MALAY HOUSE OF KEDAH

The definition of traditional is attitudes and ways of thinking and acting that always cling to existing custom from generation to generation. The custom is the rule and cultural practice which grows and develops in a community or region, and considered valuable by the community. Generally, culture is defined as a result of the development of intellect and human effort in meeting the needs of life.

Generally, the house was made of wood and supported by pillars. The walls were made of wood or woven bamboo or rattan, while roofing was thatch or wood. Building materials were wood, rattan, roots, bamboo, and leaves from nearby forest resources. Wood became the main building material especially for building structure, while rattan and roots being binders, wood and betel nut stems were created as floor, bamboo and thatched leaves into the walls and roof.

Malay architecture is the result of the convergence of folk culture that once dominated the region such as, Bugis, Bali, Java, Aceh, Minagkabau, Thai, Chinese, and Western.

Malay architecture is greatly affected by climate and weather. Hence, the traditional Malay houses are almost always raised on timber stilts or pile to elevate and protect the building from floods and also serve as a source of natural ventilation. No nails are ever used in a traditional Malay house as pre-cut holes and grooves were used to fit the timber together. Roofs of these houses are typically steep and have wide overhangs for shading and protection from tropical downpours.

There are usually 2 parts to a traditional Malay house: the main house (Rumah Ibu) and the kitchen annex (Rumah Dapur). The Rumah Dapur is separated from the Rumah Ibu for fire protection as the bulk of the buildings are made from timber. One or more verandas (Serambi) are attached to the Rumah Ibu for seated work, relaxation, or where non-familiar visitors would be entertained, thus preserving the privacy of the interior.Aesthetics of these houses differ between states and ethnic groups. For example, in Melaka the staircase is always decoratively moulded and colourfully tiled.

The design and form of the traditional Malay house is to provide a total control on three climatic factors namely wind, rain and sun. It should allow adequate ventilation for cooling and reducing humidity, control direct solar radiation, control glare from the open sky and surrounding, protect it from the rain and ensure adequate natural vegetation in the surroundings to provide a cooler environment. The materials used for the house should be with low thermal capacity so that little heat is transmitted in the house.

The traditional Malay house is geared towards providing effective ventilation, taking into account the aspects as listed above. True to the needs of shelter, the traditional Malay house is formed based on the ventilation and solar radiation control to provide climatic comfort for the house. These are the most effective means for climatic comfort in a house in the warm and humid Malaysian climate and environment.

The design and form of the traditional Malay house is to provide a total control on three climatic factors namely wind, rain and sun. It should allow adequate ventilation for cooling and reducing humidity, control direct solar radiation, control glare from the open sky and surrounding, protect it from the rain and ensure adequate natural vegetation in the surroundings to provide a cooler environment. 

The materials used for the house should be with low thermal capacity so that little heat is transmitted in the house.

The traditional Malay house is geared towards providing effective ventilation, taking into account the aspects as listed above. True to the needs of shelter, the traditional Malay house is formed based on the ventilation and solar radiation control to provide climatic comfort for the house. These are the most effective means for climatic comfort in a house in the warm and humid Malaysian climate and environment.

Introduction

The architectural design of traditional Malay house is very unique on it own. Once look at 11 of them, its look alike but the styles is vary from state to state. The different especially the design of the house can be found easily. History and cultural factors influenced a lot in designing and setting traditional Malay house. In the early years, most of the traditional Malay house was build near streams and along the coast. Besides as a shelter, it is to fulfill the needs of life such as drawing water for drinking, bathing and washing. The location of the house makes the people aware for flash floods and high tides. Most of the house were raised off the ground on tree trunk or bamboo post which known as stilts because of the reason. 

Building on stilts was not only dictated by the need to protect against floods but it also afforded protection from ants, snakes and wild animals. Beside that it is used as utility area, serving as storage and ‘workshop space’ for the family. The traditional Malay house belongs to the Malays. This paper will look on Traditional Malay house in Peninsular Malaysia only since Malays can be find a lot in peninsular. Basically the Traditional Malay House can be identified based on the state where the houses are located and this house has been zoned into 4 areas. The zone has been identified referred to the feature of the house due to the historical ties especially migrant effects.

