GROUP 1 RUMAH UDA MANAP

RIMBUN DAHAN

MPU3323

HAMUR

PANAM ADU

ARCHITECTURE

HISTORY 03

MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529 OZARIO PASQUALLIE | 1002057887 MANOJHPRIYAN | 1001850855 MOHAMED ELRUFAEE IBRAHIM MOHAMED | 1002057853 WAN HADHIF BIN MUHAMMAD FAOZIE | 1002057607 LAM WAI HAO | 1002161750

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INTRODUCTION DESIGN CONCEPT | PHYSICAL CHARACTERISTICS | MATERIALS & CONSTRUCTION | CLIMATE INFLUENCE | RELIGIOUS INFLUENCE | CULTURAL INFLUENCE | REFERENCES -

MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529

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A CENTURY IN THE PAST, THIS RUMAH WAS CONSTRUCTED AT THE BANKS OF THE PERAK RIVER IN KAMPONG NGIOR, TANJONG BLANJA, NOW REFERRED TO AS PARIT. LITTLE OF ITS HISTORY IS UNDERSTOOD, ALTHOUGH CIRCLE OF RELATIVES LIFESTYLE CAUTIONED THAT IT TURNED INTO BUILT VIA MAHARAJA LELA, THE ASSASSIN OF BIRCH, THE BRITISH RESIDENT OF PERAK, IN 1875. SUPPOSEDLY MAHARAJA LELA SUBSTITUTED A SLAVE TO BE HANGED IN HIS STEAD AND WENT INTO EXILE, BUT LATER GOT HERE LOWER BACK AND CONSTRUCTED THE HOUSE. CASH LOCATED UNDERNEATH THE PREDOMINANT PILLARS OF THE RESIDENCE THROUGHOUT THE RECUPERATION, LOCATED THERE ACCORDING TO CUSTOM, IS DATED AROUND 1901 AND SUGGESTS THAT THE LAPSE BECOME TOO LENGTHY FOR THIS TALE TO BE IN ALL LIKELIHOOD. THE MORE PRACTICAL TALE IS THAT A WEALTHY MIGRANT FROM SUMATRA, UDA MANAP, CONSTRUCTED THE HOUSE FOR HIS BRIDE, NGAH PORBU, WHO GOT HERE FROM INDONESIA IN THE 1890S TO MARRY HIM. SHE BECOMES A WEALTHY FEMALE WHO ADDED ALONG WITH HER LOVELY TEXTILES, EARRINGS, AND HOUSEHOLD ARTIFACTS. BECAUSE THE NEIGHBORHOOD CUSTOM, OR ADAT, PRESCRIBES THAT ASSETS ARE HELD WITH THE AID OF WOMEN, THE RESIDENCE SHOULD RIGHTLY BE REFERRED TO AS RUMAH NGAH PORBU. NGAH DIED IN 1946 AND LEFT THE HOUSE TO HER GRANDDAUGHTER WHO APPARENTLY MARRIED A DESCENDANT OF MAHARAJA LELA. SHE DIED IN THE ’80S AND LEFT THE HOUSE TO HER YOUNGEST DAUGHTER ROHANI.

THE DESIGN IS TYPICAL OF PERAK IN ITS FORM AND LAYOUT, BUT ITS DECORATION IS UNIQUE. THE HOUSE WAS BUILT BY CHINESE CRAFTSMEN FROM INDONESIA, AT A TIME WHEN THE PERAK RIVER WAS THE MAIN THOROUGHFARE INTO THE HINTERLAND AND THE VILLAGE WAS WEALTHY FROM TAXING PASSING BARGES SERVING THE TIN TRADE. THE TIMBER SHINGLE ROOF WOODEN CAN ONLY HAVE COME FROM SUMATRA IN WHICH BELIAN WOODEN IS OBSERVED, HOWEVER OTHER TIMBERS UTILIZED IN PRODUCTION MIGHT BE DURABLE NEIGHBORHOOD TOUGH WOODS, ALTHOUGH IT IS IMPOSSIBLE TO PERCEIVE SPECIES.

1 DESIGN CONCEPT MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF 1001849529

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HISTORY OF VERNACULAR ARCHITECTURE THE VERNACULAR ARCHITECTURE INCORPORATES A CULTURAL BUILDING TRADITION THAT HAS BEEN PASSED DOWN THROUGH GENERATIONS. AS STYLES AND TECHNIQUES EVOLVE, EACH UNIQUE STRUCTURE IS DISCREET, AFFORDABLE, AND DURABLE. THESE HOUSES HAVE EXISTED SINCE HUMANS STARTED CREATING PRIMITIVE STRUCTURES. SOME HISTORIANS CLAIM THAT MOST BUILDINGS BUILT BEFORE THE MID-17TH CENTURY ARE CONSIDERED VERNACULAR BECAUSE THE OFFICIAL ARCHITECTS DID NOT SUPERVISE THEIR CONSTRUCTION... INSTEAD, IDYLLIC WOODEN HOUSES ARE BUILT BY LOCAL ARTISANS APPLYING LOCALLY ACQUIRED SKILLS. THE TERM VERNACULAR ENTERED CONSTRUCTION DISCOURSE IN THE 19TH CENTURY WHEN SETTLERS DISCOVERED NEW CONSTRUCTION METHODS IN OTHER PARTS OF THE WORLD. THE ARCHITECTS OF THE TIME DESPISED THESE MORE PRIMITIVE AND ANCIENT HOUSES. THIS MEANS THAT THE STYLE OF THE BUILDING IS BETTER AND MORE SOPHISTICATED.

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HISTORY OF MALAY ARCHITECTURE IT IS ONE OF THE RICHEST COMPONENTS OF MALAYSIA'S CULTURAL HERITAGE. DESIGNED AND BUILT BY THE VILLAGERS THEMSELVES. THE HOUSE IS EXTREMELY WELL DESIGNED TO SUIT THE WARM AND HUMID MALAYSIAN CLIMATE. IT HAS MULTIFUNCTIONAL USE OF SPACE. DESIGNED FOR FLEXIBILITY. DESIGNED FOR FUTURE TRANSFORMATIONS.

HOUSE FORM TIMBER HOUSE RAISED ON STILLS. WOODEN AND BAMBOO WALLS AND A THATCH ROOF. PLENTY OF WINDOWS. LARGE OPEN INTERIOR SPACES. MINIMUM PARTITION WALLS.

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BUMBUNG PANJANG THEY ARE THE OLDEST AND MOST TRADITIONAL WITH A GABLE ROOF. MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529

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MALAY HOUSE STYLES BUMBUNG PERAK FOREIGN INFLUENCE, RECOGNIZED WITH GAMBREL ROOF.

BUMBUNG LIMA

BUMBUNG LIMAS

FOREIGN INFLUENCE, RECOGNISED WITH HIP ROOF.

FOREIGN INFLUENCE, RECOGNIZED WITH PYRAMID ROOF.

