History Journal

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Malay traditional architecture Articles: - Malay traditional architecture - Chinese shop houses and temples - Indian temples - British colonial buildings - Post-Independence buildings - Heritage and historical town - Building conservation - Traditional architecture in Indonesia, Cambodia, Thailand and Philippines

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arly Malay houses can be described as raised on timber stilts and made of materials which were easily available from the tropical forests such as timber, bamboo, rattan, tree roots and leaves. Usually the houses have pitched roofs, verandahs or porches in front, high ceilings and lots of big openings for ventilation purposes. Although these characteristics are particularly common in all Malay houses throughout the Peninsular Malaysia, their shapes and sizes differ from state to state. Through many decades, the Malay architecture has been influenced by Indonesian Bugis, riau and Java from the south; Siamese, British, Arab and Indian from the north; Portuguese, Dutch, Acheh, Minangkabau from the west; and Southern Chinese from the east. Due to this fact, the Malay vernacular architecture have modified their styles in order to adapt to these influences. For example, some houses in Kelantan state have a kind of roof which is similar to that of Southern Thailand. This kind of roof style is totally different from the ones in the Negeri Sembilan state which have been greatly influenced by the Minangkabau of Indonesia.

Factors that govern the styles of the Malay vernacular architecture:

peratures range from 25 C to 34 C. It has an annual rainfall from 80� to 100�. Due to heavy monsoon rains, the roofs of the Malay vernacular houses are very steep. In some places, flooding occurs after heavy rainfalls. To solve this problem, some houses have used timber stilts to elevate the building above the ground level. The warm climate also effects the style of the Malay vernacular architecture. For ventilation purposes, many buildings have large openings on the sides and grilles are provided at high level in gable ends. Houses raised on stilts are provided with better natural ventilation.

MATERIAL RESOURCES

Since Malaysia has a tropical climate, building CLIMATE materials such as timber, rattan, tree roots, bamMalaysia is situated in the central part of the boo and leaves are easily available from the tropSoutheast Asia, it is bordered by longitudes 100 ical forests. In a traditional Malay house, timber degrees and 120 degrees east; and by Latitudes is used for the building structures, rattan and of the Equator and 7 degrees North. The country tree roots are used for tieing up joints whereas is sunny, hot anf humid all year round with tem- bamboo and leaves are used for floors and walls. 2


MALAY WAY OF LIFE (CULTURE & RELIGION) have focused their design concepts on the Malay

In the Malay culture, buildings such as houses and vernacular architecture, particularly the Malay palaces that are highly hand-crafted and beauti- houses and palaces. Various roof shapes have defully patterned and decorated reflect the building rived from the Malay houses such as from the states owners high status. For instance, the old Kenangan of Negeri Sembilan, Kelantan and Terengganu. Palace in Kuala Kangsar, Perak which was built by a Malay sultan, has mignificiently crafted walls. As Muslims, the Malays have adopted the Islamic principles of orientation of mosques, particularly the prayer halls which have to be designed and faced towards Mecca. In other cases, some of the traditional Malay houses have floors at different levels, indicating the room functions. For instance, the verandah floor is raised lower than the living room floor. This he Malaysian Chinese population were the is not only indicating the room functions but also immigrants from the southern provinces of giving a sense of spatial transition in the building. China. They were divided into several different clans including the Hakkas, Foochows, Hainanese, Teochius and Cantonese. during the British period in the early 19th Century, the Chinese, who had come to the Malay Peninsula via Penang, Malacca and Singapore, were employed on tin mines and rubber estates. Some of them were hired in trade, as craftsmen and skilled mechanics, others worked in sundry shops as shopkeepers. Due to the discovery of tin fields between 1850 and 1870 in some parts of Perak and Selangor states, and the increasing demand for tin ore in tinplate industry in Europe; the Chinese immigrants, in a large number, drifted to work in tin mines.

rather, it is connected to several other shophouses, which create a shophouse block. This shophouse is repeated to form streets and town squares. Building materials such as brick, plaster, concrete and timber are commonly found in shophouses.

Chinese shop houses and temples

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FOREIGN INFLUENCE

During the colonisation periods of the Portuguese, Dutch and British, Malay architecture was exposed to many new building technologies. For example, zinc and clay tiles as substitutes for roofs made of leaves; brick and cement columns as replacements for timber stilts and ladder; glass for windows which were formerly open; and nails as alternatives for rattan and tree roots that tie joints together. These features can be seen at the Alor Setar’s Balai Besar or Audience Hall in Kedah state. Built in 1898, the building has clay tile roofs, brick and cement stairs, glass windows with brick and timber walls. Each of these had a profound impact on the Malay vernacular architecture. It can also, then, be observed that the process of adopting new technologies to ancient architecture is not entirely a new idea. Malay architecture has been modified by technological and cultural changes for centuries.

