UNIVERSITI TEKNOLOGI MARA

INTEGRATING PUBLIC ART IN MALAYSIAN URBAN LANDSCAPE:

A CASE STUDY OF PUTRAJAYA

ANWAR BIN SURAN

Dissertation submitted in partial fulfilment of the requirement for

the degree of

Master of Science
Urban Development and Management

Faculty of Architecture, Planning and Surveying

December 2013
 AUTHOR’S DECLARATION

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.

Name of Student : ANWAR BIN SURAN

Student I.D. No. : 2012977513

Programme : Master of Science in Urban Development and Management

Faculty : Faculty of Architecture, Planning and Surveying

Dissertation Title : Integrating Public Art in Malaysian Urban Landscape:

A Case Study of Putrajaya

Signature of Student :

Date : December 2013

 DEDICATION

I dedicated this thesis in memories of my dear father, who’s always been an

inspiration for me to do anything that I set in my mind; and in honour of my mother,
who has tirelessly supported me through this process, and throughout her life,
taught me that in order to gain much, one must give it all. Thank you for teaching
me to be strong in this world.
 ACKNOWLEDGEMENT

“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 am taking this opportunity to express my appreciation towards my Dissertation

Supervisor, Assoc. Prof. Wan Ahmad Halawah b. Haji Wan Hariri, and my Second
Reader Dr. Alamah bte. Misni who has been given me a lot of guidance and
constructive comments in completing this research. Hopefully Allah S.W.T will bless
him and her for meaningful assistance in making the research successful. Not to
forget Assoc. Prof. Syed Hassan b. Syed Subli and all the lecturers of Urban
Development and Management, Centre of Postgraduate Studies, Faculty of
Architecture, Planning and Surveying, Universiti Teknologi MARA, Shah Alam.

I would also like to express my gratitude towards the officers of Department of

Landscape and Park, Putrajaya Corporation (PJC) which are Haris b. Haji Kasim
(Principle Assistant Director) and Suhana Bte Abdullah (Landscape Architect), and
others who have given their fullest cooperation in the preparation of this dissertation.

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.

Thank you very much.

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 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

CHAPTER 2 LITERATURE REVIEW 8

2.1 Overview 8
2.2 Public Art 9
2.2.1 Definition of Public Art 9
2.2.2 Definition of Public Space 11
2.2.3 Definition of Urban Landscape and Planning 13
2.2.4 History of Public Art 13
2.2.5 The Concept of Public Art 15
2.2.6 The Types of Public Art 16
2.3 Integrating Public Art in Urban Landscape 20
2.3.1 Roles of Public Art in Urban Area 22
2.3.2 Current Issues of Public Art 24

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 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

CHAPTER 3 RESEARCH METHODOLOGY 51

3.1 Overview 51
3.2 Methods of The Research 52
3.2.1 Primary Data 52
3.2.2 Secondary Data 53
3.3 Study Stage 53
3.3.1 Stage 1: Preliminary Study 53
3.3.2 Stage 2: Theoretical Study 54
3.3.3 Stage 3: Data Collection 54

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 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

CHAPTER 4 STUDY AREA 61

4.1 Overview 61
4.2 History of Study Area 62
4.3 Background of Study Area 63
4.3.1 Development Concept of Putrajaya 64
4.3.2 Implementation Agency and Mechanism 66
4.4 Putrajaya Corporation 70
4.5 Landuse Distribution 71
4.5.1 Residential Landuse 74
4.5.2 Road and Utilities Reserves 75
4.5.3 Government Landuse 75
4.5.4 Community Facilities 75
4.5.5 Commercial Land Area 76
4.6 Current Status of Development 76
4.7 Planning and Urban Design - City Image and
Character 78
4.8 Summary 84

CHAPTER 5 DATA ANALYSIS AND FINDINGS 85

5.1 Overview 85
5.2 Observation and Analysis 86
5.3 Interview Analysis 87
5.4 Survey Analysis 91
5.4.1 Background Respondents 91
5.4.2 Respondent’s Knowledge 96
5.4.3 Perception towards Public Art 99
5.4.4 Respondent’s Opinion 105
5.4.5 Public Art and Community Involvement 116

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 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

CHAPTER 6 RECOMMENDATION 125

6.1 Overview 125
6.2 Strategies to Integrating Public Art in
Putrajaya Urban Landscape 126
6.2.1 Strategic Place of Public Art 126
6.2.2 Theme and Concept of Public Art in
Putrajaya 129
6.2.3 Contribution Public Art in Social and
Economic Impact 130
6.3 Summary 136

CHAPTER 7 CONCLUSION 137

7.1 Enhance the Quality of Urban Landscape 138
7.2 Strengthening the Identity of Putrajaya 139
7.3 Social and Economy Impact 141
7.4 Significant of Study 142
7.5 Suggestion for Future Research 143
7.5.1 Management of Public Art 143
7.5.2 Green Art in Public 143

BIBLIOGRAPHY
APPENDIX

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 LIST OF TABLES

Table 4.1 : Main Parties for the Implementation of Putrajaya 66

Table 4.2 : Landuse Distribution in Putrajaya 73

Table 4.3 : Current Development Position of Putrajaya 78

Table 5.1 : Gender and Age of Respondents 92

Table 5.2 : Respondent’s Race 92

Table 5.3 : Respondent’s Religion 93

Table 5.4 : Respondent’s Occupation 94

Table 5.5 : Respondent’s Origin 94

Table 5.6 : Respondent’s Marital Status 95

Table 5.7 : Respondent’s Educational Level 96

Table 5.8 : Definition of Public Art 98

Table 5.9 : Knowledge about Public Art 99

Table 5.10 : Respondents like Public Art 100

Table 5.11 : Types of Public Art that most Respondent Favoured 102

Table 5.12 : Value of Public Art to Respondents 103

Table 5.13 : Sense of Belonging of Public Art 104

Table 5.14 : Benefit of Public Art 105

Table 5.15 : Placement of Public Art 106

Table 5.16 : The Appropriateness Placement of Public Art 107

Table 5.17 : Quality of Public Art 108

Table 5.18 : Landscape Area Need More Public Art 110

Table 5.19 : Public Art Enhancing the Image Quality and Identity

to the City 111

Table 5.20 : The Best Public Art Design Concept in Putrajaya 113

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Table 5.21 : Public Art Generate Local Economy Potential 114

Table 5.22 : Major Issue and Problem about Public Art 116

Table 5.23 : Public Art Funding 117

Table 5.24 : Community and Artist Participation in Public Art 118

Table 5.25 : Upgrade Planning and Management Process in

Integrating Public Art by Local Authority 119

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 LIST OF FIGURES

Figure 2.1 : Key Plan of Melbourne 43

Figure 2.2 : Location Plan of Melbourne 43

Figure 3.1 : Flow Chart of the Research 56

Figure 4.1 : Key Plan and Location Plan of Putrajaya 68

Figure 4.2 : Landuse Plan of Putrajaya 69

Figure 4.3 : Putrajaya Corporation Logo 70

Figure 4.4 : Organization chart of Putrajaya Corporation, 2013 72

Figure 4.5 : Putrajaya Boulevard pattern is adapted from……. 83

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 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 2.4 : Three Businessmen in picture (a) is a life-sized sculpture… 46

Photo 2.5 : Public Purse in picture (a) is one of the city's most unique.. 46

Photo 3.1 : Arial view towards Putrajaya 59

Photo 4.1 : View towards Putrajaya Corporation office building……….. 70

Photo 4.2 : Picture (a), (b), (c) and (d) show the art of architecture in… 79

Photo 4.3 : Most of the architecture and others structure in Putrajaya… 80

Photo 4.4 : Putrajaya have drawn upon diverse influences resulting in... 81

Photo 4.5 : Urban Landscape in Putrajaya is integrated with variety of... 83

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

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 LIST OF ABBREVIATIONS

AAP : Area Action Plan

AU : Australia

CABE : Commission for Architecture and the Built Environment

CUT : Common Utility Tunnel

DBKL : Dewan Bandaraya Kuala Lumpur

DUD : Detailed Urban Design Guideline

JPBD : Jabatan Perancangan Bandar dan Wilayah

KL : Kuala Lumpur

KLCC : Kuala Lumpur Convention Centre

KLCCPB : Kuala Lumpur Convention Centre Projects Berhad

KLIA : Kuala Lumpur International Airport

LDF : Local Development Framework

LRT : Light Rail Transit

MITI : Ministry of International Trade and Industry

MMU : Multimedia University

MSC : Multimedia Super Corridor

MY : Malaysia

NC : North Carolina

NGO : Non-Government Organization

PETRONAS : Petroleum National Berhad

PhD : Doctor of Philosophy

PJC : Putrajaya Corporation

PJH : Putrajaya Holding Sdn.Bhd.