INEXPENSIVE MATERIALS / UTILARIAN DESIGN

MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529

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TYPICAL CHARACTERISTICS OF VERNACULAR ARCHITECTURE EMBOSSED ELEMENT WITH STEEL GUARDRAILS AND WOODEN ORNAMENTED SCREENS

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WINDOW AND DOOR USUALLY WITHIN ELEVATION LINE, CAN BE ARC OR STRAIGHT, SURROUNDED WITH A FRAME

MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529

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MAIN CHARACTERISTICS OF VERNACULAR ARCHITECTURE

DRAWING TO BE INSERTED

REFLECTS SOCIAL CONDITIONS AND CULTURE

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RAISED HOUSE LEVEL

MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529

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ELEMENTS OF A TYPICAL MALAY RUMAH

PREVENTS FLOODS AND ANIMALS PROVIDES PRIVACY CATCHES WINDS OF HIGHER VELOCITY

ATTAP ROOF MADE FROM NATURAL MATERIALS WATERPROOF MADE BY VILLAGERS THEMSELVES COOLING AND DOES NOT ABSORB HEAT

HOUSE COMPOUND

COCONUT TREE

FOR DRYING MATERIALS AND SPACE FOR SOCIAL

FOR SHADING FOOD MAKING

INTERACTION AND WORK CHILDRENS PLAYGROUND

FUEL CONSTRUCTION

NGISED

WELL

MUHAMMAD NYROZE MUHAMMAD SAAD SHARIFF | 1001849529

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ELEMENTS OF A TYPICAL MALAY RUMAH

FOR WASHING CLOTHES BATHING AND SOMETIMES DRINKING

STORAGE SPACE FOR FUEL (FIREWOOD, COCONUT LOOVERS) BICYCLES PLANTING IMPLEMENTS

JITRA TOILET POUR FLUSH TOILET EASY TO BUILD AND MAINTAIN CHEAP AND HYGENIC

DRAINAGE WASTE WATER FROM KITCHEN DRAINED INTO SANDY GROUND

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ROOF TYPE: DUTCH HIP ROOF SMALL GABLE ROOF ON TOP OF LARGE HIP ROOF - ORNAMENTS: X2 - KEPALA CICAK, ANDE-ANDE

COLUMNS X35 SIZE: 150MM X 150MM X 1980MM TIMBER COLUMN FOUNDATION: 450MM X 420MM PAD FOUNDATION, REINFORCED CONCRETE STUMP

WINDOWS X12 - W1: X7 DIMENSIONS: 630(W) X 780(H) DOUBLE SWING WOODEN WINDOW LOCATION: KITCHEN, BEDROOM 2

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ARCHITECTURAL COMPONENTS

- W2: X19 DIMENSIONS: 630(W) X 780(H) DOUBLE SWING WOODEN WINDOW LOCATION: ANJUNG, RUMAH IBU, MASTER BEDROOM, BEDROOM 1, DINNING ROOM - ORNAMENTS: X4 - KEPALA TINGKAP & WINDOW CARVINGS

DOORS X12 - D1: X1 DIMENSIONS: 850(W) X 2100(H), SINGLE SWING WOODEN DOOR LOCATION: WORK AREA

- D2: X2 DIMENSIONS: 850(W) X 1800(H), SINGLE SWING GLASS DOOR LOCATION: TOILET, SHOWER ROOM - D3: X1 DIMENSIONS: 850(W) X 1800(H), DOUBLE SWING WOODEN DOOR LOCATION: HALL - D4: X1 DIMENSIONS: 1000(W) X 2000(H), DOUBLE SWING WOODEN DOOR LOCATION: OPEN DECK - D5: X3 DIMENSIONS: 1000(W) X 2000(H), DOUBLE SWING WOODEN DOOR LOCATION: ANJUNG, RUMAH IBU, DINNING ROOM - D6: X3 DIMENSIONS: 1000(W) X 2000(H), DOUBLE SWING WOODEN DOOR LOCATION: MASTER BEDROOM, BEDROOM 1 & 2 - D7: X1 DIMENSIONS: 1000(W) X 1815(H), DOUBLE SWING WOODEN DOOR LOCATION: MAIN ENTRANCE - ORNAMENTS: X5 - KEPALA TINGKAP & DOOR FRAME CARVINGS

WALLS TYPE: WOODEN WALLS - ORNAMENTS: X9 - KEPALA TINGKAP, PAPAN KEMBUNG,

UPPER SECTION THE UPPER SECTION COMPRISES THE TRUSS SYSTEM OF WOODEN LONG AND SHORT TIE BEAMS CONNECTED TO WOODEN COLUMNS VIA MORTISE AND TENON JOINTS, SUPPORTING A LARGE DUTCH HIP ROOF AND A SMALLER GABLE ROOF.

MIDDLE SECTION THE MIDDLE SECTION CONSISTS OF THE LIVING SPACES AS WELL AS ALL THE THREE BEDROOMS AND AN OPEN DECK

LOWER SECTION THE WOODEN COLUMNS THAT CARRY THE WEIGHT OF THE HOUSE AND A WORK AREA, TOILETS, HALL AND RUMA IBU.

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STRUCTURAL DIVISION

Upper

Middle

Lower

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EXTERIOR ELEMENTS

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Pemeleh

Hip

THE ROOF SYSTEM OF RUMAH UDA MANAP CONSISTS OF A TIMBER TRUSS SYSTEM CONNECTED TO TIMBER COLUMNS USING MORTISE AND TENON JOINTS, WHICH HOLDS UP A LARGE DUTCH HIP ROOF WITH A SMALLER GABLE ROOF ON TOP OF IT. LOCATED AT THE ROOF EDGE THERE IS AN ANDE-ANDE, A MALAY TRADITIONAL ROOF CARVING. AND THE KEPALA CICAK ORNAMENT IS POSITIONED AT THE CORNERS OF THE ROOF EAVES.

Dutch Hip Roof

Ande-Ande

Roof Valley

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ROOF & ORNAMENTS

Kepala Cicak

Ande-Ande

Timber Truss

Kepala Cicak

Ande-Ande

PAPAN PEMELEH A PAIR OF TIMBER PIECES LOCATED ON TWO FASCIA ENDS OF THE GABLE ROOF

Tebar Layar

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ROOF & ORNAMENTS

THIS IS THE TRIANGULAR AREA OF THE EXTERNAL WALL

Papan Pemeleh

TUNJUK LANGIT THIS IS THE DECORATIVE PIECE LOCATED AT THE GABLE END TIP IN AN UPRIGHT POSITION.

ANDE-ANDE THIS IS THE DECORATIVE TIMBER ROOF EAVES Tanjuk Langit

THE WALLS OF THIS HOUSE CONSIST OF SLANTED WALL PANELS AND DECORATIVE ORNAMENTS .

THE WALL PANELS ARE MADE OF 20MM WOOD BOARDS, CONNECTED USING THE SHIPLAP JOINT AND ENCLOSED BY A WOODEN FRAME WITH A RABBET JOINT

Wooden Frame

Wood Board 20mm

Shiplap Joint

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WALLS & ORNAMENTS

Rabbet joint

Ornaments,

Exterior Walls

ALONG THE EXTERIOR WALL OF RUMAH UDA MANAP LOCATED BELOW THE WINDOW ARE VARIOUS ORNAMENTS. THESE PAINTINGS AND CARVINGS ARE APPROXIMATELY 1300MM X 400MM IN SIZE AND MADE OF TIMBER.

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WALLS & ORNAMENTS

PAPAN KEMBUNG AUSTRALIAN FLORA BELOW WINDOW OF OUTDOOR WALL

PAPAN KEMBUNG AUSTRALIAN FLORA BELOW WINDOW OF OUTDOOR WALL

PAPAN KEMBUNG RARE FOO DOG BELOW WINDOW OF OUTDOOR WALL

PAPAN KEMBUNG DRAGON CARVING, WHICH IS A SYMBOL OF CHINESE ARCHITECTURE BELOW WINDOW OF OUTDOOR WALL

PAPAN KEMBUNG AUSTRALIAN FAUNA AND FLORA BELOW WINDOW OF OUTDOOR WALL

PAPAN KEMBUNG AUSTRALIAN FAUNA AND FLORA BELOW WINDOW OF OUTDOOR WALL

LOCATED AT THE MAIN ENTRANCE OF RUMAH IDU MANAP IS A TIMBER DOOR MADE UP OF TIMBER DOOR FRAMES AND DOOR PANELS. THE DOOR FRAME HAS MALAY-CHINESE FLORA WOOD CARVINGS ON IT AND THE DOOR PANELS CONTAIN FLORA MOTIFS CARVINGS. ABOVE THE DOOR IS KEPALA TINGKAP, MADE OF TIMBER AND CONTAINS MALAYCHINESE CULTURE PATTERN CARVINGS.

