The Golden Green

Page 21

THE GOLDEN GREEN

AY 2019/2020 M.ARCH THESIS, SEMESTER 1/2 LUH ASTRID MAYADINTA DEPARTMENT OF ARCHITECTURE SCHOOL OF DESIGN AND ENVIRONMENT NATIONAL UNIVERSITY OF SINGAPORE THESIS ADVISOR ERIK G L’HEUREUX DEAN’S CHAIR ASSOCIATE PROFESSOR
23

The Golden Green

A Journey On The Land Of The Deep-rooted

1 19/20
A/P Erik L’ Heureux Advisor Luh Astrid Mayadinta
23
23
45 1 Blora 2019

setiap kali menatap rimbun daunmu

selalu terlintas masa kecil di kampung halaman

di kanan kiri pekarangan

di belantara hutan-hutan

sosokmu seolah menyatu

dalam gerak hidup para penghuni desa

kau iklhaskan daunmu pada para penjual tempe

membungkus biji kedelai yang ditanam petani

menghidupi para pedagang dan anak-anak yang kelak menjadi pemimpin

kaurelakan daunmu menjadi pengemas makanan kenduri

kauserahkan ranting dan dahanmu yang mengering

pada para pencari kayu bakar

bahkan daun-daunmu yang kering

Kau biarkan menjadi abu mengiringi ritual bakar singkong pagi hari

dan yang lebih membuatmu bernilai

batang tubuhmu membuat orang-orang kaya rela

membelimu dengan harga tinggi

menyulapmu menjadi perabotan, mebel, rumah bahkan istana

bahkan bisa melambungkan status sosial dan gengsi

setiap kali menatapmu

dari atas balkon rimbunmu menyeruak

ke masa silam

kala bersama teman-teman kanakku berburu sarang burung di pucuk-pucukmu

atau memukul biji-biji keringmu dengan batu

lalu kumakan layaknya kwaci

dan memanjat dahanmu sambil menikmati udara siang hari

lepas sekolah

oh, indahnya desaku dahulu

hidup dikelilingi pohon jati di sana-sini

dan saat musim penghujan

kaurelakan daunmu digilir sang ulat

beberapa minggu kemudian kepompong bersarang

sebagian turun dari daun dan bertapa di balik batu

masa panen kepompong telah tiba

inilah saatnya bagi penduduk desa

menambah hidangan protein di meja makannya

dan setiap sore saat menatapmu

dari atas balkon gedung kantorku

aku seperti menonton televisi

yang menayangkan siaran nostalgia

masa kecilku

Jakarta, 2 Desember 2015

Heri Purnomo

45
67 2 Desa Klopoduwur, Blora 2019

each time staring at your lush leaves always crossed childhood in my hometown on the left or right of the yard in the jungles of the forests your figure as one in the life of the villagers

sincerely giving your leaves to the tempe sellers wrap soybean seeds planted by the farmers support the children who will become leaders you give up your leaves to pack food for rituals

you hand over your dry branches to firewood seekers even your leaves are dry You leave it to ashes to greet the morning cassava roasting ritual

and what makes you more valuable your structure makes rich people willing buy you at a high price turn you into furniture to houses to palaces can even catapult social status and prestige

every time I look at you from the top of your lush balcony burst to the past

when with my childhood friends hunt bird nests in your shoots or hit your dried seeds with stones then eat it like sunflower seed and climb your branches while enjoying the afternoon air after school oh, the beauty of my village live surrounded by teak trees here and there

and during the rainy season you rotate your leaf around the caterpillar a few weeks later the cocoon nest some descended from leaves and were imprisoned behind stones the cocoon harvest has arrived it’s time for the villagers add protein dishes to the dining table

and every evening while looking at you from the balcony of my office building like watching television broadcasting nostalgia of my childhood

Jakarta, 2 December 2015

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e Golden Green
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Contents

Abstract

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

89
1011 Blora 2019

The enthusiasm of Teak as exotic hardwood implanted by the colony in the 1600s has created a misleading appreciation towards the value of material production in Blora. Being on the equator has brought up sensitivity towards its enormous forest resources and the intrusion of modernism that affect the methods of architecture in hot and wet climates. Different age of trees will produce different sizes of trees with different qualities to be harvested for a more specific use. Back to the 1600s the Dutch found a stretch of forest populated with more than 40 years old teak trees (Perhutani 2019).The allure starts immediately and it becomes more valuable than spices, the main reason for colonization in Java. Further research and technology has been implemented to translate the fantasy of luxurious timber into an everyday banal material. The thesis aspires to have a series of details as theoretical concern in architecture and to deal with this “new gold” as a product of capitalism to offer Teak as a choice of construction material in small to medium Javanese cities that carries a deep historical value in this everchanging political climate. More importantly, the investigation aims to positionTeak and its craftsmanship in this context to understand in which way to help the practice of architecture in the growing urban settlement.

