RESEARCH PAPER Self-Craft Community - Bandung Celine Mugica TU Delft - 4620402
- December 2018 -
Symbiotic of local craft techniques and construction knowledge for Kampung regeneration by retroffiting an existing structure in the city centre of Bandung. Celine Mugica TU Delft - 4620402 Design tutor: Monique Smit Research tutor: Martijn Stellingwerff Building Technology tutor: Paddy Tomesen
APPLICATION OF JAVANESE SELF-BUILD & VERNACULAR PRINCIPLES TO URBAN KAMPUNG OF BANDUNG Céline Mugica Faculty of Architecture & the Built Environment, Delft University of Technology Julianalaan 134, 2628BL Delft C.H.S.Mugica@student.tudelft.nl Celine.mugica@blueyonder.co.uk
ABSTRACT With an intensifying pressure increasing on fast growing cities such as Bandung in Indonesia, it is difficult for the existing stock of poorly built kampung houses to accommodate the inflowing population. The current trend to build characterless developments which do not reflect the local characteristic create a disconnect between the inhabitant and its changing environment. This paper will claim that re-inventing self-built and vernacular principles inspired by pre-industrial constructions can improve contemporary kampung structures. The present research provides information regarding 12 main vernacular principles found in traditional Javanese housing. To conclude, a final matrix will compare the vernacular principles between modern and traditional constructions, offering clues which could shape and improve the durability, safety and creativity of contemporary self-built architecture in the urban kampung of Bandung.
KEYWORDS: Self-build, Vernacular Architecture, Construction Systems, Urban Kampung, Indonesia.
I. INTRODUCTION 1.1. Background By 2050, 72.8% of the Indonesian population will be living in cities, compared to 55.3% in 2018. (United Nations, 2018). The region of Jawa Barat, of whose capital is Bandung, currently holds 18.28% of the total population of Indonesia. (BPS, 2015) This fast and concentrated movement of people will create an intense pressure on cities to accommodate services and habitat. Additionally, Indonesia consists of hundreds of different ethnic and linguistic groups. Therefore, the current Indonesian architecture should reflect the diversity of cultural, historical and geographical influences which have shaped the country. However, this rich multiplicity is at threat from the growing need for accommodation to absorb the increasing population. With more people coming in, the poorest areas of the city will be at risk. In particular, urban kampungs, which provide a socio-spatial safety net for the workers in Bandung, will need to adapt and cater for the growing needs of the city. The already existing self-built structures of the kampung are constructed in an ad hoc manner using any
material which is available resulting in unsafe and non-durable housing which will crumble under the growing population. Additionally, the new housing developments popping up, which are very typical of fast urbanizing cities, do not reflect the diversity and local characteristics of their settings, leading to an architectural homogenization. “Unrealistic faith in artificial systems leads to designs which disregard the climate and turnout buildings that are both physiologically and psychologically inhospitable” (Coch, 1998). However, the vernacular and self-built structures of Java used to be built in a much more qualitative way, reflecting the local characteristics in their style, and use of material, significantly increasing their durability and safety. Their simple bioclimatic principles created the optimal indoor conditions while reflecting the inhabitant’s identity and expression. This paper examines how, in the context of the urban kampung of Braga in Bandung, the existing self-built structures could be retrofitted by looking to traditional Javanese construction for clues. 1.2. Thematic Research Question Therefore, the overall research question of this paper is:
How can a combination of pre-industrial and modern vernacular and self-built principles found in Java be applied to the urban kampung of Bandung in order to improve the quality of its craft and construction? This research paper focuses on dwelling retrofitting strategies which could later be applied to the design of a craft and construction school which will be used as a showcase for widespread kampung improvement. Awareness should be raised about the current quality of kampung construction and its possible enhancement opportunities. The education system, incorporating public and private functions, can encourage people to address their own buildings in a different manner and create more durable structures which still reflect the local character and diversity. The thematic question is investigated by means of three different research questions: 1. What is the current state of knowledge about urban kampung construction and quality? 2. What are the principles of pre-industrial vernacular constructions which could be applied to current structures? 3. How is craft and construction knowledge transferred in pre-industrial and modern vernacular? These sub-questions are each answered through their own sub-sections. The first section is supported by the definition of vernacular used for this paper in order to justify the scope of study while discussing the first inquiry in understanding the current state of the urban kampung building stock. The second question is addressed through its own section, listing and describing each of the 12 self-built and vernacular traditional principles. The third section addresses the way in which construction knowledge is transferred in order to give clues to its disappearance and provide potential for intensification. In its conclusion, the research paper will present a critical matrix addressing the results of each section in order to understand how changes can be integrated in the built environment.
(Kim, 2006) as being a part of the main methodology. In order to assess the current state of kampung construction, a qualitative and descriptive study has been made during site investigation in Bandung through structured and unstructured interviews, photographs, sketching, mapping and analysis. This personal and observational documentation has also been supplemented by other reports made from previous researchers on the site of study. Key principles of vernacular and self-built systems have been derived from desk and historical study regarding Javanese traditions. By using qualitative methods, a critical examination is thus made regarding how vernacular principles could be utilized as an alternative approach to urban kampung design.
1.4. Definitions The definition of vernacular architecture is taken from the ICOMOS charter as “the traditional and natural way by which communities house themselves. It is a continuing process including necessary changes and continuous adaptation as a response to social and environmental constraints.” (ICOMOS, 1999) In this sense, the current way of building in the urban kampung of Bandung can be seen as modern vernacular since that term does not cease to be valid when materials and their trade and production changes. However, this modern vernacular typology has limitations when responding to functional, social and environmental constraints. Additionally, the type of vernacular buildings discussed in this paper is of ‘folk tradition’ and not of ‘grand tradition’ where the former is “much more closely related to the culture of the majority and life as it is really lived than is the grand design tradition”. (Rapoport, 1969) (see Fig.1)
1.3. Methodology This paper is part of my thesis research with architectural design seen as “the craft of visualizing concrete solutions that serve human needs and goals within certain constraint”
Figure 1. Chosen vernacular field of study
In this regard, the traditional buildings dating from the Hindu, Buddhist and Dutch period are not included as part of the study since they were built as monuments, temples, palaces and tombs and thus were part of the ‘grand tradition’.
the three. They have developed over time and can date back to the Dutch colonial period; therefore, they are one of the most prominent typologies for Kampung Braga.
