​RE-IMAGINING THE ELEMENTS: TRADITIONAL MALAY JOINTING AS A MODERN CONSTRUCTION SYSTEM

[R E]

I M A G I N I N G

REIMAGINING THE ELEMENTS:

T RA DI TI ONA L MALAY JOIN TIN G AS A MODE RN C ON ST RUC T ION SYST E M

[R E]

I M A G I N I N G

REIMAGINING THE ELEMENTS:

T RA D ITION AL MALAY JOIN T IN G AS A MODE RN C ON ST RUC T ION SYST E M Nur Edzafirah Binti Eddie . 19018039 . Research-Led . MArchD . 2019-2020 Reimagining The Elements

i

Dedicated to home Malaysia ‘Boleh’

ii

Reimagining The Elements

[R E]

I M A G I N I N G

Acknowledgement

Reimagining The Elements: Traditional Malay Jointing as a Modern Construction System

I wish to express my deepest appreciation to all those who helped me, in one way or another, to complete this dissertation. Especially my parents whom never stop supporting me and make it possible for me to carry on this endeavour that yield the outcome of this entire journey.

Also I would like to express my special thanks of gratitude to my helpful tutors, Mike Halliwell and Dr Emma Rowden who have opened every opportunity for me to complete this work with their dedicated involvement and assistance through the process. Not to forget, my fellow friends for being there whenever I need and give their attention to listen and lend me a hand in solving the problems in designing during this project. I am sincerely grateful to them who always supporting me and stood up for me through bad and good times along the process.

Reimagining The Elements

iii

Abstrak

Gambaran Semula Elemen: Kaedah Pembinaan Melayu Tradisional sebagai Sistem Pembinaan Moden

Tanggam merupakan kaedah pembinaan tradisional Melayu yang melibatkan dua kayu dicantumkan bersama bagi proses membina kerangka bangunan yang asalnya tidak menggunakan paku mahupun jenis pelekat yang lain. Sistem ini terdiri daripada reka bentuk dan cara cantuman yang berbeza dalam pembinaan bangunan tradisional Melayu. Sistem yang telah berkembang dan menjadi sebahagian daripada gaya hidup orang tempatan. Walaubagaimanapun, tradisi bangunan ini terabai selepas teknologi pembinaan dan gaya seni bina pesat berkembang. Dalam era globalisasi pemodenan ini, teknologi dan gaya tersebut telah menjejaskan cara pembinaan dan produk seni bina Malaysia yang kurang berkesan serta janggal dalam keadaan iklim dan cuaca negara. Bangunan yang berwajah moden kini juga menyumbang kepada kadar pencemaran alam sekitar di Malaysia. Hal ini demikian kerana pengguna atau penghuni telah mengambil tindakan dalam menyelesaikan masalah ruang yang panas di dalam bangunan dengan penyelesaian yang kurang praktik. Isu ini merupakan titik permulaan penyelidikan ini dalam mengkaji ideologi asas kaedah tanggam Melayu tradisional yang mungkin boleh digunakan dalam proses pembinaan moden. Penyelidikan ini bertujuan untuk menyiasat kaedah dalam menggabungkan cara pembinaan tradisional dan moden agar dapat diaplikasikan dalam proses pembinaan bangunan. Proses reka bentuk penghasilan tanggam moden tersebut akan menjadi sebahagian daripada projek dalam penyelidikan ini yang bertujuan untuk memulihara sekolah Melayu yang kini terbiar dan membina strukture astaka baharu di sebuah kampung di Ipoh, Perak, Malaysia.

Proses penyelidikan ini adalah pendekatan teori yang mengurai maklumat tentang proses membuat tanggam yang asli. Pengkajian tersebut dibuat untuk menggambarkan proses sebenar dalam mencipta bentuk seni bina, kaedah pengeluaran dan panduan pembinaan. Proses penerokaan dan percubaan projek akan menentukan kebolehjadian dalam mencipta kit tanggam yang moden. Beberapa objektif dan soalan penyelidikan akan menjadi kunci dalam mengukuhkan lagi penyelidikan ini yang juga meliputi latar belakang fungsi sebenar tanggam dan manual yang terkini dalam pembinaan kayu yang akan menjadi sebahagian daripada proses untuk menggabungkan kedua-dua kaedah tersebut.

Reka bentuk penerokaan kit tanggam dalam proses seni bina kajian ini bagi mengkaji potensi kaedah tanggam untuk dijadikan kaedah pembinaan moden.

(Malay Language)

iv

Reimagining The Elements

Abstract

Reimagining The Elements: Traditional Malay Jointing as a Modern Construction System

Tanggam is a traditional Malay joinery for a building construction that has an interlocking nature without using nails and other adhesive. The system consists of different designs and purposes usually use for Malay traditional buildings. A system that once evolve and adapt with nature and lifestyle of the Malays. Though, this indigenous building tradition halted after the arising of new construction technologies and architectural styles. The new phase of modernization movement has developed in buildings which contempt the environmental and climatic factors of Malaysia.

The new nature of buildings has affected the users’ way of solving their needs in achieving thermal comfort in a space which leads to unsustainable solution and environmental pollution. This issue has directed the research to study the fundamental ideologies of the traditional Malay kit that can be applied in the modern conducts of construction process. This research is aimed to investigate on ways to mix traditional and modern construction method in producing a workable modern reinterpretation of tanggam. This kit design will be part of the research project that intend to revive and regenerate an abandoned Malay school and design a new pavilion structures within a village located in Ipoh, Perak, Malaysia. It is a theoretical approach that depicts the real application process in architectural design, production methods and construction instructions. The exploration and experimentation process of the research project will determine the prospect in formulating the kit. A set of objectives and research questions are the key in developing the research that covers on the background of how tanggam originally works with the modern timber construction manuals which can initiate ways of merging the both methods together. Design sketches and iterations in exploration process of the research are the architectural approaches in investigating the potential outcome of tanggam system to be made as a modern construction method.

Reimagining The Elements

v

Ta b l e O f C o n t e n t s Page Dedication

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Acknowledgement

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Abstrak (Malay)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

Abstract

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

Table of Contents

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi

List of Tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii List of Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii Introduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 1: Wisdom of Indigenous Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 1.1 Nature of Indigenous Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 1.2 Traditional Malay House Construction Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 1.3 Tradition Analogies

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

1.4 Traditional Malay Buildings

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

1.5 Tanggam’s Identity and Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Chapter 2: The Modern Revolutionary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 2.1 The Thermal Comfort Issue 2.2 Timber Products

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Chapter 3: The Abandoned Place 3.1 Site Location

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

3.2 Site Background

vi

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Reimagining The Elements

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Chapter 4: Case & Precedent Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 4.1 Case Study

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

4.2 Precedent Studies

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 5: Tanggam Reinterpretation Design Development 5.1 Stage 1: The Proposal

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

5.2 Stage 2: Traditional Kit Replication

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

5.3 Stage 3: Modern Modification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 5.4 Stage 4: Kit Wonderland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 5.5 Stage 5: The Learning Centre and Gallery; Phase 1 5.6 Stage 6: Reimagine

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

5.7 Stage 7: Design Iterations

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

5.8 Stage 8: Digital Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 5.9 Stage 9: The River Side Pavilion; Phase 2

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Chapter 6: Tanggam Learning Centre & Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Chapter 7: The River Side Pavilion

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 8: Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Glossary

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Bibliography

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Reimagining The Elements

vii

L i s t O f Ta b l e s Chapter 1: Wisdom of Indigenous Kits Table 1.1: Chronology of historical timber buildings influence in Malaysia illustration by Nur Edzafirah Binti Eddie (after table found in Wong, 1995, p.xiii)

. . . . . . . . . . . . . . 41

Chapter 2: The Modern Revolutionary Table 2.1: Result of frequency of using thermal control devices and natural air ventilation (Ibrahim, 2015) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Table 2.2: Result of the interview with professionals in Malaysia (Ibrahim, 2015)

viii

Reimagining The Elements

. . . . . . . . . . . . . . 49

List Of Figures Introduction Sketches compilation of Malay traditional house characteristics sketch

by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987 p. 68-79) . . . . . . . . . . . . . . . . . . . . . . 2 Sketches compilation the footing revolution (Eddie N.E., 2020)

.............................3

Roof revolution of basic roof to hipped-roof (Eddie N.E., 2020)

......................3

Post and lintel structure system use in Malay traditional house (Eddie N.E., 2020) . . . . . . . . . . . . . . . 4 Modern tanggam gazebo (Senigazebo, 2015)

........................................... 6

Modern terrace housing unit in Malaysia (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 The product after replicating the traditional Malay house in REVIT by author (Eddie, N.E, 2019) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Chapter 1: Wisdom of Indigenous Kits Figure 1.1: Traditional Malay house sketch collage (Eddie N.E., 2020)

......................8

Figure 1.2: Illustration of tree as shading device (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Figure 1.3: Bamboo structures attached with rattan (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 20

Figure 1.5: Tree location guidelines (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Figure 1.4: Guidelines on how to see the quality of timber through tree saps after it was cut (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Figure 1.6: Collection of traditional and manual tools use to make tanggam sketch by Nur Edzafirah Binti Eddie (after drawings found in Wong, 1995, p.72-74) . . . . . . . . . . . . . . . 22 Figure 1.7: Human anthropometrics use by the Malays (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 24

Figure 1.8: The principle sketch by Nur Edzafirah Binti Eddie (after drawings found in Gibbs, 1987) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Figure 1.9: Traditional Malay house construction phase; pelapik tiang - tiang - rasuk (Gibbs, 1987) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Figure 1.10: Traditional Malay house construction phase; gelegar - alang panjang alang lintang - kasau jantan - gulung-gulung - attap -tebar layar (Gibbs, 1987) . . . . . . . . . . . . . . . . . . . . . . 27 Figure 1.11: Traditional Malay house construction phase; Reimagining The Elements

ix

papan lantai - dinding - pintu - tingkap (Gibbs, 1987) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Figure 1.12: The Semangat and prayer phase of the construction process sketch by Nur Edzafirah Binti Eddie (after drawings found in Gibbs, 1987 p.91)

. . . . . . . . . . . . . . . 29

Figure 1.13: Three ieces of cloth on tiang seri (main post) (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . 29 Figure 1.14: Coconut tied at the tiang seri (main post) (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 29

Figure 1.15: Orientation of Malay traditional house (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 30

Figure 1.16: Sailboat = Malay traditional house analogy collage

(Eddie N.E., 2020)

. . . . . . . . 31

Figure 1.17: Sketches of additional system of Malay traditional house

by Nur Edzafirah Binti Eddie (after drawings found in Endut, 1993 p.147-148)

. . . . . . . . . . . . . . . 33

Figure 1.18: Sketches of additional system of Malay traditional house

by Nur Edzafirah Binti Eddie (after drawings found in Endut, 1993 p.147-148)

. . . . . . . . . . . . . . . 34

Figure 1.19: Sketches of additional system of Malay traditional house

by Nur Edzafirah Binti Eddie (after drawings found in Endut, 1993 p.147-148)

. . . . . . . . . . . . . . . 35

Figure 1.20: Photo collection of Malay traditional buildings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Figure 1.21: Malay Peninsula’s Malay house forms sketch

by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987, p.27)

. . . . . . . . . . . . . . . . . . . . . . 39

Figure 1.22: Traditional Malay house sketch collage (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 43

Chapter 2: The Modern Revolutionary Figure 2.1: Traditional vs Modern collage (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Figure 2.2: Result of percentage on using lighting system during daytime (Ibrahim, 2015) . . . . . . . . 47 Figure 2.3: Result of respondents’ demand on their types of houses in Kuching (Ibrahim, 2015) Figure 2.4: Drawings of modern housing unit (Eddie N.E., 2020)

. 48

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Figure 2.5: Collage of modern housing unit construction process (Eddie N.E., 2020) . . . . . . . . . . . . . . . 52 Figure 2.6: Collage of modern housing unit construction process (Eddie N.E., 2020) . . . . . . . . . . . . . . . 53 Figure 2.7: Traditional Malay house values sketch

by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987 p. 68-79) . . . . . . . . . . . . . . . . . . . . . . 54 Figure 2.8: Modern house values sketch by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987 p. 68-79) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Figure 2.9: Sketches of modern sustainable timber production x

Reimagining The Elements

process information resource from Malaysian Timber Council (Eddie N.E., 2020)

. . . . . . . . . . . . . . . 57

Figure 2.10: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Figure 2.11: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Figure 2.12: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Figure 2.13: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Chapter 3: The Abandoned Place Figure 3.1: Collage of the ‘Abandoned Place’ (Eddie N.E., 2020) Figure 3.2: Site location (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Figure 3.3: Site’s (Kampung Kuchai) historical timeline (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Figure 3.10: Site photos; 'Shophouses' taken by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Figure 3.11: Site photos; 'The Mosque & Madrasah' taken

by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Figure 3.12: Site photos; 'River and abandoned buildings on site' taken

by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Figure 3.13: Site photos; 'The Abandoned School' taken

by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Figure 3.5: Site’s (Kampung Kuchai) condition analysis (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 72

Figure 3.4: Site’s (Kampung Kuchai) morphology analysis (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Figure 3.6: Sekolah Melayu’s historical timeline (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Figure 3.7: Sekolah Melayu’s drawings scale 1:250 by Nur Edzafirah Binti Eddie and Universiti Teknologi Malaysia Colleagues from a Measured Drawing Submission IN21.A/16/17 and Report ‘Sekolah Melayu Lot 17773, Jalan Masjid, Kampung Kuchai 31650 Ipoh, Perak’, p. 102-104 (Mursib, et al., 2017) . . . . . . . . . . . . . . . . . . . . . . 74

Reimagining The Elements

xi

Figure 3.8: Sekolah Melayu’s drawings scale 1:250 by Nur Edzafirah Binti Eddie and Universiti Teknologi Malaysia Colleagues from a Measured Drawing Submission IN21.A/16/17 and Report ‘Sekolah Melayu Lot 17773, Jalan Masjid, Kampung Kuchai 31650 Ipoh, Perak’, p. 102-104 (Mursib, et al., 2017) . . . . . . . . . . . . . . . . . . . . . . 75 Figure 3.9: Sekolah Melayu’s kelarai (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Figure 3.10: Malay School site plan (1:250) (Mursib, et al., 2017)

. . . . . . . . . . . . . . . . . . . . . . 78

Figure 3.11: Malay School and 2-storey shophouses elevation (1:250) (Mursib, et al., 2017) . . . . . . . . 79 Chapter 4: Case & Precedent Studies Figure 4.1: Case studies collage (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Figure 4.2: Case building; Sekolah Melayu (Kung Z.J., 2017) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Figure 4.3: Sekolah Melayu’s detail drawings illustration

by Nur Edzafirah Binti Eddie (Mursib, et al., 2017) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Figure 4.4: Sketch of Tanggam types 1(Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Figure 4.5: Sketch of Tanggam types 2(Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Figure 4.6: A-Barn in Scotland by Wikihouse kit (Wikihouse, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Figure 4.7: Production and construction process of Wikihouse kit (Wikihouse, 2019) Figure 4.8: Hooke Park’s Refectory (Eddie N.E., 2020)

. . . . . . . . 88

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Figure 4.9: Hooke Park’s Westminster Lodge (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Figure 4.10: Hooke Park’s Student Lodges (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Figure 4.12: Hooke Park’s Workshop (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Figure 4.11: Hooke Park’s Caretaker’s House (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 90

Figure 4.13: Hooke Park’s Assembly Workshop (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Figure 4.14: Hooke Park’s Forest (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Figure 4.15: Collage of Hooke Park’s other timber structure features, picture taken by author during studio trip set 1 (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Figure 4.16: Collage of Hooke Park’s other timber structure features, picture taken by author during studio trip set 2 (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Figure 4.17: Hooke Park’s Timber Seasoning Shelter (Eddie N.E., 2020) xii

Figure 4.17: Interlocking toy Chidori (Eddie N.E., 2020) Reimagining The Elements

. . . . . . . . . . . . . . . 94

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Figure 4.18: Interlocking toy Kong Ming Locks (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Figure 4.19: GC Prostho Museum Research Centre and Chidori furniture (Designboom, 2011) Figure 4.20: Japanese temple bracket jointing system sketch

by Nur Edzafirah Binti Eddie (after drawings found in Brown, 2013 p. 100-116)

. 96

. . . . . . . . . . . . . . . 97

Figure 4.21: Kengo Kuma interpretation of the Chidori additional components (Designboom, 2011) . 98 Figure 4.22: Wei Ling Gallery (Eddie N.E., 2016) Figure 4.23: Archery Hall (dezeen, 2013)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Figure 4.24: Pixel Facade (Archdaily, 2018) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Figure 4.25: Japan Haouse Sao Paulo (Archdaily, 2019)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Chapter 5: Tanggam Reinterpretation Design Development Figure 5.1: Development collage (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Figure 5.2: Initial idea mind map (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Figure 5.3: Sketch of traditional Malay tanggam (joinery) (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . 108 Figure 5.4: Japanese traditional joinery sketch by Nur Edzafirah Binti Eddie (after drawings found in Brown, 2013 p. 100-116) . . . . . . . . . . . . . . . . . . . . . . 109 Figure 5.5: Malay traditional house construction manual generated from REVIT software (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Figure 5.6: Malay traditional house construction manual generated from REVIT software (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Figure 5.7: Malay traditional house REVIT render (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Figure 5.8: Malay traditional house 1:25 scale model (Eddie N.E., 2020) Figure 5.9: Laser cutting process of the model (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 114

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Figure 5.10: Collection of the kit in a box (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Figure 5.11: Seperated parts of the model (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Figure 5.12: Printed manual (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Figure 5.13: the roof structure parts assembled (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Figure 5.14: Interior of the model (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Figure 5.15: Interior under the structures (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Reimagining The Elements

xiii

Figure 5.16: the roof structure parts assembled top view (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . 122 Figure 5.17: Model close up shot 1 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Figure 5.18: Model close up shot 2; aesthetics of carving in motif (Eddie N.E., 2020) . . . . . . . . . . . . . . . 124 Table 5.1: REVIT family catalogue of generic Malay traditional house’s components (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Figure 5.19: Idea to fuse traditional construction and feature into modern process (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Figure 5.20: Site (Kampung Kuchai) land development planning proposal (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Figure 5.21: Site (Kampung Kuchai) land development phase and zones (Eddie N.E., 2020) . . . . . . . . 131 Figure 5.22: Collage of Deconstructivism idea and building sketches (Eddie N.E., 2020)

. . . . . . . . 134

Figure 5.23: Models of recycle parts from previous stage (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . 135 Figure 5.24: Sketch of tanggam reinterpretation (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Figure 5.25: Reimagined tanggam kit in SketchUp (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Figure 5.26: Collage of 1:5 model making and features (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 139

Figure 5.27: Iterations collage 1 (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Figure 5.28: Section, plans and analysis of iteration 1 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . 142

Figure 5.29: Section, plans and analysis of iteration 2 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 143

Figure 5.30: Section, plans and analysis of iteration 3 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 144

Figure 5.31: Section, plans and analysis of iteration 4 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 145

Figure 5.32: Section, plans and analysis of iteration 5 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 146

Figure 5.33: Section, plans and analysis of iteration 6 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 147

Figure 5.34: Iterations collage 1 (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Figure 5.35: Section, plans and analysis of iteration 7 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 149

Figure 5.36: Section, plans and analysis of iteration 8 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 150

Figure 5.37: Grid deconstruct concept of the design process (Eddie N.E., 2020)

xiv

. . . . . . . . 151

Figure 5.38: Pavillion design process and concept (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 153

Figure 5.39: Pavillion design process and concept (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 154

Reimagining The Elements

Figure 5.40: Roof styles sketch by Nur Edzafirah Binti Eddie (after drawings found in Endut, 2013 p. 118) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Figure 5.41: MPAVILION collage by Nur Edzafirah Binti Eddie (photographed by John Gollings, Archdaily 2019) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Figure 5.42: Istana Budaya collage by Nur Edzafirah Binti Eddie (photographed by Wojtek Gurak, flickr 2010) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Chapter 6: Tanggam Learning Centre & Gallery Figure 6.1: Phase 1 design project perspective (Eddie N.E., 2020) Figure 6.2: Development Plan Phase 1 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Figure 6.3: Traditional Malay house’s extension system (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . 162 Figure 6.4: Precedent Study: Japan Haouse Sao Paulo (Archdaily, 2019) Figure 6.5: Precedent Study: Wei Ling Gallery (Eddie N.E., 2016)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Figure 6.6: Rendered pespective 1; the shading device (Eddie N.E., 2016) Figure 6.7: Roof Plan (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 162 . . . . . . . . . . . . . . . . . . . . . . 163

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Figure 6.8: Rendered perspective 2; the scultural structure (Eddie N.E., 2020)

. . . . . . . . . . . . . . . 165

Figure 6.9: Precedent Study: Pixel Facade (Archdaily, 2018) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Figure 6.10: Gallery Isometric Drawing (Eddie N.E., 2020) Figure 6.11: Ground Floor Plan (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Figure 6.12: Rendered perspective 3; users and the sculptural structure (Eddie N.E., 2020) . . . . . . . . 168 Figure 6.13: Rendered perspective 4; workshop space (Eddie N.E., 2020) Figure 6.14: Gallery Isometric Drawing (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 169

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Figure 6.15: Modern and Traditional Intersection Isometric Drawing (Eddie N.E., 2020) . . . . . . . . . . . . 170 Figure 6.16: Precedent Study: Archery Hall (dezeen, 2013) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Figure 6.17: First Floor Plan (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Figure 6.18: Longitudinal and transverse section (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Figure 6.19: Elevation views (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Figure 6.20: Rendered perspective 5; roof structure (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 174

Figure 6.21: Rendered perspective 6; view from the bridge (Eddie N.E., 2020)

. . . . . . . . . . . . . . . 174 Reimagining The Elements xv

Figure 6.22: Sectional Perspective with kit exploded diagram (Eddie N.E., 2020)

. . . . . . . . . . . . . . . 175

Chapter 7: The River Side Pavilion Figure 7.1: Phase 2 design project perspective (Eddie N.E., 2020) Figure 7.2: Development Plan Phase 2 (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Figure 7.3: Rendered Perspective 1; the entrance(Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Figure 7.4: Night market & foodtruck bazaar in Malaysia (Tally Press, 2016) . . . . . . . . . . . . . . . . . . . . . . 180 Figure 7.5: Pavilion Site Plan (Eddie N.E., 2020) Figure 7.6: Roof Plan (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Figure 7.7: Ground Floor Plan (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Figure 7.8: MPAVILION collage by Nur Edzafirah Binti Eddie (photographed by John Gollings, Archdaily 2019) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Figure 7.9: Pavilion exploded diagram

(Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Figure 7.10: Istana Budaya collage by Nur Edzafirah Binti Eddie (photographed by Wojtek Gurak, flickr 2010) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Figure 7.11: Sampan boat feature (Eddie, N.E., 2010)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Figure 7.12: Pavilion section drawing (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Figure 7.13: Pavilion elevation drawing (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Figure 7.14: Traditional Malay dining culture and etiquette (Tourism Malaysia, 2011) . . . . . . . . . . . . . . . 189 Figure 7.15: Pavilion 3D rendered perspectives (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Figure 7.16: Pavilion environment at different times (Eddie N.E., 2020)

. . . . . . . . . . . . . . . . . . . . . . 191

Chapter 8: Conclusion Figure 8.1: The end game collage (Eddie N.E., 2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Figure 8.2: Collage of traditional jointings that might be a research scope (Eddie N.E., 2020) Figure 8.3: Collage of timber high-rise (Eddie N.E., 2020)

. 197

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Figure 8.4: Collection of modern adaptable design approached (Eddie N.E., 2020) . . . . . . . . . . . . . . . 201

xvi

Reimagining The Elements

M a i n Ke y Wo rd G l o s s a r y

BIM : Building information modeling is a process supported by various tools, technologies and contracts involving the generation and management of digital representations of physical and functional characteristics of places.