Mitre Joint

Kepala Tingkap

Timber Door Frame

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DOORS & ORNAMENTS

LOCATED AT THE MAIN ENTRANCE, 1000MM X 1815MM MADE OF 100MM THICK TIMBER FRAME WITH CHINESE-MALAY WOOD CARVING

DOOR FRAME AND PANEL CARVINGS MALAY-CHINESE FLORA WOOD CARVING & FLORA MOTIFS CARVING ON PANELS LOCATED AT MAIN ENTRANCE DOOR

Timber Door Timber Door Panels

THERE ARE 2 TYPES OF WINDOWS USED IN THE RUMAH IDU MANAP HOUSE, BOTH OF WHICH ARE MADE OF TIMBER AND HAS A TINGKAP KEPALA (WINDOW HEAD) AS A DECORATIVE PIECE OF TIMBER. THE WINDOW HEAD IS NORMALLY CARVED WITH FLORAL PATTERNS, QURANIC VERSES CALLIGRAPHY OR SIMPLE MOTIF OF JEJALA.

Windows

Ornaments

Kepala Tingkap

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WINDOWS & ORNAMENTS

WINDOW 1 LOCATED AT BEDROOM 2 AND KITCHEN. MADE 20MM THICK TIMBER FRAME, COATED WITH YELLOW PAINT AND IT CONTAINS A DECORATIVE ORNAMENT ABOVE

Kepala Tingkap

WINDOW 2 LOCATED AT THE ANJUNG, RUMAH IBU, MASTER BEDROOM, BEDROOM 1, AND DINNING ROOM MADE FROM 20MM THICK TIMBER FRAME, COATED WITH YELLOW PAINT.

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WINDOWS & ORNAMENTS

WINDOW CARVING FLOWER MOTIFS CARVING LOCATED AT W1, MASTER BEDROOM, BEDROOM 1 & 2

KEPALA TINGKAP 285MM X 630MM MALAY-CHINESE FLORA PATTERN CARVING MADE OF TIMBER LOCATED ABOVE WINDOW 1

WINDOW CARVING FLORA MOTIFS CARVING MADE OF TIMBER. LOCATED AT W2, ANJUNG, RUMAH IBU, MASTER BEDROOM AND DINNING ROOM

KEPALA TINGKAP 362MM X 680MM MALAY-CHINESE CULTURE PATTERN CARVING MADE OF TIMBER LOCATED ABOVE WINDOW 2

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INTERIOR ELEMENTS

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Open Deck

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INTERIOR SPACES

Entry to Lower Section

Kitchen

Bedroom

Dinning

Master Bedroom

Rumah Ibu

Bedroom

Rattan Screen

Front Entrance

Anjung

THE SAME SLANTED WALLS USED ON EXTERIOR IS ALSO USED ON THE INTERIOR, ALSO MADE OF 20MM WOOD BOARD. ABOVE THE WALL, AN ORNAMENT IS PLACED FOR DECORATION.

THIS WALL, LOCATED AT THE ANJUNG, CONSISTS OF THE TIMBER WALL, WOODEN DOOR FRAME AND A RATTAN SCREEN. LOCATED ABOVE THE DOOR IS THE KEPALA TINGKAP WOODEN CARVING

Slanted Wood Board 20mm

Wall and Door frame

Rattan Screen

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WALLS & ORNAMENTS

FLORA MOTIFS CARVING LOCATED ABOVE THE WALL BETWEEN ANJUNG AND RUMAH IBU

MALAY-CHINESE CULTURE PATTERN CARVING LOCATED ABOVE D5 AND D7

THE DOORS IN THE RUMAH UDA MANAP ARE ALL WOODEN DOORS WHICH CONTAIN ORNAMENTS MAINLY OF FLOWER OR GRASS PATTERNS

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FLOWER MOTIFS CARVING LOCATED AT MASTER BEDROOM, BEDROOM 1 & 2

FLOWER MOTIFS CARVING LOCATED AT ANJUNG, RUMAH IBU, DINNING ROOM

TIMBER PANEL COATED WITH BLACK PAINT LOCATED AT OPEN DECK

FLORA MOTIFS CARVING LOCATED AT HALL

3 MATERIALS & CONSTRUCTION MANOJHPRIYAN 1001850855

USING NATURAL MATERIALS LIKE TIMBER AND BAMBOO, THE STRUCTURES ARE OFTEN BUILT WITHOUT THE USE OF ANY METAL , ESPECIALLY NAILS. INSTEAD PRE-CUT HOLES AND GROOVES ARE USED TO FIT THE TIMBER ELEMENTS INTO ONE ANOTHER, EFFECTIVELY MAKING IT A 'PREFABRICATED HOUSE'.

WITHOUT NAILS, A TIMBER HOUSE COULD BE DISMANTLED AND RECONSTRUCTED IN A NEW LOCATION.THE TIMBER SPECIES MAY VARIES FROM REGION TO REGION , BUT SOME SPECIES OF TIMBERS ARE PREFERED BY BUILDERS LIKE MERANTI AND DAMAR LAUT .HOWEVER ,CENGAL HOLDS THE TOP SPOT FOR BUILDERS AND FOR BEING THE MOST USED TIMBER SPECIES FOR BUILDING HOUSES IN THE OLDEN DAYS BECAUSE OF ITS HARDNESS AND DURABILITY. CENGAL'S REPUTATION IS WELL DESERVED BECAUSE IT IS ALSO ONE OF THE VERY FEW KNOWN SPECIES OF TIMBER TO BE RESISTANT TO TERMITE ATTACK AND FUNGAL INFESTATION .PILLARS ARE NORMALLY NOT PLANTED INTO THE GROUND OR IN A CONCRETE STUMP, IT WAS JUST PLACED ON TOP OF THE BASE STUMP .

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MATERIALS USED IN A OLD MALAY HOUSE

SLAIRETAM

MATERIALS USED IN RUMAH UDA MANAP IN SUNGAI PERAK TIMBER WAS USED AS THE MAIN BUILDING MATERIAL IN MANY PARTS OF THE BUILDINGS, INCLUDING THE FLOORS, INTERNAL WALLS, PORCHES AND VERANDAS, CEILINGS, ROOFS, STAIRCASES, DOORS AND WINDOWS. PRACTICALLY 90% OF THIS HOUSE WAS BUILD FROM TIMBERS.THE WOODEN SHINGLE ROOF'S TIMBER CAME FROM SUMATRA WHERE BELIAN WOOD IS FOUND, BUT OTHER TIMBERS USED IN CONSTRUCTION WOULD BE DURABLE LOCAL HARD WOODS. ALTHOUGH IT IS IMPOSSIBLE TO IDENTIFY ITS ORIGIN SPECIES,IT IS MOST PROBABLY CENGAL SINCE IT WAS USED MOST FOR BUILDINGS AT THAT TIME IN THE REGION.

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MATERIALS USED AFTER RUMAH UDA MANAP WAS MOVED TO RIMBUN DAHAN IN THE RESTORATION PROCESS, OLD TIMBER WAS USED WHEREVER POSSIBLE TO KEEP ITS ORIGINAL ESSENCE . THE FLOOR TIMBERS WERE FROM OTHER HOUSES DEMOLISHED IN PERAK, BUT THE NEW BELIAN ROOF SHINGLES HAD TO BE BROUGHT FROM SARAWAK. CONCRETE WAS USED AFTER THE RUMAH UDA MANAP WAS MOVED TO RIMBUN DAHAN SO THAT THE MOVERS COULD INSURE THE HOUSE WOULD MEET THE CURRENT SAFETY STANDARDS. CONCRETE WAS MAINLY USED FOR THE FOUNDATION AND COLUMNS OF THE HOUSE.

SLAIRETAM

BRICK WAS NEEDED TO BE USED IN THE NEW RUMAH UDA MANAP ,SINCE RIMBUN DAHAN WANTED TO USE IT AS A GUEST HOUSE ,THEY HAD TO BUILD NEW BATHROOMS AND TOILETS USING BRICKS.