To find an exact definition of a kampung is difficult since it differs largely based on its diverse and wide nature. According to Ford (1993), there exists four different kinds of kampungs: the industrial kampung, the squatter kampung, the rural kampung and the inner-city kampung. The latter is addressed in this research paper. With this in mind, we can define the urban kampung as an unplanned urban housing area which developed without organized infrastructure and is inhabited by the urban poor of Indonesia.
II. MODERN VERNACULAR 2.1. Typology The urban kampungs have altered from colonial times to heavily built-up areas. Since time is an important factor in building costs, the urban kampungs, which are already mostly built, gradually get updated in small increments by richer inhabitants. Therefore, “one of the most common sights in the kampung is piles of brick, wood, tiles and other future building miscellany” (Benjamin, et al., 1985) which are gathered until enough resources and commitment have been accumulated for construction to begin. Three typologies can be identified in the urban Kampung of Braga for self-built structures. These can be defined as temporary, semi-permanent and permanent typologies. (see Fig. 2) These are classified regarding the construction system and building materials being used rather than size or value. Temporary structures often appear in between more permanent structures because of fast demand for housing or business opportunity (food stall, electrical parts….) creating a dense urban mesh only pierced by small winding alleys. These rarely go beyond one story since the lightweight structure cannot take on the extra load. Semi-permanent buildings have a solid base (of one or two floors) topped off by a more lightweight story. This phenomenon occurs as a result of a fast necessity for temporary housing or storage. The permanent structures of the kampung have solid floors throughout and are the most structural sound of
Figure 2. Kampung Braga Building Typologies
2.2. Construction In the urban kampung, three ways of building can be distinguished: self-built, by using a tukang or by employing a small informal contractor. (Benjamin, et al., 1985) Buildings made by the tukang (main builder of a district) are the most prominent in kampung Braga. In this system, the owners and hired help still realise most of the crude work in a self-built manner while the tukang and his closest trainees are hired to carry out the more specialised work such as plastering, bricklaying, wiring and plumbing. The tukang, working on an incremental contract procedure works well with the gradual way of building. Kampung constructions are often made on concrete foundations with reinforced concrete or cement block structures filled in with brick and cement walls. Structures rarely go beyond two floors. Since construction is incremental, the top storeys are almost always cladded with lightweight materials such as timber panels, woven bamboo mats or corrugated steel sheets; ready to be replaced by more permanent materials.
2.3. Use of Materials All of the materials used for construction purposes in kampung Braga come from one
material seller located in Jalan Sasak Gantung. (See Appendix I for material list and pricing). These materials are brought by GroBak and then kept in communal storage areas around the kampung. The use of material is often based on the social status which the material represents therefore concrete and bricks are preferred choices as opposed to untreated bamboo or corrugated steel sheets and asbestos which are seen as a poor man’s material. As funds become available, lightweight materials such as bamboo or untreated and cheap timber are replaced by brick and cement. Since the front facade is an indicator to the socio-economic status of the owner, roofs over the entrance often have clay tiles while the roofs at the back of the house are clad with corrugated steel sheets. Materials are re-used as much as possible and patched together in the most affordable and quickest manner resulting in an ad hoc aesthetic. Material finishing remain very simple like a coat of paint or a layer of render. However, care is taken regarding the quality of door and window fittings and they are often milled by local small manufacturers. (Benjamin, et al., 1985) Bright and varied colours accompanied with ornamental ironwork often give a playful character to the houses in the kampung.
bedrooms or ‘kos kosan’. There is very little circulation space since rooms are accessed through one another.
2.4. Layout & Function
Since the buildings are often made from concrete structures with a brick and cement infill and an expansive use of glass, they are very impermeable to the outside weather. In the subtropical highland climate of Bandung where ventilation is important, this has an adverse reaction, creating an uncomfortable and hot interior environment. Additionally, natural ventilation is rarely provided at roof level meaning that heat transfer happens directly through either the clay tiles. asbestos or corrugated steel sheets. The absence of large overhangs combined with the hard floor surfaces present throughout the kampung means water doesn’t get completely absorbed and easily deteriorates the exposed building materials, leading to the collapse of walls and foundations. (Nasrulloh, 2014) According to interviews with the local tukang (see Appendix I), roofs take the most amount of damage due to heavy wind and rainfall and have to be replaced every 5 years whereas walls have to be replaced every 10.