The Basic Design of Traditional Malay House 

The Malays tradition affects a lot in Traditional Malay house design. The house has at least two entrances. The main entrance at the front always been used by visitors and males but entrance at the back one mostly used by women and children. The house is divided into three main areas, the ‘serambi’ (verandah), ‘rumah ibu’ (main house) and ‘dapur’ (kitchen). To separate the area, one slight floor level changes or doorways have been made between the areas. Besides the three main areas, some of the houses have the ‘anjung’ and passageway. 

The ‘anjung’ is a covered porch where used as a relax area for family members or guest. A passageway known as the ‘selang’ links the main house to the kitchen and provides an effective firebreak between the areas in the house. Most of the traditional Malay houses are constructed by local carpenters or by the owners themselves. The design and material used for traditional Malay house highly influences by socioeconomic, cultural and environmental needs. Most of the material used is readily available local material such as timber, bamboo and palm.

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INDIGENOUS PEOPLE OF SABAH AND SARAWAK

Two unique architectural highlights of the indigenous peoples of Sabah and Sarawak are longhouses and water villages. 

Homes to interior riverine tribes, longhouses are traditional community homes. These elongated and stilted structures, often built of axe-hewn timber, tied with creeper fibre and roofed with woven atap or thatched leaves, can house between 20 to 100 families. 

Rustic water villages built on stilts are also commonly found along riverbanks and seafronts. Houses are linked by plank walkways with boats anchored on the sides. Transport around the village is usually by sampan or canoe. 

Fascinating Handicrafts Galore
Malaysia boasts a delightful variety of traditional handicrafts. Choices range from priceless authentic antiques to exquisite modern hand-made crafts. 

As most artisans are Muslims, Malaysian handicraft designs are heavily influenced by Islam. The religion prohibits the depiction of the human form in art. Hence, most designs are based on natural elements such as the interlacing of leaves or vines, flowers and animals. 

Wood Crafts

Blessed with an abundance of timber in boundless tropical forests, Malaysia is renowned for an assortment of distinctive wood crafts. Traditionally, whole houses were built from elaborate hand-carved timber. Today, antique Malay-styled engraved panels, keris dagger handles, Chinese containers, unique Orang Asli spirit sculptures, intricate walking sticks, kitchen utensils and carved scented woods are among the wide range of exotic decorative items found in Malaysia. 

Hand-woven Crafts

Marvel at the creative hand-woven crafts of Malaysia. Local plant fibres and parts from bamboo, rattan, pandan and mengkuang leaves are coiled, plaited, twined and woven to produce items such as bags, baskets, mats, hats, tudung saji and sepak raga balls. 

Jewellery & Costume Accessories

Enticing hand-crafted accessories abound in Malaysia. Choose from leather-crafted goods, beadwork necklaces from Borneo or finely made gold and silver jewellery adorned with gems. 

Kerongsang

A three-piece brooch set traditionally used to pin the lapels of the baju kebaya together. Kerongsang usually comes in sets of three. The typical three-piece set comprises of a kerongsang ibu (mother piece) which is larger and heavier. The other two are called the kerongsang anak (child pieces) and are worn below the kerongsang ibu. 

Cucuk Sanggul

A traditional hairpin used to secure hair in a bun at the back of women's heads. Typically made of gold or silver, these hairpins are normally worn in graduated sets of three, five or seven by brides and traditional dancers. 

Fascinating Handicrafts Galore
Malaysia boasts a delightful variety of traditional handicrafts. Choices range from priceless authentic antiques to exquisite modern hand-made crafts. As most artisans are Muslims, Malaysian handicraft designs are heavily influenced by Islam. The religion prohibits the depiction of the human form in art. Hence, most designs are based on natural elements such as the interlacing of leaves or vines, flowers and animals. 

Wood Crafts

Blessed with an abundance of timber in boundless tropical forests, Malaysia is renowned for an assortment of distinctive wood crafts. Traditionally, whole houses were built from elaborate hand-carved timber. Today, antique Malay-styled engraved panels, keris dagger handles, Chinese containers, unique Orang Asli spirit sculptures, intricate walking sticks, kitchen utensils and carved scented woods are among the wide range of exotic decorative items found in Malaysia. 