RATTANS WERE USED AS DIVIDERS IN LARGE SPACES ,BY USING RATTAN THEY DIDN'T HAVE TO CLOSE THE SPACE UP BY USING WALLS WHICH WILL EVENTUALLY BLOCK LIGHT AND VENTILATION

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TILES WERE USED IN DIFFERENT AREA OF THE HOUSE. TERRACOTTA TILES WERE USED FOR THE FLOOR ON THE GROUND /BASEMENT LEVEL .MODERN TILES WERE USED FOR THE NEW TOILET FOR BOTH THE FLOOR AND WALLS.

BAMBOO WAS USED AS A DIVIDER / SHADING DEVICE AT THE BASEMENT LEVEL. THE EFFECT WOULD BE THE SAME AS THE RATTAN IN THE LIVING AREA HOWEVER BAMBOO WAS PREFERRED TO BE USED HERE AS IT IS MORE RESISTANT TO THE WEATHER .

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COLUMN & FOUNDATION THE RUMAH UDA MANAP MAKES USE OF TIMBER COLUMNS ATTACHED TO CONCRETE STUMPS TO RAISE THE HOUSE FROM THE GROUND. THERE ARE THIRTY FIVE COLUMNS IN THIS CONSTRUCTION AS SEEN ON THE FLOOR PLAN BELOW AND ALL THESE COLUMNS ARE 150MM X 150MM X 1980MM IN SIZE WHICH ARE CONNECTED TO 450MM X 420MM REINFORCED CONCRETE STUMPS.WHEN IT WAS FIRST BUILD BACK IN THE DAYS , IT WAS ALL TIMBER WITHOUT THE CONCRETE STUMPS WHICH RESULTED IN THE TIMBER ROTTING OVERTIME (HUNDREDS OF YEARS) .

The location of all the columns

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COLUMN & FOUNDATION BOTH THE COLUMN AND THE FLOOR JOIST ARE CONNECTED OR THEY ARE JOINTED TOGETHER USING A WEDGE, THIS IS A PIECE OF WOOD THAT CONSISTS OF AN EDGE WHICH IS INCLINED TO 10 - 12 DEGREES. THE WEDGE IS INSERTED INTO A SPACE FOR TIGHTENING .COMPARED TO THE NEW WAY WHERE THE HOUSE WAS REBUILD USING A STEEL DOWEL FOR EXTRA STIFFNESS AT THE COLUMN JOINTING.

Putting and Tembuk,

Timber Floor Joist

Timber Wedge

Steel Dowel, Timber Column 150mm x 150mm

Concrete Stump 450mm x 420mm

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AND RESPONDS TO THE SURROUNDING. *THE MAIN ENTRANCE WAS SHIFTED TO THE OTHER (WEST) SIDE. *THE PORCH ROOF, WHICH WAS ERECTED LATER ON THE ORIGINAL SITE AND WAS ORIGINALLY CORRUGATED IRON, WAS REPLACED WITH BELIAN SHINGLES WHEN RIMBUN DAHAN ACQUIRED IT. *THE CEILING SHAPE WAS ALTERED TO FOLLOW THE ROOFLINE; IT DID NOT DO SO PREVIOUSLY, POSSIBLY CONCEALING A HIDING PLACE.

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THE HOUSE HAS BEEN MODIFIED TO MATCH THE NEW POSITION

THIS BUILDING WAS ERECTED ON THE BANKS OF THE PERAK RIVER AT KAMPONG NGIOR, TANJONG BLANJA, WHICH IS TODAY KNOWN AS PARIT, OVER A CENTURY AGO. BY THE TIME THE HOUSE WAS TRANSPORTED TO RIMBUN DAHAN, SELANGOR IN 1998.

*THE SELANG ORIGINALLY SLOPED DOWN TO THE BACK, LEADING TO A LARGE ROOM AND A ROOFED DAPUR, OR KITCHEN. IN THE PRESENT HOUSE, THE SELANG IS FLAT (THE DINING ROOM) AND LEADS TO THE NEW KITCHEN, A STAIRCASE, AND A BACK BEDROOM.

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PARIT BUNTAR HAS A HOT, HUMID, AND GLOOMY CLIMATE. THE TEMPERATURE NORMALLY RANGES FROM 75°F TO 90°F THROUGHOUT THE YEAR, WITH TEMPERATURES RARELY FALLING BELOW 73°F OR RISING OVER 93°F.

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PREVIOUS LOCATION

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MACRO-CLIMATE WITH AN AVERAGE DAILY MAXIMUM TEMPERATURE OF 33 DEGREES CELSIUS, SELANGOR IS ONE OF MALAYSIA'S WARMEST STATES. THE WEATHER IS BETTER AT TIMES DUE TO HIGH HUMIDITY AND HIGH TEMPERATURES, BUT IT IS MOSTLY TROPICAL HOT, AND HUMID. THE WEATHER IS MILD TO HOT ALL YEAR, AND THE AVERAGE WATER TEMPERATURE IS

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CURRENT LOCATION

29 DEGREES.

MICRO-CLIMATE IN THE MICRO-CLIMATE, THE SURROUNDING VEGETATION HELPS TO COOLER THE BREEZE BEFORE FLOW TO THE BUILDING, AS WELL AS THE SURROUNDING TREES, WHICH HELPS TO SHADE THE BUILDING FROM THE DISTRICT SOLAR RADIATION.

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DIFFERENCE. HERE ARE SOME OF THE CONSIDERATIONS FOR BETTER SHADING, VENTILATION, AND COOLING

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SINCE BOTH OF THE LOCATIONS ARE IN TROPICAL REGIONS, THERE IS MUCH

THE MAIN ENTRANCE IS NOT FACING

THE PARALLEL WIDOWS HELP

NORTH OR SOUTH, BUT IT IS FACING

FOR BETTER VENTILATION

THE BODY LEVEL IS THE MOST VITAL AREA FOR VENTILATION FOR COMFORT

MECCA (QIBLA) FOR RELIGIOUS REASONS.

LARGE OVERHUNG PROVIDE

RAISING THE HOUSE TO GIVE A

VEGETATION SURROUNDING THE

PROTECTION AGAINST THE RAIN,

PSYCHOLOGICAL EFFECT OF

HOUSE FOR BETTER SHADING

PROVIDE GOOD SHADING, AND ALLOWS

COOLNESS.

WITHOUT BLOCKING THE WINDS

THE WIDOW TO BE OPEN ALL THE TIME

FROM THE HOUSE

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SLIPPED ROOF DOES NOT LET THE RAINWATER STUCK,(PREVIOUSLY THE

WOOD IS USED AS THE MAIN

ROOF WERE MADE OF ALUMINUM, BUT

CONSTRUCTION MATERIAL

NOW IT TIMBERS FOR BETTER

FOR ITS AVAILABILITY AND

INSULATION AGAINST HEAT)

ITS LOW TRANSMITTED FEATURE.

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ARCHITECTURAL CLIMATE INFLUENCE

THE EXTENDED ROOF LEAVE ACTS AS A SHADING DEVICE TO THE OPENINGS, TO BLOCK THE DIRECT SOLAR RADIATION FROM THE INTERIOR.

RAISING THE FLOOR LEVEL TO ACCOMMODATE FOR FLOODING, SAFETY AGAINST ANIMALS, CLEANLINESS OF THE FLOOR, AND STORAGE.

THE WIDOWS ARE SIZED AND LOCATED AT BOY LEVEL,FOR A BETTER LEVEL OF VENTILATION

ETAMILC

OPEN INTERIOR SPACES WITH MINIMAL PARTITION FOR BETTER VENTILATION FLOW IN THE HOUSE

MOHAMED ELRUFAEE IBRAHIM MOHAMED 1002057853

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ARCHITECTURAL CLIMATE INFLUENCE

DIFFERENT CEILING HEIGHT HELPS FOR BETTER BREEZE VENTILATION SPACES

THE HOUSE IS KEPT COOL BY ITS LIGHTWEIGHT STRUCTURE AND

STILT HOUSE CATCHES WINDS

LOW THERMAL CAPACITY

TO HIGHER VELOCITY

MATERIALS.