PPJ : Perbadanan Putrajaya

RSS : Regional Spatial Strategy

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RTD : Rancangan Tempatan Daerah

SMK : Sekolah Menengah Kebangsaan

SPD : Supplementary Planning Documents

SPM : Sijil Pelajaran Malaysia

STPM : Sijilt Tinggi Pelajaran Malaysia

TNB : Tenaga Nasional Berhad

UK : United Kingdom

VIP : Very Important Person

xii
 LIST OF APPENDIX

Appendix : Public Survey

xiii
 CHAPTER 1

INTRODUCTION

1.1 Introduction

Recently, Malaysia’s urban populations were increased as shown by the current

survey carried out by the Department of Statistics. The total population of Malaysia
in year 2011 has reached 28.33 million compared to 23.71 million in the year 2000
and 60 percent of the population live in urban areas (Department of Statistics,
2011). This situation thus urges this country to have better urban retreat places in
order to provide its population with a better quality environment. This would be the
launch pad for the public art to make its debut in generating liveliness, public
participations and improvement in the urban landscape. Urban landscape is claimed
to act as a purification of health, social and environment issues (Osman, 2005).
However, without any interesting element, those spaces are rather dead or will not
serve their functions as they should be. Furthermore, space should be visually
stimulating, and rich with vibrant elements and multifunction.

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

1
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)

Public Art, Yokohama, Japan Public Art, Melbourne, AU

(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.

2
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.

1.2 Problem Statement

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

3
ameliorates environmental/social problems remains largely untested and unproven
(Hall and Robertson, 2001).

1.3 Research Questions

In Malaysia, public art is used as part of urban ornamentation which plays a

important role in making the image of the city and enlivens the environment. The
use of local art helps to differentiate and assert a Malaysian identity through a
stylistic approach that is unique to the country. Strong visual images borrowed for
public art in order to facilitate a memorable structure and give the city its identity. In
this study, Putrajaya is one of the city in Malaysia has much of public art. By the
way, the value of public art in Putrajaya is invaluable compared with other countries.
The application and management system of public art should be more efficient and
effective so that the valuable public art can be maximized. There are a few
problems functional public art in Putrajaya that has been indentified:

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?

1.4 Aim and Objectives

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

In this study, several objectives have been devised as follow:

i. To study the functional, values and advantages of public art in urban

landscape.

ii. To indentify issues regarding to public art in term of implementation faced by

local authorities.

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.

1.5 Scope and Limitation

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;

i. This research merely focusing about integrating public art in Malaysian

urban landscape. Furthermore, it will include the functional, values, issues,
problems and impacts of public art to the Putrajaya community and visitor. It
also cover all of the types of public art whether permanent public art,
temporary public art, building architecture, landscape design, mural,
sculpture and monumental public art.

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.

1.6 Organization of Dissertation Content

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:

i. Chapter 1 presents the problem statement, research questions, aim and

objectives, scope and limitation, and purpose to structure and develop the
dissertation.

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.

v. Chapter 5 presents results based on the data obtained from this

investigation. It also interprets the now tested/proved frameworks and
summarizes the study’s research findings

vi. Chapter 6 propose a formula and strategies to integrating public art in

urban landscape.

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

In this chapter, a number of matters concerning the theoretical study will be

discussed. Comprehensive collection of information about the theories that have
been adopted will be translated into a more detailed and effective. The theoretical
study will explore several key aspects include the definition, purpose and interest in
term of planning and management of integrating public art in urban environment.

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.

2.1 Public Art

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.

2.2.1 Definition of Public Art

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:

“The quality, production, expression, or realm, according to

aesthetic principles, of what is beautiful, appealing, or of more
than ordinary significance; human effort to imitate, supplement,
alter, or counteract the work of nature”
(dictionary.com, 2013)

“An easy differentiation of art and everyday life is no longer

viable when advertising derives its vocabulary from art, when
consumer desirables are designed like sculpture, when
sculpture resembles freezing cabinets, and vacuum cleaners

9
 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:

“Creative work that is part of the public experience of built and

natural environments. It can include sculpture, environmental
art, the integration of art and architectural design, and more

10
 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.

“Public artworks may involve the community in various stages

of consultation however a community art project is when
non‐artist members of the community actively participate in the
making of the work”.
(Barbara et al., 2009)

2.2.2 Definition of Public Space

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:

"Social desire for an art that is contemporary and timely, that

responds to and reflects its temporal and circumstantial
context.”
(PPS, 2013)

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

12
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.

According to ASLA (2013), landscape architecture is the design of outdoor public

areas, landmarks, and structures. It involves the systematic investigation of existing
social, ecological, and geological conditions and processes in the landscape, and
the design of interventions that will produce the desired outcome.

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.

2.2.4 History of Public Art

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.

13
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.

Land artists choose to situate large-scale, process-oriented interventions in remote

landscape situations; the Spoleto Festival (1962) creates an open-air museum of
sculptures in the medieval city of Spoleto, and the German city of Münster starts, in
1977, a curated event bringing art in public urban places every 10 years. In the
group show When Attitudes Become Form, the exhibition situation is expanded in
the public space by Michael Heizer and Daniel Buren’s interventions; architectural
scale emerges in the work of artists such as Donald Judd as well as in Gordon
Matta-Clark’s temporary interventions in dismissed urban buildings.

(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

14
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:

"A specific type of art whose destiny is the entirety of non

specialized citizens in contemporary art and whose placing is
open public space. It is not a style and it develops regardless of
forms or the materials and scales"
(Suzzane, 1995)

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"

15
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.

2.2.6 The Types of Public Art

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

Monuments are perhaps an omnipresent type of public art. From massive

monuments such as the Washington Monument and the Lincoln Memorial to
much smaller statues and busts commemorating more localized heroes,
monument art exists everywhere from big cities to small rural communities.

ii. Sculpture

Sculpture is perhaps second only to monuments in terms of omnipresence.

Public sculpture can range from the enormous images carved into Mount
Rushmore to the easily overlooked smaller works of art that routinely
decorate office building lobbies. Many cities commission sculptors to provide
representational as well as nonrepresentational works to enhance public
parks and downtown areas. Typically this kind of public art is crafted from
highly durable materials that can withstand the ravages of weather.

16
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.

iv. Living Statues

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.

vi. Land Art

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.

17
 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.

Ephemeral public art is temporary, is designed specifically for an occasion or event

and is transitory in nature. The Gates exhibit in Central Park during February of
2005 is an example of ephemeral public art. Moreover, according to eHow (2013)

18
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:

i. Permanent Public Art

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.

ii. Temporary Public Art

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

Unlike art displayed in galleries or museums, public art is site-specific. This

means that the artist created the work for a specific location with the external
factors of that location in mind. Public artists must take into consideration the
size limitations, weather conditions and audience when planning a project.
The commissioning body gives the artist the location and its specifications.
Site-specificity makes public art different from traditional artwork because
the location becomes a part of the project.

19
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.

20
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.

21
2.3.1 Roles of Public Art in Urban Area

The impact of public art on the community is invaluable. It can be a unique

contributor to a quality urban living environment which celebrates its community,
highlights past memories and even increases the economical impact of a city
(Ramlan, 2009). Thus, public art will continue to be an essential part in the urban
development strategies as follow:

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.

This beautification of cities by public art encompasses vibrant street life by

giving an aura of quality on places (Hall and Robertson, 2001). However,
Leslie (2005) argued that aesthetical value will neglect the true meaning of
art when it is too much pondered upon. Basically, art expression urges an
intimate relationship with the audience. Therefore, aesthetical value and
meaning should mull together in order to pull the audience to appreciate it.

ii. Promoting the Sense of Community

Public art can promote a sense of community by promoting community

exploration and awareness. According to Swales (1992), the success of
public art projects in the public realm requires four fundamental community
values, such as shared history, identity, needs and aspirations.

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.

22
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.

iv. Addressing Community Needs

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).

vi. Educational Value

Besides highlighting its beauty, public art also subconsciously promotes

educational value to the community. Art education is crucial in making the
public understand, in surface or perhaps in depth, the art knowledge. As

23
 asserted by the Public Art Consultancy Team (1990), educational benefits
should be planted in public art programmes.

2.3.2 Current Issues of Public Art

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:

i. Lack of Art Education

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.

ii. 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. 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.

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

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.

iii. Lack of Quality

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.

iv. Lack of Community’s Participation

Much of the country 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 (Shunmugam, 2006). The local authority 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. However, much is still needed to be
looked into when it comes to community’s participation, specifically at the
beginning part of the public art erection.

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.

vi. Lack of Pertinent Memories and Identity

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.

2.4 Contribution of Public Art to Enhance the Image of Capital City

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.

27
2.5 Public Art Planning

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.
According to Public Art Online UK (2013) describe that, 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 fails to
take the opportunities available for improving the character and quality of an area’.

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.

28
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.

29
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:

“Code only what matters then hires good architects.

Surprisingly little is essential to code most great places. As the
list of rules grows in an effort to outlaw kitsch, the opportunity to
produce truly excellent building may diminish. Enforce the code
with an eye towards exceptions. The importance of enforcing
the code is obvious. While enforcing the code, permit
exceptions which make the place, well, exceptional.”
(Barbara et al., 2010)

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

2.5.3 Priority Development Site

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.

2.5.5 Persuading Developers to Work with Artists

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

33
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.

In order to encourage the incorporation of public art, it is important to understand

what arguments will best persuade developers to work with artists (Barbara et al.,
2010). Taking a hard line on pushing cost driven ‘Percent for Art’ may feel like a tax
on development and does not always work. It may be better to focus on aspects
such as the benefits to improving the visual quality of the development, adding
identity and long term value to a property, or as a way of effectively engaging with
local people during a period of change.