Hand-woven Crafts

Marvel at the creative hand-woven crafts of Malaysia. Local plant fibres and parts from bamboo, rattan, pandan and mengkuang leaves are coiled, plaited, twined and woven to produce items such as bags, baskets, mats, hats, tudung saji and sepak raga balls. 

A three-piece brooch set traditionally used to pin the lapels of the baju kebaya together. Kerongsang usually comes in sets of three. The typical three-piece set comprises of a kerongsang ibu (mother piece) which is larger and heavier. The other two are called the kerongsang anak (child pieces) and are worn below the kerongsang ibu. 

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TRADITIONAL HOUSE IDENTITY

Various traditional houses can be identified in Peninsular Malaysia. They are classified mainly by their roof shapes. The basic houseforms are the bumbung panjang, bumbung lima, bumbung perak and bumbung limas . 

The most common houseform is the bumbung panjang, characterised by a long gable roof. The bumbung panjang houses are the oldest identified in Peninsular Malaysia, many of them being over a hundred years old and still in good condition.

The bumbung panjang is the simplest of the four houseforms. It has a simple gable roof, supported by kingposts. The most common roofing material used for the bumbung panjang is the attap (a thatch made from nipah and other palm trees found in the local natural vegetation).

The simple bumbung panjang roof-form is most efficient in its ventilation properties. Its simple funnel shape, the use of ventilation grilles at its gable ends (tebar layar), and the use of ventilation joints allow good ventilation of the roof, space which cools the house effectively. The roof is simple and easy to construct, and this partly explains the popularity of this houseform among the poorer villagers and those who build houses themselves. The bumbung panjang, due to its simplicity, is a very efficient roof-form for making additions to the house. The bumbung lima, bumbung limas and bumbung perak are all houseforms which are not indigenous but developed through foreign influence. 

The bumbung lima and bumbung perak houses are believed to have been influenced by colonial Dutch and British houseforms. The bumbung lima house has a hipped roof, the bumbung perak house has a gambrel roof and the bumbung limas house has a pyramidal roof. Of these three foreign houseforms used in Malaysian houses, the bumbungperak houseform (also called bumbungpotongan Belanda [Dutch-type] roof in the East Coast) is the most popular. Some homes, like the one pictured below, decorate with beautiful potted Avas Flowers and plants. Homeowners choose Malaysian flowers including orchids and the Malaysian National Flower, the red-colored Hibiscus. Avas Flowers offers potted flowers and plants so homeowners anywhere can beautify their homes.

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The best of the best !

Melaka and George Town have developed over 500 years of trading and cultural exchanges between East and West in the Straits of Malacca. 

The influences of Asia and Europe have endowed these towns with a specific multicultural heritage; of government buildings, churches, squares and fortifications. Melaka demonstrates the early stages of this history originating in the 15th-century Malay sultanate and the Portuguese and Dutch periods beginning in the early 16th century while the residential and commercial buildings of George Town represents the British era from the end of the 18th century to the middle of the 20th century.

Together they constitute a unique architectural townscape without parallel anywhere in East and Southeast Asia and have been recognised as the World Heritage listed, ‘Historic Cities of the Straits of Malacca.’

Traditional Architecture

Malay

Traditional Malay architecture employs sophisticated architectural processes ideally suited to tropical conditions such as structures built on stilts, which allow cross-ventilating breeze beneath the dwelling to cool the house whilst mitigating the effects of the occasional flood. High-pitched roofs and large windows not only allow cross-ventilation but are also carved with intricate organic designs. 

Traditional houses in Negeri Sembilan were built of hardwood and entirely free of nails. They are built using beams, which are held together by wedges. A beautiful example of this type of architecture can be seen in the Old Palace of Seri Menanti in Negeri Sembilan, which was built around 1905. 

Today, many Malay or Islamic buildings incorporate Moorish design elements as can be seen in the Islamic Arts Museum and a number of buildings in Putrajaya - the new administrative capital, and many mosques throughout the country. 