CNC Machine : Computer Numerical Control machine. Numerical control is the automated control of machining tools and 3D printers by means of a computer.

Deconstructivism : A movement of postmodern architecture which appeared in the 1980s.

Hybridity : A cross between two separate races, plants or cultures.

Indigenous : Originating or occurring naturally in a particular place, native.

Kampung : Village.

Kit : Parts or set for the system.

Malay : An ethnic group and nation native to the Malay Peninsula, eastern Sumatra of Indonesia and coastal Borneo, as well as the smaller islands which lie between these locations — areas that are collectively known as the Malay world.

Modern : Relating to the present or recent times as opposed to the remote past.

Pavilion : A large, open structure or tent, providing shelter esp. in a park or at a fair or temporary public event.

Plywood : A type of strong thin wooden board consisting of two or more layers glued and pressed together with the direction of the grain alternating.

REVIT : A building information modelling software for architects, landscape architects, structural engineers, mechanical, electrical, and plumbing engineers, designers and contractors.

Tanggam : Malay joinery.

Timber : Wood prepared for use in building and carpentry.

Traditional : A tradition is a belief or behavior passed down within a group or society with symbolic meaning or special significance with origins in the past.

Reimagining The Elements

xvii

Introduction

Reimagining The Elements: Traditional Malay Jointing as a Modern Construction System

Reimagining The Elements

1

Research Background

The area of this research is to focus on the Malay traditional buildings specifically on the house construction method. A Malay traditional house is one of the richest components of Malay cultural heritage in Malaysia. The building itself is a cultivated system that reflects a magnificent collection of aesthetical elements which carries various philosophical and metaphysical meanings. The Malay traditional house portrays a certain value in their construction methods to maintain the harmonious relationship with nature based on a set of traditions. For instance, the house design is elevated, and the boards of the floor have slight gaps in between as to enhance an awareness of the earth beneath. It is also to avoid wild animals and flood especially during the raining season. It is as well based on the lifestyle of the Malay or more likely humans that chose their place of habitat according to their source of needs, the river. The orientation of the Malay house also is part of the nature’s law which the short elevation of the house is oriented facing East-West direction where the façade is less exposed to solar radiation. The application of wisdom for total comfort of the occupants are fulfilled in the Malay traditional houses by obeying the law of nature and traditions. Hence, these elements have evolved with the Malay culture over the centuries.

2

Introduction

Water rise

Wild animal

Cross Ventilation and Raised Floor

West

East

East-West Orientation Sunlight

Large overhang Sketches compilation of Malay traditional house characteristics sketch by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987 p. 68-79).

The traditional house has developed with the trend and mix of cultures where it also has successfully incorporated elements such as the hipped-style roof system, derived from European housing (Endut, 1993).

Without footing

Stone Chiseled footing

Concrete raise footing Concrete pad footing Sketches compilation the footing revolution (Eddie N.E., 2020).

Originally, the traditional Malay house does not have pad footings. The use of those pad footings was implemented to the construction process of the building when the Malays discovered that the timber posts cannot withstand the damp soil. Back then, rocks were brought on site and chiselled by hand (Gibbs, 1987). The rock material changed to concrete and metal reinforcement footing designs after the revolution in construction materials and process. This is one of the illustrations of modern transformation in the traditional construction.

Roof revolution of basic roof to hipped-roof (Eddie N.E., 2020).

It was adopted into the Malay traditional house design found throughout the Peninsular of Malaysia due to its convenient way of the construction method. This mixture of construction and design produces an interesting concept of ‘Hybrid Architecture’ with the use of traditional Malay construction method.

These evolutionary stages of Malay traditional architecture with the mixtures of materials and cultures have verified the adaptability of the building system. The phenomena of the society’s life development have become a part of the characteristics of the traditional architecture.

Reimagining The Elements

3

Post and lintel structure

Large windows

Post and lintel structure system use in Malay traditional house (Eddie N.E., 2020).

4

Introduction

The traditional house is constructed with a post and lintel system with many windows along the walls that provides good ventilation and views for the house (Gibbs, 1987). The main method of building that is responsible in achieving that traditional house form which is suitable for Malaysia’s hot and humid climactic environment is tanggam. Although the windows are countless and wide open along the wall, the interior is protected with large overhang roofs. This allow occupants to appreciate the ventilated space without agonizing the glare from the sun. Traditionally, the construction of the tanggam kit did not require the use of nails or bolts, in fact some of the timber structures were lashed together with rattan rope (Wong, 1995). The traditional kit has various designs, functions and strengths where it predominantly depends on the features and connection designs. It is one of the timber jointing systems that has existed in the world like Japanese and Western systems.

The use of tanggam as a construction also introduces another concept and principle of the Malay traditional house where the house grows with the family whom is the users; a sophisticated and developed building system which is flexible and diverse to accommodate the needs of the users (Lim, 1987).

of the building if needed. An adaptable housing system where building can expand its size and function. The tanggam system is fabricated manually by local carpenters in a workshop with simple hand tools such as chisels, hammers, saws and other hand-tools. The fabrication process only for the main structures of the house takes about two weeks to prepare as the system needs precision and detailed procedures to make the parts connect well with each other (Gibbs, 1987). Usually the timber type for the structure components are made from hardwood group of timber which consist of Chengal, Belian, Merbau and other traditional timbers that are probably rare by now due to the changing environment in Malaysia. The complication of the kit system and the problems faced in Malaysia gives out interesting reasons why it can be a research.

In conclusion, the Malay traditional house has various architecture elements that can be extracted as a lesson for our current design process. Traditional Malay house has many special characteristics and components that are complex in its own way. However, this research will focus on one of the main features which is a set of building kits in the building’s erection process called ‘tanggam’.

By using the tanggam system in building construction, it allows user to start from just the core of the house and add other components

Reimagining The Elements

5

Modern tanggam gazebo (Senigazebo, 2015).

6

Introduction

Issue and Problem Statement

In order to satisfy the modern Malaysian expectation of architectural developments, tanggam is not currently the main option that the population tends to use for housing construction.

It is usually use for small projects like pergola and gazebo instead of being part of the main house structures, it is only use for external purposes and landscape decorations.

Reimagining The Elements

7

After years of independence since 1957, the local building traditions became less popular and progressively came to a halt (Endut, 1993).

In the 1980’s, the architectural movements of modernism and internationalism took over the development of architectural style in Malaysia, where it now focusses on different, more modern construction materials like bricks, concrete, steel and glass, which are less suitable for the hot and humid climactic environment of Malaysia. These types of materials are easy to get in Malaysia and has a vast amount of expertise in handling the modern materials and technologies. Since, the housing development style is much more closely related to budget, cost and profit which limits the material choice to a certain level as these materials can be bought at cheaper bundles to reduce construction costs. Also, the development style has totally forgotten the law of nature which it is used to be implemented. The orientation of the house is now random and does not necessarily give the occupants thermal comfort.

The overhang of the roof is designed to be short and exposed the house to the sun radiation.

The controllable approach and fix solutions in Malaysia’s construction process have led to a uniform style of development rather than a variety of craftsmanship designs that had given Malaysia a diverse identity through architecture by using the tanggam kit. The use of modern materials in common Malaysia development of housing has produced a mass of terrace

8

Introduction

houses that somewhat replicates the Western style of development. This trend for Westernstyle ‘modern’ construction has affected users’ means of solving living in hot and humid conditions by using mechanical ventilation systems, which leads to the increase of carbon emissions.

Thus, unlike Japanese and Western timber jointing construction, tanggam has never evolved to a modernized system and remains a relatively vague heritage traditional way of construction which currently enjoys less popularity as a housing style, is less likely to be used for housing construction, and hence, has led to a dwindling expertise of builders capable of exploiting this traditional construction system. The absence of identity and climactic problem are the issues that built this research to another level of design process and proposals.

30’ 3000 mm 3500 mm

8190 mm

Varies to site

Varies to site

13810 mm

Front Elevation N.T.S

Side Elevation N.T.S

Modern terrace housing unit in Malaysia (Eddie N.E., 2020).

Reimagining The Elements

9

Research Aim

Instead of leaving the tanggam system as a traditional way of construction, this research will explore the modern timber supply and system for construction process to be part of the tanggam transformation. Modern timber supply is used widely across the world especially in Europe and United States. Glulam, or Glue Laminated Timber redefines the possibilities for engineered wood product that optimizes the structural values of a renewable resource.

Similarly, to Plywood and CLT, Cross Laminated Timber, these are products where the wood materials are glued together to make a stronger and sustainable engineered material (Lyons, 2014). Technologies and machines are among the elements in modern construction that can be adapted into the process where the use of timber cutting machines such as CNC machine, to help make the construction process easier than the manual tools in the workshop. Other than the machines, there are many programmes that can make tanggam a modern structure product. For instance, the use of BIM (Building Information Modelling) as a process to support the tools, technologies and expertise in modern tanggam making. The heritage of tanggam can be preserved and conserved by outlining the old traditional records. In addition, the system can also be used for modern approaches in construction process. George Drummond Coleman, an officer who worked at Singapore’s

10

Introduction

Public Works Department in 1833, said about Hybrid Architecture; the combination of colonial and local architecture is suitable for Malaysia’s tropical climate, to ensure the interior spaces is not hot and uncomfortable for the users (Mursib & Mohd Rasdi, 2016).

Hybridity concept is one of the most extensively working and uncertain terms in postcolonial theory that refers to the conception of new transcultural forms within the contact zone produced by colonization (Mambrol, 2016).

The product after replicating the traditional Malay house in REVIT by author (Eddie, N.E, 2019).

Reimagining The Elements

11

While considering the modern process of construction use to reinterpret tanggam as a contemporary kit that is suitable for Malaysia’s current development, it is probably conceivable to mix the distinction of styles and cultures to the kit in order to achieve the satisfactory of Malaysians expectation and still fulfil the requirement of being comfortable in the climate. Therefore, this research will cover on the traditional ways of tanggam making process to understand the essential elements as well as a study of modern timber materials is made as the elements that can be adapted into the traditional system where it involves the new modern system, machine and technologies. By reimagining the traditional manuals of tanggam elements to be rebuild as modern instructions kit of parts to answer the research questions on how tanggam works, the proposed kit will be used as part of a broader design process that aims to revive and regenerate an abandoned Malay school and introduce a new design build at the riverside area within a village located in Ipoh, Perak, Malaysia.So, the design outcomes are translated and incorporated with the tanggam design philosophy by using the timber material as a sustainable approach and the use of Malay house traditions includes how it is orientated, roof designs and more to achieve the aim of this research.  

12

Introduction

Research Questions

The exploration and design process will determine the outcome of the research questions:

1.

What are the traditional and modern ways of timber construction?

2.

How can the traditional manuals of tanggam be adapted to modern instructions?

3.

What can tanggam be formed with modern construction process?

4.

How will the image of tanggam be reinterpreted?

5.

Can tanggam be a modern construction kit?

Research Methodology

A Malay traditional construction method called tanggam can be used as a modern construction kit. In order to achieve the hypothesis of this research, there are stages of exploration and design processes that will determine the outcome of the research questions. After several deliberation and understanding of the topic and ways on how to get the data, this research focuses on both descriptive and intervention ways in finding outcomes that can support the research statement. Descriptive methods of the research involve the content analysis of some qualitative data such as literature reviews and desktop research. While the intervention approaches are more action-based and practical part of the research where it comprises tests and experimental data that can lead to two possibilities of either success or failure.

The research started with a theme; the kit of parts of LEGO. The general idea of LEGO kit as a model making medium then was focus on a certain construction kit. Yet, the scope of construction kit is still wide and uncertain. So, a traditional kit was chosen as a specific scope of construction method. Since, it is still a broad topic where it involves large and various amount of material and background, the research then focusses on a certain material which is timber

where it embraces the identity of the Malays in Malaysia. A mind map was produced in order to find the similarities between LEGO and the construction kit. The first stage of literature reviews on the traditional Malay construction has given the research a firm state by determining a certain gap for the research where the traditional Malay construction have not been the most popular and unfamiliar method in Malaysia. The topic then uncovers more opportunity to towards the issues and ways to overcome them. Many supporting data and information were found by doing literature reviews as to answer the research questions.

Historical facts on the traditional timber construction in general and specifically on Malay jointing are the key topic of this research.

By understanding the indigenous system and construction procedures that also relates to its cultural background and environment context, the research has moved forward to a process of understanding the modern construction method especially regarding timber materials.

Thus, the literature reviews of several sources allow the research to answer the first question and generate a main hypothesis with further sets of questions that have determined the upcoming process along the research.

Besides, the facts from historical background act as the prime information for the research to explore and discover more about tanggam. Information on several ways

Reimagining The Elements

13

for the system to be incorporated with modern instructions that are practice extensively nowadays particularly in the construction sector. From the set of information, the stage of research has developed to another step of mix method approach which are the qualitative data and experimental part of the research.

With the facts and figures from literature review as well as desktop research of old buildings, a research process on replicating the data into a scale model of 1:25 for experimentation of the traditional jointing as part of the understanding the traditional kit process. The model of Malay traditional house is rebuilt in REVIT which is also an adaptation on how to collect and store the traditional information. Then, the file is imported into AutoCAD in order to use a laser cutting machine in order to produce a scale model of 1:25. As follows, this process in the research method has accentuated more on how the traditional manuals can be modified and unified into modern instructions in several different scales. The process itself is part of answering the research questions.

The literature reviews and desktop research are the methods that allow the research to draft ideas in order to fill the gap exclusively along the process. After the process of understanding the kit by recreating the traditional Malay house as a physical model, a desktop research of some modern timber kits are made as case studies that tolerates the

14

Introduction

research to the next step on reinterpreting the old traditional Malay kit to a simple and adaptable kit without losing its background and identity in terms of the form. This stage of the research methodology is to achieve and answer the third question. While making the traditionalmodern kit process, a site was chosen based on the characteristics and quality that relates to the kit. The site is an abandoned village which is situated in Ipoh, Malaysia. A site investigation and analysis were done for the research process stage which the kit will be implemented and built as a design product. The site is called Kampung Kuchai. It is once a well-known village that are full of traditional building that constructed using tanggam. One way or another, the site relates to the kit which both of them exist, except less people are aware about their existences. Thus, the chosen site is suitable for this research based on its distinct characteristics. The site is analysed based on several previous research and reports which the information was clarified into synthesised data.

In the process, the whole site is the focus in order to build a land of modern tanggam kit as an urban development approach at the preliminary stage. However, the whole village is too general and a lot to cover on, with the time given for the research to be successful.

Hence, the research then determines a smaller site situated in the village, the Malay School of Kampung Kuchai that was also abandoned,

and the village riverside are. The analysis and synthesis of the site investigation have allowed the research to make progress on the design programme and outcome. Since there are less awareness among people about tanggam system, a proposal of designing a Tanggam Learning Centre on the site as to revive both the Malay School and the traditional Malay kit.

The abandoned Malay school site has taken the first stage of the design of process of testing the functionality of the site with two existing buildings with an adaptive reuse approach. The buildings involved were the Malay school and two shophouses for an urban exploration. Then, the site widens its scope from an urban setting of the two shophouses to the rural setting of the village on the site as a step to promote the kit like a real product hypothetically. The urban shophouses was designed to be a gallery that attracts user and pedestrian from the city to explore the semi-rural space of the abandoned school at the back. While the abandoned school acts as the live museum part of the building design. In addition, the riverside area is a site for experimental structure of the kit which involve the original proposal of Ipoh’s city council. They proposed the area to be a food attraction place where people can enjoy the cultural cuisines. So, this research explores two areas with different design approaches.

Next, a concept was made in order to implement the kit on the site with several precedent and case studies as a guidance in the designing stage. A character of a Japanese kit

by Kengo Kuma and some other East influences were taken to be part of the experimental design process of the Malay traditional kit. Sketches of iterations and outcomes were produced in the designing process as well as the mock-ups.

The experimentation and exploration continue with a scale 1:5 model as a prototype for the research. The designing process involves both manuals and digital exploration using sketches, model making, AutoCAD, REVIT and other software to assist the research in producing an outcome. These sequence of methodology in designing process are implemented in both design projects. Sketches, model making as well as digital approach were done to produce the design products. The outcomes were rendered as if it is part of the real architectural process.

These approaches are to clarify the functionality and aesthetics of the tanggam kit in the projects which they portray the craft and cultural context of Malays and obey the law of nature.

Therefore, the design processes that develop to be two design projects on two different sites within the same region are to achieve the final objectives of the research. The fourth and fifth research questions are answered with these process and methods of research.

Reimagining The Elements

15

In conclusion, this research has explored various research approaches that involve primary and secondary sources. Qualitative research and experiments are done to fill the gaps of the sources that have been reviewed in this research.

The flowchart is a summarise chart of the research methodology constructed based on several ideas and recommendation from Research Methods and Techniques in Architecture by Elzbieta Danuta Niezabitowska.

Research Method Flowchart

Kit

Scope of Study

Model Making Construction

Malay Traditional

Tanggam (Joinery)

Modern Construction

Prefabrication

Introduction

Formulate Problem & Issue

Less Awareness

Environmental Pollution

Timber

16

Establish Research Framework

Lost of Identity Summary of Scope / Aim of Research Traditional Kit Reimagine Elements

Modern Kit

Contemporary Kit

Research Questions Q1

What are the traditional and modern ways of timber construction?

How can the traditional manuals of tanggam be Q2 adapted to modern instructions?

Q3

Justifying Research Objectives

What can tanggam be formed with modern construction process?

How will the image of tanggam be Q4 reinterpreted?

Q5 Can tanggam be a modern construction kit?

Methodology

Descriptive

Literature Review

Q1, Q2

Traditional Background Modern Background

Desktop Research Q2, Q3 Case Study

Precedent Study Focus Reading Finding Gaps

Analyzing Data

Site Analysis

Site Background

Data Collection & Investigation Intervention

Experimentation

Q2, Q3, Q4

Replicate Model

Site Climate

Gesture Model

Site Situation

Workable Scale Model

Sketches

Q3, Q4

Resketch Existing Sources

Raw Idea Sketches

Solution to Design Project

Q5

Reimagining The Elements

17

Figure 1.1: Traditional Malay house sketch collage (Eddie N.E., 2020).