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.

2.5.6 Public Art for the Public Realm

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.

2.5.7 Mechanisms for Securing Art

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.

Planning permission is usually granted subject to a number of conditions and these

can cover issues such as detailed design development and public art (Barbara et
al., 2010). Conditions can be appealed by the applicant, and in some circumstances
removed, however as part of a major development such design issues are not
normally regarded as problematic by the developer. Working with the developer to
highlight the importance of the aesthetic and public art aspects of a scheme should
also mean that such conditions will be expected.

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.

2.6.1 Private Development ‘Percent of Art’ Program

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

iii. Involves art professionals with curatorial and management expertise

iv. Employs an Art Plan to outline an opportunity and selection process prior to
announcing a competition

v. Is flexible in making exceptions for non-profit organizations, social housing,

neighborhood leisure centers, etc.

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 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

vii. Is willing to consider new, entrepreneurial approaches to addressing the

public art requirement

viii. Requires that a percentage of the public art budget be contributed to a

maintenance fund.

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

2.6.2 Civic Capital Projects

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.

The two funding methods commonly used by municipalities involve:

i. Levying a percentage against hard and soft capital project construction

budgets. This can be an overall levy on the capital base or can be applied to

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.

2.6.3 Partnerships with other Departments

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).

2.6.4 Partnerships with local Businesses

Local Business Improvement Associations and ratepayer groups can provide

funding to help improve community spirit through public art initiatives (Barbara et al.,
2010). Incentives can be created through a granting process or providing matching
funds for an artist to develop a concept proposal. These partnerships increase the

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

2.6.5 Partnerships with Transit and Pedestrian Projects

Major infrastructure projects, sometimes involving more than one municipality as

well as a transit corporation, can provide ample resources for a coherent and vital
Program that interacts with a large cross section of residents and visitors. Budgets
will vary, as there may be no consistent mechanism for public art allocations, but it
may be to everyone’s benefit to revitalize the corridor with art projects. Bus wraps,
transit shelters and billboards are relatively inexpensive and accessible advertising
formats that can easily be adapted to artists’ projects.

2.6.6 Partnerships with Arts and Cultural Organizations

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

According to dictionary.com (2013) defines that, maintenance is the process of

maintaining or preserving someone or something, or the state of being maintained.
Even a single artwork is the basis of a collection. It is important to begin an
inventory of the existing works and plan for new acquisitions. According to Barbara
et al, (2010), once an artwork is acquired, the organization has a responsibility to
document, conserve and maintain it.

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.

The public records generally include:

i. the materials and measurements of height, width and depth

ii. location
iii. artist’s biographical notes
iv. a description and artist’s statement about the work
v. photographs

The internal records include:

i. maintenance and conservation information and schedule

ii. the Terms of Reference for the project
iii. contact information for the artist, architects, selection panel, consultant,
fabricators and other contractors
iv. press clippings, copies of or links to media coverage, publications about the
work

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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.

Routine maintenance of artwork may be within the scope of regular city

departments, but exceptional maintenance or repairs often require expertise beyond
the normal maintenance of city property. Whenever possible, the artist should be
contacted regarding any repair to the work. Specialized maintenance and
conservation duties can be outsourced to the artist or art conservation
professionals. The agency will need to keep a list of such resources.

2.7.3 De-accessioning

On rare occasions, if the condition of a work has deteriorated substantially, public

safety is at risk or the circumstances of the use of the space have changed, it may
be necessary to de-accession a work. This is a delicate matter requiring serious
consideration and thorough communications.

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.

2.8 Integrating Public Art in Urban Landscape Reference Case

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.

2.8.1 Background of Melbourne, Australia

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.

2.8.2 Public Art Practice

According to Melbourne Town Hall (2013), Melbourne is growing rapidly in terms of

resident population and daily visitation. Arts and creativity are essential to
Melbourne’s identity. Inspiring art is everywhere in Melbourne - hidden in nooks and
crannies, over, under and around street corners and right where people never
expect to find it. Furthermore, Melbourne also is well-known for its love of art, and
for the fact that a walk around the city can be rich with innovative visual experiences
in the laneways, on the buildings and on the waterfront.

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.

Melbourne has a lot of unique architectural styles. Good architecture is of course a

form of public art and has been referred to as "inhabited sculpture". However a
number of Melbourne buildings, particularly those dating from the nineteenth
century, incorporate sculpture into their facades and architectural decorations. Good
examples can be found in much of Collins Street as well as two major cathedrals.
One has a gargoyle from the 1990s with its mouth wide open which purportedly
represents a premier and art minister of that time. Besides, the most common form
of art incorporated into the structure of a building is the mural. At best they
complement the structure and at their worst they seem 'stuck on'.

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

2.8.3 Public Art Planning and Management

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.

Melbourne will be a place that inspires experimentation, innovation and creativity

and fosters leaders of ideas and courage. It will build upon long-standing heritage
and embrace Aboriginal and Torres Strait Islander history and culture. Furthermore,
according to Melbourne Arts Strategy 2010-17, was set out a vision for nurturing
and enhancing Melbourne’s vibrant arts community. Therefore, a key of priorities
included:

i. Indigenous arts and culture: Reflecting Indigenous art in the fabric of the
city.

ii. Regional, national and international perspectives: Focusing on the presence

of artists in the city and the enthusiasm of communities to engage with the
arts, through programs such as major public art commissions.

iii. Engaging communities and cultural development: Strengthening

relationships between and within communities through participation in
creative projects.

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.

In tackling complex social, environmental and economic problems affecting

community wellbeing, governments have found that an integrated and whole-of-
government approach is necessary. This approach is one that links policy, planning
and delivery between government agencies and between different spheres of
government.

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.

According to Melbourne Public Art Framework 2012 - 2014, suggested steps in

developing a public art program are:

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

48
 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

vi. Develop a marketing strategy - consider methods for promoting and

marketing public art and develop a communication strategy. Identify
applicable education, training and capacity building programs for public art
participants.

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.

Working with artists and craftspeople offers an opportunity to design unique

schemes, which go beyond the purely functional and create places that reflect the
life and aspirations of the district, county or region. Public Art is about collaboration
and the integration of ideas, often between artists, architects, landscape architects,
urban designers, engineers, planners and other professionals and the public as well
as with the commissioners.

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.

Study methods and work method is a scientific technique of observing, recording,

survey and critically examining the present method of performing a task to get the
information for analysis process. Gathering information stage concentrates on
primary data which includes results from the questionnaire during the process of
gathering information.

Survey method through questionnaires used to obtain information through field

studies. The survey was conducted at the precinct 1 which is area of Putra Mosque
and Putra Perdana Park and also along the Putrajaya Boulevard from precinct 2
until precinct 4 which are involving government, commercial and mix-used area.
About 156 of respondent were randomly selected.

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.

3.2 Methods of the Research

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.

3.2.1 Primary Data

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.

52
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.

3.3 Study Stage

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:

3.3.1 Stage 1: Preliminary Study

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.

53
3.3.2 Stage 2: Theoretical Study

The theoretical study is important in order to get more understanding and

knowledge on the research topic. It is important to understand the concept and
public participation theory that can be applied in the study.

3.3.3 Stage 3: Data Collection

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.

ii. Secondary 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.

54
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.

3.3.5 Stage 5: Recommendation and Conclusion

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.

55
Figure 3.1: Flow Chart of the Research

3.4 Rationale for Applying an Empirical Quantitative Approach

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

56
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.

This study, therefore, provides a better description of the characteristics of a

population in regard to public art in a city in general rather than of responses to a
particular piece. As mentioned in the section on research limitations, focusing on the
scale of the city may result in the loss of a degree of internal validity, but it will also
result in a higher external validity (Shadish et. al., 2002). Hence, the results are
more likely to convince the policy-makers.

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).

3.4.1 Survey Method

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:

Taro Yamane’s Formula:

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.

Photo 3.1: Arial view towards Putrajaya

Source : Putrajaya Corporation, 2013

59
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

According to Putrajaya Corporation, Putrajaya which was originally Prang Besar

was opened in 1918 as Air Hitam by the British. Its original land space was 800
acres (3.2 km²), which was later expanded to 8,000 acres (32 km²). Prang Besar
later expanded and merged with its surrounding estates such as Estet Raja Alang,
Estet Galloway and Estet Bukit Prang.

The vision to have a new Federal Government Administrative Centre to replace

Kuala Lumpur as the administrative capital emerged in the late 1980s, during the
tenure of Malaysia's 4th Prime Minister, Dr. Mahathir Bin Mohamad. The new city
was proposed to be located between Kuala Lumpur and the new KL International
Airport (KLIA).

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

62
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.

In 2007, the population of Putrajaya was estimated to be over 30,000, which

comprised mainly government servants. Government servants have been
encouraged to relocate to the city through a variety of government subsidy and loan
programs.

4.3 Background of Study Area

Putrajaya is a new town planned as government administrative centre of Malaysia.