Chinese

In Malaysia, Chinese architecture is of two broad types: traditional and Baba-Nyonya. Examples of traditional architecture include Chinese temples found throughout the country such as the Cheng Hoon Teng that dates back to 1646. 

Many old houses especially those in Melaka and Penang are of Baba-Nyonya heritage, built with indoor courtyards and beautiful, colourful tiles. 

A rare architectural combination of Chinese and Western elements is displayed by Melaka's Terengkera mosque. Its pagoda-like appearance is a fine example of Chinese-influenced roof form, combined with Western detailing in its balustrades and railings. 

Traditional timber houses incorporated design principals relevant in contemporary architecture such as shading and ventilation, qualities present in the basic house features. Although Malay houses have diversity of styles according to each states, provinces, and sub-ethnics, there are common style and similarities shared among them:

1. Built on stilts
2. Have stairs
3. Partitioned rooms
4. Vernacular roof
5. Adorned with decoration

Most of Malay houses are built as Rumah Panggung (lit: "stage house") houses built on stilts. The main characteristic of a typical Malay kampung house is its on stilts or piles. This was to avoid wild animals and floods, to deter thieves, and for added ventilation. In Sumatra, traditionally stilted houses are designed to avoid dangerous wild animals, such as snakes and tigers. While in areas located close to big rivers of Sumatra and Borneo, the stilts help to elevated house above flood surface. In parts of Sabah, the number of dowry buffaloes could even depend on the number of stilts there are in the bridal family's home.

The roof of traditional Malay houses are designed to provide shade and protection from heat and rain, as well as to provide ventilation. The basic design of a roof on a Malay house is gabled roof, an extended frame with ornaments on the edges of the roof. The vernacular Malay roof is best suited for hot and humid tropical climates. An example of the gabled roof can be found in the design of Rumah Lipat Kajang. However a pyramidal styled pitched roof can also be found on houses such as the Palembang Rumah Limas.

In Riau and Jambi there are several different styles, especially of the roof design. The Rumah Lancang or Rumah Lontik have curved roof with boat-like structure on stilts. The design somehow similar to Minang Rumah Gadang. The Rumah Lipat Kajang have flat roof structure with crossing edges forming "x" pinnacle on corners of the roof. The larger structure with similar crossed corner roof is called Rumah Limas. This type of roof and structure often used in palaces of Malay kings as well as government buildings. The Rumah Limas is also known as the traditional house of South Sumatra and Sundanese West Java, although they have same "Rumah Limas" name, the design is slightly different. The modern government and public buildings often based on Malay style roof design, such as government buildings in Riau and Jambi, as well as the roof design of Muzium Negara in Kuala Lumpur. 

Malay houses (Malay: Rumah Melayu;Jawi: رومه ملايو) are traditional dwellings, originating before the arrival of foreign or modern influences, and constructed by the indigenous ethnic Malay of the Malay Peninsula, Sumatra and Borneo.

Traditional architectural forms, such as tropically-suited roofs and harmonious proportions with decorative elements are considered by traditionalists to still have relevance. However traditional buildings require significant maintenance compared to modern construction; how to preserve wooden materials from the decaying effect of tropical weather as well as termite problems. These traditional skills are gradually being lost as Malaysia continues its process of industrialisation, while in Indonesia traditional houses have still survived in rural areas. The effort to preserve indigenous architectural styles of Indonesian archipelago has been conducted through documentation and create replicas in provinces pavilions in Taman Mini Indonesia Indah, Jakarta.

Using renewable natural materials including timber and bamboo, the dwellings are often built without the use of metal including nails. Instead pre-cut holes and grooves are used to fit the timber elements into one another, effectively making it a 'prefabricated house'.

Although nails had been invented and in later houses used minimally for non-structural elements (for example, windows or panels), structural flexibility was a benefit which nailing inhibited. Without nails, a timber house could be dismantled and reconstructed in a new location. Most of the ancient Malay peoples of South-East Asia maintained a form of self-regenerating environmental culture - Wikipedia 

KAMPONG'S HOUSE

If you travel through the country, you will see a lot of Malaysian houses and villages. These villages are called "kampongs" in Bahasa Malaysia. Notice that they are built with stilts below and they have large windows. This is mainly to keep the building cool and the stilts elevate the building to keep them away from floods.