5 RELIGIOUS INFLUENCE WAN HADHIF BIN MUHAMMAD FAOZIE 1002057607

SUOIGILER

FOLLOWING THE INTRODUCTION OF ISLAM TO THE MALAYAN PENINSULA, MUCH OF IT'S VALUES HAD BEEN INTEGRATED INTO THE TRADITIONAL MALAY ARCHITECTURE. THIS DOES NOT EXCLUDE THE TRADITIONAL PERAK HOUSE, THE STYLE OF WHICH THE RUMAH UDA MANAP HAD BEEN BUILT IN. THE FACTORS WHICH POINT TOWARDS THIS IS THE CURRENT ORIENTATION OF THE BUILDING, THE PRIVACY STRATEGIES AND THE CARVINGS.

ORIENTATION OF BUILDING

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TRADITIONAL PERAK HOUSE

WHILE IT IS NOT CLEAR WHAT THE ORIENTATION OF THE BUILDING WAS IN ITS ORIGINAL STATE DUE TO NOT HAVING INFORMATION OF IT'S PREVIOUS SITE PLAN, INSIGHT IS TO BE HAD OF IT'S WHEREABOUTS IN ITS PRESENT STATE. FROM ITS CURRENT SITE PLAN, IT IS CLEAR THAT ISLAMIC INFLUENCE IS THERE AS THE ORIENTATION OF THE BUILDING MATCHES WITH THE DIRECTION OF THE QIBLA. THE QIBLA IS AN IMPORTANT ARCHITECTURAL FACTOR IN THE ISLAMIC WORLD AS IT IS THE DIRECTION OF THE KAABA, WHICH IS THE ONE OF THE MOST SACRED BUILDINGS IN ISLAM. MUSLIMS RELY ON THE QIBLA TO KNOW WHICH DIRECTION EXACTLY THAT THEY MUST PRAY TO. HAVING THE LAYOUT OR ORIENTATION OF THE BUILDING TO BE FACED THAT WAY HELPS MUSLIMS IN THAT THEY DO NOT NEED TO HAVE A HARD TIME ORIENTATING THEMSELVES WHILST PRAYING.

Site Plan of Rumah Uda Manap with the blue arrow representing the direction of the Qibla

SUOIGILER WAN HADHIF BIN MUHAMMAD FAOZIE 1002057607

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PRIVACY VISUAL PRIVACY IS RELEVANT IN ISLAM. IT IS STATED IN THE HOLY QU’RAN THAT ONE’S PRIVACY IS ONE’S OWN RIGHT AND NO OTHERS SHOULD INTRUDE IT WITHOUT ONE’S PERMISSION. THE ARCHITECTURAL, SOCIAL, AND PSYCHOLOGICAL FACTORS OF PRIVACY ARE NECESSARY TO THE DAILY LIFE OF THE MUSLIM. VISUAL PRIVACY INFLUENCE DESIGN ATTRIBUTES OF THE HOUSE SUCH AS THE SPECIFICS OF DOORS, WINDOWS AND OPENINGS, ORGANIZATION OF SPACES AND POSITIONING OF HOUSES IN RELATION TO OTHER HOUSES AND PHYSICAL ELEMENTS SUCH AS PARTITIONS, WALLS, BLINDS, LOUVRES AND LANDSCAPE ELEMENTS. THE NEED TO PROVIDE VISUAL PRIVACY IN MUSLIM HOUSES ALSO INFLUENCED THE LOCATION AND DESIGN OF THE MAIN ENTRANCE, THE DIVISION OF SPACES INTO PUBLIC AND PRIVATE DOMAINS AND ALLOCATION OF SPACES FOR PARENTS AND CHILDREN OF DIFFERENT GENDER. IT ALSO INFLUENCED ARCHITECTURAL DESIGN STRATEGIES SUCH AS THE LOUVRE WINDOWS, SCREENED PANELS, ROOF TERRACE, HIGH WINDOWS, RECESSED WINDOWS AND ENTRANCE. ADOPTION OF VISUAL PRIVACY INTO MUSLIMS’ HOUSES VARY BETWEEN DIFFERENT CULTURES PARTLY BECAUSE THE RELIGION GIVES FREEDOM TO ITS PEOPLE EMBRACING THE RELIGION TO BE ABLE TO MAINTAIN ASPECTS OF THE LOCAL CULTURE THAT DOES NOT STRAY FROM ITS PRINCIPLES. ISLAM DID NOT ATTEMPT TO UNDO THE LOCAL CULTURE THAT WAS PRESENT IN MALAYSIA DURING ITS INTRODUCTION. THE TRANSLATION OF VISUAL PRIVACY IN MUSLIM HOUSES REFLECTS THE NEED TO BALANCE BETWEEN PRIVACY AND OTHER NEEDS SUCH AS GEOGRAPHY, CLIMATE AND THE LOCAL CULTURE OF THE PEOPLE SUCH AS IN THE TRADITIONAL MALAY HOUSE. HOWEVER, MANY AUTHORS HAVE THE OPINION THAT PRIVACY WAS NOT A TOP PRIORITY IN THE TRADITIONAL MALAY CULTURE AS REFLECTED BY THE OPENNESS OF THE HOUSE LAYOUT, MANY WINDOWS AND FEW BEDROOMS, ETC. THIS OPINION CAN BE REBUKED AS PRIVACY IS PERCEIVED FROM THE WESTERN PERSPECTIVE WHICH EMPHASIZES ON INDIVIDUALISM AND NOT FROM THE PERSPECTIVE OF THE MALAY CULTURE. PRIVACY IN MALAY SOCIETY IS RELATED TO THE COMMUNITY AS COMPARED TO INDIVIDUAL PRIVACY.

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THE ABILITY TO CREATE PHYSICAL BOUNDARIES THAT EXCLUDE OTHERS CAN BARELY BE DEFINED AS PRIVACY IN THE TRADITIONAL MALAY SOCIETY AS BEHAVIOURAL NORMS ACCORDING TO THE TRADITIONAL CULTURE PLAYED AN IMPORTANT ROLE IN PROVIDING PRIVACY TO THE MALAY FAMILY. THE APPLICATION OF PRIVACY IN THE TRADITIONAL HOUSE WAS ACHIEVED THROUGH THE INDIGENOUS WAYS WHICH RESPONDED TO CLIMATE, GEOGRAPHY AND CULTURE OF THE PEOPLE. THE EXAMPLES BEING THE POSITIONING OF THE HOUSE ON STILTS HIGHER FROM THE GROUND LEVEL, HIGH WINDOWS WITH DECORATIVE PANELS, CAREFUL LOCATION OF DOORS OR INTERNAL OPENINGS INDIRECTLY TO EACH OTHER AND ARRANGEMENT OF SPACES ACCORDING TO PUBLIC AND PRIVATE DOMAINS. CURTAIN, SCREEN AND PARTITION WERE USED TO PROVIDE VISUAL PRIVACY IN THE HOUSE. ONE CAN SEE THESE ELEMENTS BEING APPLIED ON THE RUMAH UDA MANAP. THE POSITION OF THE HOUSE ON STILTS PROVIDE THE INHABITANTS PRIVACY FROM INCOMING GUESTS ON THE GROUND LEVEL. RATTAN SCREEN IS ALSO APPLIED TO DIVIDE THE FOYER AND THE LIVING ROOM, PROVIDING PRIVACY FOR THE FAMILY INDOORS FROM THE GUESTS IN THE FOYER.