Based on figure 4.1, the location is about 25 km and southwards of the capital city
Kuala Lumpur. The construction of Putrajaya started in late 1996 and in June 2012
all ministries except MITI (Ministry of International Trade and Industry), Ministry
of Public Works and Ministry of Defence had moved to Putrajaya. Main
components of the city comprise government offices complemented with
government and public housing, commercial, public amenities and a large
proportion of parks and lake.

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.

4.3.1 Development Concept of Putrajaya

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):

64
 i. Relationship between Man and Creator
ii. Relationship between Man and Man
iii. Relationship between Man and Environment

Putrajaya is planned as an intelligent city with the telecommunication technology

and information technology infrastructure to enhance the infrastructure,
management activities and societal progress.

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).

65
4.3.2 Implementation Agency and Mechanism

Malaysia Incorporated model is adopted as implementation by the Malaysian

Government. The main objective of Malaysia Incorporated is that the private and the
Government have work closely together in a manner where both of these sectors
will gain benefits from this cooperation. Public sector as an active partner under
Malaysia Incorporated will continue to play its roles as a facilitator and pacesetter
revising and simplifying from time to time the procedures and functions of
administration in the development process and maintaining a close and congenial
relationship with the private sector spurring it on as the main engine of the country’s
growth.

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.

Table 4.1: Table of Main parties for the implementation of Putrajaya

Parties Roles and Functions

Putrajaya Corporation
Putrajaya Holding SDN. BHD
Utilities Companies
KLCCPB
Develop, Manage and Administer, Local Authority,
Local Planning Authority, Land Administrator
As Main Developer for Construction of Government
offices, commercial areas, residential premises and the
main -infrastructure (including public art)
Telekom, TNB, Gas Malaysia, GDC
Project Manager

Source: Putrajaya Corporation 2013

In terms of typical project consultant arrangement, it involved the following team

members in implementing the Putrajaya. First is, Principal Consultant which is
Principal Project Consultant. Secondly is Sub-Consultant team which are; Town
Planner, Traffic Planner, Land Surveyor, Architect, Environmental Consultant, Civil
and Structural Engineer, Mechanical and Electrical Engineer, Landscape Architect
and Interior Design

66
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

Putrajaya Corporation (PJC) or Perbadanan Putrajaya (PPJ) is a local authority

which administrates the Federal Territory of Putrajaya. PJC was established under
the Putrajaya Corporation 1995 (Act 536) for the purpose of managing and
administering Federal Territory of Putrajaya and this agency is under Federal
Territories Ministry of Malaysia. PJC are responsible for public health and sanitation,
waste removal and management, town planning, environmental protection and
building control, social and economic development and general maintenance
functions of urban infrastructure. The PJC main headquarters is located at
Persiaran Perdana, Putrajaya.

Figure 4.3: Putrajaya Corporation Logo.

Source: Putrajaya Corporation 2013

Photo 4.1 : View towards Putrajaya Corporation office building (main headquarters)
that located at Persiaran Perdana, Putrajaya.
Source : Putrajaya Corporation, 2013

70
Putrajaya Corporation is also entrusted with the functions of a local authority and
local planning authority by various orders and notifications, namely:

i. Federal Territory of Putrajaya (Modification of Local Government Act 1976)

Order 2002
ii. Federal Territory of Putrajaya (Modification of Street, Drainage and Building
Act 1974) Order 2002
iii. Federal Territory of Putrajaya (Modification of Town and Country Planning
Act 1976) Order 2010

The purpose of Putrajaya Corporation also is to managing and administering

Federal Territory of Putrajaya. According to Section 4 of the Putrajaya Corporation
Act, the functions of Putrajaya Corporation are:

i. To perform all functions of a local government in Federal Territory of

Putrajaya
ii. To promote, stimulate, facilitate and undertake commercial, infrastructure
and residential development in the area
iii. To promote, stimulate and undertake economic and social development in
the area
iv. To control and co-ordinate the performance of the above activities in the
area

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

71
Figure 4.4: Organization chart of Putrajaya Corporation, 2013

Source: 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:

Table 4.2: Land use distribution in Putrajaya

Landuse Total Area (acres) Percentage (%)

Government 597.7 5.3
Commercial 327.8 2.9
Residential 2888.8 25.5
Civic and Cultural 25.1 0.2
Public Facilities 1103.1 9.7
Infrastructure 519.2 14.2
Utilities 1604 4.6
Open Spaces 4254.1 37.6
Total 11319.8 or 4581.1 ha* 100%

Source: Putrajaya Corporation 2012

The planning of Putrajaya as the administration seat of the Malaysian Government

following the Government’s decision to relocate the federal administrative capital in
June 1993 from Kuala Lumpur to the district of Sepang in Selangor is taking place
as scheduled. The city is planned to embrace two main themes which are city in a
garden and an intelligent city. In summary, the main land use features of Putrajaya
include the following:

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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

iii. 38km of waterfront area created by the lake

iv. City is divided into twenty precincts; core employment and commercial
precincts located on Core Island

v. Peripheral precincts (residential precincts) planned based on the

neighborhood planning concept

vi. 4.2km long Boulevard forms the central spine of the city

vii. Daytime population 500,000 persons

viii. Night time population of 330,000 persons

4.5.1 Residential Landuse

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

74
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.

4.5.2 Road and Utilities Reserves

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).

4.5.3 Government Landuse

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

Community facilities were also an important element of garden city in community

building. Most of facilities in Putrajaya was integrated with public art. These
amenities were anticipated to function as a node to integrate residents of the city
when they meet and use the facilities daily or weekly. Public facilities constituted
about 1103 acres or 9.7% of the total land area. Public facilities comprises of areas
designated for education, religious, health, civic, postal facilities, library, public
market, community halls, information centre, cemetery land, sport and recreational
(including a golf course) and cultural uses. These facilities were all planned within
easy access of the region’s ring road system and within walking distance of sub
neighbourhood.

4.5.5 Commercial Land Area

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.

4.6 Current Status of Development

The construction of Putrajaya commenced in October 1996. Almost fifteen years

later, by 2012, Putrajaya now has an estimated population of about 60,000 persons
enjoying with modern and smart public amenities and infrastructure. Putrajaya is
well equipped with good inter- and intra-city transport system (including monorail

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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.

Table 4.3 shows the current development position of Putrajaya - an existing

population of about 60,000 persons with about 10,000 housing units. Population
growth will depend greatly on the speed of construction of the Government
buildings, which are the trigger and the multiplier for employment in the city’s initial
stage of development.

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

Planning Information Particulars

Resident Population 60,000
Government Office Worker 30,000
Government Offices 2,000,000 sq. m.
Commercial Spaces 360,000 sq. m.
Housing Units 30,000 units
Roadwork’s 94.87km
Facilities Mosque 1 ( capacity of 20,000 persons)
Surau – 4 units
Health clinic – 1
District Police station – 1
Marine Police station – 1
Fire and Rescue
Bus terminals
District hospital -1
Boat/lake club

Source: Putrajaya Holding, 2013

4.7 Planning and Urban Design - City Image and Character

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;

79
promoting local flora as a Malaysian landscape identity; creating a network of open
spaces and finally the incorporation of intelligent buildings and infrastructural
features.

Apart from cultural representation, Putrajaya also represents the ‘re-making of

Malaysia’. While spatial qualities are significantly shared by the three major ethnic
groups, the diversity is not replicated in Putrajaya. The Federal Territory of
Putrajaya is a civil service town and the civil servant is overwhelmingly Malay and
Muslim.

On one level, Putrajaya is part of an ongoing endeavour to re-establish Malay and

Islamic pride and self-respect. While Putrajaya, in a sense, is trying to escape from
the diversity of the city, it is notable that the imported ‘style’ is not that of the
Kampungs (Malay village), Masjids (mosques) and Istanas (Palaces) of the Malay
tradition. Rather it is of an ‘imagined’ source. Putrajaya is both colonised by images
and styles essentially Middle-Eastern and a Malay reassertion against ‘an urbanism
and urbanity that is essentially and simultaneously Chinese-Malaysian and
cosmopolitan’ (King, 2005).

(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).

80
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

The creation of a new Federal Government Administrative Centre at Putrajaya

marks a new chapter in the development history of modern Malaysia. The
development of this new administrative centre was prompted by the need to balance
and disperse development to areas outside of Klang Valley. It is a decision
motivated by the government’s desire to improve the urban environment and quality
of life. Putrajaya was planned to embrace two major themes i.e. 'Garden City' and
'Intelligent City'. Reflecting the 'Garden City' concept, Putrajaya is sought to reflect
the very best in city planning and landscape architectural ideas to realize a new
vibrant city of tomorrow. Its strategic location in the middle of the Multimedia Super
Corridor would bring the new frontier of computer technology and the Information
Age into Putrajaya.

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

DATA ANALYSIS AND FINDINGS

5.1 Overview

In conducting a research study, complete information is needed. Therefore, this

chapter will explain in detail the relevant primary and secondary data analysis. All
the data and information obtained from secondary sources, observation and
interviews will be also analysed to further strengthen the recommendation to be
formulated.

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

Observation analysis is a systematic overview on methods used for visitor

monitoring the public art. Emphasis is given on quantitative methods such as direct
observation, video observation, counting devices and registration books.

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).