Kampong houses are detached houses and they usually have no fences around them The traditional Malaysian house serves the housing needs of the majority of people living in rural areas of Malaysia. It was evolved by the Malays over the generations, and adapted to their own needs, culture, and environment. Basically a timber house with a post and lintel structure raised on stilts, with wooden, bamboo, or thatched walls and a thatched roof, the house is designed to suit the tropical climate. 

The traditional Malaysian housing process is highly autonomous, largely controlled by the user. Guided by building tradition and the village carpenter, the owner-builder designs a house that is uniquely suited to the family's socioeconomic and cultural situation. Not only does the traditional approach foster a better match of house to user, it keeps the cost down by eliminating the need for professional intermediaries such as architects or developers. 

Self-help and cooperative labour are the resources upon which the owner-builder relies. The traditional Malaysian house has an open interior, promoting good cross ventilation and lighting and allowing the space to be used for many purposes depending on the season, occasion, or time of day.
Since most activities take place on the floor, the need for furniture is minimal; bedding materials and sleeping mats are rolled up and stored during the day to eliminate the need for separate living and sleeping quarters. Interior spaces are defined, not by partitions or walls, but rather by changes in floor level; they may be respected or ignored, allowing the house to accommodate larger numbers of people than usual during, for example, feasts. 

Additions are usually done in the spare time available during the agricultural or fishing off-seasons.
Building a traditional house is a continual process, often taking months or even years to complete, with the pace of work and quality of construction controlled by the user. The basic addition possibilities are classified into three different types, but there are infinite variations in sizes and heights, and various combinations of types and quality according to the needs of the user.

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WOOD CARVING DEVELOPE

In certain Malay communities, particularly along the east coast of the Malay peninsula, wood carving has been developed into an art form. High quality Malay wood carvings can be seen in traditional houses and palaces. Generally the wood used is cengal or jati, and both of which are durable hard woods.

Extremely well‑executed works in the form of pulpits (mimbar) fur­niture, decorative window frames and door panels are the marks of this traditional craft. The art of wood carving is also expressed in Muslim calligraphy (khat. It is customary to classify wood carving techniques into ukiran tebuk and ukiran timbul. In the first, the process involves punching patterns into the wood, while in the latter the carving usually creates designs, floral and geometric, which stand out above the surrounding wood. A basic pattern or motif is repeated and adjusted according to the position in which the carving is done. Types of carving are usually classified.

It is possible to trace the basic qualities of these motifs in terms of Malay history. It appears that traditionally the preference was for geometric designs. With the arrival of Hinduism, there were figures and images of deities as well as animals were introduced into the designs. Islam has from its very beginnings discouraged the carving of living beings, with the result that geometric motifs and those derived from nature, principally from the plant world, were used. Also popular were designs incorporating calligraphy. Overall, motifs seen in contem­porary Malay wood carving reflect the influences of both Hinduism and Islam.

Flowers and leaves are considered eminently suitable as motifs in various sorts of carving because they represent the beauty of the natural world and do not offend the sensibilities of pious Muslims. Also seen in Malay wood carving are Quranic verses and heads of animals, depending upon where the carving is done. The use of calligraphic designs derived from the Arabic script or from the Holy Quran is fairly widespread. These may be featured upon walls window panes , the central post of a house (tiang seri) and elsewhere.

Carvings on the ambang pintu include calligraphy utilising verses of the Quran framed by floral or leaf motifs. The carving on the door is usually done in relief which is refined in workmanship. Motifs representing flowers such as the frangipanni (cempaka), lotus (teratai) and jasmine (bunga melur) are used. Often even the door post (tiang pintu) gets carved, and for this position the betel leaf (daun sirih) motif is popular. The centre post (tiang rumah) is usually decorated with floral patterns. Trellice work (jejala) plays an important part in a house or palace for ventilation as well as a means of providing variety in the decorations. At the verandah (serambi) side the jejala are usually shaped in diamond (empat segi bujur) design. Carved furniture items (perabot‑perabot rumah) include beds stands, tables and cupboards, with carved panels and legs.