Rattan Screen

Stilts

Front elevation of Rumah Uda Manap

View of Rumah Ibu/ living room from foyer/ Anjung

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FURTHERMORE, THE CONCEPT OF PRIVACY IN THE TRADITIONAL MALAY SOCIETY WAS ALSO BASED ON GENDER ROLES, THE POSITION OF WOMEN AND SEPARATION OF GENDERS. ARRANGEMENT AND DIVISION OF SPACES ACCORDING TO PRIVATE, PUBLIC OR SEMI-PRIVATE ZONES ALLOW THE FEMALE FAMILY MEMBERS TO CARRY OUT THEIR DAILY ROUTINES IN PRIVACY EVEN IN THE PRESENCE OF MALE GUESTS IN THE HOUSE. SPACES WEREN'T SOLELY FOR SPECIFIC PURPOSE BUT WAS MEANT TO BE INTERCHANGEABLE. THE IMPORTANCE OF BEING CLOSE TO EACH OTHER AS A FAMILY COMPARED TO INDIVIDUALISM MEANT THAT THERE WAS NO NEED FOR INDIVIDUAL BEDROOMS FOR EACH OF THE FAMILY MEMBERS. THE MALAY TERM ‘BUDIBAHASA’ SUMS UP THE KIND OF PROPER ETIQUETTE AN INDIVIDUAL SHOULD DISPLAY BOTH IN THE PRIVACY OF FAMILY LIFE AND IN PUBLIC WHICH IS NOT PRYING INTO THE PRIVATE MATTERS OR BUSINESS OF OTHERS, NOT LOOKING INTO OTHER PEOPLE’S HOUSES, EXCHANGING GREETINGS AND ENTERING THE HOUSE ONLY AFTER GIVEN PERMISSION, ETC. THESE BEHAVIOURAL NORMS ALONE REFLECT THE IMPORTANCE OF VISUAL PRIVACY IN THE TRADITIONAL MALAY SOCIETY AND HOW THEY ARE MUCH IN LINE WITH MORALITY IN ISLAMIC TEACHINGS AND TO THIS EXTENT, THE MALAY CUSTOMS AND ISLAM ARE IN COMPLETE AGREEMENT. VISUAL PRIVACY IS REQUIRED FOR CONCEALMENT OF INTER-FAMILY RELATIONSHIP AND PRESERVING THE MODESTY OF FEMALE FAMILY MEMBERS. ONE CAN SEE IN THE LAYOUT OF RUMAH UDA MANAP HOW IT IS APPLIED. THE KITCHEN, UTILITY AND DINING BEING THE SPACES THE FEMALES WERE MOSTLY FOUND TO DO THEIR DAILY ACTIVITIES HAD BEEN POSITIONED AT THE BACK OF THE HOUSE, AWAY FROM ANY GUESTS AND FREE TO DO THEIR WORK WITHOUT PRYING EYES. THEY EVEN HAVE A STAIRCASE CONNECTING THE KITCHEN TO THE GROUND FLOOR WHICH IN TRADITIONAL TIMES WAS USED SOLELY BY THE WOMEN AS ONLY MEN COULD USE THE MAIN OR FRONT ENTRANCE.

Area where the women of the household do their activities

Bedroom 1 Kitchen

Open Deck

Staircase Utility

Dining

Bedroom 2

Rumah Ibu/ Living Room

First floor plan of Rumah Uda Manap

Staircase

Anjung/ Foyer

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CARVINGS

DESPITE SOME OF THE CARVINGS BEING DONE BY AN AUSTRALIAN ARTIST FOR IT'S RESTORATION, IT IS CLEAR THAT OVERALL THEY WERE INFLUENCED BY ISLAMIC VALUES, BOTH FOR THE WORK DONE BY THE CHINESE CRAFTSMEN FROM INDONESIA FOR IT'S ORIGINAL STATE AND BY HELEN CRAWFORD FOR IT'S POST-RESTORATION STATE. TO PROVE THIS POINT, PRE-ISLAMIC INFLUENCE ON TRADITIONAL MALAY ARCHITECTURE HAD MOSTLY MOTIFS OF HUMANS AND ANIMALS ON THEIR WOOD CARVINGS. AFTERWARDS, WITH ISLAMIC INFLUENCE, MOST OF THE MOTIFS THAT COULD BE FOUND ON THE WOOD CARVINGS WERE FLORAL, COSMIC AND GEOMETRIC MOTIFS. THIS MATCHES WITH THE CARVINGS ON RUMAH UDA MANAP. FOR EXAMPLE, THE KEPALA PINTU USING KEKISI JENIS UKIRAN AND THE KEPALA TINGKAP.

Papan Kembung located under the window on the outer wall showing Australian floral motif

Flora/ geometrical motifs carving located above the wall between Anjung and Rumah Ibu

Kepala Tingkap above the windows of Rumah Uda Manap

6 CULTURAL INFLUENCE LAM WAI HAO 1002161750

LARUTLUC

BEFORE ONE CAN DETERMINE HOW THE DESIGN OF THE RUMAH UDA MANAP WAS INFLUENCED BY ITS CULTURE, ONE NEEDS TO UNDERSTAND WHAT CULTURE ACTUALLY MEANS. IN THE BROADEST SENSE CULTURE CAN BE DEFINED AS “THE IDEAS, CUSTOMS AND SOCIAL BEHAVIOR OF PARTICULAR PEOPLE OR SOCIETY”. AS SUCH, THIS BECOMES RATHER IMPORTANT AS THE CULTURE OF THE DESIGNERS AND INHABITANTS WOULD DIRECTLY DETERMINE KIND OF SPACES THEY NEED TO LIVE IN. THEIR CULTURAL BACKGROUND WOULD ALSO DEMAND SPECIFIC ELEMENTS IN TERMS OF ARCHITECTURAL DETAILING, SUCH AS BUT NOT LIMITED TO: PAINTINGS, CARVINGS, MATERIALS, ROOF ORNAMENTATION, PLACEMENT OF FURNITURE, ETC. SPACES, DESIGN ARE FOREVER LINKED; THERE IS NO SEPARATING THE TWO, AND CANNOT BE ANALYZED ON ITS OWN WITHOUT CONSIDERING THE OTHER.

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INTRODUCTION The rules of feng shui, the most notable example of how cultural influence can affect the design of a building.

An agora, a large gathering space

A FEW NOTABLE EXAMPLES INCLUDE ELEMENTS OF FENG SHUI, WHICH DIRECTLY IMPACTS HOW SPACES ARE ARRANGED FROM THE INCEPTION OF THE DESIGN. THE ANCIENT TEMPLES OF INDIA HAVE THE PRAKARA, THE CIRCUMAMBULATORY PATH AROUND THE MAIN IDOL, TO FULFILL THE PRACTICE OF GOING AROUND THE IDOL THAT IS THE TRADITION OF THE HINDU PEOPLE. THE GREEKS HAD THE AGORAS, LARGE GATHERING SPACES DUE TO THE CULTURAL SIGNIFICANCE OF PHILOSOPHY, SCIENCE AND THE EXCHANGE OF KNOWLEDGE IN GREEK CULTURE. THE MARRIAGE OF CULTURE AND ARCHITECTURE CAN BE SAID TO BE A TALE AS OLD AS THE PRACTICE OF ARCHITECTURE ITSELF. THIS MAKES THE UNDERSTANDING OF AND THE CONSIDERATION OF CULTURE IN DESIGN SO IMPORTANT; IT TIES US TO OUR IDENTITY AND ALLOWS FOR UNLIMITED WAYS OF SELF-EXPRESSION.

LARUTLUC

DISSECTING THE RUMAH UDA MANAP TO KEEP THINGS SIMPLE, THE HISTORY OF THE HOUSE IS RATHER MUDDY. SOME CLAIM IT WAS BUILT

BY MAHARAJA LELA, THE ASSASSIN OF BIRCH, THE BRITISH RESIDENT OF PERAK, IN 1875. THIS STORY IS HOWEVER DISPUTED DUE TO CONFLICTING EVIDENCE. IT IS MORE THAN LIKELY THAT THE HOUSE WAS OWNED BY A WEALTHY MIGRANT FROM SUMATRA, UDA MANAP, FOR HIS WIFE. DUE TO THE CLOUDY NATURE OF ITS ORIGINS, IT’S DIFFICULT TO ASCERTAIN HOW THE CULTURE OF THE ORIGINAL OWNERS INFLUENCED THE DESIGN OF THE HOUSE. AS SUCH, ONLY EDUCATED GUESSES CAN BE MADE ON THIS REGARD. FORTUNATELY, THE BUILDERS OF THE HOUSE WERE BETTER DOCUMENTED. IT CAN BE ASCERTAINED THAT DURING THE CONSTRUCTION OF THE HOUSE, BUILDERS AND MATERIALS FROM INDONESIA, PARTICULARLY SUMATRA, WERE INVOLVED. THIS INITIALLY LED TO THE THEORY THAT CERTAIN ELEMENTS OF THE BUILDING ARE INFLUENCED BY SUMATRAN ARCHITECTURE. HOWEVER, UPON CLOSER INSPECTION IT SEEMS THAT THIS IS NOT THE CASE.

