Malay vernacular architecture responds very
organically to the social and environmental context (Hosseini, Mursib, Nafida
& Shahedi, 2014). They were constructed within non-plan villages, where
people built according to their liking and did not focus on centralised amenity-pads
(Price, 1969). The form can be easily distinguishable by the structural system
of post and beam wood construction, raised well above the ground, with a large
gabled roof that protects the spaces below from harsh sunlight and rain while
the walls welcome air to ventilate it comfortably (Hosseini, Mursib, Nafida
& Shahedi, 2014). The spaces are laid out according to the culture of the
Malay people and building elements such as windows, take into consideration the
sitting on the floor culture of the Malays and allows for maximum view in such
a position. Furthermore, it also is designed to factor in other social aspects
of the culture, where walkways are created to cater for the women who preferred
to socialise in a place called the selang or walkway. The cooking was also done
at the back of the house where women would gather and prepare food (Hosseini,
Mursib, Nafida & Shahedi, 2014).
The vernacular architecture style can be seen in the houses in Tanjung Sabtu and especially in the Pura that stands tall and dominates the site. While the world has forgotten about the Pura Tanjung Sabtu, as it is assumed to not be worthy of priority as non-plan towns and their buildings (Price, 1969), it remains to be an icon of timeless Malay vernacular architecture. The Pura also keeps the promises of Cedric Price’s non plan towns, by increasing its validity by never ending explorations of activities that are easily fitted within its form (Price, 1969). Similar to the Barenholtz Pavillion, the Pura Tanjung Sabtu form and space are structured to produce a set of formal relationships to one another. There is a consideration of programmatic requirement that flows from the central space to its wings that flank the main space on both sides (Eisenman, 1972).
The design proposed in my
Final Design Four Studio, replicates the formal structures of the Pura Tanjung
Sabtu and is designed to be harmonious with environment in terms of structural
programming and natural considerations. However, the central space of the newly
proposed design that houses the craftsman’s working gallery takes inspiration
from the batik craft through abstraction, creating a juxtaposition between
forms. This was done to celebrate the identity of the people of Tanjung Sabtu
by reflecting that craft, history and culture through architecture. Unlike the
Pura and the vernacular architecture that surrounds the site, the new design
proposed the use of contemporary materials and methods of construction as it is
essential to keep with the progression of technology while still maintaining
the culture of context and story telling that the buildings of the past
encapsulate (Banham, 1960). As such, steel, aluminium and glass
are used to reflect the lightness of the site while connecting to the
structural form of the Pura.
The spaces of the Pura are also
reprogrammed for newer activities that include galleries, offices and retail.
This allows the physical form of the Pura to inhibit a new spirit and for its
activities to change not only the spaces but the way they are operated (Price,
1962). The new proposed design also spreads out from the old Pura Tanjung
Sabtu, allowing for flexibility to be explored and allows for the continuances
of activities linked by the physical forms. The proposed design flows out of
the main space and welcomes visitors to its cultural community centre by its
dynamic roofed craftsmen’s working studio and visitors move freely from space
to space with linking circulation spaces that are open to the environment.
Similar to the constructs of vernacular Malay
architecture, the proposed design considers the cultural aspects of the largely
Malay community of the site and designs areas for the community to gather,
socialise and hold activities that would build their bond. The cafe is also
located at the back of the site, not only to have a better view of the river,
but also reflect the traditional vernacular layout of placing spaces for
cooking at the back of the house. Corridor spaces are provided, especially
linking from one kiosk to another kiosk, to allow the community to gather and
socialise, similar to the traditional form of Malay houses.
Hosseini, E., Mursib, G., Nafida, R., and Shahedi, B. (2014) Malay Vernacular Architecture: Mirror of the Past, Lessons for the Future. The Proceedings of 8th SEATUC Symposium (405th March 2014). Retrieved from https://www.researchgate.net/publication/263580553_Malay_Vernacular_Architecture_Mirror_Of_The_Past_Lessons_For_The_Future Retrieved on 7th April 2020.