                                   

Relief wood carvings frequently adorn the doors, walls and windows of traditional Malay houses. Popular motifs of such relief carvings are the various kinds of Malaysian flowers and plants. Relief carvings requires a high degree of skill, patience and determination. In the cities, relief carvings is still practiced on blocks of wood to be hung for wall decoration, on wall dividers, or on furniture. 

The best Malay woodcarving is from Terengganu and Kelantan. Passed down from one generation to another, the craft is divided into ukiran halus (fine carving) and ukiran kasar(literally meaning “rough carving”). Ukiran Halus involves the carving of relief patterns, hilts of keris (short Malay dagger), bed heads and cupboard tops. Ukiran Kasar, refers to the carvings on larger objects like furniture, pillars, windows, room portions and eaves of roofs.

                                                      The Design

The basic design behind Malay woodcarving is the awan larat (‘extending clouds”). Its usage in a composition is governed by four principles. Firstly, the design element must be evenly distributed in the composition. Secondly, the empty spaces or uncarved areas should be the same as carved areas.  Thirdly, animals or humans should never be depicted and fourthly, when there is a central motif, the other secondary design elements are to be repeated around it. Apart from the awan larat, other common inspirational elements include holy verses from the Qu’ran  and plants such as bean tendrils, groung leaves, and leaves of the water lettuce.

                                                        The Wood

Cengal is the preferred wood for building houses and boats. Being expensive, other woods such as balau or perah (which is slightly softer than cengal) might be used for the rafters, or floorboards of a house or for the prow of a boat. Some types of wood such as Merbauand Rengas are avoided as the Merbau tree is believed to be the home of evil spirits while the Rengas contains a poisonous sap.

                                                      The Carving

The carving process involves four stages. First, the design is traced and transferred to the object such as a panel. Then the outline of the design is chiselled. Thirdly, the unwanted parts are then cut out. The final and most intricate stage is the actual carving itself. This being accomplished using a myriad of carving tools to pare, chisel, shave, drill and dig to bring the design to life. The final carving is polished using emery paper now whereas the dried skin of the stingray or the leaf of a wild plant called mempelas was used before.

THE HOUSE

Explore the wonderful world of Malaysian timbers through various applications, as shown here in various luxury resorts, residences and commercial spaces.

The " Longhouse " is one of the five spaces in Ferringgi Garden Restaurant in Batu Ferringgi. A long stretch of beautiful beach on the Malaysian Penang Island.

Named after its owner Richard Long as well as in direct reference to the native longhouse in the East Malaysian state of Sarawak, it is another property that is completely built from recycled materials, predominantly timbers sourced from old warehouses and schools. One hundred and fifty tons of recycled Merbau had been used to build the restaurant. Even the terracotta roof tiles are recycled.As the name suggests, the Longhouse is a long, one-room space with exposed timber trusses, beams, battens, flooring, and panelled walls and doors. The most interesting features of this space are the timber panels and doors featuring various symmetrical designs. The parquet pattern on the upper part of the wall came from the floor of a demolished school while the vertical pattern in the middle was newly created to mediate between the top and the bottom panels. All these had been skillfully composed into an intricate yet harmonious design and stained to a consistent finish. A verandah runs the full length of one side of the Longhouse, which opens to a lush, well-cultivated garden.

Chef Shukri’s House, Langkawi, Malaysia

Set on a hill among rubber trees, overlooking paddy fields and the local villages in the island of Langkawi, Chef Shukri’s house resembles a Malay dignitary’s abode of a bygone era.

It is a solid three-section wooden structure assembled without nails and raised high above the ground on timber posts and beams based on traditional Malay house-building techniques. The Malay kampong house is in fact a brand new house built with fresh Chengal. The entire house was built in the traditional method without the use of a single nail. Timber members were connected and held together by dowels and wedges.

