Chee Jin Siew Home

The facades of townhouse lining both sides of Heeren Street remain a gallery of Malacca’s early twentieth-century elite. Parallel Jonker Street, on other hand, once known for its mixed uses – gilded clan halls, a school and a theater, and an array of shophouses selling traditional as well as many modern goods – has undergone a metamorphosis. Today, many of the old structures are gone and replaced by venues such as café, pubs, and souvenir shops catering to the mass of tourists who flock Jonker Walk, a rebranded nightmare bazaar launched by the city government. “Since 2000 Jonker Street has reeled under repeated assault: the depletion of a traditional resident community, in which the Straits Chinese are now reduced to a single family; the eviction of established trades and the demolition of their premises; the decay of heritage structures amid new campaigns designed to lure the indiscriminate tourists; the encouragement of more outlets peddling kitsch that already bristles along the road; and the sanctioning of yet more projects that misrepresent the street’s historic fabric. All have cost Jonker Street its soul” (Lim and Jorge. 2005: 08). Indeed, many who are concerned with the authentic representation of Malacca’s heritage have been saddened by this makeover. It is somewhat ironic that the English translation for Jonkerstreet, the original Dutch name for Jonker Street, is Nobleman’s Street.

Yet, even with these coarse transformations, some residents have been able to maintain their old homes in a fashion that would be recognizable to a returning visitor from early twentieth century. One home that is especially notable is the Chee residence at No, 9 Jonker Street, not too far from the river, which is one of traditional residences whose skywell voids and rooflines are clearly seen today in satellite images. The residence is owned by a branch of the family whose patriarch. While it is not possible to date the initial construction of this residence, it is certain that Chee Jin Siew, a son of Chee Yam Chuan, lived there until his death in 1881. Over the span of the following five generations, including the young children living there today, the family made a variety of renovations to accom-modate the changing expectations of modern life, but the residence still preserves significant aspects of its original plan, furnishings, and ornamentation. Today, the home is occupied by the small nuclear family of Chee Gim Chye, the great-grandson of Chee Jin Siew.

To passersby who take only a quick look, the late nineteenth-century façade appears somewhat unremarkable and pedestrian, combining a traditional lower portion with an updated set of rectangular windows above. Closer inspection reveals the through-the-wall arch of the original five-foot way, a classic set of doors and windows, and a booklet of Chinese phrases ornamenting the surfaces. Above the door are the two characters ruixing, an invocation meaning “May That Which Is Propitious Flourish.” This idea is amplified by appearing in a set of two-character phrases, ruiqi and xinglong. On the door panels with the combined meaning of “May the Propitious vapors Flourish.” Similar auspicious phrases appear on the folding panels of the window shutters. Painting of birds and flowers within lobate forms above the windows proclaim mingshan and xiushu, “ Bright mountains, beautiful Waters,” a common phrase used in fengshui to indicate not only beautiful scenery but also a favorable site. Since the theft of antique furnishings continues to be a perennial problem in Malacca, the presence of a folding iron gate and secure locks are prudent additions to old homes like this one.

The main hall, as is the case with others illustrated in this book, is furnished with handsome blackwood furniture with marble inserts, carved in styles common in the waning years of the Qing dynasty. Featured prominently above the altar is a painting of the venerated deity and folk hero Guan Gong, esteemed as a symbol of righteousness and loyalty. Above the doorways leading to the next room are the four characters nanzhou donghai, with obscure metaphorical meanings. The traditional paper lamps seen in this hall, which normally would be hung outside, are out of place since they reference the goodness Mazu and her tianhou temple rather than the Chee family. A small sitting room is located behind the main hall with a central passageway into yet another large room. A notable feature of this small room are the molded glass window panels with a design that includes a flowering prunus, indicating “happiness”, among pineapples, which in Hokkien are called onglai, said to be roughly homophonous with characters meaning “ the arrival of good luck”. (Welch, 2008:57)

The next room, which continues the old glazed tile flooring of the front hall, is also furnished with sumptuous furnishings, some of which are inlaid with mother-of-pearl. Other pieces, including hanging mirrors and multitiered cabinets, are typical of Peranakan furniture of the late nineteenth and early twentieth centuries. Known as “brown-and-gold” furniture are made in Malaysia and Singapore, each is characterized by ornately carved designs and ornamentations that are not only clearly Western in inspiration but also detailed flourishes that are Chinese. One of these tiered cabinets, with its elaborate crown, is set as if it were an ancestral altar. A photograph of the grandfather of the current owner, Chee Eng Cheng, who died in 1916, has before it a single ancestral tablet as well as incense and candles in addition to fresh fruit and small cups that tell us that the family still venerates this ancestor on a regular basis. Pictures of other Chee family members are arrayed on the walls flanking this “altar”. Some of the old photographs of weddings in the 1930s, with the bride and groom dressed in Peranakan finery, were taken in front of this multitiered cabinet at a different location in the room. A pair of glass-faced cupboards with a carved arched top is recessed into the facing walls. The hanging lanterns in this room are elegant, painted not only with characters indicating this is the Chee home but also their expressive symbolic name ruixing, which was seen above the entryway to the residence.