18 ďťżďťż Reimagining The Elements

Chapter 1

Wisdom of The Indigenous Kits

Reimagining The Elements

19

1.1 Nature of Indigenous Kit

The transformation of art and design came from a humble beginning. Relics of incredible inventions can be found from indigenous creations that took great inspiration from its natural surroundings and environment.

The trees which have been depicted as a form of shade and shelter are also one of the earliest practises for a building material. As a structure, branches of trees were placed against each other and secured together which then finished by leaves on top of the roof structure.

That was how the indigenous structures were built from the third century of Stone Age up.

The native and traditional structures of Malaysia can commonly be sourced to their nearest local materials with them; innumerable distinctive features unique to their construction methods. Over many centuries, the traditional way of building in Malaysia has always been a sophisticated system that evolved continuously alongside to how the locals carry their cultures.

Essentially, the common traditional Malay buildings are held together by assorted of tanggam (jointing and mortising) techniques with a reinforced method using baji or pasak (pegging or wedging) without any use of nails. Timbers are purely attached using palm leaves, rattan or buluh (strips of bamboo). The common structure for the traditional building uses a post and beam system that allows them to change the existing form and extend some parts of the building according to the needs of the users. Commonly, the Malay building uses a certain species of timber called Chengal or Merbau, which are from the hardwood family (Gibbs, 1987).

Figure 1.2: Illustration of tree as shading device (Eddie N.E., 2020).

20 Chapter 1 Wisdom of The Indigenous Kits

Figure 1.3: Bamboo structures attached with rattan (Eddie N.E., 2020).

1.1.1

Tajulmuluk

Choosing a tree to cut can be determined through its sap and its specific locations according to Tajulmuluk; a system of geomancy, comprising metaphysical and geomantic principles considered when sitting or designing buildings to improve and maintain wellbeing:

Red sap

The tree is not suitable for immediate construction and it needs to be left alone for 3 days until the sap turns white.

The red-coloured sap is commonly known to produce a disturbing sound as if a person shouting in agony from the pores of the wood. Hence considered to be haunted.

Muddy sap

Foamy sap

Wait until the sap is clear.

Perfect for tiang seri (main post) as it can bring good luck.

Figure 1.4: Guidelines on how to see the quality of timber through tree saps after it was cut. (Eddie N.E., 2020).

If the trees are situated in the middle of the forest, it is considered as bad luck.

If the trees are situated at the edge of the forest, it is believed to bring the owner prosperity.

Figure 1.5: Tree location guidelines (Eddie N.E., 2020).

Reimagining The Elements 21 Reimagining The Elements

21

1.1.2

Instruments

These procedures were implemented in choosing the main structures of the building.

After the set of procedures from the Tajulmuluk are fulfilled, the process of cutting and the kit construction took place in the forest before they were brought to the construction site. In early times, timber would be used in a form of logs. Nevertheless, there are a set of inventive tools made to alter them into various forms of Tanggam joints which some have been found by archaeologists (Wong, 1995). The tools that may be associated with woodworking process: 1.

Adze

An axe-like tool used for rough-dressing wood and is used in ship building.

2.

Auger

A T-shaped long twist, hard-boring tool for drilling large holes.

3.

Axe

Axes were used in the Iron Age of Malaysia for chopping, cleaning or splitting wood.

4.

Ink pot

Ink pot with inking line consisting of a piece of string up to 30 metres long wound around a rod.

5.

Tenon-cutting or plug

It is evident that plug bits were used as bits because the shanks are tapered to fit a brace.

6.

Scraper

Used for cleaning wood or soften the grains with hand.

Figure 1.6: Collection of traditional and manual tools use to make Tanggam sketch by Nur Edzafirah Binti Eddie (after drawings found in Wong, 1995, p.72-74).

22

Chapter 1 Wisdom of The Indigenous Kits

7.

Mortise Chisels

Earliest metal tools made out of copper and bronze without handle which are used to make jointing.

8.

Files

A tool that has both concave and convex surfaces, used to smooth rough surfaces.

9.

Mortise gauge

A tool that have a steel cutter held with a wedge, used to make the marks for cutting thin wood.

10.

Spoke shave

Plane-like tool with short bottom to allow flatten the edges of cut out pieces of wood and clean rounded pieces.

11.

Jack Plane

Invented by an English carpenter and was introduced to Malaysian carpenter, a smoothing tool.

12.

Coping saw

A tool used for cutting shapes on thin wood.

13.

Frame saw

Introduced by the Dutch to Malaysia, tool use to cut boards.

14.

Hammer

Basic woodworking tool that replaced rocks.

Reimagining The Elements

23

15.

Human anthropometrics

A dimension instruction using human proportions. This measurement system is not standardised and different with each person.

There are five terms describing length in Malay:

Jengkal The measurement between the tip of the thumb and the tip of the little finger.

Hasta The measurement between the tip of second finger and the underside knuckle of the elbow.

Buku The measurement between the first and second knuckle of the first finger.

Depa The measurement between the tips of fingers of the outstretched arm.

Figure 1.7: Human anthropometrics use by the Malays (Eddie N.E., 2020).

24

Chapter 1 Wisdom of The Indigenous Kits

Figure 1.8: The principle sketch by Nur Edzafirah Binti Eddie (after drawings found in Gibbs, 1987).

1.2 Traditional Malay House Construction Process

The structures are cut according to the source principle of the Malays which is ‘One house, one tree’ where the position of the nine tiang (posts) for the rumah ibu (main house) maintain the same relationship to each other as they had before they were extracted from the tree (Gibbs, 1987). The construction process started with the site clearance and pelapit tiang (rock footings) were placed on site. Originally the building is built on the ground without a footing after the Malays learned that the timber structures cannot withstand the water content within the soil.

Reimagining The Elements

25

The traditional Malay house is a post and lintel structure timber house raised on stilts. The tiang seri (main post) is erected using a pulley operated manually by the local villagers which then braced with wooden supports while the other tiang (posts) are erected and braced by the rasuk (lintel), gelegar (floor joists), crossbars and wooden supports. The raised floor construction is an ideal solution to get through with ground dampness in the hot and humid tropical climate where it rains heavily in a frequent rate that resulted in flash floods.

The system allowed the house to be ventilated through cracks between the raised floor planks which purposefully elevated to an ideal height to protect from any wild animal invasion. To facilitate the erection of the roof, a temporary floor is made while the alang panjang (long tie beam) and alang lintang (crossed tie beam) are constructed for the roof structure components.

The roof structure started with the tunjuk langit (king posts) on both side at the end of the roof which is held by crossbars. Tulang bumbung (roof ridge) is installed to support the tunjuk langit (king posts), the alang panjang (long tie beam) also is assembled for the serambi (verandah space).

26

Chapter 1 Wisdom of The Indigenous Kits

Figure 1.9: Traditional Malay house construction phase; pelapik tiang - tiang - rasuk (Gibbs, 1987).

Next, the roof structure is erected completely with the kasau jantan (principle rafters) as well as the gulung-gulung (purlins) which support the kasau betina (common rafter). A peculiar feature of the vernacular Malay house is its height or a steeply sloping roof with gables at both ends. Protection from heavy rain while allowing ventilation is provided by the gables that are fitted with screens. The roof finishing; attap, is made from thatch sewn onto a wooden spine. It is sewn in an overlapping pattern where it overlaps onto each other that will be placed on the whole kekuda bumbung (roof truss). Then, the papan lantai (floorboards) and tebar layar (triangulated gable ends) are placed onto the structures. Finally, the wall, windows and other panels are made during mid-process, which are fitted into the structure for completion. The house is built with many tingkap (windows) along the dinding (walls) to provide optimum cross ventilation and views for the users. This quality of visual accessibility can also be seen within the large open interior spaces with minimal partitions. These steps are the general construction method of a Malay traditional building which were not just exclusive to the main house but different types of buildings as well. In the process of building a Malay traditional house, its architecture requires a total sensory involvement, being the primary model of culture.

Figure 1.10: Traditional Malay house construction phase; gelegar - alang panjang - alang lintang - kasau jantan - gulung-gulung - attap -tebar layar (Gibbs, 1987).

Reimagining The Elements

27

Figure 1.11: Traditional Malay house construction phase; papan lantai - dinding - pintu - tingkap (Gibbs, 1987).

1.2.1

The Semangat Within The House

Semangat (Spirit) is an important part of the Malay beliefs related to the force of nature and guidance to avoid disturbances from evil spirits (Gibbs, 1987).

28

Chapter 1 Wisdom of The Indigenous Kits

There are ways to induce the semangat (spirit) into the house:

1.

Three pieces of different coloured cloth; black, red and white at the top of each tiang (posts).

2.

The cloths are placed at every tiang (post) with one jengkal by one jengkal length. Jengkal: type of dimension instructions relates to measurement.

3.

Three pieces of the same type of cloths are tied around the middle of the tiang seri (main post) before it is planted.

4.

At the tiang seri (main post), three strips also are tied around the middle with a coconut fruit until the construction process is completed.

5.

The coconut fruit will be removed afterwards and will be planted in the compound as a good luck charm and contributes as the natural shading purposes.

The semangat (spirit) is not just summoned by placing cloths and fruits, but it generally implies a sense of unity among the community. The community is strengthened by the established culture to help each other throughout construction process which the

locals called gotong-royong (communal work) and semangat kerjasama (cooperation). The Malays will either have a kenduri (feast); yellow rice feast before or after the construction start which they will invite the neighbours usually inclusive of the whole village.

The kenduri (feast) is then followed by a prayer.

During the process of planting the tiang seri (main post), the woman of the house is called and as the carpenter is lifting it into position, the woman is asked to place her hands on it as a symbol that she is the woman responsible for the care of the house (Gibbs, 1987).

Figure 1.13: Three ieces of cloth on tiang seri (main post) (Eddie N.E., 2020).

It is common in the process; Malays place a rupiah (gold coin) at the bottom of the tiang seri (main post) while it is being planted.

Figure 1.14: Coconut tied at the tiang seri (main post) (Eddie N.E., 2020).

Figure 1.12: The Semangat and prayer phase of the construction process sketch by Nur Edzafirah Binti Eddie (after drawings found in Gibbs, 1987 p.91).

Reimagining The Elements

29

1.3 Tradition Analogies

Malay traditional houses are famous for their carving motifs as their cultural identity.

Historically, Malay traditional house had a major influence from Hinduism in terms of cultural development pre-Islam which reflected heavily on the craftsmanship of the early Malay era.

After Islam came into the Malay world, the influences of Hinduism were slowly replaced as the faith and teachings of Islam started to suffuse within the everyday lives of the Malay people and their daily activities. The crafts and motifs that were influenced by Hindu such as makara (Hindu mythology creature 1), kala (Hindu mythology creature 2) and padma (type of flower) were changed to elements that fulfil Islamic values such as floral motifs (Hussin H., et al., 2012).

both structures is called lantai. The equilateral triangular gable-end which is also tebar layar is defined separately. Tebar means end while layar is the sail of the boat. Therefore, sitting on the floor of a Malay traditional house is analogous to sitting on a sailing boat across the breezing winds (Gibbs, 1987). This also links to the opening design for cross ventilation where the wind can directly ventilate the space of the house. These analogies, symbols and aesthetics are the elements that mould the uniqueness of traditional Malay house.

Tebar Layar Sunrise Sunset

There is another symbolic Malay architectural design that relates to an important aspect of the Islamic prayer where the houses were always oriented to face the direction of the Qibla in Mecca (Wong, 1995).

This also reflected on the patterns of the tebar layar (triangulated gable ends) which is a sunset and sunrise pattern. The Malay traditional house also has an analogy related to boats where it involves the post, flooring and gable-end part of the house. The word for the post of the house and the mast of a boat is called tiang while the flooring of

30

Chapter 1 Wisdom of The Indigenous Kits

Figure 1.15: Orientation of Malay traditional house (Eddie N.E., 2020).

Malaysia’s Qibla Direction Latitude: 3.166700000.

Longitude: 101.7000000.

Direction: 292.52’

Figure 1.16: Sailboat = Malay traditional house analogy collage (Eddie N.E., 2020).

Reimagining The Elements

31

1.3.1

The House Grows with The User

Along with the analogies that Malay traditional houses portrays as part of their nature, culture and the Malay way of life, Malay traditional houses is known with its capability of extending and change of form. This extension of space and form is determined by the competence and needs of the users who are the family that are staying in the house. The new part of the extensions may be built in various stages and times as the family grows in size (Endut, 1993). Originally the basic needs of one family is the core house which includes the rumah ibu (main house), serambi samanaik (area next to rumah ibu) and rumah dapur (kitchen house). The common types and methods done in extending process of the house:

32

Chapter 1 Wisdom of The Indigenous Kits

Serambi Gantung System Extension made either at the front or the rear part of rumah ibu (main house). It is usually another portion of the main house enlargement as a reception area for male guests and provide privacy for the female family members.

Gajah Menyusu System Repetition of the exact form in a smaller version that is attached to one side of the rumah ibu (main house), usually at the back, use as rumah dapur (kitchen house). Gajah Menyusu means the elephant is feeding its baby and the name somehow given since it was based on two identical forms that resemblance both the mother and the baby elephant.

Figure 1.17: Sketches of additional system of Malay traditional house by Nur Edzafirah Binti Eddie (after drawings found in Endut, 1993 p.147-148).

Reimagining The Elements

33

Selang System Covered walkway extension to join the rumah ibu (main house) with the rumah dapur (kitchen house). Acts as a ventilation and lighting facilities. A space that becomes a privacy barrier from the main space for the women to work in the kitchen or rest.

Halaman System (Courtyard) An extension functions like selang system but different in terms of the addition design. A courtyard linking to the wet interior space, rumah dapur.

Selari System (Parallel) Extension of two same form that is arranged in parallel order.

34

Figure 1.18: Sketches of additional system of Malay traditional house by Nur Edzafirah Binti Eddie (after drawings found in Endut, 1993 p.147-148).

Chapter 1 Wisdom of The Indigenous Kits

Pisang Sesikat System It is a small extension on a side of the house. An exterior serambi (veranda) to welcome guest.

Usually use for social activity if the family is less acquaintance with the guests.

Lepau System Same concept as the Gajah Menyusu System, but it is attached with the same size as the main to provide larger activity space.

Minangkabau System The extension involves the serambi (veranda) to be extended on both sides with a unique curves upwards roof. A style that is significant to only a certain state in Malaysia.

Figure 1.19: Sketches of additional system of Malay traditional house by Nur Edzafirah Binti Eddie (after drawings found in Endut, 1993 p.147-148).

Reimagining The Elements

35

1.4 Traditional Malay Buildings

There are not many building types were required by the Malays to run their day-to-day activities due to the nature of traditional Malay rural society.

The first three types are the most noteworthy building types that illustrates Malay traditional architecture. Surau, Madrasah and wakaf is very popular in its usage until the present day but it is considered architecturally insignificant. These time-tested shelters are customarily built by local craftsmen that reflect proportion and craftsmanship which have endured the tests of time.

1. 90 years old Traditional House David Loh, 2013

2. The Sri Menanti Palace Shahrin, 2014

3. Kampung Laut Mosque Amrey Faizal, 2009

36

Chapter 1 Wisdom of The Indigenous Kits

The main indigenous building types are: 4. Surau Kayu Lama Hazrol Hassan, 2019

5. Madrasah Tok Janggut IIUM, 2019

1.

Houses

2.

Palaces

3.

Mosques

4.

Surau (small mosque for daily prayers that can be a place for learning the Quran)

5.

Madrasah (Arabic word for Islamic school)

6.

Wakaf (small outdoor hut like gazebo)

Figure 1.20: Photo collection of Malay traditional buildings.

6. Simple Wakaf Nassir Mohamad, 2008

Reimagining The Elements

37

1.5 Tanggam’s Identity and Styles

Still, the harsh Malaysian tropical climate does influence the delicate nature of indigenous Malay timber buildings to last for a short time. However, there is still several remaining examples of the indigenous kit spread across the Malay Peninsula and Malaysian Borneo region that made them the jewels of Malay Architecture. The Malay traditional buildings are filled with different types, styles and construction techniques. There are frequently identifiable building features that clearly designates their architectural influences and origin. Some features may have belonged to a particular area while some are derived from other part of region and cultures.

The building structures are not only taken from the neighbouring region like Indonesian and Siamese, some features also have been executed from the European style during the Colonisation era with quite a few modifications to suit the Malaysian hot and humid climate (Endut, 1993).

In the Malay Peninsula specifically, the different identities of building form can be grouped and classified into four main regions.

The four classifications based on region are:

38

Chapter 1 Wisdom of The Indigenous Kits

Northern region and North of Perak.

: Perlis, Kedah, Penang

East coast region and Pahang.

: Terengganu, Kelantan

Central region : Selangor, Federal Territory of Kuala Lumpur, South of Perak.

Southern region Negeri Sembilan.

: Johore, Malacca and

The styles within the traditional Malay also possess several influences other than the neighbouring cultures. Between the 16th to 19th century, Chinese timber architecture was introduced to Malaysia by the migration of Chinese people of labourer background who were brought from China during the Straits Settlement (Wong, 1995). Most of the structures and style from the Chinese timber architecture affects the roof design and multiple joints in one point of timber bracing connection which is similar to the Japanese jointing style. The European influenced timber technology came along in 18th to 19th century where the Duchess and Britain builders introduced European methods of timber construction to Malaysia.

A different approach to timber technology that greatly affected ethnic structural concepts (Wong, 1995). The introduction of long spans in roof construction, by using nails, bolts and nuts which was a radical departure from traditional construction methods.

Kelantan

Perlis Penang

Kedah

Terengganu

Perak Selangor Pahang Negeri Sembilan

Malacca

Johore Figure 1.21: Malay Peninsula’s Malay house forms sketch by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987, p.27).

In conclusion, the revolutionary of technology leads to less awareness and confidence of tanggam system’s potential in timber construction. The timber technology and building process became advanced and easy, while the value of tanggam has slightly diminished even though a hybrid architecture

concept was applied in one of the formal buildings and still has the sense of Malay approach of building mainly in terms of climatic solutions. The timber material is not preferred by the Malaysian society’s daily activities like once back.

Reimagining The Elements

39

Early Indigenous Structures 1400 From the 3rd century of Stone Age to present 1500 1600 1700

1800 1900

2000

40

Malay Timber Architecture

Portugese Dutch

From 1483 to present

Malay House From 1511 • Mohd Natar’s House, Malacca to 1641 (1894) • Pak Ali’s House, Kuala Lumpur (1917) Palaces • Istana Ampang Tinggi, Negeri Sembilan (1861) • Istana Tengku Nik, Terengganu (1888) • Istana Sri Menanti, Negeri Sembilan (1902) Mosque • Masjid Kampung Laut, Kelantan (1743) • FRIM”s Mosque, Selangor (1743) • ASPA Mosque, Pahang (1989) *Some of the structures still exist

Chapter 1 Wisdom of The Indigenous Kits

From 1641 to 1795 • Stadhuys Complex, Malacca (1641) • Christ Churh, Malacca (1753)

*Some of the structures still exist

British

Japanese

Contemporary Timber Architecture

From 1942 to 1943

From 1960 to present

From 1796 to 1942

• Gedung Raja Abdullah, Selangor (1894) • Carcosa Sri Negara, Selangor (1897) • Memorial Pengistiharaan Kemedekaan, Malacca (1911)

*Some of the structures still exist

• • • • • • •

Governmet’s Building (1970’s) Recreation / clubs (1980’s) Hyatt Kuantan, Pahang (1979) Tanjong Jara Resort, Terengganu (1983) Mediterranean Club, Terengganu (1984) Pelangi Resort, Kedah (1988) Delima Langkawi, Kedah (1992)

Table 1.1: Chronology of historical timber buildings influence in Malaysia illustration by Nur Edzafirah Binti Eddie (after table found in Wong, 1995, p.xiii).

Reimagining The Elements

41

This chapter explores and analyses the Malay traditional way of construction at its original and earliest state where the Malays depend on surrounding nature without technology. These laws or guidelines; tajulmuluk are related to the Malay lifestyles which affects the users, building and surrounding nature. Selective harvesting ensures the quality of the structure value for the building that affects the occupants of the house, it is for them to live comfortably with less material maintenance. Additionally, the design of the system changes with the assistance of tools and technology. Precision in producing the tanggam kit is based on the craft skill and the tools required.

