing the environment, educating people, facilitating the social
process, signifying cultural sophistication, and often provoking media controversies
that in turn can stimulate the local economy. For Dunlop and Eckstein (1994), public
art is a cultural investment with the benefits of helping solve environmental and
economical problems in the following ways:
It has been claimed that public art provides an impetus for both economic and
tourism development. Economic decline is frequently cited as creating or
exacerbating communal fragmentation (Hall & Robertson, 2001), whereas public art
projects may attract companies and investment, create employment, and add to
property value (Dunlop and Eckstein, 1994). Certainly, public art contributes to local
distinctiveness that may attract tourists, and recreation and tourism directly and
indirectly benefit the local community economy with outside revenue.
141
do many traditional tourist attractions. Residents receive economic rewards from
visitors’ lodging, dining, and other leisure activities (Murphy, 1985). Especially for
many rural communities with economic problems such as aging, unemployment,
and/or natural resource exhaustion, the development of tourism is regarded as an
important strategy for regenerating the economic viability of a community. Although
public art rarely commands entrance fees of any kind, tourists who come to see it
contribute to the local community by paying for transportation, meals, lodging, and
other goods and services
There has been little research into the integrating public art in Malaysian urban
landscape and what the public thinks about public art; yet, ironically, the public is
generally taken to be the primary audience of this genre.
On the other hand, academic research and discussion of public art is relatively
unsound due to a lack of empirical evidence - most proposed research models and
theories have not been tested by observation or experiment. For instance, the
public’s psychological and physical responses (examples; perceptions, attitudes,
behaviours) toward public art are yet to be understood in a scientific way.
Most public art reviews discuss the visual language of art design, as well as its
background history. The current research, however, tends not to render aesthetic
judgment; instead, it emphasizes a critique of social and community issues and
public value. The result is a focus on evaluating the social - cultural role of public
art. Such discussions may, in turn, influence the design profession to reflect on the
potential of city sustainability and to contribute to emerging theories of public art.
142
7.5 Suggestions for Future Research
This study achieved the aim and objectives of the research posed using a large-
scale approach. However, this research cannot cover all aspect about integrating
public art in Malaysian urban landscape because it have own scope and limitation of
the research. The findings of this research offer systematic prime knowledge that
can benefit further research into public art and its effects on communities as follows;
The management of public art generally receives little attention. However, there are
critical issues inhering in maintaining contemporary public art. Further, many
cities/communities, the backdrop of public art, are undergoing dramatic changes in
terms of their social–cultural context. Also, many contemporary public art projects
are ephemeral, and both the conceptualization and the visual languages of public
art are constantly evolving. Such ongoing change raises questions regarding the
purpose and lifespan of any given artwork. For example, should a piece be
maintained as a historical representation of a community as it had once viewed
itself, and as a connection to that past or, should an artwork be viewed as
temporary—an expression of a moment in time, always ready to give way to some
new approach?
Much art is preoccupied with representing and understanding nature. Many visual
and literary inspirations/fantasies that underlie the presentations in public art
express relations with nature. Some artists vehemently pursue a spiritual-like fusion
with nature and include metaphysical references in their projects and performance
that speak to themes such as natural rhythms and ecological crises. While public art
projects may certainly speak to the specific questions of sustainability and
preservation, whether they can also themselves, when built on a large scale, be
green is another question. More discussions regarding the relationships between
public art creation and environmental sustainability are necessary.
143
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