The Chinese who were hard-working labourers eventually changed completely the pattern of society in the Malay Peninsula. Many new settlements and urban centres were developed, among them Taiping, Ipoh and Kuala Lumpur. The Chinese were not only settled inland permanently but had brought their customs, religion and language as well as the Southern Chinese architecture.

ARCHITECTURAL STYLES

The Southern Chinese architecture in Malaysia can be classified into residential such as the traditional shophouse and terrace house, religious such as Buddhist temple; and public such as clan or association building. The traditional Chinese shophouses and terrace houses are the two most popular residential buildings found in many urban areas in the country.

Shophouse

A shophouse, normally has two or more storeys, is a Today, the styles of the Malay vernacular achitec- commercial and private structure. The tenants usualture have inspired many young architects and engi- ly use the first floor for commercial purposes such as neers in designing Malaysia’s contemporary archi- sundry shop, light industry or warehouse, and reside tecture. In the past years, many modern buildings in the upper floors. The building is not free standing, 3

Terrace House

Clan or Association Building

Since the Chinese are divided into several different clans and communities, there are many kinds of Chinese association buildings. These association buildings are intended for social gatherings, ethnic festivals and ceremonial functions. Architecturally, a typical Chinese association building has a one or two storeys, an ornamented clay-tile roof similar to the ones on the Buddhist temples, a big entrance door, a front porch typically large metal bars cover the windows which have both louvered panels and canopies.

A typical traditional terrace house has one-storey with a street-level porch in front. Usually, this type of building has big entrance doors with timber bars locked into the door head, metal-bar and louvered-panel windows; and a few openings. The building is often designed in a symmetrical organisation in which the entrance door is located in the middle with windows on both sides. Depending on the tenant’s wealth, the terrace house sometimes has glazed tiles at the base of the front walls. Like the shophouse, the terrace house uses brick, plaster, concrete and timber as major materials.

FACTORS THAT GOVERN THE STYLES

Religious Building (Buddhist Temple)

A second factor that has influenced the styles is the climate. Most buildings have large openings, louvered doors and covered walkways. These elements were designed in response to the warm and humid climate of Malaysia. The use of jack-roof and airwells, which can be seen in many old shophouses and terrace houses,are a few examples of building elements that repond to the local climatic conditions.

Although there are a great number of Chinese embracing Christianity and Islam, the majority are still Buddhists. Like the mosques, the Buddhist temples can be found in villages as well as in small towns and cities. These temples possess significant characteristics which contribute to the Southern Chinese architecture. A typical Buddhist temple will have overhanging eaves made of clay tiles jointed by mortar, ornamented figures of people, angels, flowers or animals located on roof ridges; a big entrance door in the middle, windows of simple geometrical shape; and colourful mosaic tiles.

By and large, the styles of the Southern Chinese architecture in Malaysia have been influenced by three major factors which are history, climate and religious beliefs. The historical factors play an important role in the Southern Chinese architecture. Many traditional buildings including shophouses and association buildings have adpated the local and colonial architecture into their building facades. Some have arches and classical columns to support the building structures. Large openings are provided for ventilation purposes.

Finally, the beliefs among the Chinese in supernatural spirits have been a primary concern in erecting any building. The concept of “Feng Shui”, which literally means wind-water, is a geomantic system by which orientation of sites are determined in persuant of harmonic relationships with the cosmic forces. Ornamental symbolism plays an important part in the convevance of meaning in placement. The use of bright colours such as red, orange and yellow has become a characteristic of the Chinese buildings in which these colours represent an ethnic rite. The emphasis of ornamentation on the temple and association buildings is considered important among Chinese believers. 4


Indian temples

4. The Front Porch: This area of the temples usually has a big metallic bell that hangs from the ceiling. Devotees entering and leaving the porch ring this bell to declare their arrival and departure. 5. The Reservoir: If the temple is not in the vicinity of a natural water body, a reservoir of fresh water is built on the temple premises. The water is used for rituals as well as to keep the temple floor clean or even for a ritual bath before entering the holy abode.

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he architecture of Hindu temples evolved over a period of more than 2,000 years and there is a great variety in this architecture. Hindu temples are of different shapes and sizes – rectangular, octagonal, semi circular – with different types of domes and gates. Temples in southern India have a different style than those in northern India. Although the architecture of Hindu temples is varied, they mainly have many things in common.

6. The Walkway: Most temples have a walkway around the walls of the inner chamber for circum-ambulation by devotees around the deity as a mark of respect to the temples god or goddess.