A process of maximising the use of sources to avoid wasted materials which they implemented by having a rule of ‘one tree, one house’. While the implementation of semangat with the process of planting coconut fruit after the erection is a way of giving back to the nature as well as the nature gives back to the occupants as an additional shading device for the building. These sets of guidelines are not just part of the Malays’ believes but mainly to preserve and conserve the surrounding nature while living comfortably within them. Correspondingly, it is a manual to design according to the users need and take advantage of the surrounding environment to support the design outcome. Design process of architecture should consider the surrounding environment as the key and steps to develop for the comfort of the users. A set of extension systems illustrates the ability of designing architecture that allows occupants to adapt with the space, in conjunction with the architecture that adapts to their needs. Identity and styles are flexible and easily influenced between one another, while the exchange of technology, knowledge and culture allows the architectural identity to evolve for a better aim or vice versa. In this case the evolution of tanggam kit and the rule of thumb in obeying the nature has diminished from the culture and moved on to a modern influence. It has gradually changed the Malays’ architecture products.

42

Chapter 1 Wisdom of The Indigenous Kits

Figure 1.22: Traditional Malay house sketch collage (Eddie N.E., 2020).

Reimagining The Elements

43

Figure 2.1: Traditional vs Modern collage (Eddie N.E., 2020).

44

Reimagining The Elements

Chapter 2

The Modern Revolutionary

Reimagining The Elements

45

2.1 The Thermal Comfort Issue

Malay traditional buildings especially kampung houses are an excellent example of sustainable design.

Many researchers believed that the traditional Malay house is designed thoroughly in accordance with the weather, resulting in a climatically responsive building that provides for the comfort of the users (Ibrahim, 2015)

This shows that a traditional house design possesses high energy efficiency.

Modern house design, however, especially terrace houses that are the commonplace of the architecture product in Malaysia today, borrows its design from the cold climate model where houses are cuddled together and help keep the population warm during the long cold winter. Modern housing developments in Malaysia are built under the standards and regulations which allows unrestrained use of land and disproportionate building densification that only serve to satisfy developers. Terraced housing signifies the most common type now being built in urban areas. The houses which are being constructed now are only equipped with basic facilities that can meet basic needs but take little account of the internal layout and other comfort requirements of the potential users.

Despite these problems, the same cookie-cutter houses are still growing enormously. A vague building standard exists, but there’s always

46

Chapter 2The Modern Revolutionary

tendencies that these can only be observed to mainly focuses on the economic and logistical side with housing costs and density but do not specify guidelines for any aspect of human comfort.

Based on a research experiment done

by Ibrahim and Tinker on thermal comfort of low-income house design, insufficient openings and poor internal layout are also the reasons that lead to the use of mechanical ventilation to cool down the interior spaces. This happens not only for low-income houses but also the standard 2-storey terraced houses.

From a research questionnaire data by Ibrahim which involved 50 sets of questionnaires that were successfully distributed to 25 sets of respondents who live in traditional Malay houses and another 25 sets to those who live in modern houses, a comparison of mechanical and natural ventilation was done. This research was done in Kuching which is one of the states in Malaysia.

Thermal Control Devices Fan

Traditional Malay House 23

Modern House 23

Air-conditioning

6

12

Openings

23

15

Table 2.1: Result of frequency of using thermal control devices and natural air ventilation (Ibrahim, 2015).

% 100 90 80 70 60 50 40 30 20 10

Traditional House

Modern House

Figure 2.2: Result of percentage on using lighting system during daytime (Ibrahim, 2015).

According to the researcher’s findings, the table 2.1 indicates that people that live in modern housing rely more on air-conditioning system to satisfy their thermal comfort needs. Meanwhile, figure 2.2 illustrates that the energy consumption of modern house occupants is higher than the traditional Malay house. This result shows that the ability of traditional Malay house in catering the needs of its user in the hot climatic surrounding.

Reimagining The Elements

47

Depends (New Idea) Modern House Traditional House

26%

52%

22%

Figure 2.3: Result of respondents’ demand on their types of houses in Kuching (Ibrahim, 2015).

In figure 2.3 shows that most of the respondents are fond of the idea of reinventing traditional Malay house. The needs of the respondents then become a platform for Ibrahim to interview several professionals in the construction field which also contributes back to this research in trying to propose a design and possible ways in implementing traditional Malay house system in modern construction process.

48

Chapter 2The Modern Revolutionary

Factors of rapid development in modern housing

Obstacle faced to construct traditional housing

Cost

Familiar methods and can be repeated easily with a common cost control system while optimising their budget.

Material

Many manufacturers and suppliers.

Design Approval

Regulation and requirements can easily be satisfied and quick approval.

Labor

Can use less skill workers to supervise the site and others are semi-skilled workers.

Trend

Profit making and high market demand.

Cost

Cost of timber products and less manufacturers.

Material Design Approval Labor Manitenance

Lask of professionals and experience in handling the traditional products.

Timber only has 5 years termite warranty and the durability maintenance is high especially when it is exposed to sunlight and rain.

Table 2.2: Result of the interview with professionals in Malaysia (Ibrahim, 2015).

Thus, from Ibrahim’s research and literature reviews on thermal comfort for modern Malaysian housing, a set of inferences comparing both traditional and modern design that leads to their thermal comfort.

Reimagining The Elements

49

This illustration of modern housing model is based on the author’s experience as a user. This is a typical form of 2-storey terrace house in Malaysia. The house is randomly oriented to fit the available land on side for profit motive.

Short roof overhang

Large Windows

Front Elevation

Side Elevation

Two bedrooms (ground floor and first floor), a common area (first floor) and living room (ground floor) expose to sun daily from 7pm to 12 noon.

Master bedroom will be hot during the night

East sun exposure

West sun exposure

50

Figure 2.4: Drawings of modern housing unit (Eddie N.E., 2020)

Chapter 2The Modern Revolutionary

This house is actually oriented to South West and leads to direct sunlight on the front and side elevation. The side view of the house is exposed to the East sun (morning until noon) while the front is opened to the West sun (evening sun).

Reimagining The Elements

51

52

Figure 2.5: Collage of modern housing unit construction process (Eddie N.E., 2020)

Chapter 2The Modern Revolutionary

Figure 2.6: Collage of modern housing unit construction process (Eddie N.E., 2020)

Reimagining The Elements

53

On stilts capture velocity of wind.

Open plan allow cross ventilation.

Low exposed of vertical areas.

Ventilated roof spaces.

Randomly arranged allows wind movement.

Large overhang provide shading.

East west orientation minimizes solar radiation.

On stilts capture velocity of wind.

Coconut trees and tall trees for building shades.

Low thermal capacity.

Under lighted with a psychological effect of coolness.

Figure 2.7: Traditional Malay house values sketch by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987 p. 68-79).

54

Chapter 2The Modern Revolutionary

On ground with lower wind velocity.

Insulated by trapped air.

Only directed at upper level of body.

Partitions restrict wind movement.

Use of bigger unshaded window.

Barriers that block wind passage.

Wider exposed of direct sunlight.

Maximize land for profit motives.

Lower trees to provide privacy and reduced wind velocity.

High thermal capacity cause discomfort.

Tendencies of over lighting and uncontrolled glare.

Figure 2.8: Modern house values sketch by Nur Edzafirah Binti Eddie (after drawings found in Lim, 1987 p. 68-79).

Reimagining The Elements

55

2.2 Timber Products

20% of the earth is covered with forest which approximately two-thirds as hardwoods in the temperate and tropical climate and onethird as softwoods within colder regions (Lyons, 2014). These timbers are harvested annually to be used in construction worldwide. To continue and meet future timber demands, logging companies should resolve environmental issues with sustainable forest development.

Hence, the clear-cutting process should follow by replanting process until the new trees are matured.

Based on the Malaysian Timber Council 2015 issue on Timber Malaysia status, the timber companies in Sarawak which is situated at West Malaysia has stepped forward to ensure a future supply of timber by planting approximately 8,000ha new trees and will expand their forest plantation.

Timber supplies are vital as a step to use natural material as the modern construction material. These products can be part of the process in making the modern tanggam system where it can incorporate with prefabrication approach of construction. The set of jointing can be made in factories and transport them in containers to the site for installations and construction of the building which is similar to how Malay villagers in the past did their construction process. Prefabrication

56

Chapter 2The Modern Revolutionary

is a construction concept to achieve mass production housing affordably. The use of a laser cutting machine and CNC machines where there is a lot of expertise in handling the tools compared to the traditional way of building tanggam. A modern adaptation is one of the ways to keep the traditional joints alive and still be known as an option for building structure system. Sets of timber manufacture details are to be part of the Building Information Modelling (BIM) system of the construction process.

Rapid developments in building design and analysis software over the last decade, coupled with advances in desktop and laptop computational power, have led to the emergence of new digital models for the design and documentation of buildings; virtual buildings or building information models (BIM). Building information modelling has gained currency among growing numbers of building professionals and stakeholders, emerging from arcane obscurity to inescapable buzzword. BIM has been variously defined according to the user’s profession, perspective, or agenda and it can be defined as a modelling technology and associated set of progress to produce, communicate and analyse building models (Wiley & Levy, 2012). Design with the real information using BIM programmes like ArchiCAD, REVIT, even Vectorworks allows construction industry to communicate easily in order to save time and construction cost.

Note

1

50% of the tree’s dry weight is carbon.

Old trees absorb CO2 at a slow rate which will get even slower as they grow.

1 Mature trees create a canopy that blocks out the sunlight and restricting the growth of under layers.

The Beginning

2

Trees live and grow, they absorb and store CO2 in their roots, trunks, branches and leaves.

2

When the trees die, the carbon gas that locked in the tree cells will released back into the atmosphere.

From this analysis, trees are selectively cut based on a Sustainable Forest Management practices.

Note The death of a 70-year old tree would release closely to three tonnes of carbon. Death cause by: Lightning strikes, forest fires, damage by wind, old age or even diseases.

Note Selective harvesting opens up canopy and allows more sunlight to reach the forest floor and stimulate young trees for forest growth.

Figure 2.9: Sketches of modern sustainable timber production process information resource from Malaysian Timber Council (Eddie N.E., 2020) Reimagining The Elements 57

Laminated Timber Large and solid timber sections

Cross-Laminated Timber

Structural Insulated Panels (SIPs)

Similar system to conventional plywood but has a thicker cross section.

Prefabricated lightweight building components, used for load-bearing internal and external walls and roofs.

Typical length: 30m (50m possible)

Thickness: 50 – 300 mm,

Stock items: 315 x 65 mm 405 x 90 mm 495 x 115 mm

500 mm Maximum panel size:

Thickness: 70 – 252 mm Large panels: 6.0 m x 2.5 m x 180 mm

15 x 3 m

Common range: 180 x 65 mm – 1035 x 215 m

Figure 2.10: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176).

58

Chapter 2The Modern Revolutionary

Laminated Veneer Lumber Microlam is an economical material than laminated timber as it has little waste in production process.

Length:

Plywood A series of thin timber layers, or plies until the required thickness.

Standard sheet:

300 mm Thickness:

2440 x 1220 mm Maximum sheet:

3mm coated with waterproof adhesive

3050 x 1525 mm

Blockboard and Laminboard Core plywood manufactured with a core of softwood strips sandwiched between one or two plies.

Standard sheet: 2440 x 1220 mm Thickness: 12 – 45 mm

Thickness: 4 – 25 mm

Figure 2.11: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176).

Reimagining The Elements

59

Particleboard

Fibreboard (MDF)

Panel materials produced under pressure and heat from particles of wood, flax, hemp or other similar lignocellulosic materials.

Manufactured from wood or other plant fibres by application of heat and pressure.

Standard sheet: 2440 x 1220 mm Maximum sheet: 3660 x 1220 mm Thickness:

Standard sheet: 2440 x 1220 mm Maximum sheet: 3660 x 1220 mm Thickness:

12 – 38 mm

2 – 30 mm

Wood Wool Slabs Manufactured by compressing long strands of chemically stabilised wood fibres coated in Portland cement.

Length: 3m Width: 500, 600, 625 mm Thickness: 25 – 150 mm

Figure 2.12: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176).

60

Chapter 2The Modern Revolutionary

Compressed Straw Slabs A form of straw under heat and pressure, followed by encapsulation in a fibreglass mesh and plastering grade paper.

Standard sheet: 2270 x 2400 mm Thickness: 58 mm

This chapter investigate the information on modern timber construction method and reviewed the ways to relate its standard that can be incorporated with traditional manual. The research also analysed the needs of users in Malaysia based on the research done by a Malaysian educator on the thermal comfort comparison between the modern and traditional house. This gives the research idea and focus of what it is expected to produce a modern tanggam reinterpretation. Plus, the sustainable timber production is the modern way of selective harvesting, which is used traditionally but with a different guideline, as modern approach is more scientifically sourced and proofed. After learning the sustainability ways of timber production, a list of timber types is produced in order to suggest the available modern timber products that can be used in the reinterpretation design process.

The use of modern programmes such as BIM (Building Information Modelling) in design is also part of the modern approach. The process includes a recreation of the traditional house components as a family file catalogue in REVIT as an information storage system. It can give many advantages in preserving and conserving data as well as making the prefabrication system works for the developers to use the tanggam kit. So, there is a possibility the modern characteristics are able to be implemented with the traditional manuals.

Figure 2.13: Modern timber products graphics by Nur Edzafirah Binti Eddie (after texts found in Lyons, A., 2014, p.156-176).

Reimagining The Elements

61

Figure 3.1: Collage of the ‘Abandoned Place’ (Eddie N.E., 2020).

62

Reimagining The Elements

Chapter 3

The Abandoned Place

Reimagining The Elements

63

THE SITE IN CONTEXT OF PERAK Malaysia Peninsula

Malaysia

Perak

Kinta is a district in Perak where it is one the pioneering Malaysia’s Modern Development place.

The most productive district because of the tin sources. The villages and cities formed in Kinta is affected by the river.

East Malaysia

THE SITE IN CONTEXT OF MALAYSIA Perak Darul Ridzuan is one of the states in Malaysia and the second largest state by size in Peninsular Malaysia but the fourth largest in Malaysia. Perak means silver while Darul Ridzuan is ‘Adobe of Grace’, Perak as a name due to its history of being the richest tin mining deposits during in the world.

Kinta District Ulu Perak Larut, Matang & Selama Kerian Kuala Kangsar

Kinta Manjung

Kampar

Perak Tengah

Batang Padang

Hilir Perak

3.1 Site Location

The site chosen for this research design project is located in Malaysia. Malaysia compromise of two regions which are Malay Peninsula or West Malaysia and East Malaysia or Malaysian Borneo. Altogether, Malaysia has thirteen states, three federal territories and nine hereditary monarchies. Perak is one of the states situated at the west coast of Malay Peninsula and has land borders with other Malaysian states of Kedah to the north, Penang to the northwest, Kelantan and Pahang to the east, and Selangor to the south. Meanwhile, Thailand’s Yala and Narathiwat provinces both lie to the northeast of Perak. The state is divided into twelve districts which are Kinta, Larut, 64

Chapter 3The Abandoned Place

Mualim

Ipoh

THE SITE IN CONTEXT OF IPOH Ipoh is the capital city in Perak. Ipoh’s popularity as a tourist destination has been significant by their effort in conserving its British colonial-era architecture. It has several main villages and old settlements that are still in place and few are abandoned.

Matang, Manjung, Hilir, Ulu Perak, Mualim, Selama and more. Perak was famous for its tin history especially in Kinta Is the most populated district, where the capital city of the state is sited, Ipoh. Ipoh Is naturally bisected into old and new towns by the Kinta River.

It charms with street arts and street food that can be found between heritage buildings along the street.

In the hectic live of modern urban setting, Ipoh has its jewel hidden and unrevealed to the public. For instance, an abandoned land in the middle of the city near the Kinta River that are bursting with heritage values of its construction and craftsmanship that leaves to be taken over with nature.

Figure 3.2: Site location (Eddie N.E., 2020).

KAMPUNG KUCHAI

The village is located near the Kinta River in the middle of the city. There are few hybrid architectures from the British era in the village such as the Mosque, shops and also the school. Some part of the village is abandoned due the shop houses development around it.

The abandoned place is a village within an urban setting called ‘Kampung Kuchai’. Kampung Kuchai is one of the earliest villages that leads to the development of the Ipoh city. It has the total land area of approximately fifty acres that is accessible through the small lanes within the commercial areas in the city. Unlike the other villages, it stays undeveloped and is left to be infested with broken vehicles since it has become an extension port of the car workshops from the city area.

MALAY SCHOOL

Reimagining The Elements

65

1530 Kinta Transportation Hub Kinta, which was called Genta at the time, opened a new Malay settlement at Hulu Kinta by the Perak’s Officials, and the Kinta River became one of the transportation hubs for people to communicate.

1528 The Beginning

1848 - 1872 Tin Mining Story

The start of Perak’s Sultanate Era when Raja Muzzafar became the first Sultan, Perak’s Sultan I.

Tin ore was one of the major industrial and economical resources in Perak that the Sultan hired almost 40,000 estimated of Chinese workers whom some of them were the Chen Seng Hakka from Kwantung district. The third Larut War between Ghee Hin and Hai San gangster groups led to the involvement of British officers from Penang.

3.2 Site Background 3.2.1

Kampung Kuchai (Kuchai Village)

Kampung Kuchai development started back in 1898 which was during the English colonization period. It is also a home to Masjid Panglima Kinta, the first mosque in Kinta Valley and it was the first built on the site. The mosque combines Moghul and neoclassical architecture that was built by Datuk Panglima Kinta Mohamed Yusof, the valley’s commander, in memory of his wife, Saadiah, who passed 66

Chapter 3The Abandoned Place

away on the same year (Asrin, 2016). British architects and engineers were responsible in constructing the building with the use of clay bricks and plaster as the materials (Jasbindar, 2019). Then, the village was officially established by influential husband and wife in Ipoh, Dato’ Seri Andika Raja Wan Mohamad Salleh and Toh Puan Sharifah Rodiah as the neighbouring village could not cater for more people in 1900.

Then, the couple separated the village into a lot of land areas separated into lots of land to be given to officers, relatives and other villagers whom wanted to move and settle in the village.

The village successfully stand for several years

1874 Pangkor Treaty

English colonisation in Perak started from the Pangkor Treaty between British and Perak Malay Officials. Perak receive their first resident, James Wheeler Woodford Birch, J.W.W. Birch.

1898 - 1935 Kampung Kuchai Legacy

The mosque at the village was built first before it opened in 1898. 1900, the village was established by a couple when the neighbouring village, Kampung Paloh cannot cater for more villagers.

The village grew bit by bit starting from several houses of the couple’s relatives.

1875- 1893 The City of Ipoh

1950 - Now Kuchai’s Epilogue

J.W.W. Birch drew a map of Epu (Ipoh) and Palau (Paloh) in Kinta. The commander in Kinta arranged the residentials facing the river and Ipoh caught on a big fire incident that destroyed some part of the town. After it recovers, Ipoh started to expand and became the city for local administration offices.

People from other villages started to migrate to Kampung Kuchai.

However, in 1966, the villagers moved out to the city in order to fulfil their modern needs and the village is now abandoned. The land now is fill with car workshop business.

Figure 3.3: Site’s (Kampung Kuchai) historical timeline (Eddie N.E., 2020).

during the glorious tin era. However, since 1966, the villagers started to move out from the village in order to fulfil their modern needs in the city and the village was left abandoned (Lim, et al., 2017). The research has analysed the site in a wide scale and proposed it to be the land for land for a land development using the reinterpretation of modern tanggam kit which is the Malay traditional joinery and also the park of the kit’s experimentation and exploration.

Since the site chosen (Kampung Kuchai) is the oldest abandoned village in Perak, it is found that the village riches with traditional yet unique

Malay construction techniques such as tanggam which is to be reimagined with modern tanggam kit in this design project. In other words, the research is not only reviving the old traditional kit, it revives the old abandoned village as well.

Based on the current situation of the planning process of the land Ipoh city council has given a thought to revive the village with its own cultural attraction including the variety of local food. The draft proposal by the City Council is to introduce a food introducing a food court or food recreation place situated along the river of the village.

Reimagining The Elements

67

Pavilion Structure Proposed Site

Main Project Proposed Site

SCALE BAR 1:500 10

0

SCALE BAR 1:1000

20

0

0

Scale Bar 1:2000 0

25m

50m

SCALE BAR 1:2000 100m

200m

300m

Figure 3.10: Site photos; 'Shophouses' taken by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020).

68

Chapter 3The Abandoned Place

SCALE BAR 1:5000

Pavilion Structure Proposed Site

Main Project Proposed Site

SCALE BAR 1:500

SCALE BAR 1:1000

Scale Bar 1:2000 0

25m

50m

SCALE BAR 1:2000 100m

200m

300m

Figure 3.11: Site photos; 'The Mosque & Madrasah' taken by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020).

SCALE BAR 1:5000

Reimagining The Elements

69

Pavilion Structure Proposed Site

Main Project Proposed Site

SCALE BAR 1:500

SCALE BAR 1:1000

Scale Bar 1:2000 0

25m

50m

SCALE BAR 1:2000 100m

200m

300m

Figure 3.12: Site photos; 'River and abandoned buildings on site' taken by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020).