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Abstract
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Contents

Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

1213

The mystery of equatorial architecture is entirely based on the close relation between the land and human life.The equator has brought up manifestation over its rich forest resources that its value started to disappear together with people’s inability to appreciate it.This tropical forest has been the lung for some countries, some of its products are a vital part of human’s daily life more than one can imagine, to provide everyday’s meal, travel to work, sit on a chair, write daily checklist, or simply to wipe the dirt out of things. It is also a home for biodiversity and the source for many different human settlements.The ongoing deforestation resembles the clearing of primary forest in the world, at the current pace, experts has expected rainforest to disappear within the next three decades.

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The Architecture of the Equator

The Architecture of the Equator

This interrelations between the land and human life construct the most spontaneous architecture form called rural architecture. It is a direct result of the equation of land, people and material resources within the surrounding. Different regions will produce different types of woods that would then result in different adaptation of rural architecture.The contribution of craftspeople is also an important factor to produce architecture in the region as they seem to master the knowledge of construction technique using the only available material within close distance. Without the supervision of a real architect, the architecture fulfills function and aesthetic with own personal instinct that respond to the condition of local climate.

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Craftsmanship has a really close relation to a particular time and society. Back then, craftsman was understood as a worker who has some capital which enables him to work raw materials into finished product that he can then sell on (Bo Bardi 1958). Not just bringing material profit, it also comes with a personal satisfaction of making something out of your own hands. Living in a region with rich natural resources creates sensibility in producing crafts that could be passed on to generations.

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of the EquatorThe
Architecture

On the other hand, there is a growing enthusiasm over engineered timber products that are often seen as ‘gatecrasher’ to the timber craftsman and it has indirectly shifted architecture in the equator to hide its material value. There is an increasing demand for product that is both aesthetically pleasing and economically viable.This rapid development of advanced technology is bringing a rapid transformation to the way people think. For an architect, it is seen as additional choice of material and has encouraged to take a position of material value, in some ways it could put an end to traditional form by regional craftspeople. Engineered timber products has gone through a very well developed research to replace solid timber in construction site.

The‘manipulation’of timber products should not be seen as a disadvantage,where in some countries craftsmanship and originality of timber products could still be possible to return to.The options of material depends on the matter of applying it to the right circumstances. Positioning these craftsmanship in the ever changing contemporary context is then becoming an exciting journey through the exotic equatorial forest.

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The Architecture of the EquatorThe

The most obvious out-turn of forest in relevance to architecture is tropical hardwood, to be used in almost all construction project in the biggest building scale to the most possible detail of furniture in small houses.These hardwood may refer to any type of wood that grows in a narrow equator band, usually referred to as the tropical zone or torrid zone, delimited in latitude by theTropic of cancer in the Northern Hemisphere at 23°26’12.2” (or 23.43672°) N and theTropic of Capricorn in the Southern Hemisphere at 23°26’12.2” (or 23.43672°) S, correspond to the axial tilt of the Earth (Rutledge 2011).This particular zone are warm all year with an average of 25 to 35 degree Celsius due to its constant exposure to the sun.The seasons are broken up into two: the wet season and the dry season.

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EquatorThe Architecture of the Equator

Tropical rainforests dominated by broad-leaved trees that creates a huge canopy and thick forest.The term exotic hardwood comes from the species known for its extreme hardness and natural beauty, being for the grain, colors and textures.This majority of species offers depth in which hard to replicate and its extraction is usually tightly controlled by some responsible parties. Due to its high demand for these hardwood, the tree became very scarce as time has become the main challenge for its production, also it only grows in certain areas in the tropics, which creates a very high value for these range of tropical hardwood.

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‘The Golden Green’ is a name given by the dutch toTeakTree during their colonization in Java, Indonesia, apart from the actual golden color shown on the grain, because of it preciousness where people see teak as something very valuable like gold.

There are many hypotheses for the origin of natural teak forest in Java island. Although the many versions are implausible to be concluded, its presence could be traced back to the Hindu-Buddhist kingdom era where Java teak came from India, allegedly led by the Hindu (Altona 1922; Charles 1960). Teak forest in Java is natural, however according to scientists the genetic of Indian and Javanese teak is different (Gartner 1956;Troup 1921). The following decades has told different assumptions, during the colonization of Dutch in Indonesia in the 1600s, the Dutch traders known as the Dutch East India Company (Verenigde Oost-indische Compagnie orVOC) found a stretch of teak along hundreds miles in Central Java.These resources were then being managed by them and was mainly used as the main material for ship. In 1961, a town of Jepara, located along the north shore of Java, became the center of trade where at that time, teak has become something that was more valuable than spices.The Dutch has successfully bringing teak to modernization in the 1800s, forcing the local man sources to extract wood for them in return for the ease of tax policy.

After gaining its independence in 1945, Indonesia was tightly controlled by its individual provinces, for some regions, that control was leaning towards a continuation of Dutch colonization.The tipping point was after the collapse of the New Order in 1998, which makes Indonesia began to adapt federal state system.This was followed by enhancing regional autonomy and strengthens local ethnic identities.