The designs, from planning to detailing, were conceptualized by Chef Shukri himself. The design is of the Malay house of the noble families typically built in the Malaysian state of Kedah. Raised high on stilts, the space underneath was meant as a work area or for the storage of food supplies and farm equipment in the old days. In fact, every part of a traditional Malay house was designed with a specific purpose. Malay houses commonly have a linear design with its living quarters right in front, followed by the sleeping quarters in the middle section and the kitchen in the back.

The layout of Chef Shukri’s house presents a central living space, flanked by one large bedroom in the left wing and another large bedroom as well as the kitchen and dining area in the right wing. The construction process, which began in 1989, took three years. It involved the installation of 72 chengal pillars and beams.

One specific pillar positioned slightly to the left of the house as one faces it is the Tiang Seri or central post of the house. Its significance is both structural and symbolic: it is the first piece of wood to be erected in the construction of the house, and its installation is often accompanied by prayers and rituals to ‘lock in’ good luck and prosperity for the house owner. According to Shukri, the Tiang Seri is always positioned to the left (of the house), representing the position of the heart in a human body.

Choosing the right spot for the Tiang Seri is the all-important part of the pre-construction stage as it would be the main factor in determining the position of the rest of the house. The basic elements of nature are first taken into consideration. Shukri stressed that one has to know where the sun rises and sets to determine the position of the main entrance and the bedrooms. “It suits me well to have the morning sun coming through the front part of the house when the first meal of the day is served, and have the bedrooms face the back of the house to catch the sunset.” In Malaysia, West-facing bedrooms are also associated with the direction of Mecca for daily prayers, usually a private ritual in one’s sleeping quarters.

As one approaches Chef Shukri’s house, a covered grand staircase with ornate carvings on the balustrades leads to the anjung, the front verandah, which leads to the main section of the house, known as Rumah Ibu (Mother house). Typically, the main stairs would have been the entrance for the men, and ladies would use another set of stairs leading straight to the Rumah Dapur (Kitchen house). The verandah, with or without seats, would have been the space for receiving guests who were not that close to the family. The Serambi, on the other hand, which is also a verandah but situated at the opposite end of Rumah Ibu, is meant for family gatherings and discussions, usually accompanied by a spot of afternoon tea, before the family members retire for the day.

With a built-up area of 2,900 sq. feet (269.4 sq. m), the house comes with an A-frame roof with wooden gables resembling butterfly wings. This main roof sits atop the Rumah Ibu. Different living spaces are demarcated by wooden panels of Nyatoh.

Chef Shukri’s bedroom is in the right wing of the house, closer to the kitchen (naturally!). The Rumah Ibu in the middle connects all the other living spaces, and is also where the spacious formal-dining-cum-living area is. Nyatoh is used for all the doors, windows, wooden panels and plywood partitions with decorative beadings, while Merbau is used for the flooring. Timber lattices made of Chengal adorn both sides of the house for decorative and sun-shading purposes.

The centre of the house has a two-tiered roof with the end gables featuring the Suluh Bayu design found on boats. Other carvings such as the window panels depict jasmine flowers, a local Malaysian fruit called the mangosteen, and palm trees. The fascia or papan cantik is in the shape of a house gecko. Most of these carvings are based on traditional Malay designs incorporating some Chinese elements. For example, the window panels carry pineapple motifs which look like temple vases.

The house is very airy and cool: a perfect cocoon against the harsh tropical heat. Despite its traditional design, the spacious kitchen and en-suite bathrooms are fitted with modern conveniences, making the house a perfect showcase for the seamless fusion of the old and the new.

The Four Seasons Langkawi, designed by Thai architect Lek Bunnag, is one of the most exquisite havens on this Malaysian resort island.

This Arabic-Indian-Moorish-inspired beachfront resort in a Malaysian kampong setting comprises 91 guestrooms and 20 spectacular beachfront palatial suites featuring double-height ceilings and private plunge pools.

The structure featured here is the Rhu Bar, a freestanding West-facing pavilion with a cruciform plan located on the resort’s own strip of private beach. An oversized swing fixed in one external wing of the Rhu Bar adds a nice touch for a romantic sundowner. A timber latticed screen suspended from a horizontal beam is an elegant shade against the glare of the tropical sun and when viewed from the inside out, frames the seascape nicely with its simple but classy arc.