5.3 Interview Analysis

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 Federal Territory of Putrajaya is somewhat of a traditional notion of a

utopian city - a space of order, harmony and perfection. Putrajaya,
eschewing complexity and ambiguity, is a dream of the space of a new form
of a nation. The experts which is Director of City Planning Unit of Putrajaya
Corporation, Haris bin Kassim also said; “the creation of a new Federal
Government Administrative Centre at Putrajaya marks a new chapter in the
development history of modern Malaysia”.

In achieving the utopian ideal, the planners of Putrajaya in 1993 adopted a

concept termed “Intelligent Garden City”. Malaysia’s Putrajaya is the first
Intelligent Garden City with a sophisticated information network. 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”.

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

b. Public Art Concept in Putrajaya

According to the experts in Putrajaya Corporation, public art is used in

Putrajaya as part of urban ornamentation which plays a crucial role in
making the image of city and enlivens the environment. The concept of
public art in Putrajaya is from Malay heritage and traditional as well as for to
celebrate our local culture and tradition in order to give strong identity in
Putrajaya as Malaysian Administrative capital city. Furthermore, the main
elements of public art concept in Putrajaya are from Flora and Fauna images
and Malay craft and tools such as top (gasing), crock (tempayan), kris
(keris)and lance (tombak).

88
 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.

c. Public Art Funding and Partnership

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.

d. Art Opportunity and Selection

Identifying public art opportunities early in the process of a development or

building project is the best way to ensure the most successful art outcome -
and the most cost effective. This strategy allows for fruitful relationships
between the artist, architects, engineers and other design professionals,
resulting in artworks that are creatively integrated with the public art vision.

Selected method for public art proposal by Putrajaya Corporation involved

an open call to artists, a limited or invited call, or in some cases direct
selection may be justified. A proposal may be chosen on the basis of an
artist’s submitted credentials or on their submitted preliminary ideas. In any
case, having the selection panel interview the shortlisted artists before the
final selection is often the best way to assess the scope of their ideas and
skills. Choose a selection method that is in keeping with the size and scope
of the art opportunity.

89
 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.

e. Public Art Maintenance

Public artworks are exposed to natural forces such as weather conditions

and the human forces of pollution, acts of vandalism and accidents. Ideally,
regular condition reviews should be carried out. According to experts in
Putrajaya Corporation, the department that involve in maintenance of public
art was divided into two which are Park and Landscaping Department and
City Development Department. Therefore, Park and Landscaping
Department will cover the maintenance of public art in the recreational park
and wet land then, City Development Department will cover the public art
maintenance in urban area such in the road side and building yard.

f. Future Plan of Public Art

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:

5.4.1 Background Respondents

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:

a. Gender and Age of Respondents

Based on the distribution of the questionnaires, 156 respondents (community in

Putrajaya and the public) of the 320 000 of population completed and returned
the questionnaires form.

From the result of questionnaires, the highest number of respondents is female

between ages 31-40 years old. On the other hand, the highest numbers of male
respondents are 17 people or 11 percent of the same age.

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.

Table 5.1: Gender and Age of Respondents

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.

Table 5.2: Respondent’s Race

Type of Race Number Percent

Malay 150 96
Chinese 6 4
Indian 0 0
Others 0 0
Total 156 100

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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.

Table 5.3: Respondent’s Religion

Types of Religion Number Percentage (%)

Islam 150 96
Christian 4 3
Hindu 0 0
Buddha 2 1
Total 156 100

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.

Majority of the respondents and family members/residents are working.

Respondents are within the working group which comprise of 59 percent of
respondents are non-productive, which is 23 percent of respondent are in
private sector and 36.5 percent in government sector. Analysis show that 31
percent of respondents are student and within in not working group. While, the
rest respondents are retired and unemployment.

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 Table 5.4: Respondent’s Occupation

Occupation Number Percentage (%)

Government Sector 57 37
Private Sector 35 23
Student 49 31
Retired 8 5
Unemployed 7 4
Total 156 100

e. Respondent’s Status

In summary, respondent’s status refers to the people who answered the

questionnaires from the form returned of 156 respondents. Table 4.5 showed
that 62 percent of respondents are local community who have no intention to
move out, that mean they are permanent resident in Putrajaya. But, 30 percent
from the permanent residents in Putrajaya are tenant community especially
students who are studying in Multimedia University (MMU). At the same time,
another 38 percents are visitors and most of them are live in areas far from
Putrajaya.

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).

Table 5.5: Respondent’s Origin

Origin Number Percentage (%)

Local 97 62
Visitor/Others 59 38
Total 156 100

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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.

Table 5.6: Marital Status

Marital Status Number Percentages

Married 101 65
Single 55 35
Total 156 100

g. Respondent’s Educational Level

Educational level of respondents is one of important element in this research.

The rationale is, educational level will determine the level of critical thinking of
the Putrajaya community and visitors during answer the questionnaires that
have been given to them. Most of educated peoples potentially to give a good
answer/response and also recommendation regarding to public art in site study
and it can really help the author to analyse the result from the questionnaires.

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

95
 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.

Table 5.7: Respondent’s Educational Level

Educational Level Number Percentage (%)

Sijil Pelajaran Malaysia (SPM) / O-Level 21 13
Sijil Tinggi Pelajaran Malaysia (STPM) / Matriculation / A Level 23 15
Diploma 50 32
Bachelor Degree 47 30
Master Degree 15 10
Doctor of Philosophy (Ph.D) 0 0
Uneducated 0 0
Total 156 100

5.4.2 Respondent’s Knowledge

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?

Percentage of respondent who give their definition about public art is 95

percent because they know what public art is. Various meanings and definitions
that are given by the respondents based on their own interpretations and
understanding of 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.

However, 18 percent of respondents totally confident with their understanding

about public art by defining public art are not an art form; it is a principle and a
mechanism of improving the changing environment through the arts. These
respondents actually try to explained about public art is not just for aesthetic
value but it should come with the function that give improvement to urban
environment first before integrate with art or aesthetic value such as landscape
design, ceramics, and lighting.

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

Definition of Public Art Number Percentage

(%)
A creative form and reflect on the circumstances, freedoms 41 28
and constraints of the spaces we think “public”
Art expression that is situated in a freely accessed public 31 21
space for the public to utilize and enjoy
Principle and a mechanism of improving the changing 27 18
environment through the arts
Any piece of art that is accessible to all for public enjoyment 16 11
Any form of artistic expressions from the artist to the people 33 22
Total 156 100

Based on the Table 4.8, two conclusions are derived such as follows:

i. Generally, 100 percent of respondents agreed to states that public art is

any form of art that located in public space that serves for the public and
get benefit from it.

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.

b. Knowledge about Public Art

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

98
 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.

Table 5.9: Knowledge about Public Art

Knowledge about Public Art Number Percentage (%)

Yes 148 95
No 8 5
Total 156 100

5.4.3 Community Perception towards Public Art

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

a. Respondents like Public Art

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 5.10: Respondents like Public Art

Respondents like Public Art Number Percentages (%)

Yes 156 100
No 0 0
Not Sure 0 0
Total 156 100

b. Types of Public Art that Most Favoured

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

Types of Public Art Number Percentage (%)

Monument and Sculpture 30 19
Art of Planting Design 25 16
Mural and Wall Painting 20 13
Interactive Public Art 54 35
Architecture 24 15
Others 3 2
Total 156 100

c. Main Value of Public Art

As shown in Table 5.12, 6 percent of respondents declared that public art in

Putrajaya promoting educational value to them. When the author ask them,
they answered that; the Millennium Monument in Putrajaya have a lot of
historical information about Malaysia, they got a lot of knowledge during visiting
at the Millennium Monument.

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.

Next, another 16 percent of respondents declared that public art in Putrajaya

have cultural and traditional value. This is because, most of the design concept
of public art in Putrajaya is use from local crafts and fauna helps to differentiate
and assert a Malaysian identity. The concept from Malay identity likes
tempayan, top (gasing), crock (tempayan), Kris (keris), lance (tombak), insect,
flower, and fruit such as areca etc. was contribute in celebrating our local
culture and tradition to the community and visitor.

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.

Besides that, 3 percent of respondent stated “others” because; they do not

appreciate any value towards public art in Putrajaya.

Table 5.12: Value of Public Art to Respondents

Value of Public Art Number Percentage (%)

Educational Value 10 6
Historical Value 23 15
Cultural and Traditional Value 25 16
Aesthetic Value 83 53
No Value 10 6
Others 5 3
Total 156 100

d. Sense of Belonging of Public Art

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.

Furthermore, 29 percent of respondents stated no which mean do not agree

that public art in Putrajaya give them “sense of belonging”. When the author
asks them, they gave the reason that public art here are really formal in form
and difficult to understand their appearance. Moreover, they also stated that too
many public art in Putrajaya in monumental form and also look really static and
inactive and look like same with each others.

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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.

Table 5.13: Sense of Belonging of Public Art

Sense of Belonging of Public Art Number Percentage (%)

Yes 87 56
No 45 29
Not Sure 24 15
Total 156 100

e. Benefit of Public Art towards Respondents

The one of the purposes of integrating public art in urban environment is to

provide benefit among urban community. According to the table 5.14, it shows
that, most of the respondents chose celebrating our culture and community
which is 65 percent and to be the highest. This is because, Putrajaya is an
administrative city that full with government servant and most of them are Malay
community. Almost of the concept of public art in Putrajaya are Islamic-Malay
identity and this is the reason why most of the respondents chose it.