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AS SUCH, THE PRACTICE OF MODERNISM CAN BE IN ITSELF BE A REFLECTION OF OUR MODERN VALUES. HOWEVER, ONE MUST BE CAREFUL IN CHASING THE FUTURE AS WE COULD BE DOOMED TO FORGET OUR PAST OR WORSE, OUR IDENTITY.

IT WAS THOUGHT THE ROOF OF THE BUILDING WAS INSPIRED BY SUMATRAN ROOFS. HOWEVER UPON INSPECTION, IT CAN BE DETERMINED THAT THE ROOFS WERE TOO DIFFERENT.

LARUTLUC

CHINESE CRAFTSMEN FROM INDONESIA WERE RESPONSIBLE FOR THE CONSTRUCTION OF THE HOME AND THEIR INFLUENCE CAN BE FOUND THROUGHOUT. ITS LOCATION ALONGSIDE THE PERAK RIVER ALSO MEANT THAT DESPITE ITS DIVERSE ELEMENTS OF DESIGN, THE HOUSE IS STILL OVERWHELMINGLY INFLUENCED BY PERAK CULTURE. FAST FORWARD TO 1998, THE HOUSE WAS RELOCATED TO RIMBUN DAHAN. BY THEN THE HOUSE WAS FALLING APART AND NEEDED EXTENSIVE RENOVATION. MODERN ADDITIONS WERE OF COURSE INTRODUCED TO MAKE IT PRACTICAL FOR USE DURING THE PRESENT DAY.

MALAY PERAK INFLUENCE LAM WAI HAO 1002161750

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The original location, along the Perak River.

This location may have influenced its design; as the Rumah Kutai can also be found here.

THE LOCATION OF THE BUILDING, AS PREVIOUSLY ESTABLISHED, OVERWHELMINGLY INFLUENCES ITS DESIGN. IN THIS CASE, THE BIGGEST INFLUENCE OF ALL IS ITS FORM AND LAYOUT. DESPITE IT BEING BUILT AS A PERAK TRADITIONAL HOUSE, THE RUMAH UDA MANAP APPEARS TO BE RATHER UNIQUE, AS IT DOESN’T FIT THE GENERAL CHARACTERISTICS OF OTHER TRADITIONAL HOUSES OF THE STATE OF PERAK. IT DOES NOT FOLLOW THE TYPICAL CHARACTERISTICS OF THE TWO MOST WELL-KNOWN TYPES OF HOUSES IN PERAK, WHICH ARE THE RUMAH LIMAS BUMBUNG PERAK AND THE RUMAH KUTAI. IT CAN BE DEDUCED HOWEVER THAT THE CLOSEST RELATIVE TO THE RUMAH UDA MANAP IS THE RUMAH KUTAI. AS SUCH, THE 2 BUILDINGS WILL BE COMPARED.

LARUTLUC

COMPARISON BETWEEN RUMAH KUTAI AND UDA MANAP

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A TYPICAL RUMAH KUTAI IN PERAK. IT IS FOUND THAT THE BUILDINGS ARE SIMILAR DUE TO THE LAYOUT, LOCATION, AND PERHAPS EVEN PURPOSE, AS THEY ARE BOTH BUILT TO HOUSE MEMBERS OF THE UPPER CLASS, TYPICALLY MARRIED COUPLES CONNECTED TO ROYALTY OR OTHER NOBLES OF THE TIME.

Typical floor plan of a Rumah Kutai.

The floor plan of the Rumah Uda Manap, note the similar appearance of the floor plans.

LARUTLUC

HOWEVER, THIS IS WHERE THE SIMILARITIES END. APART FROM DIFFERENCES IN COLOUR AND ORNAMENTATION, THE BIGGEST DIFFERENCE OF ALL HAS TO BE THE ROOF OF THE 2 BUILDINGS.

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SIMILAR TO THE RUMAH UDA MANAP, EMPHASIS SEEMS TO BE PLACED WITH DESIGNING FLEXIBLE INTERIOR SPACES WHICH ARE NOT ONLY USEFUL, BUT ALSO SERVE TO BLEND WELL WITH ITS EXTERIOR ENVIRONMENT. IN TERMS OF SPACES, THEY BOTH HAVE A RUMAH IBU, WHICH SERVES AS A CENTRAL AREA FOR THE WHOLE BUILDING. IT ALSO CONSISTS OF A SERAMBI LUAR AND SERAMBI DALAM, RUANG TENGAH, BEDROOM AND MAIN STAIRS. BOTH BUILDINGS ALSO SEEM TO CONTAIN A RUMAH ANJUNG, A RAISED FLOOR ROOM USED TO HOST FORMAL EVENTS SUCH AS MERISIK, SOLEMNIZATION CEREMONY, WEDDING RECEPTION AND RELIGIOUS ACTIVITIES. THE RUMAH TENGAH, MEANWHILE, HAS A SECOND FLIGHT OF STAIRS TYPICALLY USED BY THE WOMEN OF THE HOUSE. FOR FEMALE GUESTS, THE RUMAH DAPUR WAS THE PLACE TO BE. IT WAS TYPICALLY FOUND AT THE BACK OF THE HOUSE AND HAS A THIRD FLIGHT OF STAIRS.

The roof outline of the Rumah Kutai. Note the size and pitch of roof.

The roof outline of the Rumah Uda Manap. It can be noted that the roof resembles the Rumah Limas Bumbung Perak.

LARUTLUC LAM WAI HAO 1002161750

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AN INTERESTING OBSERVATION IS THAT WHILE THE HOUSE AND THE LAYOUT SEEMS TO CLOSELY RESEMBLE THE RUMAH KUTAI, THE ROOF OF THE BUILDING ALSO RESEMBLES THAT OF THE RUMAH LIMAS BUMBUNG PERAK. ITS NAME IS DERIVED FROM THE WORD "LIMA", OF FIVE, AS THE ROOF TYPICALLY HAS 5 RIDGES. IT CAN BE THEORIZED THAT THE REASON WHY THIS STYLE OF ROOF WAS CHOSEN WAS DUE TO EASE OF CONSTRUCTION. THIS IS FURTHER STRENGTHENED BY THE FACT THAT IT IS KNOWN THAT THIS ROOF WAS TYPICALLY CONSTRUCTED BY CHINESE BUILDERS, AND THIS BUILDING WAS KNOWN TO HAVE EMPLOYED THE USE OF CHINESE CRAFTSMEN IN ITS CONSTRUCTION.

While not having the same roof pitch, the form at its core remains remarkably similar.

LARUTLUC

WHILE NOT AS OBVIOUS, THE INFLUENCE OF THE CHINESE CRAFTSMEN WHO WORKED ON THIS HOUSE CAN DEFINITELY BE SPOTTED. THESE ARE PRESENT IN THE CARVINGS OF THE BUILDING’S INTERIOR AND EXTERIOR. CARVED WALL PANELS AND WINDOW SHUTTERS FEATURE CHINESE MOTIFS, DRAGONS, PHOENIXES AND CALLIGRAPHIC CHARACTERS COMBINED WITH FLOWERS AND BIRDS. EACH ELEMENT IN THESE CARVINGS CARRY ITS OWN MEANING, AS WELL AS THE COLOURS USED. RED IS OF COURSE THE MOST WELL-KNOWN COLOUR IN CHINESE CULTURE DUE TO IT BEING A LUCKY COLOUR AND AS SUCH IS THE DOMINANT COLOUR IN MOST PAINTED CARVINGS FOUND THROUGHOUT THE HOUSE. IN CERTAIN PAINTED CARVINGS, GREEN CAN ALSO BE OBSERVED TO BE A DOMINANT COLOUR AS WELL, WHICH SYMBOLIZES HARMONY.