70 Chapter 3The Abandoned Place

SCALE BAR 1:5000

Pavilion Structure Proposed Site

Main Project Proposed Site

SCALE BAR 1:500

SCALE BAR 1:1000

Scale Bar 1:2000 0

25m

50m

SCALE BAR 1:2000 100m

200m

300m

Figure 3.13: Site photos; 'The Abandoned School' taken by Kung Zi Jing and Nik Mohd Najib (Eddie N.E., 2020).

SCALE BAR 1:5000

Reimagining The Elements

71

1920

1950

Current

Figure 3.4: Site’s (Kampung Kuchai) morphology analysis (Eddie N.E., 2020).

Context and Landscape

Urban Mobility

Heritage Buildings Key Legend Public Transport Commercial Residential Educational Institutions Religion Institutions Industrial

Infrastructure

Climate and Sensory

Figure 3.5: Site’s (Kampung Kuchai) condition analysis (Eddie N.E., 2020).

Village Pathways

Sun Path

Village Access

Wind Direction

Parking Space

Noise

Vehicular Road

Preserved Heritage Landmarks

Pedestrian Road

72

Chapter 3The Abandoned Place

3.2.2

Sekolah Melayu (Malay School) Kampung Kuchai

the office and seminar rooms. After a while the activity in the building became less active and slowly the building was left abandoned until now.

In order to make the research more effective and distinct, the research concentrates on a specific site within the village, which is a Malay School that is presently left abandoned since 2014. The school was built in early nineteenth-century.

Before the school was abandoned, it was a Malay Girls’ school in 1920. The school taught their students Mathematics, Gardening, Health, Crafts, Reading and Writing in Malay as their subjects (Mursib, et al., 2017).

In 1970, the Malay school was not in use and the Malaysia Ministry of Education turned the building into a storage place for their furniture. The building became a spot for anti-social activities. After several years, the building was refurbished as a gallery that commemorated one of the Malaysia’s educational figure, Aminuddin Baki in 2005. The refurbishment consisted of proper drainage system, toilets as well as the separating of open plan spaces into several small rooms such as for

The Malay School was designed by a British Architect and was constructed using the local construction techniques by local people.

The design of the building was based on a mix identity of colonial and local that resolves to a hybrid architectural concept. The construction process of the building started with its designing process by the British architect where it continued with the construction process by the mix community at the area. The cement and bricks feature especially its footings were made by the Indian builders while the timber structures and wall weaving features were a collaboration between the Chinese and Malay community (Mursib, et al., 2017). George Drummond Coleman, an officer whom works at Singapore’s Public Works Department in 1833 said about hybrid, the combination of colonial and local architecture is suitable for the Malaysia’s tropical climate as to ensure the interior spaces is not hot and uncomfortable for the users (Mursib & Mohd Rasdi, 2016).

A Malay school for girls that start from 8 am to 1 The school was not used pm with several subjects as a school, but Malaysia The Malay School was taught like Maths, Ministry of Education designed by a British turn the building into Architect, but it was built gardening, health, craft, writing and reading in a storage space for by the local people using Malay. furniture. the local ways of building.

19th Century

1920

1970

The building was refurbished to be a gallery that commemorates one of the Malaysia’s figure in education industry.

2005

The building itself was abandoned fully and the structures are infested with termites.

2014 Current

Figure 3.6: Sekolah Melayu’s historical timeline (Eddie N.E., 2020).

Reimagining The Elements

73

The Sekolah Melayu (Malay School) has a linear open space layout for the teaching activity.

It was built with timber and other natural materials like palm leaves except for the roof finishing, stairs, and umpak (footings). The roof is 30’ slope roof design with a Perak style (Dutch style) influenced and uses roof clay tiles material instead of attap like other traditional Malay houses roof.

SCALE BAR 1:50 0

1

2

3

5

4

10

SCALE BAR 1:100 5

0

10

15

Malay School Floor Plan

20

SCALE BAR 1:200 Figure 3.7: Sekolah Melayu’s drawings scale 1:250 by Nur Edzafirah Binti Eddie and Universiti Teknologi Malaysia Colleagues from a Measured Drawing Submission IN21.A/16/17 and Report ‘Sekolah Melayu Lot 17773, Jalan Masjid, Kampung Kuchai 31650 Ipoh, Perak’, p. 102-104 (Mursib, et al., 2017).

SCALE BAR 1:250

Scale Bar 1:250 0 74

5m

10m

Chapter 3The Abandoned Place

15m

20m

25m

0

100

Malay School Y-Y Section

Malay School X-X Section

Malay School Front Elevation

Malay School Side Elevation

Figure 3.8: Sekolah Melayu’s drawings scale 1:250 by Nur Edzafirah Binti Eddie and Universiti Teknologi Malaysia Colleagues from a Measured Drawing Submission IN21.A/16/17 and Report ‘Sekolah Melayu Lot 17773, Jalan Masjid, Kampung Kuchai 31650 Ipoh, Perak’, p. 102-104 (Mursib, et al., 2017).

Reimagining The Elements

75

Since the building is for a formal educational activity, there are no carvings and ornaments. However, the wall design comprises a weaving of leaves as the Kelarai (wall material) with a unique pattern called ‘Siku Keluang’. Siku is defined as elbow, Keluang is a type of fruit bat or flying fox. The pattern is called Siku Keluang because of its patterns bear a resemblance to the flying fox’s wings.

The kelarai gives the building an aesthetic value both from the exterior and interior especially when the sunlight goes through the gaps within the kelarai.

76

Chapter 3The Abandoned Place

The Nypa leaves for the dinding (wall) are coloured with white paint while the tiang (post), rasuk (lintel) and bingkai (frames) structures are coloured with black to achieve the Tudor Architecture style. The tingkap (windows) lining out along the dinding (wall) for clear cross natural ventilation. The material involved in the construction of the school are timber such as Chengal and other softwood type timber for the windows and door frames. However, since the building has been abandoned for six years, some parts of the building is now infested with termites specifically the opening frames and the roof structure is slightly collapsed.

Figure 3.9: Sekolah Melayu’s kelarai (Eddie N.E., 2020).

Reimagining The Elements

77

Key Legend

4.

Madrasah Kamariah

5.

Makam Waris Panglima Kinta

(Panglima Kinta Ancestor’s Grave)

1.

Sekolah Melayu (Malay School)

2.

Kuarters Guru (Teacher’s Quaters)

6.

Bengkel Kereta (Car Workshop)

3.

Masjid Panglima Kinta

7.

Rumah Kedai 2 Tingkat

(Panglima Kinta Mosque)

(2-storey Shop Houses)

3 4

7

5 1 2 6

10

SCALE BAR 1:500

6

0

SCALE BAR 1:1000

Scale Bar 1:1000

20

0

2

0

25m

50m

100m

Figure 3.10: Malay School site plan (1:250) (Mursib, et al., 2017).

78

Chapter 3The Abandoned Place

SCALE BAR 1:2000

SCALE BAR 1:50

Existing building on site

0

1

2

3

4

5

10

SCALE BAR 1:100 5

0

10

15

20

SCALE BAR 1:200

1. Abandoned Sekolah Melayu (Malay School)

7. Two units 2-storey shop houses

Figure 3.11: Malay School and 2-storey shophouses elevation (1:250) (Mursib, et al., 2017).

SCALE BAR 1:250

Scale Bar 1:250 0

5m

10m

15m

20m

25m

0

100

In conclusion, the research will use the existing building and two shop houses upfront at the high road as the main design project based on the analysis and synthesis on the site. The shop house will act as the urban prospect in order to attract the public to the inner rural-urban site which is the Sekolah Melayu (Malay School). Rural setting of the kit approach is an extra project of this research where the research will use the information from the proposal of the City Council to revive the village using the river side area. Based on the draft pitch, an idea to propose a temporary structure like pavilion or booths to cater for vendors or food trucks as the food attraction. These set of information on the current situation of the site and the future development allow the research to explore the modern reinterpretation of tanggam in different surroundings which are urban, rural-urban and rural.

Reimagining The Elements

79

Figure 4.1: Case studies collage (Eddie N.E., 2020).

80

Reimagining The Elements

Chapter 4

Case & Precedent Studies 4.1 Case Study

Case study research is one of the research methodologies that involves investigation on aspects that are related to research processes such as structure aesthetic values, materials used, construction phases along with the technicality of jointing systems. The research will focus on many case studies and extract a particular element of the studies thoroughly to comprehend and implement the inputs into the design project. There are numerous different case and precedent studies done in order to accomplish the final research outcome. The search of case studies is divided into three segments of design phases.

First phase: Kit design process.

Second phase: Land development process.

Third phase: Building design process.

Reimagining The Elements

81

4.1.1

Kit Case Study

During the first stage, the chosen case study is the building at the proposed site for this research; the Kampung Kuchai’s Malay School and the general construction system of the Malay traditional houses. This case study is done in order to understand the traditional kit in depth and also as part of the design process.

From the previous chapter, the Malay School is still standing strong despite its condition now that it opens an opportunity for KALAM to restore and preserve its unique original form and detailing for future reference.

KALAM is a professional entity that is responsible for the documentation of historical Malay traditional buildings that was set up in June 1996, funded by numerous complex measured drawing works done by the students themselves from the Built Environment Faculty out of concern for the rapid fragmentation and elimination of Malaysia‘s architectural heritage.

This was actually part of the author’s previous work with a team of other fellow batchmates. The Malay School is an unusual case study that drives the earliest approach of the project in finding ways to fuse in the traditional tanggam manual configurations with the modern installations. The building is a work of design that involves a mix of styles, cultures, construction methodologies and local community-influence in the building process.

82

Chapter 4Case & Precedent Studies

The materials involved in the construction were timber, cement, concrete and leaves. The timber used is a hardwood type timber called Chengal.

Chengal was used as the jointing structures of the Malay School. This type of timber in Malaysia is widely used because of its strength and ability to last long from decay and termites. The efficiency of the materials used was projected throughout the study being conducted, as the building only had minor damages and firmly still-standing on the site. Since the frames were built using soft wood, they were the only parts affected with termites. However, the frames can be easily treated and replaced.

From the analysis process of both Malay School and a generic traditional manual of traditional Malay timber house, the research required information on the types of tanggam in terms of their names and how each of the type works in a construction process.

Figure 4.2: Case building; Sekolah Melayu (Kung Z.J., 2017).

Tanggam use for roof structure

Window detail

T3

Wall detail 1

T2

T4

T1

Wall detail 2

T2

T1

Door detail

Tanggam use for post and lintel structure

T3

T4

Figure 4.3: Sekolah Melayu’s detail drawings illustration by Nur Edzafirah Binti Eddie (Mursib, et al., 2017).

Reimagining The Elements

83

Tanggam Melebar and Tanggam Parit

Tanggam Tetingkat

Tanggam Lidah & Lurah

Tanggam Penetap

Tanggam Parit Terus and Tanggam Parit Buntu Tanggam Memanjang

Tanggam Plat Sambung

Tanggam Sambung Jari

Tanggam Sambung Lekap

Tanggam Skaf

Figure 4.4: Sketch of Tanggam types 1 (Eddie N.E., 2020).

84

Chapter 4Case & Precedent Studies

Tanggam Pemidang

Tanggam Lekap Penjuru @ Siku

Tanggam Lekap T and Tanggam Lekap Panjang

Tanggam Lekap Penjuru Rencong

Tanggam Lubang & Puting

Tanggam Siku

Tanggam Bajang Tunggal

Tanggam Tetingkat Lidah Berpari

Tanggam Temu

Tanggam Rencong

Figure 4.5: Sketch of Tanggam types 2 (Eddie N.E., 2020).

Reimagining The Elements

85

In the process of learning the traditional kits and manuals, the research explores deeply on abundant different ways in producing a modern timber kit that uses a prefabrication approach in their production process. There are many timber kits that are currently being used widely in the construction industry, such as Brikawood, Facit House, Huf Haus, Stecko Block and Wikihouse. The variety approach of the modern prefabrication kit with timber has taken the research to a level of trying to merge various ideas that may be somewhere within the existing ideas now.

From the modern products listed, Wikihouse is chosen as the main case study among the other kits as the idea of this research will work closely on plywood materials.

Wikihouse is a digitally manufactured building system that aims to make it simple for anyone to design, manufacture and assemble highperformance homes that are personalised to their needs (WikiHouse, 2019).

Wikihouse produces their components by cutting 1220mm x 2440mm x 18mm sheets of plywood or OSB on any CNC router. The thickness of the material will differ based on the function and purpose. They usually use some 6 mm or 12 mm sheets.

86

Chapter 4Case & Precedent Studies

Figure 4.6: A-Barn in Scotland by Wikihouse kit (Wikihouse, 2014).

Reimagining The Elements

87

Digital Data-Driven Design Disassembly Manufacture

Use Delivery Assembly

Figure 4.7: Production and construction process of Wikihouse kit (Wikihouse, 2019).

In the components production, there are tolerances and offsets that need to be considered.

That is somehow the challenging step of producing a cut-out kit. A precise consideration on the manufacturing variance and also the material conditions when it is exposed to moisture and weather where in some cases, the edges, holes and slots may be offset to 0.25mm or more (WikiHouse, 2019). Some may contain ‘crush joints’ which the joints are intended to be mallet together once only and fixed. The industrial revolution of the kit distributes to several steps in which they design the kit in a digital design program with SketchUp or Rhino. The 3D digital format is then being imported to CAD files for the local fabrication process which involves the CNC machines to cut the plywood sheets. The cut sheets became pieces of kit that can be assembled on site. The components can be rapidly assembled like a large flat pack, to millimetre precision. This case study sets the constant and of timber material types as well as the realistic value of this research.

88

Chapter 4Case & Precedent Studies

4.1.2

Land Development Case Study

The process of this research continues in proposing a land development for the kit exploration design project. Hooke Park, the AA School Woodland Campus in Dorset, United Kingdom is chosen as the case study to develop the abandoned land in the middle of the urban setting; Kampung Kuchai. The Hooke Park is a campus that presents a 30-year history of experimental timber construction and rural architecture (AA School, 2020). The campus was established in the 1980’s and is still adding new exploration of their timber technology on site as part of the campus programme. The facilities at the Hooke Park consists:

Accommodation Refectory (1987)

Figure 4.9: Hooke Park’s Westminster Lodge (Eddie N.E., 2020).

Westminster Lodge (1996)

Uses green wood from the park as the material that provides eight bedrooms around a central communal space. Structure that is used in this building is timber lattice of spruce thinning carries a planted turf roof.

Originally a prototype house with the use of roundwood thinning in tension form a tent-like roof. Now it is a dinning space for the user.

Figure 4.10: Hooke Park’s Student Lodges (Eddie N.E., 2020).

Student Lodges (2013 – 2014) Figure 4.8: Hooke Park’s Refectory (Eddie N.E., 2020).

A 2-bedroom lodge that maximise the use of recycled and reclaimed materials.

Reimagining The Elements

89

Caretaker’s House (2012) A prototypical low-cost timber building exemplar constructed from the timber grown and felled on site.

Figure 4.11: Hooke Park’s Caretaker’s House (Eddie N.E., 2020).

Workshops Workshop (1989) Uses spruce thinning method to form a vault from a series of compression arches. A longspan enclosure built using low-value material.

A long-span enclosure built using low-value material.

Figure 4.13: Hooke Park’s Assembly Workshop (Eddie N.E., 2020).

‘Big Shed’ Assembly Workshop (2012)

Figure 4.12: Hooke Park’s Workshop (Eddie N.E., 2020).

90

Chapter 4Case & Precedent Studies

Large enclosed space for fabrication, assembly and prototyping activities.Constructed with an innovative screw connections to for the roundwood trusses.

Figure 4.14: Hooke Park’s Forest (Eddie N.E., 2020).

Forest Hooke Park comprises roughly 140 hectares of woodland including mainly of spruce and beech trees planted in 1950s. There are stands of western red cedar, douglas fir and corsican pine, and of combined oak and spruce.

Reimagining The Elements

91

92

Figure 4.15: Collage of Hooke Park’s other timber structure features, picture taken by author during studio trip set 1 (Eddie N.E., 2020).

Chapter 4Case & Precedent Studies

Figure 4.16: Collage of Hooke Park’s other timber structure features, picture taken by author during studio trip set 2 (Eddie N.E., 2020).

Reimagining The Elements

93

Storage Timber Seasoning Shelter (2014) A canopy for the stacked drying process of Hooke Park sourced timber. It is built from beech trees with an experimental approach of steam-bent timber elements in a reciprocal grid structure.

Hooke Park has upgraded its facilities gradually depending on the materials supply and students’ contributions. Some of the structures at the park are temporarily built by a group of students as part of their programme and learning process in exploring the timber structure. This case study of land development has given the original design project of Kampung Kuchai to be separated into several zones and phases to grow as a reputable land that may be developed more.

After much consideration in the design process of this research, the decision of planning the land development zones into several phases has given the research a suitable programme for the design project to develop. The Malay School and an additional two units of 2-storeys shophouses are the existing components on site in which the design project will use the developed reinterpretation of tanggam kit. The idea of reintroducing the traditional kit to be a modern construction method is a prominent architectural approach by several well-known architects worldwide. Therefore, this stage of case study research is covering the research approach where it includes both kit application and to be implemented in building design proposals.

Figure 4.17: Hooke Park’s Timber Seasoning Shelter (Eddie N.E., 2020).

94

Chapter 4Case & Precedent Studies

4.1.3

Architect Case Study A

Born 1954 in Yokohama, Japan. He studied architecture at the University of Tokyo and served as a visiting researcher for Columbia University from 1985 to 1986. Kengo Kuma is a Japanese architect who has his own goals to recover the traditional Japanese buildings and reinterpret them to suit the style for the 21st century. He founded his design studio – Kengo Kuma & Associates in 1990. He emphasizes the use of modern technology to bring the natural and traditional elements of Japanese structural materials such as timber and stone in his approaches. The mix of methodologies of modern and traditional in his design can be seen in some distinct approaches. Kengo Kuma’s work in timber is a series of experiments that are developed from the basic system. Chidori interlocking joint was magnificently fabricated in the construction method of one of his works, GC Prostho Museum Research Centre in Aichi Prefecture, Japan. The building consists of six thousand pieces of cypress wood that are joined by Chidori jointing (Nuijsink, 2010).

Chidori joint system is derived from a traditional wooden toy originated from Hida Takayama. It uses three wooden sticks positioned in three different directions and assembled together at a single point by merely through twisting which does not involve any nails or adhesive in order for them to be attached.

C

C

B

C

B

C B

A A

A

Figure 4.17: Interlocking toy Chidori (Eddie N.E., 2020).

The Chidori toy also has a resemblance of an interlocking puzzle toy concept from China which is known as Lu Ban Locks or Kong Ming Locks (Suan, 2018).

Figure 4.18: Interlocking toy Kong Ming Locks (Eddie N.E., 2020).

Reimagining The Elements

95

Figure 4.19: GC Prostho Museum Research Centre and Chidori furniture (Designboom, 2011).

96

Chapter 4Case & Precedent Studies

Correspondingly, the To-kyou, a traditional Japanese bracket joint used in temple structures that is derived from Chinese traditional architecture and was reinterpreted in an innovatively simple form in terms of carvings and decoration (Masera, et al., 2014). The ancient Chinese bracket, dougong designs are complex with textures, carvings and colourful design approach. On the other hand, somehow Japanese jointing system has its own simplicity concept even for its traditional Buddhist temple architecture. Yet both of the jointing methods are similar as they use a repeating and stacking in one point. If we linked the derivations and design concept of the kits, Kengo Kuma has continued a legacy of Japanese culture in making a complex kit to a flexible simple structure.

Kengo Kuma uses the basic Chidori jointing system as the base structure and developed another simple jointing to join more Chidori joints with each other. He experimented many different types of jointing to combine them together where it is now implemented in his Chidori furniture product. In his first trial, he uses the basic tenon and mortise joint, but he is not satisfied with it due to the exposed joint part. Then, he changes the system into a wooden stick with cylindrical slots in the Chidori components where he can hide the joinery system and show the clean aesthetic of the structure only.

Figure 4.20: Japanese temple bracket jointing system sketch by Nur Edzafirah Binti Eddie (after drawings found in Brown, 2013 p. 100-116).

Reimagining The Elements

97

The appreciation of history and responsiveness to the traditional identity, Kengo Kuma has developed an outstanding contemporary ideology that emphasizes the quality of the Japanese indigenous kits. The inspiration of ancient Chinese with Japanese architecture as well as his perspective in jointing system, he successfully transforms a traditional wooden puzzle toy to become a construction element. He chose to hide the complexity of ancient joineries yet still meritoriously portrays its elegance to the public.

Kengo Kuma is a suitable architect case study for this project due to his ideology in reimagining and reviving Japanese traditional joints to be used in his contemporary design approaches.

Components

Assembly Process

01

02

03

04

05

06

07

08

End product Figure 4.21: Kengo Kuma interpretation of the Chidori additional components (Designboom, 2011).