Next, another 27 percent of respondents agreed with promote sense of

community as a benefit that they obtained it. Furthermore, certain of the public
art in Putrajaya are situated in the public space. Public space is a social space
that is generally open and accessible to people in the city. The establishment of
public art which has attraction value will attract people to visit at that area and
this will make their experienced the sense of ‘community’. Moreover, the
outcome from it, the community will amalgamate with each other.

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.

Table 5.14: Benefit of Public Art

Benefit of Public Art Number Percentage (%)

Celebrating our Culture and Community 102 65
Promote Sense of Community 42 27
Promote Educational Value 12 8
Total 156 100

5.4.4 Respondent’s Opinion

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.

Consequently, there have a lot of permanent public art in Putrajaya such

millennium monument, water fountain and so on. This is the reason why
respondents agreed with the permanent public art compared with temporary
public art because they are familiar with their area.

Table 5.15: Placement of Public Art

Placement of Public Art Number Percentage (%)

Permanent 110 71
Temporary 46 29
Total 156 100

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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 5.16: The Appropriateness Placement of Public Art

Placement of Public Art Number Percentages (%)

Yes 84 54
No 72 46
Total 156 100

c. Quality of Public Art

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.

Therefore, to achieve high quality in concept, execution and ongoing

maintenance of all public art commissioning projects; create the opportunities
for artists to work with other design disciplines to achieve the best results;
encourage adventurous commissioning; attract the best artists locally,
nationally and internationally. Local authorities need to upgrade the quality of
public art material for the reason that public art really important because it can
enhances the quality of life for citizens by encouraging a heightened sense of
place, enhancing a community's prestige, and enlivening the visual quality of
the built environment.

Table 5.17: Quality of Public Art

Quality of Public Art Number Percentage (%)

Goods 95 61
Average 50 33
Poor 11 7
Total 156 100

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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.

Table 5.18: Landscape Area Need More Public Art

Landscape Areas Number Percentages (%)

Government Area 48 31
Residential Area 10 6
Commercial Area 63 40
Park and Open Space 33 21
Others 2 1
Total 156 100

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.

In order to understand the creation of identity it helps to look at how people’s

attachment to particular places requires understanding of their traditional
knowledge, cultural practice, forms of communication, and conventions for
remembering the past. Referring to Table 5.19, analysis showed that the 65
percent of respondents agreed that current public art in Putrajaya was
enhanced the image quality/visual quality and give identity to the city. Public art
is employed to display between actual and wished for identity, a vision of an
ideal urban space. Public art and monuments were incorporated into
Putrajaya’s built environment where appropriate, to further enhance, establish
and create a unique identity legitimising the political and cultural atmosphere.

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.

Subsequently, 33 percent of respondents agreed that the concept of public

should be adapted with local culture and tradition. In fact, the current design
concepts towards public art in Putrajaya are from Islamic design, Malaysian
craft, flora and fauna. So, they were familiar with this public art concept and that
is why they just proceed anything that local authority have done towards
integrating public art in urban landscape of Putrajaya.

Interactive and sophisticated public art concepts to be the highest compared

with the others public art concepts because it reached 45 percent of
respondents that agreed with it. In the era which met by the fantastic
technologist, Putrajaya also were not let pass to integrate with interactive public
art to be vibrant and energetic city. Some forms of public art are designed to
encourage audience participation in a hands-on way. The mechanical system in
public art such as combination with lighting, water fountain, etc. will make it
more dynamic and full of life and the community and visitor seems like to
interact with it.

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.

Table 5.20: The Best Public Art Design Concept in Putrajaya

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

g. Public Art Generate Local Economy Potential

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.

However, 8 percent of respondents disagreed with those statements. This is

because, on their opinion, public art is not a major contribution to boost local
economic potential because of public art only for aesthetic value. Community in
Malaysia do not appreciate elements of the art like another country such as
Australia, Korea, Canada and etc. On the other hand, another of 15 percent of
respondents stated not sure about that because, they do not know the detail
about economical aspect.

Table 5.21: Public Art Generate Local Economy Potential

Public Art Generate Local Economy Potential Number Percentage (%)

Yes 120 77
No 13 8
Not Sure 23 15
Total 156 100

h. Major Issue and Problem About Public Art

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

Public Art Issues Number Percentage (%)

Lack of understanding about public art among the society 43 28
Situated in inappropriate area 27 17
Vandalism 3 2
Lack of quality 18 12
Lack of maintenance 3 2
Neglected artist’s function 15 10
Lack of pertinent memories and identity in the public art 16 10
Lack of community participation 31 20
Total 156 100

5.4.5 Public Art and Community Involvement

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.

a. Public Art Funding Sources

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.

Another 50 percent of respondents stated yes for local authority to partnership

with Non-Government Organization (NGO) and others department. 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. Furthermore, local
authority also be able to partnership with NGO which to help in term of financial
plan and man power. On the other hand, others respondents which are 4
percent stated ‘other’ and do not know detailed about public art funding and
partnership.

Table 5.23: Public Art Funding Sources

Public Art Funding Sources Number Percentage (%)

From Assessment Tax 73 46
Partnership with Non-Government Organization 77 50
(NGO) and others department.
Others 6 4
Total 156 100

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b. Community and Artist Participation in Public Art

In order to encourage the incorporation of public art, it is important to

understand what arguments will best persuade developers to work with artists.
Taking a hard line on pushing cost driven ‘Percent for Art’ may feel like a tax on
development and does not always work. It may be better to focus on aspects
such as the benefits to improving the visual quality of the development, adding
identity and long term value to a property, or as a way of effectively engaging
with local people during a period of change.

Referring to the Table 5.24, most of respondents like open a competition of

public art which are 41 percent. Open competitions are democratic and may
encourage younger artists or those new to public art if the parameters of the
project are much focused. Open competitions can be time-consuming,
advertising is costly, and they require communication with many people and lots
of staff and selection panel time to review proposals. Experienced artists often
do not apply to open competitions because of the creative time and energy
involved in responding to the many opportunities that arise and the uncertainties
of the process. Sometimes, a hybrid between the open call and invitational
method is employed.

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.

Table 5.24: Community and Artist Participation in Public Art

Techniques of Participation Number Percentage (%)

Open a Competition 64 41
Opening art Programs 90 58
Others 2 1
Total 156 100

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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.

Furthermore, Table 5.25 shown that 94 percent of respondents want to upgrade

planning and management process in integrating public art by local authority.
This is for reducing the current issues and problems towards public art.

There are 1 percent of respondents disagreed in upgrading current planning

and management system by local authority because they are already satisfied
with the current situation. Besides that, another 5 percent of the respondents
are not sure about that. On the other hand, 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 others cities.

Table 5.25: Upgrade Planning and Management Process in Integrating Public

Art by Local Authority

Upgrade Planning and Management process in Number Percentage (%)

integrating public art by Local Authority
Yes 147 94
No 2 1
Not Sure 7 5
Total 156 100

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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.

5.5 Study Findings

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

In Putrajaya, there is only Department of Landscape and Park of Putrajaya

Corporation which conducted all planning, management and also maintenance
regarding to public art. According to Unit of Landscape and Planning Control of
Putrajaya Corporation, they stated that, this unit cover all planning and management
aspect for public art in Putrajaya including open a tender, collect a fund, to be
partnership with Petroleum National Berhad, PETRONAS, and do maintenance
service. Furthermore, public art should have other committees to handle and also to
facilitate the management of public art such as public art programs, collect the artist
and so forth.

Besides, another departments or units of Putrajaya Corporation such as, Town

Planning Department, Engineering, etc. are less contributes their responsible
regarding to public art in Putrajaya. It will be curb the progress of integrating public
art in urban landscape planning and management of Putrajaya.

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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.

5.5.6 Lack of Community Participation Regarding to Public Art

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.

However, much is still needed to be looked into when it comes to community’s

participation, specifically at the beginning part of the public art erection. Besides
that, In Putrajaya, major public art projects have been shown the neglect of artists’
functions. In fact, it has been noted that the local councils in Malaysia seldom
consulted the artists or art historians in putting up public art works. Hence, is that
the Putrajaya Corporation did not have special committee to decide on what is best
to be put and what is not in Malaysian urban landscape.

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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.

It is hoped that the proposals submitted can be implemented effectively so that

issues and problems that have been identified can be resolved. Emphasis on
certain aspects are important in ensuring all the aspects are taken into account to
ensure that the improvement can be done in order to enhance the functionality of
the public art with the planning and management in Putrajaya.

Proposals in the form of strategies, enforcement, and general recommendations are

guidelines recommended here and expected to provide guidance to upgrading the
current public art in certain area in Putrajaya. With the production of this proposal, it
is expected that this objective is achieved.

Implementation practice requires the cooperation of various responsible parties

which include Local Authorities, technical departments, town planning firms, Non-

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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:

6.2 Strategies to Integrating Public Art in Putrajaya Urban Landscape

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:

6.2.1 Strategic Place of Public Art

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.