The buildings are rarely used as solely private accommodation by the dwelling owner as they also double up as temporary shops, community meeting areas or kampung storage space. A few of the rooms are also rented out as ‘kos kosan’ (rental bedrooms) for labourers who come and find manual work in the city. In terms of house layouts, they come in a wide range of variety, but some common aspects can be identified. The most visual element is the front porch area which is used as an informal sheltered meeting space. This zone becomes part of the public alleyways and are a place for informal exchanges and surveillance to happen. The living room or front room has a very versatile function and can be used for eating, studying, working and entertaining. The bedrooms have a very minimal function and are solely used for sleeping and storage. The back of the urban kampung house is used as a service area containing the kitchen (which is a simple burner with utensils), the bathing room and a toilet. (Benjamin, et al., 1985) If a second floor is added then they often serve as more space for
Figure 3. Modern Space Arrangement
2.5. Climatic Response
III. PRE-INDUSTRIAL VERNACULAR 3.1. Traditional Javanese Construction In this paper, traditional Javanese architecture connects a different array of styles together which appeared on the island of Java such as West Javanese, Sundanese, Baduy and Betawi. These types of architecture are different from each other but share many common aspects which have been compiled into 12 main vernacular principles. (see Appendix II)
3.2. The Understructure or ‘Foot’ The traditional Javanese house is believed to correspond to the world lying in the centre of the cosmos. In this way, the house can be separated into three parts: The Underworld which deals with death, the Middle world which is linked to humans and life and the Upper world which is reserved for the heavens and the ancestors. (Darmayanti, 2016) (see Fig.4)
attached to the floor beams with the outside facing up. (UNESCO, 2007)
3.3. The Intermediate Structure or ‘Body’ The Intermediate Structure which is located in the Middle world contains the saka guru, columns, walls, doors, windows and ventilation openings. Columns can be made of bamboo or timber (teakwood, coconut or jackfruit). The columns need to be put up in the same orientation as they were when they were in their natural form and should be made from a single piece of timber. (UNESCO, 2007) Walls can be made up of varied materials such as plaited bamboo matting (gedeg or kepang), wooden boards and stone or brick if the owner is of high social status. (Schefold, 2008) If made of timber and bamboo, the walls are built as such that they can be easily be dismantled using pegs or removable connectors. The smooth outer layer of the bamboo and the rougher inner one are alternated in such a way to give a patterned look while creating a stronger wall. (Sargeant, 1973)
3.4. The Superstructure or ‘Head’
Figure 4. Three different worlds The under structure, which is located in the Underworld, contains the foundation, the floor and the umpak. Traditionally the foundation was made of soil which was compacted using a wooden pole and thick board (brug system). More recently, the foundation is made of river stones and cement mixture. (UNESCO, 2007) The entire house is raised on pedestals thus the upright posts rest on large stone plinths approximately 50 cm from the ground. (Schefold, 2008) By lifting the house from the ground, the space created underneath can be utilized. When it is made use of then it can serve as storage or as a place for livestock. (Maknun, et al., 2016) The floor was either made of cement plaster, bligon (breathable plaster mixture made up of 1-part red brick powder, 1part sand and 1-part lime) and tiles or from large bamboos, split and crushed flat and
The Superstructure relates to the Upper world and consists of the roof frame, roof cover and ceiling. The roof frame is traditionally made from teakwood, timber from jackfruit trees or timber from coconut trees. Traditional Javanese roofs are made up of rigid planes of an arrangements of rafters (usuk). The Kampung and Limasan roofs are made of bamboo or timber bound together using ijuk (layered palm fibres) or bamboo ropes. The Joglo roofs are covered using clay roof tiles (either of kripik or pressed type). Additionally, the roof is adorned with many timber ornaments such as the ReteRete used on the edges of wood planks, the house horns (cabik) which have a dual function of being highly auspicious and keeping the house protected from heavy rainfall and the Makutha which is a crown shaped ornament dating from the Hindu period.
3.5. Roof Typology Compared to the European way of building, in South-East Asia, one of the key features of the traditional architecture is the “enormous predominance of roof over wall” (Waterson, 1990). The traditional Javanese houses are distinguished by four different roof typologies:
Panggang Pe, Kampung, Limasan and Joglo. (see Fig.5)
daughter, who inherits the house, traditionally stayed at home after getting married in order to care for her aging parents. In the morning the shadow of a child’s house may not fall on that of the parents. As the sun rises in the east, houses are arranged from east to west with the parents’ house being the furthest to the east. Thus, ridge beams are oriented east-west while the house faces either north or south. (Schefold, 2008) In this sense, the way in which traditional Javanese houses are built have a strong connection with cardinal directions and sociorelationships between different generations.
3.7. Space Arrangement
Figure 5. Traditional Javanese Typologies
The traditional Javanese house consists of a combination of gendered spaces where one belongs to women, one belongs to men and another is seen as either a neutral or common space. In general, the back-east part is the realm of women whereas the front-west portion is dedicated to men. (Schefold, 2008)
These four types reflect the socio-economic status of the owner meaning that the most complicated and sophisticated structure which is the Joglo roof type is owned by either nobles or wealthy people. (UNESCO, 2007) Therefore, the Joglo and Limasan roof types are owned by people of higher socio-economic status whereas the Kampung and Panggang Pe type houses are owned by poorer residents. The most typical roof construction type being the gable roof, it is built as a completely separate set on the upper rafters of the main H frame. (Schefold, 2008) The roof extends some 40 cm beyond the walls of the house, creating eaves (panyaweran). Through its extension into verandas and its large overhangs, it is able to create semi-private sheltered meeting places and passages. The absence of chimneys in traditional roofs causes the smoke coming from the chimney to travel through openings in the ceiling while protecting the roof construction from dampness.
3.6. Building Orientation The north-south orientation of traditional Javanese houses is related to people’s belief. Even with site changes and at the centre of a kampung, traditional Javanese houses keep this orientation. (UNESCO, 2007) If the plot on which the parents’ house sits is large enough, new houses will be built upon it for their daughters and their families. The youngest
Figure 6. Traditional Space Arrangement The typical Javanese house plan is either rectangular or square and consists of four main parts: - The Pendapa which is an open building with no walls and four main columns (saka guru). Since it is located at the frontmost area of the house, it is visible from the exterior and therefore is built in order to impress.
- The Dalem which is located behind the Pendapa. It functions as the main family/living room. It contains two parts, the Senthong and the middle room. - The Senthong which is a row of three rooms which are part of the Dalem. From left to right it houses the heirlooms and weapons, is used to honor Dewi Sri (goddess of prosperity) and is used as a bedroom. - The Pringgitan which is located between the Pendapa and Dalem and is used to hold leather puppet performances.