British colonial buildings

The 6 parts of a Hindu Temple: 1. The Dome and Steeple: The steeple of the dome is called ‘shikhara’ (summit) that represents the mythological ‘Meru’ or the highest mountain peak. The shape of the dome varies from region to region and the steeple is often in the form of the trident of Shiva. 2. The Inner Chamber: The inner chamber of the temple called ‘garbhagriha’ or ‘womb-chamber’ is where the image or idol of the deity (‘murti’) is placed. In most temples, the visitors cannot enter the garbhagriha, and only the temple priests are allowed inside.

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ue to the constraint of fire, flood, filthy condition and overcrowding in Malay Peninsular during 1881-1882, the government decided to rebuild the colonial town. Consequently in 1884, Frank Swettenhem, the British resident of Selangor, had introduced Building Regulations and town planning methods was imposed in all the building constructions. In 19th century, the British had adopted architecture style, originated from the British building style, a mixture of the British and Moghul Architectural style (Indian Muslim) in India. This architectural style is commonly used in administrative buildings. According to Gullick (2000), before the Second World War, the British had started to make its impact in Malaya’s architecture. In most British colonial countries, the Public Works Department (PWD) was entrusted to design and construct the public sector buildings such as government offices, court buildings, schools, station buildings, quarters or human resources and plantations.

3. The Temple Hall: Most large temples have a hall meant for the audience to sit. This is also called the ‘nata-mandira’ (hall for temple-dancing) where, in days of yore, women dancers or ‘devadasis’ used to perform dance rituals. Devotees use the hall to sit, meditate, pray, chant or watch the priests perform the rituals. The hall is usually decorated with paintings of gods and goddesses. Aesthetically, British colonial architecture in Ma5

laysia is essentially a hybrid. Under Western influence, the buildings sometimes look Classical, sometimes Gothic and sometimes show the influence of oriental forms. Most of them were modified to a greater or lesser degree by the use of local building materials and architectural traditions. Generally, the buildings can be classified into

half-timbered walls, was the typical model for some of the earliest social club buildings in the country. Some examples of Neo-Classical buildings are the elegent Municipal Council building in Georgetown built in 1879, the Town Council Offices (former Police Contingent building) in Klang built in 1910, and the Seremban State Library which was formerly known as the State Secretariat building built in 1912. The architects used classically proportioned columns and plaster, using Doric, Ionian and Corinthian capitals, to create these majestic structures.

several architectural styles including Moorish, Tudor, Neo-Classical and Neo-Gothic. There are relatively few colonial buildings built in the Neo-Gothic style. For instance, Carcosa manThe Moorish influence can be seen in many build- sion, another good example of the hybrid nature ings in the heart of Kuala Lumpur, such as the Old of colonial architecture, which is located on a hill General Post Office and the majestic Sultan Abdul top in Kuala Lumpur. Samad Secretarial Buildings, both of which were The building was origbuilt between 1894 and 1897. They were designed inally built in 1897 as by Arthur Charles Alfred Norman (A.C.A. Norman), a the official residence for senior architect in the Public Works Department of Sir Frank Swettenham, Malaya. Othwho was the British er buildings Resident-General of the include the Federated Malay States. The design of the building Railway Sta- was largely influenced by Tudor and Gothic styles. tion (1911), and the As might be expected, religious buildings are mainRailway Ad- ly Neo-Gothic. An example of this Neo-Gothic archiministration tecture is the Headquarters (1917). The latter two buildings were Church of the designed by A.B. Hubback, an acting chief architect Holy Rosary in of Malaya who had worked for a time in the public Kuala Lumpur Works Department in India. To portray the Islamic built in 1903. faith of the Malays, the architect looked to the Mo- The building ghul architecture of northern India for inspiration. portrays many of the typically Tudor, however, is the architecture style of two so- Gothic features cial club buildings in Kuala Lumpur. They are the of the churchRoyal Selangor Club building, built around 1884, es of Europe. and the Selangor The church Chinese Club built was estabin 1929. The arlished to serve chitectural style, the needs of which features the Chinese large exposed community in wooden beams in Kuala Lumpur. 6