Consequently, distribution of public art in Putrajaya is not enough because

there are many public arts that located in isolate area and tendency to be
vandalism activity. To make it more efficient and effective, public art should
be located in every public spaces and each public spaces should have its
own themes such as, public art design concept in precinct 1 have to adopt
the concept from Malay’s carving, precinct 2 adopt from Malay’s custom and
precinct 3 adopt from Malay’s assets following with another precinct in
Putrajaya so on and so forth. From this recommendation, this will make
every area or precinct in Putrajaya have its own identity under the same
concept which is Islamic-Malay concept and its use to avoid from invaluable
public art to the community.

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6.2.2 Theme and Concept of Public Art in Putrajaya

Putrajaya is one of successful and well-plan city in Malaysia. The development

concept of Putrajaya are “city in the garden” and also “intelligent city”. The theme
and concept of public art in Putrajaya should be related with the development
concept of Putrajaya itself. The public art strategies below will elaborate about the
suitable theme and concept of public art in Putrajaya.

a. Public Art Should Be More Interactive Rather Than Merely Monumental

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.

Interactive public art is extremely important in public spaces because, people

can use it as background for photograph and it will make this public space
have its own speciality and strong sense of place for public. Visitor also can
interact with it at the same time makes this place more energetic, vibrant and
dynamic. In addition, interactive public art maybe high cost to install but it
really worthwhile because it will become as focus point for that area and
attractiveness. As a result, it can generate local economy potential by attract
more people to visit in that place.

b. Cultural Aspects Need to be Acknowledged by Documenting Them in

the Form of Public Art

The cultural aspects need to be acknowledged by documenting them in the

form of public art. Meanwhile, ways of celebrating the rich and diverse

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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.

6.2.3 Contribution Public Art in Social and Economic Impact

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.

Art is a relatively renewable resource that is easy to maintain for supporting

community tourism development in comparison with other attraction
properties. Also, public art usually requires less investment in public sector
infrastructure than do many traditional tourist attractions. Residents receive
economic rewards from visitors’ lodging, dining, and other leisure activities.

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.

b. Public Art Programs need to be Partnerships and Collaboration with a

Various Departments and Non-Government Organization (NGO)

In other to smooth the progress of planning and management of public art by

local authority, it needs to be partnerships and collaboration with a various
department and Non-Government Organization (NGO). These
recommendations entirely provide for local authority in Putrajaya which is
Putrajaya Corporation in order to make planning and management system
more organized and efficient. So, several suggestions below need to be
followed:

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i. Partnership with other Departments

Public Art Programs may supplement limited budgets by partnering

with Planning, Engineering, and Parks and Recreation Departments.
Planning Department funds can assist the development of public art
plans. 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.

ii. Partnerships with Local Businesses

Local Business and ratepayer groups can provide funding to help

improve community spirit through public art initiatives. Incentives can
be created through a granting process or providing matching funds
for an artist to develop a concept proposal. These partnerships
increase the number of interests involved in a project and require
more investment in managing communication and dialogue.

Partnerships with small business work best when:

 all proposals are subject to the best practices of selection and

production
 the roles of the collaborators are clearly stated
 initiatives reflect existing area plans and art plans

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iii. Partnerships with Transit and Pedestrian Projects

Major infrastructure projects, sometimes involving more than one

municipality as well as a transit corporation, can provide ample
resources for a coherent and vital Program that interacts with a large
cross section of residents and visitors. Budgets will vary, as there
may be no consistent mechanism for public art allocations, but it may
be to everyone’s benefit to revitalize the corridor with art projects.
Bus wraps, transit shelters and billboards are relatively inexpensive
and accessible advertising formats that can easily be adapted to
artists’ projects.

iv. Partnerships with Arts and Cultural Organizations

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.

Besides, 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 public art program and projects through their networks
and membership. In addition to co-sponsorships of artworks, they
may offer opportunities for partnering on education programs, artists’
lectures, or panel discussions. Moreover, 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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 v. Partnerships with Industry or Academic Research

Local Authority may create research opportunities for artists to

collaborate with other disciplines, sharing a creative approach to
geography, natural sciences and environmental studies. These
Programs often employ partnerships with post-secondary institutions
and senior government departments.

c. Setup More Special Committee that will specifically handle Public Art

Putrajaya Corporation should setup a special committee that will specifically

handle public art. They further explained that this special committee would
link with other professional bodies, such as architects, landscape architects,
planners, etc., so that with this linkage, they will have a peer review
regarding the work of art. By having the special committee, each gap of
constraints can be compensated by the strength of the other. In the case of
public art, however, artists should be the key players because they are the
persons who valve about creativity, which is more specifically into value and
philosophy.

d. Educators should Responsible in Educating the Public to Have a

Greater Awareness Regarding 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.

Afterwards, fine art lecturers, art teachers, local authority, architect,

landscape architect, and all profession that related with art should be

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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.

e. Local Authority Need to Run Several Programmes that are related to

the Art Scenes

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.

Local Authority need to encourage and increase participation in arts

experiences by fostering connections and facilitating collaborations between
communities and artists. Moreover, much of the current arts programming
need to takes place within the central business district. Through Arts and

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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

The recommendation and strategies of integrating public art in Malaysian urban

landscape, which are drawn from a wide range of commentary and research on the
value of public art. The expectations placed on public art are enormous. Depending
on the circumstances, public art should be expected to promote good civic design,
strengthen community, support economic growth, or provide enriching experiences
for people. Often, it is expected to accomplish all of the above.

These recommendation and strategies also bring Putrajaya Public Art’s

accomplishments into perspective: putrajaya’s public art program has presented a
remarkably robust body of artwork that has left its mark on putrajaya in many ways.
Public art is now clearly part of approach to place making, community development,
economic growth, and paths to individual growth and fulfilment for its residents.
Whether projects work as gateways, places of community pride, or conversation
starters - whether they have been created by the nation’s finest artists or Putrajaya’s
own local talent - they have added an unmistakable texture to Putrajaya’s life and
landscape.

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.

A contradiction situation happens in Malaysia as all the components function

exclusively as different units. This research focused on integrating public art in
Malaysian urban landscape, a case study of Putrajaya. Putrajaya was selected as a
case study because; Putrajaya is a well planned city being built according to a
series of comprehensive policies and guidelines for land use. The Garden City
concept is created with the guidance of three simple ideologies; ‘Man and his
Creator; Man and man; and Man and nature’. This is reflected within the layout of
Putrajaya, constructed with three different features a formal axis punctuated with
nodal features; structuring of the Core Area into identifiable precincts; and variety of
informal and formal activity areas.

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.

138
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.

Additionally, public art in Putrajaya is expected to play a role in building and

facilitating social harmony. Evidently, public art artworks are relevant to public life.
The public acknowledges that public art, as a genre, positively contributes to the
community of Putrajaya. Beyond the physical space where it is installed, public art
can impact other aspects of social life too. It is thought, for instance, that artworks
have done much to ameliorate community environmental/social problems by
providing a therapeutic environment, strengthening place attachment, enhancing the
environment, providing social/environmental education, creating tourist attractions,
etc.

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.

Putrajaya Corporation 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. 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.

7.3 Social and Economic Impact

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:

i. Contributing to local distinctiveness

ii. Attracting companies and investment
iii. Having a role in cultural tourism
iv. Adding to land values
v. Creating employment

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.

Art is a relatively renewable resource that is easy to maintain for supporting

community tourism development in comparison with other attraction properties.
Also, public art usually requires less investment in public sector infrastructure than

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

7.4 Significant of the Study

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 one hand, although governments have devoted considerable money to

promoting public projects, empirical studies that look at how public art is understood
and how it functions are few and limited in scope. For example, quite surprisingly,
systematic empirical evidence in regard to public art evaluation - whether taking a
quantitative or qualitative approach - is rare. Certainly, it should be a point well
taken that investing considerable tax revenue in promoting public art projects, the
benefits of which will be unknown for a long time, is at best a questionable policy.

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;

7.5.1 Management of Public Art

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?