The shingled roof on exposed timber trusses and battens is supported by round timber columns on masonry stumps. Inside, the central space is characterized by a system of trusses forming an inverted pyramid which adds drama to the central space. From this dramatic core, other spaces emerge and are partitioned by a series of delicate timber screens with intricate carvings, providing a semi-private space for several alcoves set for two.At the Rhu Bar, the internal timber screens hint of an Arabic influence, particularly with its mihrab-shaped doorways. Mood illumination is provided by inverted cones of pendant lights which, although a strong design feature in itself, do not overwhelm the bar’s overall design.

FOREST ARE NOT JUST TREES

Forests provide a wide range of services which include providing building and medicinal materials, prevention of soil erosion, floods, landslides, maintenance of water supply and soil fertility, and neutralizing carbon from the atmosphere as biomass and soil-organic carbon.

Forests Are Not Just Trees

Many centuries ago, forests began to be felled to provide for man’s developmental needs. Forests had to give way to housing and wide-scale agriculture, and the timber harvested was widely used to support transportation and industry requirements for man’s economic progress. These days, however… 

Given the global population growth, it may not be possible for us to totally leave the forest alone. Nevertheless…

How much do you know about the Malaysian forest and its value to us? Not all of us know or have the chance to experience the forest firsthand. This brochure aims to keep you informed on:

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NATURE OF WOOD

Wood has been associated with man since time immemorial. Unfortunately, many architects, builders, contractors and specifiers shy away from using wood because of their lack of understanding of the material and the common myths and fallacies associated with wood.

One fundamental aspect of wood that must be understood is that it is a biological material and therefore subject to environmental factors that influence its formation and growth. This makes wood variable i.e., with different densities and technical properties, so no two pieces of wood are similar. Once this tenet is understood, wood becomes a more accommodating material, lending itself to a huge variety of uses and applications, largely due to its ability to fulfill both form-and-function requirements.

Technical research on Malaysia’s timber species done by the Forest Research Institute Malaysia has contributed significantly to how different timber species can be treated, cured, dried and utilized.

This section:

1. Addresses the common concerns that surround the proper usage of wood by explaining why wood behaves as it does.
2. Lists the green credentials of wood and its inherent advantages over other building materials.
3. Explains how specifying timber, particularly from certified and/or legal sources, actually contributes to forest conservation and climate change mitigation.

Our aim is not to promote the exclusive use of wood. There is a place for all materials in enriching our built environment. This is a case for using more timber, particularly from legal and sustainable sources. Through this better understanding of the properties and proper usage of timber, more timber will be specified for construction projects.

The Nature of Wood

Wood is a Biological Material

Wood is made up of cells, which tend to be elongated and are arranged along the longitudinal axis of the tree trunk. These cells are made up of a complicated mixture of polymers of cellulose, interspersed with other noncellulosic
carbohydrates and lignin. These cells act as tiny elongated thin-walled tubes and impart some outstanding physical and mechanical properties to the wood.

Wood is Anisotropic

Wood behaves differently along its three major differential axes in terms of strength properties and dimensional movements.

Wood is Hygroscopic

Wood is subject to changes in moisture content of its surroundings. The temperature and humidity of the surrounding atmosphere and the amount of water already in the wood will determine whether wood absorbs or loss water vapour. These absorptions or loses of water vapour will cause the wood to swell or shrink. The anisotropic nature of wood will cause unequal dimensional movements in the three directions.

Wood is Inert

Wood is inert to the action of most chemicals. This property makes wood suited for many industrial applications where resistance to corrosion is important. When wood is exposed to atmospheric conditions, it will only erode at a rate of 0.25 inch per century. Even this can easily be prevented by applying coatings and proper treatment on the wood surface.

Advances in R&D by many research agencies globally have contributed to a rich and growing repository of knowledge on timbers, resulting in the development of various treatments and techniques as well as recovery and engineering solutions to manage timber’s natural properties to enhance its usage, enabling timber to be used more intelligently with a lot less wastage.