Post Independence buildings

When Malaysia obtained its independence, there were quite a number of Malaysian architects who studied abroad especially in UK and Australia had returned home. During the time, the major architectural firms were managed by emigrants and automatically they were given commissions by the British Trading Houses in Malaysia. Chen (1987) cited that alaya’s independence was declared in the local Malayan architects began to take over the 1957. After Independence Day, Malay- firms when the colonial British administration left sia’s development had a drastic change. Malaysia. The architecture style during this period As stated by Yeang (1987), the govern- still remained “international style”. The majority of ment gave emphasis to the development of the the architect firms were significantly influenced by country in various sectors especially to the com- the modern architecture. This can be seen through mercial and administrative sectors. That is when the work of Lee Corbusier, Mies Van Der Rone, Walthe commercial and administrative centre in Kuala ter Gropius, Smithsons, Lasdun, and the Brutalist Lumpur was established. An idea of residential satel- movement during the 50’s and the high-technololite town was gy influences proposed during the and took early 90’s. into consideration Through the to support design of the capital the individcity. Origiual houses, nally, during it was best the 50’s and reflecting 60’s, Petalthe basis ing Jaya (PJ) of trained in Selangor architects. was planned Consequentfor some ly, this had new develappeared to opment as be signs of a dormitodissimilarity ry town to in designs Kuala Lumbetween pur. The purthose studpose of this ied in Austraplanning lian schools was to cater the fast growing of Kuala Lumpur’s and British schools. The earlier house designs took population in the future. Petaling Jaya had how- more consideration on the climate and the use of ever outgrown its original role and slowly became timber had been part of the element in Australian a residential city instead. The type of people who designs. Nevertheless, those who studied in British stayed in PJ and worked at Kuala Lumpur can be schools had more emphasis on modernisation with reflected by the type of houses built in this area. new approaches towards the use of different maThe early houses built in this area were either sin- terials and technologies in building construction. gle or double storey houses with the most simple and plain designs and were affordable for the Beside houses, shophouses were also one of the middle income buyer. While the bungalows with major components of urbanism in Malaysia, and bigger compounds were cater the richer buyer. they had been the source of economic growth and Over the pass few years, the governmental under urban development before 1970s. Just as stated by the PJ Municipality was enlarged gradually. More Teh (1987), during the early 20th century, three stoand more areas are opened for housing develop- rey shophouses were introduced in Kuala Lumpur ment as the population increase tremendously. and was quite popular compared to the normal design of single or double storey shophouses in other 7

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places. This is caused by the increasing demands of urban compactness and land values. However the traditional arrangement of shophouses linking to the street remained the same. Generally, this model of development within traditional linear blocks along the streets sustained even though there were buildings higher than three storeys. This kind of expansion in development prolonged until 1970s. The street pattern of linear blocks had actually constrained the size and structure of the buildings. However after that, the pattern of urban development changed progressively as high rise buildings and skyscrapers began to emerge in our country. Kuala Lumpur was the earliest place in Malaysia to have built high rise buildings. The development of high rise buildings became most intense and had lead to the conversion of two storey shophouses into high rise commercial buildings. By middle of 18th century, some of the local architects had made an effort to convey a Malaysian identity into architecture by using structures and elements of traditional architecture. This idea apparently can be seen interpreted in the British Council Building by using a Malay styled roof but with British styled structure and design. This was followed by the National Museums in a more typical style. There were attempts to design The Putra World Trade Centre Complex to be a stylish tower. The convention hall was designed in the form of a traditional palace and is clad in glass. However, to bring out the Malaysian identity of this building, it has made use of over scaled Islamic arches to coherent with the identity. The combination of both Islamic and Malay culture elements appeared to be an ideal design of the architects to articulate national identity. It is noticeable that the Malaysia’s architectural heritage is culturally different from others. There had been stages of transition through centuries. They vary from colonial public buildings and residences to Chinese shophouses to Malay village houses and palaces. This also happened in Malaysia’s society, particularly with the rapid growth and urbanization. Some architects think that implementation of too many kinds of architectural style is too stiff compared to the adoption of various influences and consider this as being more appropriate in architectural sector. In this modern convention, three functions of shops, offices and apartments are articulated in three blocks. However, there are diverse elements and details of stepped terraces, curtain walling and colours, which were highly expressed through the various facades. Until now, Malaysia’s building designs still have adaptation of different building and cultural influences, both regional and international.

Heritage and historical town

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he historic cities of Melaka and George Town both developed on different areas of the Straits of Malacca. They both experienced over 500 years of trading between East and West. The Straits of Malacca are the longest straits in the world and are still well-used by international shipping. The location is what made these cities develop into major trading ports in the early days. Inevitably the Asian and European influences can still be seen along with the multicultural heritage of these cities. Melaka demonstrates its early history beginning with the 15th century Malay Sultanate and later Portuguese and Dutch periods which are reflected in the government buildings, churches, squares and fortifications of that period. George Town is on the northeast corner of the island of Penang. It represents the British era from the end of the 18th century. Both towns show unique architectural heritage and a cultural influence which are unmatched anywhere else in Asia.

History of Malacca

Malacca was the centre of the Malay world in the 15th and 16th centuries. It grew from being a small fishing village into an important trade port and was the capital of the Malaccan sultanate and the centre of Malaccan history until it fell to the Portuguese in 1511. It was governed first by the Portuguese and then by the Dutch for 183 years between 1641 and 1824 with intermittent British occupation during the Napoleonic Wars. During this time it ceased to be an important port as the Dutch preferred to use Jakarta (Batavia) as their administrative centre. The port silted up and Singapore became a more influential port.