Before monetary crisis in 1998, the timber industry in Indonesia is one of the biggest income after petroleum, which also provided a lot of job opportunities in the country.At national level, the political, economic and cultural factors in Java influences directly how social forestry programmes were made in the region. It was intended to involve local people in the management and distribution of forest resources. National government expects state foresters to produce marketable timber and other forest products on a large scale for export or domestic luxury wood markets, usually reluctant to increase local people’s access to take over the resources unless they are employed as labourers (Peluso 1993, 138).

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EquatorThe Architecture of the Equator

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Altona 1922; Charles 1960

The Architecture of the EquatorThe

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Indonesia is the largest archipelagic country, contains 17,000 islands with over 6,000 are inhabited, scattered over both sides of the equator. Politically divided into 34 provinces, Indonesia’s population is reaching 237 million people, with 58% of the population lives in Java island (population density is 1,067 people per km2). Because it is spread unevenly, there is an extreme development difference between megacity of Jakarta, to the primitive tribe in Papua.

Being the most populous island in Indonesia, there is a fascination to unfold the hidden treasure of what makes the island very mature.There are 300 distinct native ethnic groups, compromising 40% of the population.The growth of the city led to a drastic form of equatorial architecture, started by small villages and village alliances derived from the Hindu-Buddhist kingdoms era, the rise of Islamic sultanates, followed by the Dutch colonial periods until the country’s independence.

Central Java is almost entirely volcanic area with active volcanoes. Its mountains and highlands has created a secluded regions suitable for wet-rice cultivation, which makes the majority of people in Java works as farmers. The natural environment of Java is tropical rainforest. Eversince the forest management system has been taken over by the government, the forest is divided into conservation area, production area and protected area. The production area is divided into the main production area and the limited production area. Blora, one regency in Central Java located on the northside of Central Java in the border to East Java and 148 km to the administrative capital of Semarang. Blora was famously known for its huge oil mine. Existing side by side with this oil resources, was the abundant teak plantation which became the biggest main production forests for teak. Blora teak was known for its best quality of teak in Indonesia due to its soil and climate conditions.The soil consists of lime and some volcanic ashes needed for teak to grow and produces the best quality of hardwood.

For the forest to be productive, it requires a process of adding and subtracting trees. Millions of Javanese peasants live alongside state-controlled forest lands in one of the world’s most densely populated forest regions.They have a very limited access to the forest, which pushes them towards illegal use of forest resources. In Blora,Taungya system is being adapted to support public welfare. It is an agricultural system whereby villagers are allowed to cultivate agricultural corps during an early stage of forest plantation. It was started by the Burmese in 1856, since then the system is being used in most countries within the equatorial region (Chamshama 1992). The system allows foresters to reduced labour costs since forest plantation would be taken care of by the villagers, and in return they were given some plot for their own use.

For the Javanese, there is only one type of wood: Teak. It has been used for as long as the Javanese exists and because of its quality, teak is considered a wood for the royal. Joglo house is the traditional house in Central Java which its entire structure and ornament of Joglo house is typically built with teak.

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Without a demand,Teak as natural resources will be just that. It becomes a resource as long as people find a use for a material. However, demand and culture varies over time, what was a precious resource then might not be as precious now, and vice versa. The Dutch hunger for timber used for ship-building back in the seventeenth and eighteenth century had led them to differentiate Teak with other woods available in Java forest. Teak made its way out of the tropics through the Dutch during their colonization in Java. Ever since they used teak as the main material for their ships, its value has increased dramatically and it has become known worldwide as exotic hardwood that are today so sought after by companies for export (Boomgaard 1988).

Teak in Java as natural resources may be seen today as a product of capitalism in today’s scenario. For Karl Marx, “nature” was the location and source of raw materials that were transformed through the productive power of labor and industry but was not inherently valuable in itself (Ciccantell and Smith 2005, 2-8). Apart from its physical properties, there are other factors that constituteTeak as natural resources, such as its potential markets and transport. The demand for the material is obvious, but so little realize how much effort it would take on transportation that is generally costly and complex, even within a short distance.

Equatorial Architecture follows an equation of climate, environment, soil and life.The ability of local craftsman to increase material value indicates that there is still potential, specifically in the region to preserve craftsmanship. The house grows out from the land while still remains deeply rooted into it, establishing a close connection with its material source. With the intervention of the emerging technology to make it more economically and politically viable, it adds up onto the existing equation another equation of technique, aesthetic and function.

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The Architecture of the EquatorThe

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Colonialism created this fantasy around teak as exotic and precious material. In the 1600s, the Dutch started planting the trees in the hope for it to be another resources could benefit the people, at the same time created a new ecosystem that overtime could be a threat for the species to lose its value.As demand increases, technology comes in to grow the tree much faster while still producing a good quality hardwood, leaving them with a regular and banal material to work with.

How to position this valuable hardwood in a context where it’s value is seen differently then what it has known for?

