Exterior perspective: View from Persiaran Sultan Salahuddin
The museum offers the viewer a particular spatialization of knowledge- a storage device- that stems from the ancient art of memory. To recall specific facts, or to remember parts of a speech, the orator visited the imaginary rooms, passing through the house in sequence and demanding of each location its specific contents. The path through the sequence of rooms narrated the evolutionary development of history and simultaneously walled in the heterogeneity of time.
To locate a museum in such historical and geographical significant site, a lower side of the hill where a vast area with less gradient is selected to orient the building, with such act, the evacuation of the soil at the slope is kept to the minimum and also without interfering occasional on-going commemoration activities at the existing Tugu Negara. Hence, the overall expression of the building is simple and horizontal, embracing the existing landscape by gently submerging into the ground, paying respect to the existing monument at higher altitude without overpowering it.
Two stages of memory construction are being applied in this design. Firstly, is the revelation of History of Malayan Emergency via the main thematic galleries, with the intensified sensory dimension with the power of light, shadow, and texture. Whereas the construction of memory is fully established with the engagement of visitors with the memorial wall with the name of fallen inscribed on it. The name as representations of individuals tend to evoke very specific memories about that individual, it will be immediately highlighted without symbolic reference.