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History of George Town

George Town was founded in 1786 by Captain Francis Light, a trader for the East India Rubber Company. It was named in honour of Britain’s King George III. Light built Fort Cornwallis along the seafront which became the focal point as a trading post and the town quickly grew to a population of 12,000 people by 1804. The original streets still remain and are called Light Street, Beach Street and Malabar Street with many warehouses and passageways down to the sea. Land was reclaimed from the marshes and Beach Street receded inland as can be seen today. A new waterfront was created at Weld Quay in the 1880s. Many banks and trading companies established foreign offices in George Town at that time, including HSBC.

cultural importance is its most defying value. The loss of which will devalue its cultural significance (Orbasli, 2008).Conservation works must preserve and if possible enhance the messages and values of cultural property. These values will systematically help to set overall priorities in deciding proposed interventions, as well as to establish the extent and nature of the individual treatment (Fielden, 2000). It was also stated by Ahmad (2006a), all conservation implementation should consider several factors such as the value of history, architecture, age, function, materials and maintenance and supported from various relevant parties. The importance of building conservation has long known for its contribution in various sectors and communities. It is well known for keeping history evidence that once happened before. As according to Powell (1994), a heritage building contained an explicit and implicit history values; while as in Orbasli (2008), heritage buildings is an important part of the built environment in which history and cultural evidence can be found by exploring heritage buildings. The importance of conservation categorized as below:

To Restore and Appreciate the Uniqueness of a Cultural Heritage

Each, historic building has its own uniqueness and this clearly seen in architectural point of view, origin materials, settings and layout and the cultural landscape. It is not a complete built environment without the contribution of historic building, as hisThe two historic cites were added to the UN- toric building is an intrinsic part of it (Orbasli, 2008). ESCO World Heritage List in July, 2008. An architectural style is one of a medium that tells on their origin or influences in which, creates evaluable emotion of appreciating the historical value in a cultural property. The historic significance in cultural properConservation and the Importance onservation process is generally known as ty is a strong evan action to extend and prolong a life of an idence to show object. It practices the importance of value which needs to be determining in preserving a cultural property. It contains two activities; to care and safe guard from being destroyed or changed without careful planning (Harun, 2005). Conservation is also viewed as a process to manage the changes while development, is the mechanism that delivers change (Orbasli, 2008). Conservation also includes activities to prevent decay, which contains all acts to extend the life of a cultural and natural heritage (Fielden, 2000).The significance of a building or place of historic, architectural and 9

Building conservation

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era or indicates historical events that once happen (Ahmad, 1994).Historical buildings are well known for its beautiful design, impressive workmanship and construction. Till now, historic building are still used in commercial sector or privately owned. According to Orbasli (2008), in a time of increasing environmental consciousness, existing old buildings are important resources, in which, with sufficient care, can continue to be useful for a very long time. In fact, the interest, from the architectural significance is one of the benchmark to be an evidence of civilization, fineness art and craftsmanship and construction technology of the past (Kamal et al., 2007). Young (1991) and Orbasli (2008), extending their view on the technical aspects in which the importance of creativity and technology innovation are importance evidence of creations.

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thnic groups in Indonesia are often associated with their own distinctive form of rumah adat. The houses are at the center of a web of customs, social relations, traditional laws, taboos, myths and religions that bind the villagers together. The house provides the main focus for the family and its community, and is the point of departure for many activities of its residents. Villagers build their own homes, or a community will pool their resources for a structure built under the direction of a master builder and/or a carpenter.

Image and Identity of Historic City

Historic buildings are known for its contribution in protecting identity values of a place. According to Idid, (1996), identity is variations images of places, to distinguish each of it from another. The component which creates identity in a town or places is by the old existing buildings. As documents of the past, historic buildings are important source of historical materials as the paper and parchment used by historians. Therefore it is important to conserve and preserve historic buildings because it provides a sense of identity and continuity in a fast changing world (Kamal, et al., 2008). The uniqueness of a townscape is one of cultural value, thus, if it vanishes, replacement will not be the same (Idid, 1996).