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Contents

Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

2829

Day 0 (26.08)

Singapore - Jakarta - Semarang

12.50 Arrival in Jakarta (Lion Air JT163)

23.55 Depart to Blora (Train)

Day 1 (27.08)

Semarang - Blora

08.46 Arrival in Cepu, Blora (Train)

11.00 Check in at Hotel Same (Car)

13.00 Blora to Desa Klopoduwur (Car)

15.00 VisitWorkshop 1

16.30 VisitTPK

Accomodation: Same Hotel

Day 2 (28.08)

Blora - Jepara

09.00 Survey Kota Blora (Car)

13.00 VisitWorkshop 2 (Car)

18.00 Arrival in Jepara (Car)

Accomodation: Nusantara Hotel

Day 3 (29.08)

Jepara

09.00 Survey Kota Jepara (Car)

13.00 VisitWorkshop (Car)

Accomodation: Nusantara Hotel

Day 4 (30.08)

Semarang - Jakarta

09.00 Arrival in Semarang (Car) 10.00 Visit Perhutani Semarang (Car) 23.00 Arrival in Jakarta (Train)

Day 4 (31.08)

Jakarta - Singapore

12.00 Arrival in Singapore (Lion Air)

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The Journey on the Land of the Deep-rooted

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The Journey on the Land of the Deep-rooted

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Scene 1 Teak forest Scene 2 Desa Klopoduwur (Klopoduwur Village) Scene 3 Interior house in Desa Klopoduwur

The Journey on the Land of the Deep-rooted

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Scene 4 Teak forest and a cow Scene 5 Owner of the house Scene 6 The window

The Journey on the Land of the Deep-rooted

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Scene 7 Arrival of wood log at TPK (Public Log Field) Scene 8 Storage of wood log at TPK (Public Log Field) Scene 9 Storage of wood log at Private Log Field

The Journey on the Land of the Deep-rooted

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Scene 10 Sawmill Scene 11 Cutting into pieces Scene 12 Cutting into pieces

The Journey on the Land of the Deep-rooted

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Scene 13 Drying Teak Scene 14 Cutting Teak Scene 15 Finishes

The Journey on the Land of the Deep-rooted

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Scene 16 Spraying Scene 17 Teak root Scene 18 Teak carving

The Journey on the Land of the Deep-rooted

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4243 1 Teak plantation with 2.5 x 2.5 m spacing 2 Six trees for an 80 m timber house 3 Thinning after 15 years for 25cm diameter tree, harvesting 50% of trees 4 Final harvestng after 40 years for 50cm diameter tree The Journey on the Land of the Deep-rootedThe

Deep-rootedThe Journey on the Land of the Deep-rooted

Despite the extensive plantation area, production rates are still insufficient to meet the high demand of teak timber in Java Island (Iskak 2005). In order to meet that demand, there needs to be improvement in agricultural techniques to make production more efficient to produce best quality of timber.A study is conducted within 1 ha area to see how many trees could be planted to produce the most amount of timber.

Spacing: 2.5 m

Trees: 1,515 (15 years)

Diameter: 0.25 m

Height: 13 m

Volume: 0.64 m3 x 1,515 = 969.6 m3

4243

There is only one typology of house in Blora that populates the city, generally following the traditional Javanese Joglo house.The trace of colonization is hardly seen in these houses, one can say it is very close to primitive house, varied in shape and dimension but made with one material, except for the roof tiles. One house of the size of 56 m2 would cater one family of four people.The construction needs 3.67m3 of timber, approximately 6 trees with 25cm diameter and 15m height. From the calculation, it is speculated that one person would consume 1.5 trees.

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The Journey on the Land of the Deep-rootedThe

Deep-rootedThe Journey on the Land of the Deep-rooted

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In other parts of the world, Teak is used in architecture only as accent, mainly for its durability and its beauty, considering the import forTeak wood has been limited.

Trenton Bath House, Louis Kahn, 1955

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Deep-rootedThe Journey on the Land of the Deep-rooted

Salk Institute of Biological Studies, Louis Kahn, 1955

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The main research area is in Blora, where 49% of its area is covered with teak plantation.There are changing of scenery as we drive across the region.The central, where all the governance happens, mostly covered with one to three storeys building, some are built during Dutch colonization era where the trace of teak can still be seen. Moving towards the east is a stretch of small business ventures and houses, the typology of building starts to get smaller. Here, we can already see some teak plantation. Further away from the city, the forest became thicker, is where all the hidden small villages are.The houses are very close to primitive hut and people lives in the heart of nature.

Blora city has faced a major developmental pressure ever since the independence of Indonesia. Previously, the city was occupied by Kadipaten Jipang Kingdom in the 16th century, then Mataram Kingdom. Blora became one of the most important cities for the running of the kingdom because of its teak forests. During Dutch colonization in the 1800s, the city planning started to be more organized until today where the influence of technology could be clearly seen in the city center.

Just like almost all cities in Java, Blora was centered in the alun-alun, a square known for public use in the middle of the city. Surrounding the alun-alun are the more important buildings, including the governor’s office, the mosque and a bank.The site is an empty land on the North-west side of the alun-alun, adjacent to the governor’s building.The area is filled with majority of painted brick buildings, generally one to three storeys high.

The design started by looking at the hierarchy of Javanese house, where building is mainly divided into three parts, the front, middle and back.The house always started with a low gate surrounding the site to protect from unwanted invaders. On the entrance, there is a patio and a big yard for families to gather and receive guests. Moving towards the main building in the middle, people would go through the main entrance.This is where all the more private rooms are located and where all the residents reside.The back of the house is considered to be the least appealing and is used for services and utilities.