98

Chapter 4Case & Precedent Studies

4.2 Precedent Studies 4.2.1

Jimmy Lim – Wei Ling Gallery

Weil Ling Gallery is an art gallery situated in Brickfields, Kuala Lumpur, Malaysia. The gallery’s building is known to be a historical and architectural landmark around the Brickfields area. In 2004, it was destroyed in fire, but the building was reconstructed by Jimmy Lim (Kendzulak, 2013).

The old pre-war shop house was rebuilt with an adaptive re-use approach and converted into a contemporary art gallery with large double volume spaces and picture windows to transform what was a dark tight space.

The main material used for the process was timber. The large volume approach to space gives the users to experience the gallery in many levels and still be able to admire the art or sculptures from the top view. The user experience in the space is a precedent that the research will apply in the design project especially the site also involves two units of shophouses.

Figure 4.22: Wei Ling Gallery (Eddie N.E., 2016).

Reimagining The Elements

99

4.2.2

Archery Hall – FT Architects

The brief was for a low-cost construction structure to build an Archery Hall using the locally sourced timber. An inspiring column free space of 7.2m by 10.8m that is accessible for student (ArchDaily, 2013). An inventive approach in solving the timber structures to achieve the span without columns was designed by the FT Architects with a collaboration with other timber experts. Similar to Kengo Kuma, Katsuya Fukushima and Hiroko Tominaga of Ft Architects applies the same approach of the purity of traditional Japanese timber configuration by forming a repeated recursive joinery patterns across the ceiling as a result creating a complex lattice work (ArchDaily, 2013). Besides, the structures have been constructed with a simple, low-tech method of bolt and nut assembly. This structural concept will be part of the design structure across the proposed design as part of the kit exploration and a solution to long span structure workshop space in the learning centre.

Figure 4.23: Archery Hall (dezeen, 2013).

100

Chapter 4Case & Precedent Studies

4.2.3

Pixel Façade – Oliver Thomas & Keyan Rahimzadeh

Pixel Façade is designed by Oliver Thomas and Keyan Rahimzadeh with an intention of an affordable concept with adaptive, scalable and repeatable elements. It is a prefabricated timber frame construction design which allows an efficient, economic and sustainable approach to the typical building design and process (Colman, 2018).

Cross-laminated timber is the type of timber to achieve a modular build in this project. It is to merge into the biophilic feature of the building’s design concept. The intention of introducing the modular adaptable concept for users to have a profound, natural connection and of nature by increasing the connection of the built environment with its nature surrounding. With the system, users can configure any space for a firm and shifting needs. This precedent study is chosen for its modular connection system that allows users to change their space which is similar to the Malay traditional house approach in a more modern display.

Figure 4.24: Pixel Facade (Archdaily, 2018).

Reimagining The Elements

101

4.2.4

Japan House Sao Paulo – Kengo Kuma

Japan House Sao Paulo is the first case of the “Japan House Project” that aims to promote various aspects of Japanese culture in the world (Maggiora, 2019). The building is a common city business building, but they added a place resembling a warm “house” for the people. The dominant element that attracts the public turning the building into a new sightseeing attraction is the façade elements.

Instead of just serving the façade design as a shading device, it is made of cypress trees that greets the visitors with a warm tone and hospitality environment within the heart of the bustling metropolis area. Japan House façade is the elements that the research will explore with the design kit on the proposed design idea of the urban setting of the two shop houses.

Figure 4.25: Japan Haouse Sao Paulo (Archdaily, 2019).

102

Chapter 4Case & Precedent Studies

Since the design process of the research project is separate into several stages, the studies were separated into three phases which are the kit, land development and building design ideas.

First and foremost, the case studies made for the kit was divided into two categories which are traditional and modern. The traditional case study allows the research to develop an extensive amount of detail information on tanggam designs and their functions during the erection of the building on site. Some are flexible and can be used for structures and small panels while some are fix and specifically used for structures only. Along the process of learning the traditional system, the research analysed the modern kit system. In accordance with the synthesis made from the modern case study, a process of modern timber production is taken to be part of the research. The kit case studies developed an idea for the research to explore. Redesigning the tanggam kit into modern reinterpretation by using the current technology and material which re the CNC machines and plywood panels. The idea of cutting the panels with the machine will be glued together to make a stronger and functional modern tanggam system without losing its original value. The research resume on the process into the design project by exploring he possibility of designing a land of kit at the abandoned site. However, the land development design is a huge scope that may not cover the ability of the kit directly. So, a case study of land development was chosen to control the design process. Hooke Park, the AA School Woodland Campus is developed by phases and zones that had taken place in different years and still progressing to experiment with timber built on site. This case study leads the research to propose a set of phases and zones based on the information from the site analysis and allow the research to focus on certain sites for the project.

While progressing with the kit design and building, the research come across a similar ideology

by Kengo Kuma whom implemented traditional Japanese jointing as part of his designs. This acts as a support information for the research. Additionally, the precedents chosen for the building form and design is to experiment with the modern tanggam kit. Wei Ling Gallery as a precedent on how the research can incorporate timber material within the concrete urban building. Next, the Archery Hall by Ft Architects allows the research to relate and connect with a deconstructivism concept phase of the project design which solves the structural system to support a large span workshop area in the building. The kit evolves more by referring the ideas from Pixel Façade while Kengo Kuma’s idea on using timber as a shading device for an urban are allocates the research to further experiment with tanggam system. Based on all the case and precedent studies, ideas were produced through sketches and model making. The designing process changes and discovers new rules and limitations of the kit as well as the form design of the building. Iterations of building design is produced by going through many stages of design process which will explained more in Chapter 5: Tanggam Reinterpretation Design Development.

Reimagining The Elements 103

Figure 5.1: Development collage (Eddie N.E., 2020).

104

Reimagining The Elements

Chapter 5

Tanggam Reinterpretation Design Development The tanggam reinterpretation research and development process go through many stages of back and forth with some failures and repetition process.

Reimagining The Elements 105

5.1 Stage 1: The Proposal

The process started with a small research focus by proposing a mix of three elements that can be developed. LEGO kit as somehow a case study of kit that can assemble and dissemble according to the user’s ideas and exploration. Malay traditional house for its tanggam kit as a cultural approach and the people’s unconsciousness towards the kit. Modern implication and system aspects that are popular amongst the new generations. The related characteristics were listed into mind map form that gives the research a phase to developed more that depends on the similarity and comparison of the elements chosen. In this stage, a basic topic and focus of the research was to make a modelling set using tanggam. The raw research aim and objectives become clearer after making the deliberation on the tanggam system has always been a kit for construction and not just for modelling tool. An intention to reimagine the elements of indigenous kit of tanggam with a modern modification that can produce a construction set for user to assemble and dissemble them into their own ideas and designs.

106

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.2: Initial idea mind map (Eddie N.E., 2020).

Reimagining The Elements 107

5.2 Stage 2: Traditional Kit Replication

In order to modify the traditional kit with modern system, a detail research was done to identify the existing Malay tradition tanggam.

With several literature reviews and case studies about the traditional buildings that use the system, a set of sketches of the important parts of tanggam was produced. These sketches are to understand the original method of tanggam that have different types, forms, designs and functions. They are based on generic design of Malay traditional timber house and a school on site. The research also focuses on other traditional kit such as Japanese jointing. A series of other sketches related to genius of Japanese craftsmanship in designing complex timber joints for their Buddhist temple were made.

By having those sketches especially Malay traditional joints, a replication of the generic Malay traditional house was made in one of the Building Information Modelling software which is REVIT as a step to store traditional information in a modern way. In addition, an approach to remake a generic design of Malay traditional house was initiated by using the family system in REVIT and resulted a systematic manual of the model, which the building step is generated based on the LEGO instruction format.

Figure 5.3: Sketch of traditional Malay tanggam (joinery) (Eddie N.E., 2020).

108

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.4: Japanese traditional joinery sketch by Nur Edzafirah Binti Eddie (after drawings found in Brown, 2013 p. 100-116).

Reimagining The Elements 109

The 1:25 Scale Model

Process of Remaking The Traditional House in REVIT by Author

110

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.5: Malay traditional house construction manual generated from REVIT software (Eddie N.E., 2020).

Reimagining The Elements

111

Figure 5.6: Malay traditional house construction manual generated from REVIT software (Eddie N.E., 2020).

112

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.7: Malay traditional house REVIT render (Eddie N.E., 2020).

Reimagining The Elements

113

Figure 5.8: Malay traditional house 1:25 scale model (Eddie N.E., 2020).

114

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.9: Laser cutting process of the model (Eddie N.E., 2020).

Reimagining The Elements

115

Figure 5.10: Collection of the kit in a box (Eddie N.E., 2020).

116

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.11: Seperated parts of the model (Eddie N.E., 2020).

Reimagining The Elements

117

Figure 5.12: Printed manual (Eddie N.E., 2020).

118

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.13: the roof structure parts assembled (Eddie N.E., 2020).

Reimagining The Elements

119

Figure 5.14: Interior of the model (Eddie N.E., 2020).

120

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.15: Interior under the structures (Eddie N.E., 2020).

Reimagining The Elements

121

Figure 5.16: the roof structure parts assembled top view (Eddie N.E., 2020).

122

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.17: Model close up shot 1 (Eddie N.E., 2020).

Reimagining The Elements

123

Figure 5.18: Model close up shot 2; aesthetics of carving in motif (Eddie N.E., 2020).

124

Chapter 5Tanggam Reinterpretation Design Development

Number 01 02 03 04 05 06 07 08 09 10 11 12 13

Revit Family Name Pelapit Tiang Tiang Rumah Ibu Tiang Serambi Samanaik Pelancar Rasuk 3000 Gelegar 5000 Papan Lantai 3000 Papan Lantai 2000 Bendul 1 3000 Bendul 1 2000 Bendul 2 3000 Bendul 2 2000 Alang Panjang

Type of Family Foundation Column Structure

Beam System

Table 5.1: REVIT family catalogue of generic Malay traditional house’s components (Eddie N.E., 2020).

Along the process, research has explored the modern way that can be implemented within the traditional production method and other similarities that there was no specific term back then but has the same concept as today’s construction method. Prefabrication as such, a procedure that involve components of structure that are built offsite such as factories or other manufacturing place that will be transport and to be sub-assembled on the required site. After the remodelling process in REVIT using family files to store the components and produce a catalogue of kits, a process of exporting the files one by one to an AutoCAD file was to produce a physical model of the house as part of the first testing process. A 1:25 scale model was formed by using the CAD file with the laser cutting machine. The material use was 1220 x 2440 MDF sheets that were cut into 240 x 720 for laser cutting minimum dimensions.

Reimagining The Elements

125

5.3 Stage 3: Modern Modification

The second stage has given the research a clear idea of what the production process would look like roughly. Somehow the previous stage is the replication of real production in a smaller scale. A modern application use in order to build a Malay traditional house using tanggam. If it is to produce a 1:1 scale building or prototype, the process will go through the same course of production instructions except it will use different materials and machines. In the real process of building the product, a sheet of 25mm thickness of 1220 x 2440 Plywood that can be cut with CNC machine using the same CAD file model, and the pieces will be attached together with an adhesive substance to produce the tanggam kit. The kit then be assembled to form a building. During the modern modification process, the research explores another aspect of designing the modern modification kit of tanggam. A proposal of a new name that derived from the word ‘adapt’ as the kit is adaptable.

Instead of directly using the word ‘adapt’, an idea to use the dictionary IPA (International Phonetic Alphabet) format as part of the name; /ə’dapt/. The same word and pronunciation with a twist in the spelling, ə-DAPT kit is the first proposed name.

1220mm 150mm

4500mm

If the plywood thickness is 25mm, three sheet of cutting elements will be used.

2440mm Innitial additional connector proposal : Steel bar/ Screws/ Another slot system 2440mm

Figure 5.19: Idea to fuse traditional construction and feature into modern process (Eddie N.E., 2020).

126

Chapter 5Tanggam Reinterpretation Design Development

Land Development Proposal Initial Land Development Idea

Reimagining The Elements

127

5.4 Stage 4: Kit Wonderland

The proposal of designing the kit proceed with a chosen site which was the case study site that is part of the research contribution in the process of understanding the kit. At first the research decided to use the whole 50-acre site as a land development for the kit since the has been a land full of traditional tanggam kit. The proposal consists of urban planning design progress that consider the current situation of the site. The urban planning zones proposed are educational, recreation, residential, industrial and other attractions. However, the site is too immense for the research to produce a design outcome under a limited time frame. Thus, the planning proposal become part of the design process by separating the land of zones into phases of constructions. There are 5 phases altogether which are:

Initial Sketch Draft : Random Land of kit Proposal

128

Chapter 5Tanggam Reinterpretation Design Development

After Analysis & Synthesis : Separate into proper zones and phases

Temporary Attraction Educational & Commercial Recreational Industrial Residential Possible Entrance Path Between Zones

Figure 5.20: Site (Kampung Kuchai) land development planning proposal (Eddie N.E., 2020).

Reimagining The Elements

129

Phase 1

Educational Phase 1 of the development takes place on the edge of the village where the place is near to the urban surroundings and open to the public. It is use for public paid carparks by the community. This phase is also an introduction to a reimagination of an old and traditional kit called tanggam which somehow has a similar fate as the village, people are less aware of them and they are nearly forgotten. So, a commercial project at the front shop houses to introduce the kit and continue to the abandoned Malay School that will be transform into a learning centre for the modern tanggam kit.

Phase 2 Other attractions (Food Pavilion)

Phase 2 is an original proposal by the state city council in reviving the village to the people. A food attraction spot that is actually fits the cultural context of the place. A proposal to design a proper area for the activity.

Phase 3

Recreation Phase 3 is to bring back an old gym and a heritage value building as a recreation centre for the public. A place that act as a second welcoming entrance to the village.

130

Chapter 5Tanggam Reinterpretation Design Development

Phase 4 Residential The village is not totally abandoned, there are some people live around the area. Especially, people whom inherit the village land and some whom works as mechanics at the car workshops. Phase 4 is a proposal to revive the village with residential development. Accommodation for the workers, tourists or users of the learning centre facilities.

Phase 1 Phase 5

Phase 2

Phase 3

Phase 4

Phase 5 Industrial The industrial zone is more to car workshops’ industry which some are an extension from the urban shop houses. They already established some huts and shelter for the cars.

So, the last phase is to provide a proper place for the car workshops around the area.

Figure 5.21: Site (Kampung Kuchai) land development phase and zones (Eddie N.E., 2020).

Reimagining The Elements

131

Phase 1

Tanggam Learning Centre and Gallery Design Development

132

Chapter 5Tanggam Reinterpretation Design Development

5.5 Stage 5: The Learning Centre and Gallery; Phase 1

Phase 1 is the preliminary part of the land development proposal. Educational zone is proposed to be the first phase because of the history and background of the site which was a Malay school. It links back to one of the issues where Malaysians are less aware of the tanggam system that should be made use for construction methods instead of just depending on the modern materials only. Due to the mentioned issue, reviving the old abandoned Malay school into the Tanggam Learning Centre and Gallery as the brief while transform the old Malay school into a live museum on site.

Though, the site is surrounded with many urban shop houses and has only two entrances at the back within the ally of the commercial area. The existing entrances are not enough to attract public and community to go within the area. So, the research took advantage of the existing two units of 2-storey shop houses that were built in the colonial era after the Malay school, as part of the building design. The two units of concrete building are proposed to be designed as a gallery and acts as an urban experimentation site where the kit can showcase its ability to perform in a different setting than rural and native environments where it is originated from.

In this stage, another series of sketches were done randomly of timber structures and also the first encounter of concept proposal in the

design. Since the kit has a nature of assemble and dissemble system, the research tries to implement a possible yet can be misunderstood concept; deconstructivism.

A concept that is still popular with the discrepancy in its interpretation and styles among architects like Peter Eisenman, Zaha Hadid, Bernard Tschumi and more. The chosen concept is a step for the research to portray the Hybrid Architecture within Western and the local without losing the value of tanggam.

The surface interpretation from this research on the approach was that the concept is an architectural style which explore the idea of fragmented components that have been disassembled and reassembled in a fresh and unorthodox system. This is a concept in this design project research will explore in giving a statement of hybridity concept. The use of traditional and cultural construction way with a design image of another culture.

Deconstructivism is a concept that illustrate the tanggam kit character as it can be dissembled and reassembled according to the needs of the users. In the process, additional collection of sketches is made as several probability of the concept being part of the research. Even after trying to unfold the literature of Derrida for Architects by Richard Coyne where it involves various communications and debate through the philosophical concept.

Reimagining The Elements

133

Figure 5.22: Collage of Deconstructivism idea and building sketches (Eddie N.E., 2020).

The tension with the deconstructive principles of questioning conventions where it may have settled with an exact style or maybe not. Conversely, the idea in this research stays at the surface level in understanding the Deconstructivism and steers the project to a literal impression of the concept that will be uncover in future phase of the project development. The design process and exploration proceed with another random experimentation with failed model kits from stage 2, the remaining unused parts are glued together repeatedly in various random position. Repetition of certain elements of window and door frames in one model to create several gesture models that leads to another stage of design.

134

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.23: Models of recycle parts from previous stage (Eddie N.E., 2020).

Reimagining The Elements

135

The 1:5 Scale Model Testing The Functionality

136

Chapter 5Tanggam Reinterpretation Design Development

5.6 Stage 6: Reimagine

From the previous gesture models, the jointing kit is not shown in the modelling process.

This gives the research to produce another kit modern modification based on the conclusion made in the third stage. Sketches were made in order to roughly coordinate the kit modern design. The simple joints application of the traditional kit was extracted as the main design principles as to remain its value in the modification. 3D model was designed using SketchUp software in detail to see the pieces of plywood that can be exploited. The dimension, size and scale affect the designing process. The research to make a 1:5 scale model out of the new modification in order to conduct experiment on its functionality.

Figure 5.24: Sketch of tanggam reinterpretation (Eddie N.E., 2020).

Reimagining The Elements

137

Figure 5.25: Reimagined tanggam kit in SketchUp (Eddie N.E., 2020).

138

Chapter 5Tanggam Reinterpretation Design Development

Figure 5.26: Collage of 1:5 model making and features (Eddie N.E., 2020).

Reimagining The Elements 139

Proposals and Iterations Design Development Process of Phase 1

140

Chapter 5Tanggam Reinterpretation Design Development

5.7 Stage 7: Design Iterations Iteration 1

Iteration 2

Iteration 3 Iteration 4 Iteration 5 Iteration 6

Stage 7 was done in conjunction to stage 6 design process. A set of iteration sketches of brainstorming ideas that can respond to the site context and the circulation. A detail planning through out the site to achieve the circulation that can flaunt the reinterpretation tanggam kit to the users. Iterations sketches simultaneously between the plan and the section drawing for each iteration. The plans are sketch in order to put together the ideal seamless circulation while the sections are to form the 3D design as well as the circulation in an eye level view.

Throughout the sketching process, a total of 8 iterations were done concurrently with conspicuous approaches and forms.

Figure 5.27: Iterations collage 1 (Eddie N.E., 2020).

Reimagining The Elements

141

5.7.1

Iteration 1

: Masterplan

Iteration Analysis (Elements that may be taken to final design proposal)

The transition from the display area to the workshop area.

Plan orientation different axis.

• User can experience direct environment of both modern and traditional.

Intermediate space - Courtyard.

• Excess From modern to traditional workshop.

Figure 5.28: Section, plans and analysis of iteration 1 (Eddie N.E., 2020).

142

Chapter 5Tanggam Reinterpretation Design Development

5.7.2

Iteration 2

: Masterplan + Bridge

Iteration Analysis (Elements that may be taken to final design proposal)

The transition from the display area to the workshop area.

Plan orientation different axis.

• User can experience direct environment of both modern and traditional.

• Bridge connecting to the modern exhibition from the outlet building and overlooking the workshop area.

Intermediate space.

• Courtyard.

• Excess From modern to traditional workshop.

Double Volume above workshop.

• Small builds display area.

Figure 5.29: Section, plans and analysis of iteration 2 (Eddie N.E., 2020).

Reimagining The Elements

143

5.7.3

Iteration 3

: Masterplan + Massive Form

Iteration Analysis (Elements that may be taken to final design proposal) Plan orientation different axis Intermediate space • Courtyard Double volume and massive form that differentiate the old and new building.

Figure 5.30: Section, plans and analysis of iteration 3 (Eddie N.E., 2020).

144

Chapter 5Tanggam Reinterpretation Design Development

5.7.4

Iteration 4

: Masterplan + Same Volume of Form

Iteration Analysis (Elements that may be taken to final design proposal)

Harmony pattern of volume and form between the old and new build.

Change of transition

*Lose the angle orientation (Recreate)

• Modern -- Mix Modern-Traditional -Traditional • The use of the old front door entrance.

Figure 5.31: Section, plans and analysis of iteration 4 (Eddie N.E., 2020).