3.8. Public / Private Balance The site arrangement of traditional Javanese houses has a delicate private-public organization in a symmetrical layout. The site can be zoned into three parts such as: - The Public area which contains the Regol (yard gate), fence, front yard, the Pendapa (open building), Seketheng (left and right-side access of the Pendapa), butulan door (side door in yard which gives access to neighbours) and vegetation. - The Semi-Private and Private area where one can find the Dalem (behind the Pendapa) and Gandhok (to either side of the Dalem). - The Service area includes the Gadri (behind the Dalem) and the Pekiwan (bathroom, well and kitchen) Therefore, the characteristics of Javanese culture which are based on the duality between man and nature as affected by cultural and social factors is represented in the site’s gradients of public to private spaces. Accordingly, the built elements stand out in delineating this spatial equilibrium where the walls create a boundary between the outside and inside and the raised floor spatializes the functions and properties of the house. (Sukmanindya, 2016)
3.9. Construction system Traditional Javanese structures are built as a simple raised post and beam system (rangkaian) where the upright posts are connected with horizontal beams. More specifically, they are constructed using a “knock-down� method using purus-pasak (tenon and mortise) joints without nails in order for the building elements to be easily dismantled and re-assembled when desired.
(UNESCO, 2007) Since the entire construction is made of lightweight materials and joined using timber joints then the building is naturally earthquake resistant. There are three types of construction systems which are most commonly used: - the Purus system which functions as a lock. - the Ceblokan system where the column is inserted directly in the floor without the Purus system. - the Cathokan system where the beams located at the center of the building, while using a locking system (emprit gantil), protrude upwards in order to prevent the beams from moving. While taking into consideration the size of the plot of land, the length of the total roof ridge beam is an important factor in shaping the overall size of the house. The roof ridge, closed off with ijuk, must traditionally run the full length of the house, thus determining the proportions for the rest of the building (Pennings, 1902). In its assembly, the main frame of the house is built first. When the main upright elements are in place, they are then connected by horizontal beams followed by the rafters. The ridge pole and beams are the last components to be assembled, creating the final house. The floor, walls and ceilings can later be added. (Schefold, 2008)
3.10. Timber as main material It is taboo to use any other materials then natural ones in traditional Javanese houses hence why timber is the primary construction material. (Jacobs & Meijer, 1891) Several types of timbers are used together, both as the main building structural components and architectural elements. The most commonly used type of timber is teakwood. Replacement for this type of timber can be jackfruit, coconut timber or yearly timber such as jogar, sengon and meranti wood. (UNESCO, 2007) Both the plot of land and materials are acquired from nature through a series of rituals turning them from natural materials to cultural ones. In assembling the building elements of a traditional Javanese house, care must be taken that especially auspicious wood is chosen and that materials that could have a negative spiritual influence on the structure are avoided. (Schefold, 2008) The use of timber has a very versatile value since it can be used both for its
strength as structural elements but also be carved for ornamental purposes. Since Javanese houses are very often renovated, especially the roof and the walls, timber is an easy material to replace or disassemble in case it becomes partially rotten or worn out.
3.11. Umpak Belonging to the Underworld, the Umpak is the base of columns made using solid natural stone with an iron carving knife. An Umpak can range from 15cmx15cm to 75cmx75cm depending on the size of the building and are half dug into the ground to improve the stability (UNESCO, 2007). The top of the Umpak has a square hole where the column can be inserted while the bottom of the base is scraped in order to absorb lateral forces. This base can either be plain or very decorative. By using the Umpak as a pedestal and not being laid directly on the ground, the timber posts are protected from weather conditions and dampness. (Maknun, et al., 2016)
3.12. Climatic Response By being separated and distant from each other, the traditional Javanese houses allow for air to flow through the site. The vegetation of the area also contributes to reducing the atmospheric temperatures using large lush trees and bushes. Therefore, the layout of the various buildings in combination with the use of open green yards and spaces contribute to a comfortable atmosphere for the inhabitants. (Coch, 1998) Natural lighting and ventilation in a traditional Javanese house are provided by openings such as windows, doors, ventilation panels, gaps in the roof and walls. The pendapa, being open on all sides, gets the most amount of light and ventilation. (UNESCO, 2007) The space created under the house by raising it up has two climatic functions. First of all, it minimizes the footprint of the house, allowing for water to be absorbed on a larger scale; decreasing the risk of floods and even if they occurred then the house would be protected. Secondly the gap allows for natural air flow throughout the house since the floor is made of split bamboo. (Maknun, et al., 2016) The wall materials are also made from permeable materials allowing for ventilation to flow through (although privacy and sound insulation weren’t always achieved). (Coch, 1998)
Figure 7. Type of Umpak
3.12. Badu Dhanyang Bahu Dhanyang, where ‘Bahu’ literally means human shoulder and ‘Dhanyang’, guardian spirit of a sacred place, acts as symbolic bracket on the outermost columns. Made out of carved timber, the Bahu Dhanyang seemingly supports the roof overhang but is in reality an aesthetic ornament. (UNESCO, 2007)
Figure 8. Type of Badu Dhanyang
Figure 9. Cross ventilation diagram The roof is the most crucial part of the construction in the hot-humid climate of Java. By being made of natural materials, the overall roof element becomes a great thermal insulator by absorbing heat during the day and releasing it at night. (UNESCO, 2007) The combination of large overhangs and steep roof construction help protect inhabitants from direct sunlight and heavy rainfall while preventing air stagnation and overheating. The triangle gabble walls of the roof, being separate from the
construction, allows any trapped hot air or smoke to be released through large line openings. (Schefold, 2008)
out to rural areas where it is now at risk of being lost.