7.5.2 Green Art in Public

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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 Department of Postgraduate Studies
Faculty of Architecture, Planning and Surveying
Terima Kasih di atas kerjasama yang diberikan
UNIVERSITI TEKNOLOGI MARA
Segala maklumat yang diberikan adalah untuk tujuan
pembelajaran di UiTM sahaja dan tidak akan didedahkan
INTEGRATING PUBLIC ART IN MALAYSIAN URBAN LANDSCAPE:
kepada pihak luar. Kami member jaminan bahawa segala
A CASE STUDY OF PUTRAJAYA
maklumat adalah dirahsiakan. Kerjasama yang diberikan
akan membantu kami menjayakan kajian ini.
Public Survey
Terima kasih, kerjasama anda amat kami hargai.
Supervisor: Assoc. Prof. Wan Ahmad Halawah Haji Wan Hariri
Location : _________________________________________
Enumerator : _________________________________________
Date : _________________________________________
Time : _________________________________________
1
Please Circle the Answer A5. Occupation/Pekerjaan
Sila Bulatkan Jawapan anda
O Government Servant/Kakitangan Kerajaan
PART A: BACKGROUND OF RESPODENT O Private/Swasta
BAHAGIAN A: PROFILE RESPONDEN O Student/Pelajar
O Retire/Pesara
A1. Race/Bangsa O Unemployement/Tidak Bekerja
O Malay/Melayu O Other/Lain-lain:…………………………………………………….
O Chinese/Cina
O Indian/India A6. Respondent’s Status/Status Responden
O Other/Lain-lain:…………………………………………………….
O Community/Komuniti
O Visitor/Pelawat
A2. Gender/Jantina
O Male/Lelaki A7. Marital Status/Status Perkahwinan
O Female/Wanita O Married/Berkahwin
O Single/Bujang
A3. Age/Umur
O <18 A8. Educational Level/Tahap Pendidikan
O 18-30
O Sijil Pelajaran Malaysia (SPM)/O-Level
O 31-40
O Sijil Tinggi Pelajaran Malaysia (STPM)/Matrikulasi/A-Level
O 41-50
O Certificated/Sijil
O 51-60
O Diploma
O >60
O Bachelor Degree/Ijazah Sarjana Muda
O Master Degree/ Ijazah Sarjana
A4. Religion/Agama
O Doctor of Philosophy (Ph.D)/ Doktor Falsafah (Ph.D)
O Islam O Uneducated/ Tidak berpendidikan
O Christian/Kristian O Other/Lain-lain:…………………………………………………….
O Hindu
O Buddha
O Other/Lain-lain:…………………………………………………….
2
PART B: RESPODENT’S KNOWLEDGE C3. What is the main value you got from the Public Art here?/
BAHAGIAN B: PENGATAHUAN RESPONDEN Apakah nilai utama yang kamu dapat daripada Seni
Awam di sini?
B1. Do you know about Public Art?/Adakah anda tahu
O Educational Value/Nilai Pelajaran
mengenai Seni Awam?
O Historical Value/Nilai Bersejarah
O Yes/Ya O Cultural Value/Nilai Budaya
O No/Tidak O Aesthetic Value/Nilai Kecantikan
O No Value/Tiada Nilai
If yes, answer the question B2/Jika ya, sila jawab soalan B2
O Other/Lain-lain:…………………………………………………….
B2. What do you understand about the Public Art?/Apakah
C4. Does the current Public Art placement in Putrajaya are
yang anda faham mengenai Seni Awam?
appropriate? /Adakah perletakan semasa Seni Awam di
Putrajaya ini adalah sesuai?
……………………………………………………………………………
O Yes/Ya
…………………………………………………………………………… O No/Tidak
If no, why?/Jika tidak, kenapa?...........................................
PART C: PERCEPTION TOWARDS PUBLIC ART
BAHAGIAN C: PERSEPSI TERHADAP SENI AWAM ………………………………………………………………………..
C1. Do you like Public Art?/Anda suka Seni Awam? C5. Is Public Art design concept in Putrajaya give you strong
“sense of belonging”?/Adakah Seni Awam di Putrajaya ini
O Yes/Ya memberikan anda “perasaan semangat kekitaan”?
O No/Tidak
O Not Sure/Tak Pasti O Yes/Ya
O No/Tidak
C2. What types of Public Art that you most like?/Jenis Seni O Not Sure/Tak Pasti
Awam apakah yang paling anda gemari?
C6. What is the level of quality regarding to Public Art here?
O Monument and Sculpture/Tugu dan Arca /Apakah tahap kualiti terhadap Seni Awam disini?
O Land Art/ Seni Rupa Bumi
O Wall Painting and Graffiti/Lukisan Dinding dan Grafiti O Good/Bagus
O Architecture/Senibina O Average/Sederhana
O Poor/Teruk
O Other/Lain-lain:…………………………………………………….
3
C7. What are the benefits that you got from Public Art in the
Putrajaya?/ Apakah faedah-faedah yang anda dapat
daripada Seni-Seni Awam di Putrajaya ini?
O Promote Educational Value/Memupuk Nilai Pengatahuan
O Promote Sense of Community/Memupuk semangat
Bermasyarakat
O Celebrating Our Culture and Tradition/Menyambut
Tata Budaya dan Tradisi kita
PART D: RESPONDENT’S OPINION
BAHAGIAN C: PENDAPAT RESPONDEN
D1. Which one landuse area that you think need to be
integrated with more Public Art?/ Kawasan guna tanah yang
manakah yang anda rasa perlu diintegerasikan dengan
lebih banyak Seni Awam?
O Government Area/Kawasan Kerajaan
O Residential Area/Kawasan Perumahan
O Commercial Area/Kawasan Komersial
O Residential Area/Kawasan Perumahan
O Park and Open Space/Taman dan Ruang Terbuka
O Other/Lain-lain:…………………………………………………….
D2. Do you think that the current Public Art in Putrajaya was
enhance the image quality and identity to the city?/
Adakah anda berpendapat bahawa Seni Awam semasa di
Putrajaya ini telah meningkatkan kekuatan identiti dan
kualiti imej terhadap bandar?
O Yes/Ya
O No/Tidak
O Not Sure/Tak Pasti
4
D3. In your suggestion, what is the best type of Public Art design
concept that suitable in Putrajaya?/Pada cadangan anda,
apakah jenis konsep rekabentuk terbaik Seni Awam yang
sesuai di Putrajaya?
O Historical/Bersejarah
O Local Culture and Tradition/Tradisi dan Budaya Tempatan
O Interactive or Sophisticated/Interaktif atau Canggih
O Mural or Painting/Lukisan atau Mural
O Other/Lain-lain:…………………………………………………….
D4. Do you think that Public Art in Putrajaya will attract more
visitor and to be contributor in generate local economy
potential?/ Adakah anda terfikir bahawa Seni Awam di
Putrajaya ini dapat menarik lebih ramai pelawat dan
menjadi penyumbang didalam menjana potensi ekonomi
tempatan?
O Yes/Ya
O No/Tidak
O Not Sure/Tak Pasti
D5. Which one do you prefer, permanent or temporary Public
Art? / Yang mana satu anda lebih suka, Seni Awam yang
kekal ataupun sementara?
O Permenent/Kekal
why?/kenapa?.........................................................................
O Temporary/Sementara
why?/kenapa?........................................................................
D6. In your opinion, what is the purpose of implementing Public
Art in administrative city of Putrajaya?/Pada pendapat
anda, apakah tujuan Seni Awam dilaksanakan didalam
Bandar pentadbiran Putrajaya?
O Create “Sense of Place”/Memberikan “perasaan
semangat Setempat”
O Give Identity to Putrajaya as Administrative city/
Memberikan identiti terhadap Putrajaya sebagai Bandar
Pentadbiran
O Enhancing the Visual Quality and Character of Putrajaya/
meningkatkan kualiti pemandangan dan ciri-ciri buat
Putrajaya
O To increase the level of efficiently of the city/Menambah
tahap nilai kecekapan terhadap bandar
O Other/Lain-lain:…………………………………………………….
D7. What is the major issue and problem that you think happen
regarding to Public Art in Putrajaya?/Apakah isu dan
masalah utama terhadap Seni Awam di Putrajaya?
O Lack of understanding about Public Art among the
Society/Kurangnya Pemahaman Masyarakat
menegenai Seni Awam
O Situated in inappropriate area/Berada di kawasan yang
tidak sesuai
O Vandalism/Vendalisme
O Lack of Quality/Kurang Berkualiti
O Lack of Maintenance/Kurang Penyenggaraan
O Neglect of Artists’ Functions /Fungsi Artis Diabaikan
O Lack of Pertinent Memories and Identity in the Public
Art/Kurang kepentingan memori dan identiti
O Lack of Community Participation/Kurang Penyertaan
Daripada komuniti
O Other/Lain-lain:…………………………………………………….
5
PART E: PUBLIC ART PLANNING AND COMMUNITY INVOLVEMENT
BAHAGIAN E: PERANCANGAN DAN PENGURUSAN SENI AWAM
E1. What is the best practice to get a funding in integrating
Public Art in urban landscape planning? Bagaimanakah
cara terbaik untuk mendapatkan dana dalam
mengintegerasikan Seni Awam didalam perancangan
landskap bandar?
O From Local Tax/Daripada Cukai Tempatan
O Partnership with Non-Government Organization (NGO)/
Bekerjasama dengan Badan Bukan Kerajaan
O Other/Lain-lain:…………………………………………………….
E2. In your view, how to encourage community (including artist)
participation in implementing Public Art in Putrajaya by
Local Authority?/ Pada pandangan anda, bagaimanakah
untuk menggalakkan penyertaan komuniti (termasuk artis)
di dalam melaksankan Seni Awam di Putrajaya melalui Pihak
Berkuasa Tempatan?
O Open a Competition/Buka Pertandingan
O Open Art Program/Buka Program Kesenian
O Other/Lain-lain:…………………………………………………….
E3. Do You Think That Local Authority needs to be upgrade the
planning and management process in integrating Public Art
in Putrajaya?/ Adakah anda berpendapat bahawa pihak
berkuasa tempatan perlu menambah baik lagi proses
perancangan dan pengurusan dalam mengintegerasikan
Seni Awam di Putrajaya?
O Yes/Ya
O No/Tidak
O Not Sure/Tak Pasti