Reimagining The Elements 145

5.7.5

Iteration 5

: Masterplan + Repetition of Elements = Building

Iteration Analysis (Elements that may be taken to final design proposal)

Repetition of timber elements to make a building

Moment of changes

• Window/Door frames repeated as part of the building structure.

• Make the bridge as part of the building. • Make a statement of different environment (Concrete -- Timber).

The transition of urban modern in urban settings, traditional-modern between the rural and urban, traditional live display.

Figure 5.32: Section, plans and analysis of iteration 5 (Eddie N.E., 2020).

146

Chapter 5Tanggam Reinterpretation Design Development

5.7.6

Iteration 6

: Masterplan + Repetition of Building = Building

Iteration Analysis (Elements that may be taken to final design proposal) Remain the transition modern -- traditional Repetition of cluster buildings to be a building. • Kit of parts of building in a building.

Figure 5.33: Section, plans and analysis of iteration 6 (Eddie N.E., 2020).

Reimagining The Elements

147

Nevertheless, the whole 8 iterations are separated into two phases of process which the first six of proposals were made to as a brainstorming stage, the other two iterations are combination of the elements from the six proposals that can be implemented in the final design. The 7th and 8th iterations have the same plan circulation but atypical form designs which are either an alien approach or a form that complements the site.

Figure 5.34: Iterations collage 1 (Eddie N.E., 2020).

Chapter 5Tanggam Reinterpretation Design Development Chapter 5Tanggam Reinterpretation Design Development

148 148

5.7.7

Iteration 7

: Masterplan + Alien Form

Iteration Analysis (Combination of ideas from 6 initial iterations) The iteration with compilation of several early iterations: • Iteration 1: Plan circulation

• Iteration 2: Intermediate space i. Workshop circulation ii. Bridge • Iteration 3: The alien approach of having huge form in the middle of the site.

Figure 5.35: Section, plans and analysis of iteration 7 (Eddie N.E., 2020).

Reimagining The Elements 149

5.7.8

Iteration 8

: Masterplan + Harmonious Form (Chosen Iteration)

Iteration Analysis (Combination of ideas from 6 initial iterations)

• Iteration 4: The use of harmonious volume form.

The iteration with compilation of several early iterations:

• Iteration 5: Repetition of elements throughout the building.

• Iteration 1: Plan circulation

• Iteration 6: Repetition of building within the site to form the whole building.

• Iteration 2: Intermediate space i. Workshop circulation ii. Bridge

Figure 5.36: Section, plans and analysis of iteration 8 (Eddie N.E., 2020).

150

Chapter 5Tanggam Reinterpretation Design Development

5.8 Stage 8: Digital Designing

The final design based on sketch iteration was remodelled in REVIT software. In this process numerous deviations and diverse approach were made into the digital product in order to create the finish outcome. During the digital production, the research tries to execute the deconstructivism as an approach in the design process. It may be dissimilar than how the world sees deconstructivism based on the research’s perception. The use of grids of 1220 x 1220 mm of the kit taken from the modern modification stage where the kit uses the 1220 x 2440 mm plywood. The 1220 mm was chosen as the basic grid as to maximise the use of the plywood sheet. The grids work as a guide at first and then some of the grids are removed from their place. The deconstruct of the grid elements from the previous position reveals the chaos of kits within the site for the user experience of the kit being a support system, furniture or even a device. The chaos of kits continues as the research engage with the lattice structure from a case study by displaying a small kit floating above the space in the building.

The initial process of making the final design. Grids of 1220 mm x 1220 mm as to maximize the plywood dimension (2440 mm x 1220 mm).

The highlighted zones are the massive amount of kit repetition as to showcase its ability. The other grids are deconstructed from the whole layout and leave the building with several essential part with the kit as a structure system, display furniture and sculptural prototype display.

Figure 5.37: Grid deconstruct concept of the design process (Eddie N.E., 2020).

Reimagining The Elements

151

Phase 2

The Riverside Pavilion

152

Chapter 5Tanggam Reinterpretation Design Development

5.9 Stage 9: The Riverside Pavilion; Phase 2

After creating the basic concept of the kit in the learning centre and gallery building programme, a further exploration of the kit process takes place at the riverside of the land development which is Phase 2: Food Pavilion. This is based on the draft proposal of the site’s City Council. A food pavilion is proposed because of the site’s cultural context which they attract people to with their various delicacies. The site is located at the Kinta River in the Kampung Kuchai’s neighbourhood.

Phase 2

Site Location The design process started with a square grid concept from the phase 1 project. Instead of working with the frame elements and repeat throughout the design, the research takes another approach of using a square panel-like concept.

Square Grid Paper

Folded into half and unfold it

The pieces then are attached with each other to make form.

Figure 5.38: Pavillion design process and concept (Eddie N.E., 2020).

Reimagining The Elements

153

Figure 5.39: Pavillion design process and concept (Eddie N.E., 2020).

154

Chapter 5Tanggam Reinterpretation Design Development

The triangular shape concept aims to emphasize one of the Malay traditional significant structures which is the roof. The roof of Malay traditional buildings has different styles and types according to their origins.

Figure 5.40: Roof styles sketch by Nur Edzafirah Binti Eddie (after drawings found in Endut, 2013 p. 118.)

The concept developed with two precedent studies which covers the local design and international design approaches. The precedent studies are:

Reimagining The Elements

155

MPAVILION 2018 / Architect: Estudio Carme Pinรณs

A pavilion built in 2018, located at Melbourne, Australia. It is design with an approach to establish a relationship with nature by allowing sunlight to past through and playing with the elements lighting and shadows. The use of origami folding two surfaces of timber latticework intersect with each other. A transparent layer of polycarbonate as a material within the lattice structure for rain protection.

156

Figure 5.41: MPAVILION collage by Nur Edzafirah Binti Eddie (photographed by John Gollings, Archdaily 2019.)

Chapter 5Tanggam Reinterpretation Design Development

Istana Budaya (The Palace of Culture) / Architect: Muhammad Kamar Ya’akub

The building was built in 1999 that is situated at Kuala Lumpur, Malaysia. The Malaysia’s version of Sydney Opera House. It is a theatre for musical and art performances. The building has a Malay cultural symbolism throughout the form and space. The roof structure is the main element that similar to the Malay traditional house which can be identified with its sharp edges character.

Although is uses modern material, mainly because of its function, the roof design sheltered the building away from the intense sunlight.

Figure 5.42: Istana Budaya collage by Nur Edzafirah Binti Eddie (photographed by Wojtek Gurak, flickr 2010.)

Reimagining The Elements

157

Figure 6.1: Phase 1 design project perspective (Eddie N.E., 2020).

158

Reimagining The Elements

Chapter 6

Tanggam Learning Centre & Gallery

Reimagining The Elements 159

Urban Side: Shophouses

Rural Side: Abandoned School Main Project Proposed Site

SCALE BAR 1:500 10

0

SCALE BAR 1:1000

20

0

0

Scale Bar 1:2000

SCALE BAR 1:2000

0 25m 50m 100m Figure 6.2: Development Plan Phase 1 (Eddie N.E., 2020).

160

Chapter 6Tanggam Learning Centre & Gallery

200m

300m

SCALE BAR 1:5000

6.1 Phase 1: Tanggam Learning Centre and Gallery

The tanggam reinterpretation kit ability’s is experimented with two different projects. The main project is the first phase from the land development proposal; the education zone. The research proposed a Tanggam Learning Centre and Gallery. It is a programme to showcase and provide educational course spaces in order to introduce tanggam, and its modern reinterpretation to the community. This programme is based on the current issue where there is less awareness on the traditional system among Malaysians. The learning centre and gallery is targeted to various audiences or users specifically it is design as a platform for tanggam construction system’s production, market and exhibition. So, this building is intentionally to attract people from construction industry such as architects, contractors, interior designers and so on so forth. The programme also provided for students, public and even tourists to raise their awareness towards the system.

Furthermore, there are two separate surrounding settings that the research explores on, which involves an adapted reuse approach on site. The design project comprises a site that has existing buildings which are the Kampung Kuchai’s abandoned Malay School and twostorey shophouses upfront at the high road.

Different surroundings that needs a different approach of design where the shophouses are made of concrete in an urban area, meanwhile the Malay School is situated at the back of the shops where it is hidden from the view of the public. The school is constructed of traditional tanggam system which has a contrast material and visual form that the shops have. Therefore, the research has engaged the design with a harmonious form in between them to link both buildings.

Reimagining The Elements

161

An approached of repeating the same kit elements as a structure Types of Malaysia’s within the building, and a repetition of building forms horizontally spread Timber Used throughout the site like the Malay house concept as an approached to the form design. The design take advantage of the surrounding vegetations as a buffer element and shading device from direct sunlight as the implementation from the Malay’s tajulmuluk law of nature.

Dark Meranti (Frames) Figure 6.3: Traditional Malay house’s extension system (Eddie N.E., 2020).

Since the orientation is fixed due to the existing buildings, a shading device is designed for the shops’ front elevation based on a precedent study of the Japan House in Sao Paulo by Kengo Kuma. This is also an experiment with the tanggam kit system. The gallery is design based on how Jimmy Lim redesign a shophouse that caught on a tragic fire to a gallery; Wei Ling Gallery.

Yellow Meranti (Paneling)

Gerutu (Flooring & Partitioning)

Figure 6.4: Precedent Study: Japan Haouse Sao Paulo (Archdaily, 2019).

162

Chapter 6Tanggam Learning Centre & Gallery

Figure 6.5: Precedent Study: Wei Ling Gallery (Eddie N.E., 2016).

Merbau (Structures)

Figure 6.6: Rendered perspective 1; the shading device (Eddie N.E., 2020).

Reimagining The Elements 163

Y

X X Shading Device Area

Open space for outdoor work

Figure 6.7: Roof Plan (Eddie N.E., 2020).

Roof Plan 1:500 Y 164

Chapter 6Tanggam Learning Centre & Gallery

0

5

10 15 20

25

50

Figure 6.8: Rendered perspective 2; the scultural structure (Eddie N.E., 2020).

Reimagining The Elements 165

The design flow started from the gallery; shophouses where the party walls and some portions of the roof are demolished, which left the building with its column structures and front features. In that process, the tanggam structures design set out from the urban shophouses as sculptural structure modules that support the new extension roof of the building. The structure acts as a statement of a new growth of tanggam in the modern urban surrounding in the middle of the shops. Since it is a gallery, it portrays the structural and built in furniture values that ploys as an attraction for the users. The module kit is based on Pixel Facade design by Oliver Thomas & Keyan Rahimzadeh. The structure is surrounded by a 1:12 ratio ramp suitable for disable accessibility that the users can experience the structure exclusively. From the shop, there is a bridge overlooked the tanggam structures recursively constructed above the large span workshop area.

Precedent Study: Pixel Facade/Oliver Thomas & Keyan Rahimzadeh

Additional roof structure

3000 mm

3000 mm

Figure 6.9: Precedent Study: Pixel Facade (Archdaily, 2018).

166

Chapter 6Tanggam Learning Centre & Gallery

The centre structure

22000 mm

Figure 6.10: Gallery Isometric Drawing (Eddie N.E., 2020).

Y

X View from the centre of the structure

Reception 1

X Isometric Portion

Gallery

Lounge Space Restrooms Traditional House Replica

Loading Unloading

Workshop

Seminar Rooms

Live Museum Exhibition Space

Cafe

Open Space

Figure 6.11: Ground Floor Plan (Eddie N.E., 2020).

Ground Floor Plan 1:500 Y

0

5

10 15 20

25

50

Reimagining The Elements 167

Figure 6.12: Rendered perspective 3; users and the sculptural structure (Eddie N.E., 2020).

168 Chapter 6Tanggam Learning Centre & Gallery

Figure 6.13: Rendered perspective 4; workshop space (Eddie N.E., 2020).

Reimagining The Elements 169

The idea of managing the long span space is from the Archery Hall by FT Architects as the design precedent study. From the bridge and the lookout platform, the users can personally experience the tanggam making process activities in the workshop. As the journey continues, to the exhibition spaces and seminar room where the displays demonstrate the development of the tanggam kit system. The circulation leads the users to slowly learn tanggam kit from the new model to the old ones as if it is a throwback journey. Then, the exhibition continues to the live museum on site which is the abandoned Malay School where the they will experience the real built of the traditional kit. The learning programme continues with a built of Malay traditional house with the new kit as an example. Even though the exhibition’s circulation is restricted for the learning programme, the users can still explore the learning centre back and forth freely.

11000 mm

23000 mm

Figure 6.14: Workshop Isometric Drawing (Eddie N.E., 2020).

3000 mm 1500 mm

170

Figure 6.15: Modern and Traditional Intersection Isometric Drawing (Eddie N.E., 2020).

Chapter 6Tanggam Learning Centre & Gallery

Y

X X

Admin Office

Reception 2

Lounge’ cafe furniture

Lounge Space Lookout Platform

View from the bridge Isometric Portion

Precedent Study: Archery Hall/FT Architects

Isometric Portion

Roof tructure

Figure 6.17: First Floor Plan (Eddie N.E., 2020).

Figure 6.16: Precedent Study: Archery Hall (dezeen, 2013).

First Floor Plan 1:500 Y

0

5

10 15 20

25

Reimagining The Elements

50 171

Workshop Exhibition Space

0 5 10 Y-Y Section 1:200

172

Chapter 6Tanggam Learning Centre & Gallery

15

20

Admin Office Gallery

Admin Office Gallery

0 5 10 X-X Section 1:200

15

20

Figure 6.18: Longitudinal and transverse section (Eddie N.E., 2020).

Y

0 5 10 15 South West Elevation 1:200

20

Y

0 5 10 15 South East Elevation 1:200

20

X

X 0 5 10 15 North East Elevation 1:200

20

Figure 6.19: Elevation views (Eddie N.E., 2020).

Reimagining The Elements

173

Figure 620: Rendered perspective 5; roof structure (Eddie N.E., 2020).

174 Chapter 6Tanggam Learning Centre & Gallery

Figure 6.21: Rendered perspective 6; view from the bridge (Eddie N.E., 2020).

Sectional Perspective Figure 6.22: Sectional Perspective with kit exploded diagram (Eddie N.E., 2020).

Reimagining The Elements

175

Figure 7.1: Phase 2 design project perspective (Eddie N.E., 2020).

176

Reimagining The Elements

Chapter 7

The Riverside Pavilion

Reimagining The Elements

177

Pavilion Structure Proposed Site

SCALE BAR 1:500 10

0

SCALE BAR 1:1000

20

0

0

Scale Bar 1:2000

SCALE BAR 1:2000

0 25m 50m 100m Figure 7.2: Development Plan Phase 2 (Eddie N.E., 2020).

178

Chapter 7The Riverside Pavilion

200m

300m

SCALE BAR 1:5000

Figure 7.3: Rendered Perspective 1; the entrance(Eddie N.E., 2020).

Reimagining The Elements 179

7.1 Phase 2: Riverside Pavilion

The riverside pavilion is the second stage of the land development idea. The second experiment done to test tanggam design abilities. This proposal is based on a proposal made by the site’s city council which they intended to revive the village by introducing their cultural attraction which is by having a food hub along the riverside. It is actually elucidated on how the indigenous Malay live and built their households along a river. Unlike the first phase of the design project, the pavilion outlines a new approach and concept on an empty area.

The design project introduces a temporary structure fabricated along the river for the community to use as a food hub shelter, which may have food trucks, a night market environment or both on the site. It is a public space for the community to change the function based on their needs where the build portrays a sculptural statement of a tanggam in a different way, as the first phase is created to test the functionality of the system across the existing buildings.

Figure 7.4: Night market & foodtruck bazaar in Malaysia (Tally Press, 2016).

180

Chapter 7The Riverside Pavilion

Close up to one unit view for detail

Ki

nt

i aR

r ve

Figure 7.5: Pavilion Site Plan (Eddie N.E., 2020).

Site Plan 1:1000 0

25

50

Reimagining The Elements

100 181

Ki

nt

a

r ve i R

Y

Y

Figure 7.6: Roof Plan (Eddie N.E., 2020).

Roof Plan 1:200 0

182

Chapter 7The Riverside Pavilion

5

10

15

20

Ki

nt

i aR

r ve

Y

Y

Figure 7.7: Ground Floor Plan (Eddie N.E., 2020).

Ground Floor Plan 1:200 0

5

10

15

20

Reimagining The Elements 183

The main material in constructing the pavilion is timber with a layer of transparent polycarbonate in between the lattice structure for natural lighting purposed as well as playing with the light and shadow patterns. The idea is inspired from a precedent of a MPAVILION in Australia as a mix cultural concept of modern and traditional features.

Figure 7.8: MPAVILION collage by Nur Edzafirah Binti Eddie (photographed by John Gollings, Archdaily 2019.)

184

Chapter 7The Riverside Pavilion

Louvers layer

Louvers layer Frame Structure Transparent Polycarbonate Layer Timber Roof Shingles

Lattice Structure

Louvers layer Lattice Structure

Frame Structure Transparent Polycarbonate Layer Lattice Structure

Figure 7.9: Pavilion exploded diagram (Eddie N.E., 2020.)

Reimagining The Elements 185

Based on the timeline of the village in Chapter 3, Kinta River area was famous for its river transportation hub in the community. It had several types of small boats roaming the river which is called ‘sampan’. Sampan is a relatively flat-bottomed Chinese and Malay wooden boat that has different designs, which some of them have roofs or plain design and some even has masts. Thus, this allows the design project to repeat the same concept however in a discrete way. By taking the most admired component of a Malay house which is the roof structure based on a precedent study, the Istana Budaya or the Palace of Culture in Kuala Lumpur. A mix concept of both sampan and the traditional Malay roof as the repeating elements for the pavilion. The concept represents the timber structure of a roof on top of the sampan that gives a similar environment or impression of being inside the sampan’s shelter that outlooked a view of the sky and river.

Figure 7.10: Istana Budaya collage by Nur Edzafirah Binti Eddie (photographed by Wojtek Gurak, flickr 2010.)

186

Chapter 7The Riverside Pavilion

Figure 7.11: Sampan boat feature (Eddie, N.E., 2010.)

Figure 7.12: Pavilion section drawing (Eddie N.E., 2020).

Y-Y Section 1:200 0

5

10

15

20

Reimagining The Elements 187

Y

Y Figure 7.13: Pavilion elevation drawing (Eddie N.E., 2020).

North West Elevation 1:200 0

5

10

15

20

The pavilion intentionally is designed to have less sitting area in order to achieve a traditional Malay concept of eating on the floor together. This allows the users to occupy the space freely. It is unrestricted for food vendors to open their small stalls inside the pavilion area as well.

188

Chapter 7The Riverside Pavilion

Figure 7.14: Traditional Malay dining culture and etiquette (Tourism Malaysia, 2011).

Figure 7.15: Pavilion 3D rendered perspectives (Eddie N.E., 2020).

Reimagining The Elements 189

Morning

190

Chapter 7The Riverside Pavilion

Noon

Evening

Night

Figure 7.16: Pavilion environment at different times (Eddie N.E., 2020).

Reimagining The Elements

191

Figure 8.1: The end game collage (Eddie N.E., 2020).

192

Reimagining The Elements

Chapter 8 Conclusion

Reimagining The Elements 193

8.1 Conclusion

The loss of confidence in tanggam as a traditional Malay joinery to be reimagined into modern construction approach. Due to the shortfall of its value after the colonisation era and the insensible Malaysian towards the ability of tanggam, it is currently not made as the main option that the population tends to use as a construction method and let it remains as an ambiguous heritage traditional way. Up till now, the research aims to reinterpret the use of tanggam with the modern construction process, technology and material. An analysis of the existing Malay traditional building, traditional manuals, modern construction application and process is fabricated to develop the new reimagination of the traditional kit.

Timber is the essential material in the construction process. Traditionally, tanggam is fabricated in the forest after the tree has been cut down with several manual tools such as saw, chisels, hammer and so on so forth, which took an extensive time for production. The tanggam kit that have been processed is carried by the villagers and carpenters to the chosen site for the building erection process. Meanwhile, the modern way in timber construction process involves cutting down the trees and being transported to the fabrication factory or warehouse. It is to be processed into a product

194

Chapter 8Conclusion

with the use of modern machines such as CNC (Computer Numerical Control) machines.

The product then is brought to the site for construction. This proves the features of timber construction process has always been the same and leads the research to conclude the first question in analysing both ways of traditional and modern timber manufacture application, where both has the same process but vary in the use of tools and technology.

Craftmanship are essential in producing tanggam kit in the Malay construction. The manuals of it that involve an interlocking built nature is taken account in order to figure out the ways to fuse the traditional craft with the rigidity of modern construction process. This involves its form design and function that needs to be implemented on a modern timber product material with the machinery application. The use of BIM (Building Information Modelling) programmes in designing and depositing information of the traditional components is the first step of modern execution. The research proceeds in making the product physically with a chosen modern timber material, plywood of 2440 mm x 1220 mm sheet size that suitable for human proportion which is related to the traditional way that involves human anthropometric scale as a tool. The plywood with a thickness of 25 mm then is attached together in producing the kit. This is the proposed process to achieve the second

objective of the research.