V. CONCLUSIONS
Figure 10. Sun & rain diagram
IV. TRANSFER OF KNOWLEDGE 4.1. Modern Vernacular Based on the interviews we had with the main tukang of Kampung Braga, we could deduce certain aspects regarding the transfer of construction knowledge. Each urban kampung district (or RW) has its own construction team which includes the head tukang (main foreman) and a group of subcontractors. The head foreman is formally trained in a Teknik school where he officially learns the trade and crafting techniques which are then supplemented with self-taught knowledge. The subcontractors therefore informally learn a specific trade such as woodworking, welding, plastering or masonry through observing and copying the tukang. When the subcontractors gain enough knowledge and expertise they can become highly trained workmen or even tukangs if the kampung is in need of one. The construction team is not a registered company and no licencing is required to build or repair in the kampung. This means that the possibility for the transfer of construction is very present as long as a main foreman is present.
From the research regarding self-build vernacular principles from both pre-industrial Java and the urban kampung of Bandung, strategies and findings can be placed in a comparative matrix. (A higher resolution of the matrix can be found in Appendix I) Each strategy is valued in terms of its qualitative application for the urban kampung of Braga. The aim of the research was to find a combination of methods that used both the available elements present in the context to its advantage (such as site, materials, labour, construction techniques and climate) while representing the local characteristics, lifestyle and traditions.
4.2. Pre-Industrial Vernacular In pre-industrial times, communities used to have multiple craftsmen who were specialised in a certain trade (such as bamboo weaving or timber carving). This knowledge would be transferred from families to families who would remain in the same community and keep the expertise alive. As a result, if the chain of craft knowledge is broken, like for example when urbanisation and economic pressures came in, then the expertise would get lost. A phenomenon which later occurred and forced specific craftmanship expertise to be pushed
Figure 11. Comparative matrix of preindustrial and modern vernacular strategies. Beneficial clues and architectural solutions for the specific context of the urban kampung of
Braga can be obtained from the comparative matrix: - As part of the urban strategy, the orientation of the alleys towards the rivers combined with better spacing and vegetated open yards would contribute to improved atmospheric conditions. The meandering quality of the kampung alleys should be kept in order to retain the convivial character of the area. - An incremental approach to building as well as a diversification of functions inside the home is more adapted to the inhabitant’s economic development and possibilities. - A “knock-down� approach to construction with interchangeable and removable components is best for the long-term durability of the construction in terms of replacement possibilities and earthquake resiliency as well as the opportunity for personalisation. - The use of local and natural resources allows for a better understanding of the material as a breathing element of the building and reduces the environmental impact of the building construction. These can be combined with the existing structure in order to create a more breathable hybrid construction system. - By using local and known materials, their application and transformation can utilise new or traditional craft techniques, broadening architectural applications while creating long lasting and safe elements. The connection between the existing structure and the new fabric can be expressed in a symbolic manner as in the elements of the traditional Javanese houses. - Many bioclimatic lessons can be learnt from pre-industrial constructions since they were built with nature in mind. In the same way traditional Javanese inhabitants liken their building to a tree (Sukmanindya, 2016), the roof is a key factor in keeping the interior and exterior climatic conditions optimal. By using large overhangs combined with natural permeable materials in both the roof cover and walls, air is allowed to flow through while protecting the users from direct sunlight and heavy rainfalls. By applying these steps either in their totality or incrementally, the fabric of the urban kampung can gradually improve, overall developing its craft and construction systems.
Figure 12. Matrix of architectural solutions for the urban kampung of Braga. Different modern vernacular case studies have been presented in Appendix I. They have been subject to the comparative matrix in order to evaluate them based on the 9 strategies and test the benefits and limits of creating such a grid. The matrix created through this research paper does indeed reveal the strengths and weaknesses of the projects and can provide clues to their future development. By using the information and architectural solutions acquired through the paper, a precise strategy regarding the proposed educational environment needs to be defined. Through further research concerning the application of vernacular principles to the existing permanent structures of the kampung, a hybrid manner of building can be obtained which reflects the local culture and characteristics.
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APPENDIX I: MODERN VERNACULAR
COMPARATIVE MATRIX - STRATEGIES style strategies
TRADITIONAL JAVANESE VERNACULAR
MODERN VERNACULAR
- Constant North Orientation - Buildings are seperate from each other - Open yards & lush vegetation
- No specific orientation - Buildings are joined to one another - Fluid mobility
- Four typologies: Joglo, Limasan, Kampung, Panggang Pe - Based on roof shape - Linked to socio-economic status
- Gradually built according to funding - Three typologies: temporary, semi-permanent, permanent.
- Gradual balance from public to private - Multiple generations on one site - Only use as accomodation
- Multiple generations in one house - Mutliple use such as shop, workshop and kos kosan
- “Knock down” method: easy to assemble and to take apart - Eartquake resistant
- Reinforced concrete frame with brick and cement infill - Needs to take apart completely to repair - Many parts patched together
- Materials can only be local and natural (no steel) - Quality timber as main material
- One material seller - Material use according to social status - High social status use concrete, brick and clay tiles
SYMBOLIC
- Social status of owners impacts level of detailing - Many symbolic elements such as: Umpak, Badu Dhanyang
- Strong use of colour and ornamentation - Front facade is the most important - Well detailed windows and doors
CLIMATIC SITE
- Use of vegetation as natural cooling - Seperated buildings allows for better ventillation in between - Raised building allows air flow + water absorption
- Alleyways towards river bring natural ventilation - No seperations between buildings and no lifting from the ground = heavy flooding
- Natural and permeable materials allows natural ventilation through - Little privacy and sound insulation
- Hermetic material which doesn’t let natural ventilation through - Little use of openings
- Made of natural materials so great thermal insulator - Big overhang protects from heavy rainfall & direct sunlight
- No natural materials or ventilation so high heat gain from roof - Very little overhang so little protection from rain and direct sunlight
N
URBAN
TYPOLOGY
USE
CONSTRUCTION
MATERIALS
CLIMATIC ENVELOPPE
CLIMATIC ROOF
Figure 12. Comparative Matrix between Pre-Industrial Javanese and Modern Vernacular
COMPARATIVE MATRIX - ARCHITECTURAL SOLUTIONS style strategies
URBAN
TYPOLOGY
USE
COMBINATION OF PRE-INDUSTRIAL & MODERN VERNACULAR - Buildings are distant from each other - Open yards & lush vegetation - Fluid mobility throughout the kampung
- Gradually built according to economic situation of owner - Various typologies including temporary, semi-permanent and permanent.