The roof is the most important part of Javanese building.Generally,Indonesian traditional architecture is famous for the variety of roof shapes depending on its specific needs in each region. Behind each design is a deep philosophical reason, in Java case, is to mimic the shape of mountains, as mountains are considered a very sacred place. The chosen size and material for it is clearly responding to the tropical climate and availability of the material.

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Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

5051

The reality in Blora has changed and there is a new challenge to deal with this‘new gold’to offer people construction material as a good investment to achieve a building that is more sustainable and carries a deep historical value.The cycle of material does not stop after they are used in a building.

The proposal of the thesis is to unfold the reality of teak that carry a deep historical value of a building in an ever-changing political climate and to positionTeak as a new regular material and to see its potential in different scenarios, from the way it is treated by people as valuable timber that shows wealth through small infills and building ornaments, until it’s banal used as building structure, originating in unconscious needs and desire of the old Javanese tribe.

The method is to start the design from the smallest matter and focus on detail as theoretical concern of architecture which are fundamental in giving life and personality to space.Teak tree gives a relatively limited standard of sizes for its timber that triggers an exploration in designing a small house as a vehicle, in particular, the elements of its construction.There are various treatments that can be done for the material, each serves different functions and produces different aesthetics, which then produces different architecture.

The journey has brought a new perspective in changing scenarios of Blora city, from the urbanisation happening in the center to the deep forest where the peasant lives.The interest lies in looking into how different methods and treatment ofTeak is used in the existing architecture towards the changing context, from the most man-made, to the most machine-made, which results in a different relationship of teak with interface with other material and creating a different story of construction.

In the past, craftsmen were expected to give a very great deal in the detail of construction, and as the number is becoming very limited, it takes extra effort to design a building that pays care to simple details.Time and cost become constraints, leaving most buildings built up with lack of life and soul.The ambition of the thesis is to break through the standard construction and to emphasize on the role of an architect to pay extra attention to details, as it is the smallest form of architecture and the collective would create a whole different architecture.

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Investigation: DetailInvestigation:

In Blora,Teak is classified into different grades according to its strength and aesthetic.

GradeA -The heartwood is the strongest part with minimum harvesting time of 40 years.The grain is more subtle with gold color.This part of the wood takes up only 25% of the whole tree trunk.

Grade B -This part of the wood is the outmost layer of the hartwood, constitutes 25-30% of the whole tree trunk. The color is lighter with a more irregular grain.This timber works best with furniture making, where additional finishes is desirable.

Grade C - The sapwood is still weather and termites resistant, but not as durable as Grade A and B. It is the outermost layer of the tree where usually being used also for furniture making.

Most of the architecture in Blora city is made up of several layers of material as well as layers of craftsmanship. The structure would use construction grade material which has an advantage of a quick and cheap construction, then would be layered to finish grade which usually takes more time and effort by craftsmanship.The role ofTeak in this scenario is to show its decorative potential to enhance the life of the building.The construction material is left to the easiest and the cheapest available on site, thenTeak would come to cover and finish it all up using high quality craftsmanship.

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DetailInvestigation: Detail
Grade A Grade BGrade C
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Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

7071 Contents
7273 Investigation: SiteInvestigation:
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Contents

Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

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9697 Detail 02 Column (Ver 1) Detail 03 Column/beam Detail 05 Window Detail 01 Teak root balustrade Detail 07 Floor/gutter Detail 08 Floor
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9899 Detail 02 Column (Ver 1) Detail 05 Window Detail 03 Column/beam Detail 01 Teak root balustrade
100101 Detail 09 Axonometric facade 01 Detail 09/10 Elevation facade 01/02 Detail 13 Window 01 Detail 14 Window module 01
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102103 Detail 12 Floor Elevation Detail 15/16 Elevation facade 03/04 Detail 11 Wall.floor Detail 17 Window 02 Detail 19 Window module 03 Detail 18 Wall panel
102103 Detail 15 Elevation facade 03
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104105 Detail 24 Column/beam Detail 25 Column stopper Detail 26 Column/foundation Detail 21 Column (plan) Detail 30 Railing Detail 29 Balcony Detail 39 Floor 02 Detail 28 Window/louvre Detail 27 Axonometric and elevation facade 05 Detail 22 Floor 01
106107 Detail 33/34 Door/window assembly 01/02 Detail 30 Railing Detail 29 Balcony Detail 28 Window/louvre Detail 24 Column/beam Detail 25 Column stopper Detail 21 Column (plan) Detail 35/36 Door/window panel 01/02 Detail 37 Door frame
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Contents

Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

108109

Timber beam (Detail 03)

Timber column (Detail 02, 03, 04)

Concrete floor plate (Detail 07, 08)

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Detail 01 - Teak root balustrade ± 0.00 + 0.50 + 3.00 Detail 06 - Window / louvre
112113 + 0.50 ± 0.00

Detail 02

Column (Ver 2)