The process of reinterpreting the tanggam into modern evolves and adapts with the ideas across the research with the design project in reimagining the tanggam as a kit to be called an É™-DAPT kit. An abandoned Malay school as a Tanggam Learning Centre and Gallery, while reintroducing the kit as a river side pavilion to revive an infamous village within the urban setting. These design projects and process are the reinterpretation image and form of tanggam with modern approaches which achieve most of research objectives. In between the processes, the research came across some limitations and elements that can be improved to achieve greater results. A more detail and vast approach in the experimentation of the kit could be improved in a further research that maybe can involve comments and critics from timber professionals especially in traditional tanggam kit. Thus, an experiment that involve a real scale of 1:1 built can determined the functionality and usable success rate of the kit more than it is in this research.

research may lack on the complete narrative of Malay traditional elements in design due to the approaches that the research going through in experimenting with other cultures’ architecture as well. However, future studies could productively explore several issues from this research.

8.1.1

Possible Future Research

This research had gone through several explorations that could be taken to another level for prospect researches. The possible research might separate into different categories which correlated beyond the scope of cultures, structures and development system.

The Hybridity and Deconstructivism approaches may need more in-depth research and literature reviews to truly accomplish a virtuous result in terms of the design process. In this research the approaches are made as bits of concept that controls the design process such as playing with cultural and grids schemes. The

Reimagining The Elements 195

Cultural aspect of the research was firmed into the concept of Hybridity. The mix use of culture as an outcome of architecture products that evolve within the design process in terms of technology, visualisation and system.

The mix narrative of Hybridity concept is applied within the kit which can separate into several aspects. Since the research have touched on the Hybridity matter which it involves cultural context and influences of Colonialism.

Regardless, future research could continue in investigating other Malay tanggam influences which could be a mix of Malay with Southeast Asia’s that are various with styles or other region of architecture styles. Subsequently this research studies a cultural aspect of architecture and the process of taking the old indigenous methods into modern. It is more focus to one culture which is Malay Vernacular Architecture.

Correspondingly, the same approach and concept of this research process also may be implemented on other cultures’ construction method and cultural context. The research has linked on the reinterpretation process of the kit with the work of Kengo Kuma that has magnificently express the traditional Japanese way to modern. Looking forward, the possibility of the research methods can be done with other indigenous timber architecture that could be reinterpret as a modern construction kit.

196

Chapter 8Conclusion

Southeast Asia

North America

German Tradition

Francophone Regions

British Isle

Asia

Figure 8.2: Collage of traditional jointings that might be a possible research scope (Eddie N.E., 2020).

Reimagining The Elements 197

Moreover, structures are also part the research which involve timber and the use of that material for different purposes. From the literature review, the research discloses on Malay traditional house has a unique extension system that changes form and design where it is built and spread horizontally. In this urbanism era, the world is insufficient of land and started developed upwards. Due to this circumstances, further attempts could be done on the same matter of the concept. The Hybridity approach in materials which maybe involve wood with other modern materials to make the kit stronger for multi-storey buildings. The timber high-rise construction is now widely used and constructed which could be a step further for this research. Since the development of cities endure the process of designing with minimal land and work vertically, a further research of proposing tanggam to be built vertical instead of horizontally, conceivably a multi-storey system for the kit.

Dalston Lane, London, UK, 33 metres (Thistleton, 2017)

The Tree, Bergen, Norway, 49 metres (Bergen and Omegn Building Society, 2017)

The Cube, London, Uk, 33 metre (Hobhouse, 2017)

198

Chapter 8Conclusion

Mjøstürnet, Norway, 85.4 metres (Dezeen, 2019)

Tall Wood Residence, Vancouver, Canada, 53 metres (Archdaily, 2017) Figure 8.3: Collage of timber high-rise (Eddie N.E., 2020).

Reimagining The Elements 199

The research did trace on a land development concept on housing and different zone planning. A detailed focus on developing the kit into an adaptable housing or modular architecture contents would be meticulous for an upcoming research. The research compares and differentiate the Malay traditional and modern housing. Developers currently preferred the modern way of building as it has the generic and common system that is easy. This issue might apply to another further research of designing a new concept of modern housing with tanggam kit that has the extension system ability. Perhaps developers might change their marketing system by promoting gated empty lots with a main house (rumah ibu) where it allows the user to start with their own budget house and expand their it when they needed.

A house that grows with the user concept; and adaptable housing. This may constitute the object of upcoming studies. An approach of turning modern to be combined with traditional rather than the other way around.

Peru modular housing system (Dezeen, 2019)

Peru modular housing system (Dezeen, 2019)

200

Chapter 8Conclusion

Expandable Design Project (Daniel, 2016)

Flex House Typology Model (Hybrid Architecture, 2020)

Figure 8.4: Collection of modern adaptable design approached (Eddie N.E., 2020).

Reimagining The Elements

201

8.2 Final Thoughts

In a nutshell, vernacular architecture is the concept that relates to sustainability and adapts with the surrounding environment. The approaches are not only focus on the material but refers to how architecture is design with voluminous consideration of the nature in terms of orientations, views, forms and more. By altering the modern ways while discovering more traditional customs, an old approach can be applied in our new setting. Reimagine the elements of traditional Malay jointing; tanggam rests in an inspired mark with the quality of not only the local climate and environment aspect of vernacular architecture in Malaysia, yet also by acknowledging the idea of influencing its indigenous architecture through a cross-cultural relationship. Vernacular architecture is not an outdated or primitive architecture, it can be put as a resonance of the past with a note for the future of modern development in an advanced design process. By all counts, and with proven results of this research, it is possible for tanggam to be a modern construction method that can be broaden for other potential abilities suggested.

202

Chapter 8Conclusion

Glossary A Alang Linatang : Crossed tie beam or the bottom chord of the truss structure.

Alang Panjang : Long tie beam or a lateral support, girt.

ArchicCAD : An architectural BIM CAD software for Macintosh and Windows developed by the Hungarian company Graphisoft.

Attap : Roof material. Palm leaf thatch, using fronds from the nipah in particular, although other local palm leaf is also used in Malaysia.

AutoCAD : A commercial computer-aided design and drafting software application.

B Baji : Wedge BIM : Building information modeling is a process supported by various tools, technologies and contracts involving the generation and management of digital representations of physical and functional characteristics of places.

Bingkai : Frame structure for windows or doors.

Belian : Highly durable timber species available in Indonesian forest and usually used only for roof shingles.

Bertam : A type of palm tree “Eugeissona Tristis�

Buku : The measurement between the first and second knuckle of the first finger.

Buluh : A quick growing reed whose strong stems reach lengths of over 12 metres; useful in construction, although it cannot be nailed or pegged. Commonly used for the walls of traditional Malay houses.

Bumbung : Roof

C Chengal : A fine quality timber for common rafters, joists, flooring, ship building and barrel construction.

Chidori : A traditional Japanese toy, an entirely wooden contraption which can be extended by twisting the various joints.

CNC Machine : Computer Numerical Control machine. Numerical control is the automated control of machining tools and 3D printers by means of a computer. A CNC machine processes a piece of material to meet specifications by following a coded programmed instruction and without a manual operator.

Reimagining The Elements 203

D Depa : The measurement between the tips of fingers of the outstretched arm.

Deconstructivism : A movement of postmodern architecture which appeared in the 1980s.

Dinding : Wall.

Dou-gong : Cantilevered support which rests upon the head of a colmnn, and supports cross-beams through a system of corbelled brackets. The dou (tou) is the base, often with notches into which the lowest gong (kung) are fitted.

G Gelegar : The main floor girders ofa Malay house.

Gotong-royong: A conception of sociality familiar to large parts of Indonesia, Singapore, Brunei and Malaysia.

Gulung-gulung : A purlin and sometimes termed as kayu menggulung.

H Hasta : The measurement between the tip of second finger and the underside knuckle of the elbow.

Hybridity : A cross between two separate races, plants or cultures.

I Indigenous : Originating or occurring naturally in a particular place, native.

J Jengkal : The measurement between the tip of the thumb and the tip of the little finger.

K Kala : The motif influenced by the creature from Hindu mythology, whose face is feature, albeit often subliminally, in carving. It is a symbol of protection.

Kampung : Village.

204

Reimagining The Elements

Kasau Jantan : Principle rafter.

Kasau Betina : Common rafter.

Kekuda Bumbung : Roof truss.

Kelarai : Woven bertam leaves as wall material in Malay traditional house.

Kenduri : A banquet for remembering something, requesting blessing, and other religious ceremonies. Usually a gathering of a community and is led by the oldest person or someone who has a religion knowledge.

Kit : Parts or set for the system.

Kong Ming : A traditional Chinese intellectual toy.

L Lantai : Floor.

Lepau : An extension floor space either in front or at the back of a Malay traditional house that is built without wall for utility purpose.

Lu Ban : A traditional Chinese intellectual toy.

M Makara : The motif associated with sea monster originating from Hindu mythology. It is a symbol of protection, especially for fisherman.

Malay : An ethnic group and nation native to the Malay Peninsula, eastern Sumatra of Indonesia and coastal Borneo, as well as the smaller islands which lie between these locations — areas that are collectively known as the Malay world.

Merbau : Non-dipterocarpacaea wood which is suitable for heavy construction, panelling, and cabinetry.

Minangkabau : Indigenous people of central West Sumatra, a dominant cultural influence among the Malays of Negeri Sembilan.

Modern : Relating to the present or recent times as opposed to the remote past.

N Nipah/Nypa : A variety ofcreeping palm (Nipa fruiticans) whose fronds are used as thatch; also, the thatch made from such palms.

Reimagining The Elements 205

P Padma : A floral pattern like teratai (Water lilies).

Papan lantai : Floorboards.

Pavilion : A large, open structure or tent, providing shelter esp. in a park or at a fair or temporary public event.

Pelapit Tiang : Pad footing.

Perak Style : Dutch style roof in Malaysia.

Plywood : A type of strong thin wooden board consisting of two or more layers glued and pressed together with the direction of the grain alternating.

Polycarbonate : A group of thermoplastic polymers containing carbonate groups in their chemical structures.

Q Qibla : The direction of the Kaaba (the sacred building at Mecca), to which Muslims turn at prayer.

R Rasuk : A transverse cross-beam attached to the upright pillars ofa Malay house, supporting the elevated floor.

REVIT : A building information modelling software for architects, landscape architects, structural engineers, mechanical, electrical, and plumbing engineers, designers and contractors.

Rumah Ibu : The main house of Malay traditional Malay, the mother house which is constructed higher than other parts of the house, ibu means mother.

Rumah Dapur : A kitchen unit of the house.

Rupiah : A traditional term for currency in Malaysia, gold coin.

S Sampan : A flat-bottomed Chinese and Malay wooden boat.

Selang : A covered and enclosed walkway between the main unit to the kitchen.

Semangat : Spirit.

Semangat Kerjasama : Term describing cooperation between villagers in doing gotong-royong together.

Serambi : Verandah.

Reimagining The Elements

206

Serambi Gantung : Suspended verandah in front of the house where the floor beam is suspended from the column of rumah ibu.

Serambi Samanaik : An area nest to rumah ibu with similar floor level but located under the extended lean to roof of the rumah ibu, usually it has a low head room level Siku : Elbow.

Siku Keluang : A pattern that has a resemblance to the flying fox’s wings.

SketchUp : A 3D modeling computer program for a wide range of drawing applications such as architectural, interior design, landscape architecture, civil and mechanical engineering, film and video game design.

Solar Radiation : Radiant energy emitted by the sun from a nuclear fusion reaction that creates electromagnetic energy.

T Tajulmuluk : A system of geomancy, comprising metaphysical and geomantic principles considered when sitting or designing buildings to improve and maintain wellbeing.

Tanggam : Malay joinery.

Tebar Layar : Triangulated gable ends that has different patterns that symbolises the sunset and sunrise.

Tiang : Post/column.

Tiang Seri : Main post/column in Malay traditional house costruction.

Timber : Wood prepared for use in building and carpentry.

Traditional : A tradition is a belief or behavior passed down within a group or society with symbolic meaning or special significance with origins in the past.

Tulang Bumbung : Roof ridge.

Tunjuk Langit : Sky pointer, the king post of a truss.

To-kyou : A traditional Japanese bracket joint used in temple structures that is derived from Chinese traditional architecture.

U Umpak : Raise footing for columns that derived from British influence of column design.

Reimagining The Elements 207

Bibliography Books Brown, A., 2013. The Genius of Japanese Carpentry. Hong Kong: Tuttle Publishing.

Coyne, R., 2011. Derrida for Architects. Abingdon: Routledge Ltd. Frampton, K., 2012. Kengo Kuma Complete Works. London: Thames & Hudson.

Gibbs, P., 1987. Building a Malay House. Singapore: Oxford University Press.

Hussein, M. Z., n.d. Malay Timber Construction. s.l.:Mohd Zamri Hussein.

Kaufman, M. & Remick, C., 2009. Prefab Green. 1st ed. Layton: Gibbs Smith.

Lim, J. Y., 1987. The Malay House: Rediscovering Malaysia’s Indigenous Shelter System. Penang Malaysia: Institut Masyarakat.

Lyons, A., 2014. Materials for Architecture and Builders. 5th ed. New York : Routledge.

Nasution, K. S., Lubis, A.-R. & Wang, G., 2005. Kinta Valley Pioneering Malaysia’s Modern Development. Perak: Perak Academy.

Neufert, E., Neufert, P., Baiche, B. & Walliman, N., 2000. Ernst and Peter Neufert Architects’ Data. 3rd ed. Oxford: Blackweel Scines.

Newman, M., 1995. Design & Construction of Wood-Framed Buildings. United States: McGraw-Hill.

Niezabitowska, E. D., 2018. Research Methods and Techniques in Architecture. 1st ed. New York: Routledge.

Wiley, J. & Levy, F., 2012. BIM in Small-Scale Sustainable Design. New York United States: John Wiley & Sons.

Articles Endut, E., 1993. Traditional Malaysian Built Form: A Study of the Origins, Main Development Building Types, of Building Form, Design Principle and the Application of Traditional Concepts in Modern Buildings. pp. 64-161.

Hussin, H., Baba, Z., Hassan, A. & Mohamed, A., 2012. The Philosophy in The Creation of Traditional Malay Carving Motifs in Peninsula Malaysia. Geografia : Malaysian Journal of Society and Space, 8(7), pp. 88-95.

208

Reimagining The Elements

Ibrahim, S. H., 2015. Reinventing Traditional Malay House for Sustainable Housing Design: Obstacle and Solution.

Jurnal Teknologi, Volume 72, pp. 97-102.

Malaysian Timber Council, 2015. Timber Firms Step up Tree-planting Efforts. Timber Malaysia, 21(4), pp. 5-6.

Malaysian Timber Council, 2016. Commercial Malaysian Timber. Kuala Lumpure: Malaysian Timber Council.

Malaysian Timber Council, 2017. Malaysian Mouldings, Builders, Joinery & Carpentry. Kuala Lumpure: Malaysian Timber Council.

Malaysian Timber Council, 2017. Properties of Popular Malaysian Timber. Kuala Lumpur: Malaysian Timber Council.

Masera, G. et al., 2014. Adaptable Shelters for Environmentally Sensitive Archaeological Sites.

Mursib, G. & Mohd Rasdi, M. T., 2016. Regionalisme Dalam Seni Bina Malaysia: Era Moden, Pascamoden dan Global (Regionalism of Malaysian Architecture in the Era of Modern, Postmodern and Globalization). 1st ed. Kuala Lumpur Malaysia: Dewan Bahasa dan Pustaka (DBP).

Suan, K. X., 2018. Interlocking Timber Joint in Kengo Kuma’s Works.

Wong, W. S., 1995. Timber Structures in Malaysian Architecture and Buildings.

Online AA School, 2020. Architectural Association School of Architecture. [Online] Available at: https://www.aaschool.ac.uk/AASCHOOL/HOOKEPARK/hookebuildings.php [Accessed 15 March 2020].

Archdaily, 2012. GC Prostho Museum Research Centre. [Online] Available at: https://www.archdaily.com/199442/gc-prostho-museum-research-center-kengo-kuma-associates [Accessed 6 February 2020].

ArchDaily, 2013. ArchDaily: Archery Hall & Boxing Club / FT Architects. [Online] Available at: https://www.archdaily.com/444857/timber-structure-archery-hall-and-boxing-club-ft-architects [Accessed 3 April 2020].

Asrin, R. K., 2016. News Straits Time Online News: Steeped in history. [Online] Available at: https://www.nst.com.my/news/2016/01/123710/steeped-history [Accessed 25 February 2020].

Reimagining The Elements 209

Colman, M. S., 2018. 6sqft: ‘Pixel Facade’ concept creates flexible, green office towers designed for millennials. [Online] Available at: https://www.archdaily.com/444857/timber-structure-archery-hall-and-boxing-club-ft-architects [Accessed 4 April 2020].

CWL Design, 2008. Wei-Ling Gallery Brickfields KL. [Online] Available at: http://www.choweiarchitects.com/ourwork_comm_wl.html [Accessed 10 April 2020].

Jasbindar, F. A., 2019. Orang Perak: Kisah Masjid Panglima Kinta di Kampung Kuchai Ipoh. [Online] Available at: https://www.orangperak.com/kisah-masjid-panglima-kinta-di-kampung-kuchai-ipoh.html [Accessed 25 February 2020].

KALAM, 2020. Center For The Study Of Built Environment In The Malay World (KALAM). [Online] Available at: https://builtsurvey.utm.my/research/kalam/ [Accessed 20 April 2020].

Kendzulak, S., 2013. Art Radar: Malaysian art comes out of the shadows: gallerists’ view from the ground. [Online] Available at: https://artradarjournal.com/2013/07/07/malaysian-art-comes-out-of-the-shadows-gallerists-viewfrom-the-ground/ [Accessed 20 March 2020].

Laros Technologies, 2020. Laros Technologies: Cross Laminated-Timber. [Online] Available at: https://www.laros.com.au/ [Accessed 16 April 2020].

Maggiora, M. V. d., 2019. Japan House São Paulo / Kengo Kuma & Associates + FGMF. [Online] Available at: https://www.archdaily.com/923091/japan-house-sao-paulo-kengo-kuma-and-associates-plus-fgmf [Accessed 1 April 2020].

Mambrol, N., 2016. Literary Theory and Criticism: Homi Bhabhas Concept of Hybridity. [Online] Available at: https://literariness.org/2016/04/08/homi-bhabhas-concept-of-hybridity/ [Accessed 30 January 2020].

Ott, C., 2019. Archdaily: MPAVILION 2018 / Estudio Carme Pinós. [Online] Available at: https://www.archdaily.com/910677/mpavilion-2018-estudio-carme-pinos?ad_source=search&ad_ medium=search_result_projects [Accessed 24 April 2020].

WikiHouse, 2019. WikiHouse. [Online] Available at: https://www.wikihouse.cc/About [Accessed 15 December 2019].

210

Reimagining The Elements

Reports Lim, Y. L. et al., 2017. Kajian Sejarah Dan Inventori Warisan Kampung Kuchai, 31650 Ipoh, Perak, Johor Bahru: KALAM Pusat Kajian Alam Bina Dunia Melayu.

Mursib, G. et al., 2017. Kajian Sejarah Dan Senibina Warisan Sekolah Melayu Lot 17773, Jalan Masjid, Kampung Kuchai 31650 Ipoh, Perak, Johor Bharu Malaysia: KALAM.

Conferences Hosseini, E., Mursib, G., Nafida, R. & Shahedi, B., 2012. Values of Traditional Architecture: Malay House. s.l., s.n.

Hosseini, E., Mursib, G., Nafida, R. & Shahedi, B., 2014. Mirror of the Past, Lessons for the Future. s.l., s.n.

Guideline Manuals WikiHouse, 2018. Using WikiHouse: An Introductory Guide for your Project. s.l.:Open Systems Lab. WikiHouse, 2019. WikiHouse Manufacturing Guide: A general guide to CNC manufacturing of WikiHouse components. s.l.:Open Systems Lab.

YouTube Videos RTM, B., 2014. Kraftika - Teknik Tanggam Mengembali Seni Bina Melayu. [Online] Available at: https://www.youtube.com/watch?v=lXE4GT4JKfs [Accessed 20 November 2019].

TishoYanchev, 2013. Waste Timber Blocks Build Houses. [Online] Available at: https://www.youtube.com/watch?v=rPE4KZ7i9HU&list=WL&index=8&t=150s [Accessed 20 November 2019].

Reimagining The Elements

211

[R E]

I M A G I N I N G

REIMAGINING THE ELEMENTS:

TRA DI TI ON AL MALAY JOIN TIN G AS A MODE RN C ON ST RUC T ION SYST E M