- Circulation is important - Multiple generations on one site - Mutliple use such as shop, workshop and kos kosan
CONSTRUCTION
- “Knock down� method: easy to assemble and to take apart in case of repair and maintenance - Eartquake resistant
MATERIALS
- Materials can only be local and natural (no steel) - Quality timber as main material - Breathable & natural materials
SYMBOLIC
- Strong use of colour and ornamentation as expression of identity - Use of structure as a placement of detailing and decoration
CLIMATIC SITE
- Use of vegetation as natural cooling - Seperated buildings orientated towards river creates ventillation - Raised building allows air flow + water absorption
CLIMATIC ENVELOPPE
- Natural and permeable materials allows natural ventilation through - Openings are a priority allowing views and ventilation
CLIMATIC ROOF
- Made of natural materials so great thermal insulator - Big overhang protects from heavy rainfall & direct sunlight - Better ground water absorption
Figure 13. Architetural Solutions derived from Comparative Matrix
MATERIAL COSTINGS
Material Warehouse - JL SASAK GANTUNG The only provider of materials (if they are not recycle from scraps by the residents) is the material warehouse JL. SASAK GANTUNG. We visited the shop to obtain the varios prices and sizes.
Materials
Sizing
Cost (in Rp)
Origin
Cement
1 kg
2 000 / kg
-
Concrete
1 bag
17 500 / bag
-
Mortar
1 bag
12 500 / bag
-
Gravel
1 bag
20 000 / bag
-
Sand (pasir)
1 bag (+/- 1m3)
260 000 / bag
Cimalaka
Brick (bata)
1 brick
800 / brick
-
Ventilation block
1 block
12 500 / block
-
Lightweight Concrete Block
1 block 10 cm or 7.5 cm thick
12 500 / 10 cm thick block 10 000 / 7.5 cm thick block
-
Triplex
1 sheet 2 cm thick
232 500 / sheet
-
Ceramic tiles
pack of 11 tiles, 20 x 25cm
57 500 / pack
-
Glass brick
1 brick
22 500 / brick
-
Bamboo
6 m length
20 000 / 6m
-
Plastic sheeting
1 m length
37 500 for 0.5 mm thick 19 500 for 1 mm thick
-
Steel Reinforcement Bar (smooth) for 2 storey buildings
1 stick of 11m
79 000 / stick
Krakatau steel, Cilegon
Steel Reinforcement Bar (rough) for 5 storey buildings
1 stick of 11m
80 500 / stick
Krakatau steel, Cilegon
Gypsum
1 board
60 000 / board
-
PVC pipes
1 pipe of 3.6 m
62 500 for 11.5cm dia. (grey thin) 52 500 for 9cm dia. (grey thin)
-
PVC Door
1 door
200 000 / door
-
Roof Tiles
1 tile
2 500 / roof tile
Karawang
Asbestos
1 sheet 1.8 m x 80 cm
39 500 / sheet
-
Borneo Wood (high quality)
4 m long, either 2x20cm or 6x6cm (?) sections
45 000 / 6x6 sections 120 000 / 2x20 sections
Borneo & Sumatra
Albasia Wood (low quality)
2 m long, either 2x20cm or 6x6cm (?) sections
11 000 / 6x6 sections 15 000 / 2x20 sections
Tasik Malaya (next to Kampung Naga)
Tarp
1 m of Tarp
8 500 / 1 m
-
Table 1. Material Costings from Sasak Gantung Warehouse
INTERVIEW
Interview with Ening Nirmamsyah, only Tukang of RW08 Name: Ening Nirmamsyah Age: 57 Profession: Only Tukang of the Kampung Location: RW08 Kampung Braga
Did you receive a formal education? Yes, I learned the trade at the Teknik school and was later educated as a builder. However, I later couldn’t find any work so focussed mainly on maintenance projects and taught myself how to be an electrician. What elements of the house do you replace the most? I replace walls every 10 years and roofs less... something like every 5 years. The last maintenance job I had was to replace the roof. The roof usually get hit the most because of the heavy winds in the kampung and the big rain falls. Do you use pre-fabrication in your construction? The window and door frames are already pre-made and pre milled and often new but it largely depends on the quanity of money the owner is investing in the house. However we do not use pre-fabrication techniques on anything else since the alleys are too small to carry anything large through. What determined the finished aesthetics of your work? When it comes to fixing an element of an existing building or maintenance, I usually copy what is there and the style of the existing building. However when it comes to new build, the chosen aesthetic is largely down to the owner’s taste, although I can provide recommendations on what is possible within their overall budget. Are there any building regulations or codes which you follow? No. Do you build and make everything yourself? Yes. However I recently used a steel beam in a project which I didn’t make myself but brought in. I know many craft techniques but do not use them on projects since they are too expensive. If the client wants something ornamental then they brought in from the outside. Do you employ anyone to help you? Yes. I usually have two men wo live in the kampung and help me with regular work. However, if I need extra help for half a day or if I work outside of this kampung (which happens often) then I employ local labourer or ladens who can help me out.
CURRENT BUILDING PROCESS
Owner - Kepala/Tukang - Kenek As discussed briefly in the research paper, the building process starts with the building owner contacting the main RW (ampung district) Tukang about the construction of his home. The owner needs to provide materials, money and has obtained approval from direct neighbours (although this is almost never a problem). The main Tukang has the formal expertise and trains workers in the Kampung who are available for the job. They learn indirectly by been shown how to build. After having worked a long time and gaining a large amount of expertise, they can become highly trained Keneks or even a Tukang if the kampung requires one.