The vernacular architecture style can be seen in the houses in Tanjung Sabtu and especially in the Pura that stands tall and dominates the site. While the world has forgotten about the Pura Tanjung Sabtu, as it is assumed to not be worthy of priority as non-plan towns and their buildings (Price, 1969), it remains to be an icon of timeless Malay vernacular architecture. The Pura also keeps the promises of Cedric Price’s non plan towns, by increasing its validity by never ending explorations of activities that are easily fitted within its form (Price, 1969). Similar to the Barenholtz Pavillion, the Pura Tanjung Sabtu form and space are structured to produce a set of formal relationships to one another. There is a consideration of programmatic requirement that flows from the central space to its wings that flank the main space on both sides (Eisenman, 1972).
The design proposed in my
Final Design Four Studio, replicates the formal structures of the Pura Tanjung
Sabtu and is designed to be harmonious with environment in terms of structural
programming and natural considerations. However, the central space of the newly
proposed design that houses the craftsman’s working gallery takes inspiration
from the batik craft through abstraction, creating a juxtaposition between
forms. This was done to celebrate the identity of the people of Tanjung Sabtu
by reflecting that craft, history and culture through architecture. Unlike the
Pura and the vernacular architecture that surrounds the site, the new design
proposed the use of contemporary materials and methods of construction as it is
essential to keep with the progression of technology while still maintaining
the culture of context and story telling that the buildings of the past
encapsulate (Banham, 1960). As such, steel, aluminium and glass
are used to reflect the lightness of the site while connecting to the
structural form of the Pura.
The spaces of the Pura are also
reprogrammed for newer activities that include galleries, offices and retail.
This allows the physical form of the Pura to inhibit a new spirit and for its
activities to change not only the spaces but the way they are operated (Price,
1962). The new proposed design also spreads out from the old Pura Tanjung
Sabtu, allowing for flexibility to be explored and allows for the continuances
of activities linked by the physical forms. The proposed design flows out of
the main space and welcomes visitors to its cultural community centre by its
dynamic roofed craftsmen’s working studio and visitors move freely from space
to space with linking circulation spaces that are open to the environment.
Similar to the constructs of vernacular Malay
architecture, the proposed design considers the cultural aspects of the largely
Malay community of the site and designs areas for the community to gather,
socialise and hold activities that would build their bond. The cafe is also
located at the back of the site, not only to have a better view of the river,
but also reflect the traditional vernacular layout of placing spaces for
cooking at the back of the house. Corridor spaces are provided, especially
linking from one kiosk to another kiosk, to allow the community to gather and
socialise, similar to the traditional form of Malay houses.
While it is easy to argue between form and function,
deriving form and function through a culture and community’s needs allows for
designers to explore a more human focused design. This has fuelled me to create
and continue the formal relationship between not only spaces but with nature as
well, placing the community as the priority of the design’s cultural
exploration.
References
Hosseini, E., Mursib, G., Nafida, R., and Shahedi, B. (2014) Malay Vernacular Architecture: Mirror of the Past, Lessons for the Future. The Proceedings of 8th SEATUC Symposium (405th March 2014). Retrieved from https://www.researchgate.net/publication/263580553_Malay_Vernacular_Architecture_Mirror_Of_The_Past_Lessons_For_The_Future Retrieved on 7th April 2020.
Price, C. (1969). Non-plan. Theories
and Manifestoes of Contemporary Architecture: Wiley, University of Michigan.
Eisenman, P. (1972). Cardboard
Architecture. Theories and Manifestoes of Contemporary Architecture: Wiley, University
of Michigan.
Banham, R. (1960). Theory and Design
in the First Machine Age. Theories and Manifestoes of Contemporary Architecture:
Wiley, University of Michigan.
Price, C. (1962). Activity and Change.
Theories and Manifestoes of Contemporary Architecture: Wiley, University of
Michigan.
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