Timber plank

d = 25 mm

Finish : raw-sanded

Recycled root cut

d = 100 mm

Finish : raw-sanded

Concrete floor base

d = 200 mm

112113
114115

Detail 03 - Column/beam

Detail 07 - Floor/gutter

Detail 04 - Column/foundation

114115

Timber plank

d = 10 x 150 mm

Wood grade : A

Finish : raw-sanded

Timber beam

d = 60 x 150 mm

Wood grade : A

Finish : raw-sanded

116117
Detail 02 - Column (Ver 2) Detail 02Column (Ver 1)
116117
Concrete floor base d = 200 mm Steel plate connector Steel anchor d = 12 mm L steel anchor Detail 02 - Column (Ver 1)
118119
Timber plank d = 25 mm
Version 1
Cut for beam d = 60 x 60 x 150 mm

Raw tree trunk d = ~300 mm

Timber plank d = 30 mm

Epoxy glue (resin and hardener)

118119 Version 2
120121
Detail 05 - Window

Timber window frame

80 x 100 mm

Finsih : raw-sanded

Bridle joint (mortise and tenon)

Awning window operation

120121

Timber louvre frame

50 x 70 mm

Finish : raw-sanded

Recycled tree bark strip

d = 5 mm

Finish : raw

Mortise and tenon joint

Pivot hinge

122123
122123

Wood

Finish : raw-sanded

Wood

Finish

124125
Concrete floor base d = 200 mm Drain pipe d = 100 mm Drain steel plate d = 5 mm Timber drain cover d = 85 x 200 x 10 mm grade : C Recycled timber chip floor tiles grade : C : raw-sanded

Timber drain cover

d = 85 x 200 x 10 mm

Wood grade : C

Finish : raw-sanded

Detail 02Column (Ver 1)

Recycled timber chip floor tiles

d = ~80 x 160 mm

Wood grade : C

Finish : raw-sanded

124125
126127
126127
128129
128129
130131
130131

Timber beam

d = 150 x 300 mm

Finish : oiled

Timber column

d = 200 x 200 mm

Finish : oiled

Concrete floor plate

d = 200 mm

132133

+ 2.40

Detail 09/10

Elevation facade 01/02

± 0.00

132133
134135
134135
Detail 09 Axonometric facade 01 Detail 10 Axonometric facade 02 Detail 12 - Floor
136137 Timber beam d = 150 x 300 mm Finish : oiled Timber frame profile Finish : oiled Detail 13 - Window 01 Timber panel d = 20 mm Finish : oiled Detail 11 - Wall.floor
136137 Detail 14 Window module 01 Timber beam d = 150 x 300 mm Finish : oiled Concrete floor plate d = 200 mm Timber frame wall d = 100 mm Wood grade : B Finish : oiled Timber beam d = 150 x 300 mm Finish : oiled Timber frame profile Finish : oiled

Timber substructure

d = 40 x 80 mm

Timber panel

d = 100 x 560 x 10 mm

Wood grade : B

Finish : oiled

Timber panel

d = 20 mm

Wood grade : B

Finish : oiled

Timber panel

d = 14 x 50 x 10 mm

Wood grade : B

Finish : oiled

Timber floor tiles

d = 200 x 200 mm

Wood grade : B

Finish : oiled

Concrete sub-floor

d = 50 mm

Steel U channel

Groove line 20 mm

Concrete floor d = 200 mm

138139

Timber floor tiles

d = 200 x 200 mm

Wood grade : A

Finish : oiled

Concrete sub-floor

d = 50 mm

138139
Concrete floor base d = 200 mm
140141

Bridle joint (mortise and tenon)

Timber tilt bar

Wood grade : B

Finish : oiled

Louvre element

Wood grade : B

Finish : oiled

Fixed window element

Wood grade : B

Finish : oiled

140141
Pivot hinge Steel dowel
142143
142143
Bridle joint (mortise and tenon) Glass profile Glass profile Steel dowel Steel tilt bar

Timber beam

d = 150 x 300 mm

Finish : oiled

Timber column

d = 200 x 200 mm

Finish : oiled

Concrete floor plate

d = 200 mm

144145

+ 2.40

Detail 15/16

Elevation facade 03/04

± 0.00

144145

Timber beam

d = 150 x 300 mm

Finish : oiled

Timber column

d = 200 x 200 mm

Finish : oiled

Concrete floor plate

d = 200 mm

146147
146147
Detail 15 Elevation facade 03 ± 0.00 + 2.40
148149 Detail 17- Window 02 Detail 11 - Wall.floor Timber beam d = 150 x 300 mm Finish : oiled Timber frame profile Finish : oiled Timber panel d = 20 mm Finish : oiled
148149 Timber beam d = 150 x 300 mm Finish : oiled Concrete floor plate d = 200 mm Timber frame wall d = 100 mm Wood grade : B Finish : oiled Detail 19 Window module 03 Detail 18 Wall panel Timber beam d = 150 x 300 mm Finish : oiled Timber frame profile Finish : oiled
150151

Louvre element

Wood grade : B

Finish : oiled

Timber tilt bar

Wood grade : B

Finish : oiled

150151
Bridle joint (mortise and tenon) Pivot hinge Steel dowel

Bridle joint (mortise and tenon)