Traditional architecture in Indonesia

The majority of Indonesian peoples share a common Austronesian ancestry, and traditional homes of Indonesia share a number of characteristics with houses from other Austronesian regions. The earliest Austronesian structures were communal timber longhouses on stilts, with steep sloping roofs and heavy gables, as seen in, for example, the Batak rumah adat and the Torajan Tongkonan. Variations on the communal longhouse principle are found among the Dayak people of Borneo, as well as the Mentawai people. The norm is for a post, beam and lintel structural system that take load straight to the ground with either wooden or bamboo walls that are non-load bearing. Traditionally, rather than nails, mortis and tenon joints and wooden pegs are used. Natural materials - timber, bamboo, thatch and fibre - make up rumah adat. Traditional dwellings have developed to respond to Indonesia’s hot and wet monsoon climate. As is common throughout South East Asia and the South West Pacific, most rumah adat are built on stilts, with the exception of Java and Bali. Build10


ing houses off the ground allows breezes to moderate the hot tropical temperatures; it elevates the dwelling above storm water runoff and mud; it allows houses to be built on rivers and wetland margins; it keeps people, goods and food from dampness and moisture; lifts living quarters above malaria-carrying mosquitos; and reduces the risk of dry rot and termites. The sharply inclined roof allows the heavy tropical rain to quickly sheet off, and large overhanging eaves keep water out of the house and provide shade in the heat. In hot and humid low-lying coastal regions, homes can have many windows providing good cross-ventilation, whereas in cooler mountainous interior areas, homes often have a vast roof and few windows.

are called Phteah Rông Doeung, which may be derived from thbal kdoeung, meaning that a rice mill was stored at the back of the house under a second awning. A common feature in every type of house is a 5–10 cm gap, on all four sides, between the top of the wall of the upper floor and the roof.

D wellings are raised on stilts that sometimes extend as high as 3 meters (9.8 ft.) off the ground. In this way, annual floods do not affect the main room in the houses of rice farmers, whereas rural farmers are able to use the ground level area beneath the house for working and to provide shelter for livestock. One or two wooden ladders, ramps or staircases provide access to the upper floor. The simplest houses consist of only one room on the upper floor, partitioned off to provide a storage place for rice, a bedroom for the parRural Khmer houses are traditional house ents, and a further space for unmarried daughters.

Traditional architecture in Cambodia

types of the Khmer people.

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ypically, rural Khmer houses are rectangular two-story buildings, varying in size from 4 meters (13 ft.) by 6 meters (20 ft.) to about 6 by 10 meters (33 ft.). The basic structure consists of a wooden frame, and the roof is erected before the walls on the upper floor are inserted. The roof frame defines the type of the house: a gabled roof (Phteah Rông Daol), a hipped roof (Phteah Pét), the Khmer house (Phteah Keung) with a roof shape sometimes called a bonnet roof or shikoro in Japanese. In Battambong province most houses have open spaces beneath the roof. They 11

The upper floor generally consists of one large room. The main part of this room, the area where visitors are received, is defined by four central pillars; in this space there will be a figure of Buddha, a television, and a battery-operated electric light in the center attached to the pillars. The parents’ sleeping space is situated either to the left or the right of the central entrance; textiles are often hung to separate this area from the rest of the room. To the back of the upper floor, on the left, is a space for the girls, whilst the boys have a space reserved for them on the right. This arrangement may vary from one family to another, but children are always separated by gender and placed at the back of the house. Other variations in position relative to the main central area are possible, but this room, with a figure of Buddha, television and battery-operated light, always remains the most important area. Despite indoor and outdoor temperatures of 36 °C (97 °F) and up to 80% relative humidity the old rural Khmer houses are very comfortable, both at ground level and on the upper floor. In spite of the absence of electric or mechanical air conditioning, a draught-free environment appears to be attained simply by means of natural ventilation.

Traditional architecture in Thailand

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he architecture of Thailand is a major part of the country’s cultural legacy and reflects both the challenges of living in Thailand’s sometimes extreme climate as well as, historically, the importance of architecture to the Thai people’s sense of community and religious beliefs. Influenced by the architectural traditions of many of Thailand’s neighbors, it has also developed significant regional variation within its vernacular and religious buildings.

Thai houses are made from a variety of wood and are often built in just a day as prefabricated wood panels are built ahead of time and put together on site by a master builder. Many houses are also built with bamboo, a material that is easily constructed and does not require professional builders. Most homes start out as a single family home and when a daughter gets married, an additional house is built on site to accommodate her new family. Although the house is built with prefab panels that are easy to rearrange, there are taboos against rearranging a house. A traditional house is usually built as a cluster of physically separate rooms arranged around a large central terrace. The terrace is the largest singular part of the home as it makes up to 40% of the square footage, and up to 60% if the veranda is included. An area in the middle of the terrace is often left open to allow the growth of a tree through the structure, providing welcome shade. The tree chosen is often flowering or scented.