Current Building Model
New Constr
owner makes design obtains permission from neighbor collects funds and materials
kepala tukang organises building process instructs kenek consults owner on the design and oers advice
kenek learns construction skill during process
Figure 14. Modern Vernacular way of building and knowledge transfer
obtains perm collect
ke
organ
consults owner o
craf
MODERN VERNACULAR LAYOUT
F
C E B
B D
A
A
Porch
B
Bedrooms
C
Kos Kosan
D
Living/Front Room
E
Cooking/Work Room
F
Bathing Room/ Toilet
Figure 15. Modern Vernacular house layout
CASE STUDY I: JEAN-MARIE TJIBAOU CULTURAL CENTER Architect: Renzo Piano Building Workshop Location: Noumea, New Caledonia Year:
1991 - 1998
Description: “The Jean-Marie Tjibaou Cultural Centre pays homage to Kanak culture and draws on local building traditions and expertise by intertwining the ancient and the modern.” (RPBW, website) The building is designed as a cluster of small pavillions surrounded by water on three sides. Each ‘hut’ has a strong link to its environment and is constructed in a semi-circular layout in order to be open to the community and the surrounding vegetation. The totality of 10 huts are connected by a footpath and are built in three different heights, ranging from 20 to 28m in height. As part of the Cultural Centre, the pavillions serve different functions such as exhibition spaces, a library, research areas, studios for music, dance and sculpture.
Relationship to Vernacular Principles and Craft: The building takes a lot of inspiration from the traditional New Caledonian huts by representing their close relationship with nature. It does so by showcasing the way the inhabitants of the island build. The circular design of the architecture takes inspiration from the traditional constructions of the Kanak. However the chosen materials differ where rather then using woven vegetable fibre, RPBW opted for using iroko wooden ribs and slats combined with more modern materials such as glass, aluminium and steel. Since the pavillions are designed as double shelled huts made of open timber slats, they benefit from a passive ventilation strategy and do not require mechanical ventialtion. Using adjustable louvers, air is either allowed through the facade for natural fresh air or stopped when the winds pick up too much
Pros:
Cons:
- Representation of local characteristics and vernacular principles. Done two ways: First through the centre’s communal function and openess to the exterior and second through its architecture.
- Use of unsustainable materials for the area such as aluminium and steel.
- Circular form inspired by traditional structures. - Woven facade inspired by traditional vegetable fibre technique - Passive ventilation strategy
- Fundamental disconnect between the technological sophistication of the architecture and the traditional craftmanship illustrated within them.
CASE STUDY II: ÉCOMUSÉE DU PAYS DE RENNES Architect: Agence Guinee*Potin Location: Rennes, France Year:
2010
Description: Because of recent acquisitions made by the Ecomusee du Pays de Rennes, the museum running out of space needed a new temporary exhibition area. The building is surrounded on three sides by natural elements: a dense forest to the Ouest, a family garden to the East and an agronomic park to the North. The use of mostly natural materials was an attempt from the architects to reflect the museum’s message towards the environment.
Relationship to Vernacular Principles and Craft: The use of chesnut shingles for the cladding attempts to reflect the traditional buildings found in the region of Rennes, where the building is located. However they are applied in geometric patterns, highlighting the overal strategy of the building overlapping straight lines with organic forms, giving an undeniable modern aesthetic. The use of mostly dry materials such as the timber framework, cladding or supportive pillars made of raw tree trunks, meant that the rest of the museum could be kept open while the construction was going on.
Pros:
Cons:
- Use of low-carbon and low-energy processes
- Could be seen as a kitsch response to traditional architecture principles
- Use of natural materials which relfects local traditions and craft and has a strong link to its environment - Low-cost - Modern and contemporary twist on traditional principles.
CASE STUDY III: HOUSE FOR ALL SEASONS Architect: John Lin / University of Hong Kong Location: Shijia Village, Shaanxi Province, China Year:
2012
Description: This building was design as a reaction to cultural homoginisation in China where local vernacular buildings in China are being replace by generic forms of concrete which usually have a higher environmental impact than traditional forms of architecture. A team of students led by John Lin from the University of Hong Kong studied the way vernacular typologies could be evolved to meet modern requirements.
Relationship to Vernacular Principles and Craft: The design reflects traditional buildings in its spazial organisation on a typical 10 m x 30 m plot with the courtyard and the outdoor spaces associated to it “became the critical element in the contemporary reinterpretation of the house� (Design Website). These outdoor elements are also part of the environmental strategy for the building. The wall infill uses a traditional Shijia Village (where the building is located) mud brick technique which acts as insulation. The whole building is wrapped in a brick screen which protects the mud brick walls, the windows and glazing.
Pros:
Cons:
- Respectful of modern use of rural housing with courtyard and open space design
- Use of concrete for the colums and roof structure in a location where quality control could lead to risky consequences
- Use of traditional mudbrick materials - Passive environmental strategy - Multifunctional roof used for drying roof, seating and collecting rain water during the rainy season.
CASE STUDY IV: LIVING ON THE EDGE Architect: Arjen Reas Architecten Location: Zoetermeer, The Netherlands Year:
2010
Description: The building was designed in order for the family which would inhabit it to find peace at the edge of the city. Thus the project attempts to bring city and nature together. Each room in the house has large windows giving the residents dramatic views over the landscape.
Relationship to Vernacular Principles and Craft: The building is inspired by the traditional constructions in the area through its simplistic form., looking for durability, simplicity and expression. The prominent use of thatch as a roof and cladding material is also a direct link to traditional materials with a contemporary twist. The compacted thatch also provided valuable enivronmental protection
Pros:
Cons:
- Striking architecture inspired by vernacular archetypal form
- Disconnect between exterior and interior startegies in terms of addressing vernacular principles.