Louvre element Timber panel d = 10 mm

Wood grade : B Finish : oiled

152153
Pivot hinge Steel dowel

Bridle joint (mortise and tenon)

Timber substructure

d = 40 x 80 mm

Wood grade : B

Louvre element

Timber panel

d = 10 mm

Wood grade : B

Finish : oiled

152153
154155
154155
156157
156157
158159
158159
160161
Detail 27 Elevation facade 05 Timber column (Detail 20, 21, 23, 24, 26) Timber beam (Detail 24, 25) Floor (Detail 20, 22)
160161 ± 0.00 + 2.35 + 4.40 + 6.48

Tongue and groove floor joint

Concrete floor plate d = 200 mm

Solid timber floor d = 100 mm

Wood grade : A

Finish : lacquer

Timber floor substructure d = 50 x 100 mm

162163 Detail 21 Column (plan)

Timber profile for cable cover

d = 25 x 25 mm

Wood grade : A

Finish : lacquer

Timber profile

d = 25 x 25 mm

Wood grade : A

Finish : lacquer

Solid timber column

d = 200 x 200 mm

Wood grade : A

Finish : lacquer

162163
164165 Detail 25 Column stopper Timber beam d = 100 x 200 mm Wood grade : A Finish : lacquer Timber beam d = 200 x 100 mm Wood grade : A Finish : lacquer Lasercut timber sheet Finish : lacquer Steel anchor d = 12 mm Steel plate connector L steel anchor Detail 24 Column/beam Detail 26 Column/foundation
164165
Steel anchor d = 12 mm Steel plate connector L steel anchor

Timber beam

d = 200 x 100 mm

Wood grade : A

Finish : lacquer

Timber beam

d = 100 x 200 mm

Wood grade : A

Finish : lacquer

Lasercut timber sheet

Finish : lacquer

166167
Detail 25 Column stopper

Column stopper

d = 130 x 130 mm

Finish : lacquer

Timbel panel

d = 30 mm

Finish : lacquer

Groove line

d = 5 mm

166167
Cut for beam
168169 Solid timber floor d = 100 mm Wood grade : A Finish : lacquer Aluminum drain Vertical timber cover d = 100 mm Finish : lacquer Detail 32 Ceiling Timber floor substructure d = 50 x 120 mm Timber channel d = 40 x 40 mm Timber beam d = 100 x 200 mm Wood grade : A Timber beam d = 100 x 200 mm Wood grade : A Finish : lacquer Timber ventilation grille Wood grade : A Finish : lacquer Detail 30 Railing Detail 29 Balcony Detail 31 Floor (plan) Detail 28 Window/louvre Timber beam d = 100 x 200 mm Wood grade : A Finish : lacquer Lasercut timber sheet Finish : lacquer Timber vent grille Wood grade : A Finish : lacquer Aluminum drain Railing Aluminum folding door track Folding window/louvre Solid timber floor d = 100 mm Wood grade : A Finish : lacquer

Bridle joint (mortise and tenon)

Louvre element

Lasercur

Wood grade : A

Finish : lacquer

Pivot hinge

Timber dowel

Timber frame

d = 20 x 50 mm

Wood grade : A

Finish : lacquer

168169

Detail 30

Railing

Solid timber floor

d = 100 mm

Wood grade : A

Finish : lacquer

Vertical timber cover

d = 100 mm

Finish : lacquer

Aluminum folding door track

Groove line for light

Timber beam

d = 100 x 200 mm

Lasercut timber sheet

Finish : lacquer

170171

Timber rail cover

Wood grade : A

Finish : lacquer

Waterline

Railing

d = 30 x 30 mm

Wood grade : A

Finish : lacquer

170171

Solid timber floor d = 100 mm

Wood grade : A Finish : lacquer

Aluminum drain

Railing

Aluminum folding door track

Folding window/louvre

172173

Ceiling connector

Ceiling timber panel

d = 100 mm

Timber floor substructure

d = 50 x 120 mm

Timber channel d = 40 x 40 mm

Groove cut for light fitting

Hanging light

172173
174175
Detail 36 Elevation facade 02
174175 Detail 35 Elevation facade 01 + 2.35 + 4.37 + 4.75 + 6.48

Timber frame wall d = 100 mm

Aluminum folding door track

Vertical timber siding d = 100 mm

Wood grade : A Finish : lacquer

Hanger

Top pivot

Door hinge

Aluminum folding door track

Tongue and groove floor joint

Timber beam

Solid timber floor d = 100 mm

Wood grade : A Finish : lacquer

Timber floor substructure d = 50 x 120 mm

176177

Hanger

Top pivot

Door hinge

Aluminum folding door track

Tongue and groove floor joint

Solid timber floor d = 100 mm

Wood grade : A Finish : lacquer

Timber beam

Timber floor substructure d = 50 x 120 mm

176177
178179 Detail 37 Door frame Timber frame wall Vertical timber siding d = 100 mm Wood grade : A Finish : lacquer Timber panel d = 15 mm Wood grade : A Finish : lacquer Timber panel grain cut