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CHINESE INFLUENCE

ANIMALS AND PLANTS ARE TYPICALLY THE SUBJECTS OF THE CARVINGS FOUND THROUGHOUT THE HOUSE. IF ONE WERE TO DELVE INTO CHINESE TRADITIONAL SYMBOLS AND ITS MEANINGS, A STORY COULD PERHAPS BE INTERPRETED. THE BIRD SEEN IN THE CARVING COULD BE INTERPRETED AS A PARROT. PARROTS ARE TYPICALLY USED IN MOTIFS DUE TO ITS COLOURFUL APPEARANCE. HOWEVER, ACCORDING TO SUPERSTITION AS WELL, IT’S TALKATIVE NATURE WAS USED TO KEEP WIVES FAITHFUL AS IT COULD POSSIBLY SPILL SECRETS ABOUT A POTENTIAL LOVE AFFAIR. AN ALTERNATIVE INTERPRETATION IS THAT THE BIRD COULD VERY WELL BE A PHOENIX. IN LATER CENTURIES, THE PHOENIX IS TYPICALLY ASSOCIATED WITH THE EMPRESS, OR IN THE CONTEXT OF THIS HOME, THE WIFE. IT CAN ALSO BE SEEN FACING THE DRAGON, WHICH IS SUCH A STAPLE OF CHINESE ART THAT AN ENTIRE CHAPTER COULD BE WRITTEN ABOUT THEIR MEANING. IN SHORT, HOWEVER, IT ALSO SERVES TO REPRESENT THE EMPEROR, OR THE HUSBAND. WHEN PAIRED TOGETHER, THEY BOTH REPRESENT A MARRIED COUPLE. THIS MAKES SENSE DUE TO THE POSSIBLE AND VERY LIKELY HISTORY OF THE HOME BEING BUILT FOR UDA MANAP AND HIS WIFE. AS FOR THE INSECTS FLYING ON THE SIDE, THEY COULD VERY WELL BE CICADAS, INSECTS WHICH TYPICALLY SIGNIFY IMMORTALITY. THIS WHEN PUT TOGETHER WITH THE WHOLE PIECE TELLS OF A STORY OF A MARRIED COUPLE, WITH THEIR BOND BEING “IMMORTAL”, UNDYING.

LARUTLUC

Foo Dog representation in Chinese Culture.

The animals as represented by the carvings.

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Phoenix representation in Chinese Culture.

THE SECOND ANIMAL IN THE CARVING COULD ALSO BE A FOO DOG, A RARE CHINESE ANIMAL. DOGS IN CHINA ARE VALUED FOR THEIR EXTREME LOYALTY. THIS, PAIRED TOGETHER WITH THE PARROT AND THE CICADAS, COULD MEAN UNDYING LOYALTY. THIS ANALYSIS ONLY FOCUSES ON A SINGLE CARVING, SHOWN BELOW. EACH AND EVERY OTHER CARVING IN THE HOUSE APPEARS TO BE UNIQUE, AND COULD POTENTIALLY HAVE MORE STORIES TO TELL.

LARUTLUC

AUSTRALIAN INFLUENCE A PECULIAR AND UNEXPECTED INFLUENCE CAN BE TRACED TO HELEN CRAWFORD, THE AUSTRALIAN RESIDENT ARTIST AT RIMBUN DAHAN. SHE DESIGNED NEW CARVED PANELS OUTSIDE THE SELANG TO REFLECT THE HOUSE’S NEW PURPOSE. THE MOTIFS ARE AUSTRALIAN AND CONTEMPORARY: THE SULPHUR CRESTED COCKATOO AND STURT’S DESERT PEA ARE WELL KNOWN EXAMPLES OF AUSTRALIAN FAUNA AND FLORA; THE BIAWAK, OR MONITOR LIZARD, IS A CURRENT RESIDENT OF THE RIMBUN DAHAN GARDEN, AND GRAPE VINES AND VEGETABLES ACKNOWLEDGE THE PRESENT USE AS A DINING ROOM.

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The full carving, with all elements forming a narrative.

SECNEREFER

REFERENCES Design Concept -Ng, P. H. (2017, March 27). Vernacular Architecture – Relating Environmental Issues to Cultural Conventions. Retrieved from http://localcode.org/2017/03/vernacular-architecture-relating-environmental-issues-to-cultural-conventions/ -(1970, January 01). 8.0 Sketches of Rumah Bumbung Panjang. Retrieved from http://umarmukhlis.blogspot.com/2016/08/80-sketches-of-rumahbumbung-panjang_24.html -(n.d.). Retrieved from https://rimbundahan.org/architecture/rumah-uda-manap/ Materials & Construction -https://issuu.com/raktim/docs/malay_house_-_raktim -https://rimbundahan.org/architecture/rumah-uda-manap/ -https://www.ukessays.com/essays/construction/the-traditional-malay-house-construction-essay.php -https://www.researchgate.net/publication/323314857_Construction_Techniques_of_Traditional_Malay_Houses Physical Characteristics - Ozario Pasquallie / 1002057887 1. Heinrich, S . (n.d.). Rimbun Dahan. Rumah Uda Manap | Rimbun Dahan. https://rimbundahan.org/architecture/rumah-uda-manap/ 2. Sketches drawn from: AI 404 Architecture Drawing 3. Rumah Uda Manap Report. Group 5, Semester 10/2020 Climatic Influence https://weather-and-climate.com/average-monthly-Rainfall-Temperature-Sunshine,kuala-selangor-selangor-my,Malaysia https://rimbundahan.org/architecture/rumah-uda-manap/ https://anzasca.net/wp-content/uploads/2014/08/ANZAScA2004_Kamal.pdf Religious Influence - Factors Impacting Woodcarving Influences in Traditional Malay Houses of Negeri Sembilan, Malaysia: Understanding the Technology of Architectural Heritage. (2017). Medwell Journals, The Social Sciences, 12(3). https://www.academia.edu/39140098/Factors_Impacting_Woodcarving_Influences_in_Traditional_Malay_Houses_of_Negeri_Sembilan_Malaysia_Un derstanding_the_Technology_of_Architectural_Heritage?auto=citations&from=cover_page - The Influence of Culture and Religion on Visual Privacy. (2015). Procedia - Social and Behavioral Sciences, 170. https://www.sciencedirect.com/science/article/pii/S1877042815000701 - Hilal, H. B. (n.d.). Qibla Pointer: Guide to Qibla Direction (Makkah) using Google Map. Al Habib. Retrieved August 29, 2021, from https://www.alhabib.info/qibla-pointer/

SECNEREFER

Cultural Influence - Unknown (2021, Aug 29). Rimbun Dahan, A private arts centre in Malaysia. Retrieved from https://rimbundahan.org/architecture/rumah-uda-manap/ - Unknown (2021, Aug 29). Chinasage, Symbolism of Animals In Chinese Art. Retrieved from https://www.chinasage.info/symbols/animals.htm# - Unknown (2021, Aug 29). Chinasage, Colours In Chinese Art. Retrieved from https://www.chinasage.info/symbols/colors.htm#XLXLSymColour - Unknown (2021, Aug 29). CHINESE ART AND SYMBOLS. Retrieved from https://factsanddetails.com/china/cat7/sub40/item260.html - Sabrizaa R. (2019, June 1). Architectural Design Evolution of the Malay Traditional Houses Along Sungai Perak.

Retrieved from "https://journal.ucts.edu.my/Home/ArticleDownload?articleId=BJSSH010108".

- Yazid S., Mohmadisa H., (2018, Feb 26). The Traditional Malay Houses in the District of Muallim, Perak: A Lost Legacy. Retrieved from https://hrmars.com/papers_submitted/3978/the-traditional-malay-houses-in-the-district-of-muallim-perak-a-lost-legacy.pdf

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