- Use of traditional material for roof and wall: thatch. - Traditional material used as environmental protection
- Doesn’t address sustainability issues. The thatch is probably coated for fire-proofing.
CASE STUDIES I & II: COMPARATIVE MATRIX style strategies
URBAN
TYPOLOGY
JEAN MARIE TJIBAOU CULTURAL CENTRE - Similar layout on site to Kanaks in terms of creating a barrier behind which more semi-public and public space appear - Layout on site to appear grandiose
- Conic shape of the pavillions based on Kanak traditional constructions.
ÉCOMUSÉE DU PAYS DE RENNES - Very respectful of the site conditions as it is surrounded on three sides by natural elements - Respectful of existing placement of the museum
- New typology which does not reflect the local character nor the material choices. - Kitsch interpretation of local buildings
- different functions such as exhibition spaces, a library, research areas, studios for music, dance and sculpture.
- public function as temporary gallery space
CONSTRUCTION
- Seamingly vernacular type of construction but actually very high tech way of building whch is not appropriate for the area
- The use of dry materials and dry construction meant that the rest of the museum could be kept open during construction - low cost
MATERIALS
- Materials differ: instead of using woven vegetable fibre, RPBW use iroko wooden ribs and slats combined with modern materials like glass, aluminium and steel.
- Use of natural materials which reflects local traditions and craft and has a strong link to its environment
SYMBOLIC
- Very symbolic / Makes a stance - However highlights the political tensions already present on the island between Kanaks and New Caledonians.
CLIMATIC SITE
- Strategic placement on site in a row combined with the ample use of vegetation makes the most of natural ventilation
- The building reflects its green surounding but doesn’t make the use of its placement in a climatic way
CLIMATIC ENVELOPPE
- double shelled huts made of open timber slats: passive ventilation strategy which does not require mechanical ventilation. - adjustable louvers
- Use of low-carbon and low-energy processes - Use of mostly natrual materials which could be easily removed/ repaired
CLIMATIC ROOF
-
USE
- Application of chesnut shingles in a geometric pattern highlights the overal strategy of the building overlapping straight lines with organic forms - Modern twist
- green roofs
Figure 16. Comparative Matrix between Jean Marie Tjibaou Cultural Centre and Ecomusee du Pays de Rennes
CASE STUDIES III & IV: COMPARATIVE MATRIX style
HOUSE FOR ALL SEASONS
LIVING ON THE EDGE
- Use of a similar 10 m x 30 m plot size - Orientation to make the most of the wind direction
- ‘Living on the edge’: Limit between the countryside and the city. Therefore a balance between the two.
- Extenstive study on existing courtyard and outdoor spaces typology and final interpretation
- Striking and modern twist on local and existing archetypal form
USE
- Extensive study on the way people live incorporated in final layout design
- private function
CONSTRUCTION
- use of traditional Shijia Village (where the building is located) mud brick technique - local construction techniques
-
MATERIALS
- Use of breathable and local materials such as mudrick walls and brick screens - However use of glass and reinforced concrete which could lack quality control
- Use of traditional material for roof and wall: thatch. By giving it a new form, the architecture makes the material stand out
SYMBOLIC
- Very simplistic in its form and doesnt represent local characteristics or detailing
- Very iconic in its shape which is a re-interpretation of the local archetypal form
CLIMATIC SITE
- The building uses the green spaces and courtyard to cool down the building.
- The building does not use it site as part of its climatic strategy
CLIMATIC ENVELOPPE
- mud brick technique acts as insulation. -The whole building is wrapped in a brick screen which protects the mud brick walls, the windows and glazing.
- Use of thatch which is a traditional material used as environmental protection
CLIMATIC ROOF
- Multifunctional roof used as drying roof, seating and for collecting rain water during the rainy season.
- Use of thatch which is a traditional material used as environmental protection
strategies
URBAN
TYPOLOGY
Figure 17. Comparative Matrix between House for All Seasons and Living on the Edge
APPENDIX II: TRADITIONAL JAVANESE VERNACULAR
TRADITIONAL JAVANESE LAYOUT
F
G
D E
C
B E
A
Circulation A
Pendapa
B
Pringgitan
C
Dalem
D
Senthong
E
Gandhok
F G
Gadri Pekiwan
Figure 18. Traditional Javanese house layout
TRADITIONAL JAVANESE VERNACULAR PRINCIPLES
12 Main Principles Traditional Javanese Constructions can vary in style but share 12 vernacular principles in common. These principles range from typological, spatial, construction, ornamental aspects to bioclimatic and environmental strategies.
BUILDING ORIENTATION
ROOF SHAPE
TIMBER MATERIAL
BAHU DHANYANG
The north-south orientation is related to people’s beliefs.
The roof shape reflects the socio-economic status of the owner
Timber is the primary construction material, both as structural component and architectural elements
Bahu Dhanyang is an aesthetic ornament which acts as a bracket
PUBLIC-PRIVATE
SPACE ARRANGEMENT
UMPAK
CONSTRUCTION SYSTEM
NORTH
SOUTH
pekiwan well
PRIVATE cathokan system
dalem gandhok
pendapa butulan door purus system front yard street
PUBLIC
The symmetrical site can be zoned into four areas: public, semi private, private and service area
The main house consists of a Pendapa, a Dalem, a Senthong and a Pringgitan
Umpak is the base of a column made of solid natural stone made with an iron carving knife
Three types of construction systems are most commonly used: Purus, Ceblokan and Cathokan
NATURAL VENTILATION & LIGHT
FOOT
BODY
HEAD
Natural lighting and ventilation are provided by windows, doors, ventilation panels, gaps in the roof and bamboo walls
Building element which represents the understructure consisting of: the foundation, the floor and the umpak.
Building element which represents the intermediate structure consisting of: the columns, walls, doors, windows and openings.
Building element which represents the superstructure consisting of: the roof frame, roof cover and ceiling.
Figure 19.. Traditional Vernacular Principles