In the kitchen towards the back of the house, adjacent to the skywell, is a shelf with a tablet representing the Stove God with four characters kitchen area is a curious configuration in which a narrow passageway juts off perpendicular to the main axis of the house, leading to a gated back entryway on First Cross Street, the rear of the Chee dwelling abuts up against the restored eighteenth-century shophouse at No. 8 Heeren Street.

An elegant curved stairway sweeps up to the second level where the age of the building becomes more apparent because of weathering of the wooden flooring and painted walls. Here are found bedrooms and passageways, some of which are currently used by family members and others used to store old furniture, the walls and tables are replete with family memorabilia. Two features of the wooden floor are especially noteworthy. Under the carpets in some rooms, floorboards can be removed to open up storage space beneath, said to have been a place to store family valuables during the Japanese occupation of Malaya. In the front bedroom, which is directly above the front hall below, a square block of wood can be removed to open up a peephole for women to see who is being received below. From the upstairs verandas it is possible to catch glimpses of the distinctively Chinese ridgelines and gables of nearby residences and some of the physical linkages between them.

While this nineteenth-century Chee residence retains the essential character of the times when it was built, there also is evidence of the corrosive effects of Malaysia’s hot and humid climate on old buildings. Mildewed walls, flaking plaster, rotting wood, deteriorating paper, and fading photographs all present intrusive challenges to owners of old homes. The maintaining of an ancestral home involves not only a sense of history and determination but also the necessity to expend substantial amounts of money and time in the endeavor. Private owners of historic homes bequeathed to them, such as Chee Gim Chye, work quietly and usually without governmental assistance. They deserve not only acknowledgment for their heroic efforts but also the support of the broader community.

With a standard placement of doorway and windows that open on to the covered five-foot way, a through-the-wall arched opening connects this residence with that of the adjacent home.

Along one side of the main family room, a blackwood settee with inlaid mother-of-pearl and marble sits beneath an elaborately ornamented framed mirror.

A wedding photograph dated October 24, 1939, with the Peranakan bride and groom plus two young attendants are attired in elaborate costumes appropriate for the first of the twelve days of wedding affair.

The upstairs front bedroom overlooking Jonker Street. Full-length wooden louvers and half-length pressed glass window panes make it possible to regulate both airflow and privacy.

Kings & i offers sumptuous Thai gourmet in a cosy and relaxed atmosphere.

Every dish is served with exquisite crockery and fine cutlery made with tradition in mind. Complementing our sumptuous a la carte menu is the soothing music that exudes a quiet elegance of our simple yet traditionally warm Thai décor design. It is a perfect dining point to experience authentically different Thai cuisine.

Kings & i features authentic yet innovative fine Thai cuisine while we seek to preserve the best old-age natural Thai flavours and traditions. Our innovative Chefs cook up a blend of authentic and modern dishes and present their creations as a feast not only for your palate but for your eyes. Herbs and natural seasonings are used to create a variety of colours and sensations in taste that makes a meal at Kings & i memorable, exciting and enjoyable.

Since its inception in 2008 & 2009, Kings & i have been recognized with a string of awards. Amongst a few to mention, Kings & i was rated one of Malaysia’s best innovative restaurant and oriental restaurant by Malaysia Tourism.

When you dine at Kings & i, be prepared for an experience that borders on the aesthetic and the exotic. The minute you enter our premises, not only will you be charmed by its sophisticated setting but by its serene-like ambience. Knowledgeable yet courteous staffs will assist you in making choices and also assist you in customization of menu for your functions or for your private dining. Our bartenders can concoct delicious drinks for you. If you would like some privacy, private rooms are available for corporate events, families and entertaining guests.

Our Menu

Starter	Main Course	Dessert	A-la Carte
Click on the pictures above for our dining menu.

Reservation

Email : kingsandi@kingshotel.com.my
Phone : (606) 231 3899 ext 617

Hours

12.00 noon – 3.00 p.m. (Lunch)
Last order lunch 2.30 p.m.
6.00 p.m. – 11.00 p.m. (Dinner)
Last order dinner 10.30 p.m.

Location

1st Floor hotel Block

Smoking Policy

Kings & i accommodates both smokers and non-smokers and private rooms.

Malaysia’s Best Innovative Restaurant & Oriental Restaurant by Malaysia Tourism.

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Our Menu

Starter	Main Course	Dessert	A-la Carte
Click on the pictures above for our dining menu.

Reservation

Email : foodbeverage@kingshotel.com.my
Phone : (606) 231 3899 ext 3

Hours

7.00 a.m. – 11.00 p.m. daily

Location

Lobby Level, Hotel Block

Smoking Policy

Kings Café accommodates both smokers and non-smokers.

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