Mitered mortise and tenon joint

Timber profile

d = 30 x 60 mm

Wood grade : A

Finish : lacquer

Timber panel d = 15 mm

Wood grade : A

Finish : lacquer

178179
Cut for opening and door handle

Solid timber floor

d = 100 mm

Wood grade : A

Finish : lacquer

Timber floor

substructure

d = 50 x 120 mm

180181
Tongue and groove floor joint

Solid timber floor

d = 100 mm

Wood grade : A

Finish : lacquer

Aluminum U-channel connector

Tongue and groove floor joint

Timber floor substructure

d = 50 x 120 mm

180181
182183
182183
184185
184185
186187
186187
188189

Contents

Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

188189
190191 Visual Glossary/Reference
190191 Visual Glossary/Reference

Due to prevent the spreading of COVID-19 on January 2020 onwards, some activity of model making and the possibility to have a physical set up for review needs to be canceled.

192193 Visual Glossary/Reference
192193 Visual Glossary/Reference
194195 Visual Glossary/Reference
194195 Visual Glossary/Reference
196197 Visual Glossary/Reference
196197 Visual Glossary/Reference
198199 Visual Glossary/Reference
198199 Visual Glossary/Reference

Visual Glossary/Reference

Plans were done to get a few samples of models with material finishes. Unfortunately, due to the pandemic, most shops are closed and flight between countries were thought to be to risky.

Product ColourFunction Price Note

IMPRA Wood FillerSH - 113 TeakFiller39000

IMPRA Wood Stain WS-162B Yellow BB/Yellow/Candy Yellow/Candy BrownStain71500Wood Colouring

IMPRA Melamine Sanding SealerMSS-123/124Finish 71500 Transparent

IMPRA Lack Melamine ML-131 ClearDofFinishTransparent

IMPRA Nitrocellulose (NC) Laquer-Antique look finish71500Slow dry oil base glaze

Ultran LasurEL - 501 Classic TeakCoating100000

Super GoldSG-07 WBColour161000

Aqua Parquet LackAPL-850 & APL-851Coating196000

GO FAST A-1000 Optional Colour65000Waterbased

Ultran Politur P-01P-01 Teak/Solar YellowColour65000Interior, top coat optional

Ultran Politur P-03P-03 UV TeakColour80000Exterior, top coat optional

Ultran Vernis V-09V-09 Light Teak40000

Acrylic Polyurethane Solid ColorBlackColour154000Duco

Ultran Weathered Wood Finish Primer WWP-923 Finish WWT-92480000

Furniture WaxPFW-333Finish68000

Ultran Teak OilULO-551/553/555/55766500

200201
200201 Visual Glossary/Reference
202203 Visual Glossary/Reference
202203 Visual
Glossary/Reference
A trip to Sungei Kedut, Singapore to visit the sawmill.
204205 Visual Glossary/Reference
Thesis preparation review in November 2019.
204205 Visual Glossary/Reference
206207

Contents

Abstract

The Architecture of the Equator

The Journey on the Land of the Deep-rooted

Investigation: Detail

Investigation: Site

The Architecture of the Golden Green

The Details of the Golden Green

Visual Glossary/Reference

Bibliography

206207

1. Frampton, Kenneth. 1992. “Critical Regionalism: Modern Architecture and Cultural Identity.” Modern Architecture:A Critical History.Thames and Hudson, NewYok, pp. 313-327.

2. Bohme, Gernot. 1993. “Atmosphere as the Fundamental Concept of a New Aesthetics,”Thesis Eleven. Pp 113-126

3. Orwell, George. 1974. Burmese Days. Mariner Books. Chapter IV,V,VI, pp 49-88

4. Wigley, Mark. 1998. “The Architecture of Atmosphere”, Daidalos 68. Pp 18.27

5. Koenigsberger, Otto. et al. Manual ofTropical Housing and Building. London: Longman, 1973-1974.

6. Koenigsberger, Otto. and Robert Lynn. Roofs in theWarm, HumidTropics. London, Lund Humphries for the Architectural Association, 1965.

7. Koenigsberger, Otto. et al., “Climate and House Design”. United Nations. Dept. of Economic and Social Affairs. NewYork, United Nations, 1971.

8. Horn, Eva. 2016. “Air Conditioning:Taming the Climate as a Dream of Civilization.” in Climates: Architecture and the Planetary Imaginary,The Avery Review: Colombia Books on Architecture and the City. NewYork. pp 233-242.

9. S.A.O., Monela, G.C., Sekiete, K.E.A. et al. Suitability of theTaungya System at North Kilimanjaro Forest Plantation Chamshama.Agroforest Syst (1992) 17: 1. https://doi.org/10.1007/BF00122924

10. Nancy Lee Peluso. Global Ecology and Biogeography LettersVol. 3, No. 4/6,The Political Ecology of Southeast Asian Forests:Transdisciplinary Discourses (Jul. - Sep. - Nov., 1993), pp. 138-157

11. “Tropics’. National geographic Encyclopedia. National Geographic Society. Retrieved 2019-10-26.

209
Bibliography
210211
210211
212 19/20

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