It is important for the Thai peoAs the phrase ple to draw in “Thai stilt house” their natural sursuggests, one roundings by universal aspect placing potted of Thailand’s plants around traditional arthe terrace. In the chitecture is the past there were elevation of its strict taboos rebuildings on garding which stilts, most complants could be monly to around placed directhead height. The ly around the area beneath the house (in current house is used for times these are storage, crafts, often ignored for lounging in the the sake of aesdaytime, and sometimes for livestock. The houses thetics). The level of the floor changes as one moves were raised due to heavy flooding during certain from room to terrace, providing a wide variety of poparts of the year, and in more ancient times, preda- sitions for sitting or lounging around the living areas. tors. Thai building and living habits are often based on superstitious and religious beliefs. Many other Furniture is sparse and includes a bed platform, dinconsiderations such as locally available materials, cli- ing table, and loose cushions for sitting. Sleeping mate, and agriculture have a lot to do with the style. areas are set up so that the beds are aligned with 12


the shorter end of the room (as sleeping parallel with the length is similar to lying in a coffin). The d i re c t i o n that the head points towards can never be the west as that is the position bodies are laid in before cremation.

Its Spanish colonial descendant, the bahay na bato (“house of stone”) was a translation of the bahay kubo into more permanent construction materials and techniques. While there are some differences (e.g. the bahay na bato’s silong is enclosed with masonry, transforming it into a zaguan), the original DNA of the bahay kubo — among other traits, the simple plan, the raised house, the light upper floor construction — remains identifiable.

Traditional architecture in Philippines

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he bahay kubo (literally, “cube house,” as derived from the Spanish “cubo”) is an indigenous dwelling common in the Philippine lowlands; as a type, it is also found throughout Southeast Asia. As its name suggests, the bahay kubo is square/rectangular in form. It is traditionally a lightweight and pliant structure made of wood and bamboo, and raised on stilts. The space beneath the hut (“silong”) is usually left open to the elements with the living area provided on the raised level. Before being replaced by contemporary materials such as galvanized iron, roofs were thatched with nipa palm or cogon grass.

While the intent of this essay is not necessarily the replication of the bahay kubo or the bahay na bato, they embody several design and construction principles that may be considered in the creation of new Leaner housing. Some of these principles and their Lean interpretations are discussed in further detail below.

Construction and Materials

The bahay kubo and bahay na bato employ traditional post and lintel construction/ platform framing. As noted above, the pre-Hispanic bahay kubo utilizes building materials that are abundant and immediately available (e.g. timber, bamboo, palm fronds and grass), creating a light structure suited to the tropics. The simple construction and use of local materials facilitate the dwelling’s easy reconstruction and/ or repair following earthquakes, typhoons or floods. Lean building begins with employing simple construction methods, using local, readily available materials. While the bahay kubo by nature is an impermanent structure, its light and simple structure nonetheless may easily be constructed by less-than-skilled labor.

Floor Plan and Spatial Arrangement

13

These traditional Philippine dwellings are typically simple rectangles or squares in plain/simple boxes in form. In the most traditional bahay kubos, which generally range from 320 to 550 square feet, the raised dwelling area is in fact

a single, large space, variously used as a living room, dining room and bedroom. Typically, the only enclosed room in the otherwise open plan is the celda; this room is provided and used only for the most intimate functions (e.g. washing, changing clothing) and for securing valuables.

By keeping the form and massing simple, the bahay kubo and bahay na bato engender economy in both materials consumption and construction. Similar American precedents, in terms of plan compactness and simplicity, include the shotgun cottage and railroad houses. Meanwhile, dwelling units above garage spaces are commonly seen in tuck-under houses, and, for smaller dwellings, in carriage houses and mews. Live/ works and courtyard houses are also popular house types in many traditional neighborhood developments; the former Leanly cultivate small businesses, while the latter are especially effective for maximizing habitable floor area, light, ventilation and privacy on a small lot.

The average size of the bahay kubo In larger houses, the spaces within the dwelling is comparable in size to the Katrina Cottages. With are arranged as a series of layers that flow into the growing advocacy for smaller, more efficient each other — defined volumes but not full enclo- houses, open plans with multifunctional areas sures — with mutable partitions and boundaries. help create the illusion of space even in the most modest of dwellings. Presently, many municipaliThe bahay kubo is raised on posts to avoid the ties impose a large minimum residential lot size; if damp earth, or worse, floods, and to prevent in- Lean, smaller houses are to be affordable, this minsects and animals from entering the house. Do- imum lot size needs to be significantly reduced. mestic animals, tools and implements are kept in the silong. The raised floor also allows air to Last but not least, the concept of a central space rise up between the floor slats, cooling the living or room around which a house might be arspace. The raised habitable area is retained in the ranged and subsequently be expanded has bahay na bato, where the ground floor zaguan re- parallels in the kernel house or growhouse. mains for storage, carriage parking and/or small- DPZ’s Nightwing- Daywing Dwelling Assemscale business use. The bahay na bato may also bly system is a variation of this Lean strategy. incorporate a courtyard/patio, providing an additional private area for the family, as well as al- Walls and Openings lowing more light and ventilation into the house. With an internal wooden frame, the bahay na bato’s ground floor stone walls are non-load bearing and mitigate severe damage in the event of earthquakes. In addition, the upper floor typically extends beyond the line of supporting posts. With the upper exterior walls being non-load bearing and lightly constructed, tall and wide wall openings for maximum daylight and cross-ventilation are possible. Indeed, the windows of the traditional Philippine house take up a high proportion of the wall surface area, in many instances more than 50 percent. 14


The window system itself comprises multiple components, with one layer of sliding panels fitted with translucent windowpane oyster shells (“capiz”) and a second layer of manually operable wooden louvers. The capiz panels slide wholly into recesses in the walls for maximum ventilation, while the wood jalousies can be adjusted to block the harsh sun. In inclement weather, the sliding capiz panels can be completely shut while still permitting daylight into the house. Transom windows/ vents above the main windows and under the roof eaves, as well as ventanillas — small shuttered windows with balusters or grills placed below the main windows — let air in even when the capiz panels are drawn (e.g. at night). In some houses, voladas (perimeter passages) are also provided, allowing air to circulate around, and cool, the house. (They also permitted servants to circulate from room to room without disturbing the master’s family in the main living spaces. Some voladas were larger, allowing the women to “paseo”, promenading indoors/walking the perimeter of the house while chatting.) Overall, this comprehensive system, while low-tech, allows full control of the amount of light and air entering the house.

water. The steep slope also helps draw hot indoor air upwards to the top of the roof and away from the living areas. Deep overhangs protect the large windows from harsh sunlight and rain, with vented soffits to further assist in dissipating the hot air and moderating the temperature inside the roof structure, and consequently, the living spaces below.

1.https://vernaculararchitecture.wordpress. com/2011/12/30/hello-world/ http://www.hbp.usm.my/conservation/malayvernacular.htm 2.http://www.hbp.usm.my/conservation/chinese__architecture.htm 3.http://www.malaysiantemples.com/2012/04/hindu-temple-architecture-part-1.html 4.http://www.hbp.usm.my/conservation/British/ britishcolonial1.htm 5.http://corporate.tourism.gov.my/mediacentre.asp?page=feature_malaysia&pagemode=search&news_id=176&subpage=archive

The bahay na bato with its non-load bearing ground floor walls has its parallel in the post-hurricane Katrina stilt-raised house with collapsible ground floor walls. As the possibility of more future superstorms looms, the bahay na bato might provide lessons for maintaining urbanism with houses whose main habitable spaces are raised above the ground floor.

6 . h t t p : / / w w w. m a l ays i a d e s i gn a rc h i ve. o rg / an-influence-of-colonial-architecture-to-building-styles-and-motifs-in-colonial-cities-in-malaySimilar to the disposition of windows and oth- sia/ er openings, the strategies employed in the roof design of the bahay kubo/bahay na bato are 7.http://worldheritage.routes.travel/world-herilargely practical responses to climatic conditions. tage-site/historic-cities-of-melaka-and-georgeNotwithstanding the cost of a taller roof profile town/ relative to a lower one, these Lean, vernacular techniques are less expensive technologies com- 8.https://www.academia.edu/1799459/Conservapared to costly high-tech appliances and systems. tion_Activities_of_Old_Traditional_Mosque_in_ Malaysia_An_Overview 9.http://juliesartoni.blogspot.my/2012/03/traditional-architecture-of-indonesia.html

Secondly, with high energy and maintenance costs becoming a growing concern in home design and construction, vernacular lighting and ventilation systems such as those in the bahay na bato may provide a Leaner alternative, mitigating reliance on more expensive approaches. LEED standards prioritize high-tech strategies (e.g. the use of EnergyStar fixtures/devices and green HVAC systems) and prefer the measurement of sustainable performance in absolutes, yet say relatively little about, if not discourage, passive solutions. Conversely, effective low-tech systems as described above encourage, if not require, a greater degree of tolerance, and are among the main advocacies of Lean Urbanism.

10.https://en.wikipedia.org/wiki/Rural_Khmer_ house

Roof and Eaves

15.https://rsarchkl.wordpress.com/

The roof is regarded as the most important element in Filipino architecture. Traditional Philippine dwellings have a steep slope for easily shedding rain, with means for capturing and storing rain15

REFERENCES:

11.http://www.orientalarchitecture.com/thailand/ statewide/thaihousesa.php 12.http://leanurbanism.org/publications/lean-interpretations-from-philippine-vernacular-architecture/ 13.https://en.wikipedia.org/wiki/Architecture_of_ Indonesia 14.https://en.wikipedia.org/wiki/Architecture_of_ Thailand

16.http://templenet.com/temparc.html#South 17.http://www.hbp.usm.my/conservation/SeminarPaper/PAPERRIYADH.html 16


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