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AN ANALYSIS OF THE TRADITIONAL MALAY ARCHITECTURE AS INDICATORS FOR SUSTAINABILITY: AN INTRODUCTION TO ITS GENIUS LOCI
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Sufian Che Amat & Mohd. Sabrizaa Abd. Rashid Centre for Knowledge & Understanding of Tropical Architecture and Interior, Faculty of Architecture, Planning and Surveying, Universiti Teknologi MARA, Perak, Malaysia.

ABSTRACT Genius Loci or the genius of the place, refers to the presiding deity or spirit. Every place has its own unique qualities, not only in terms of its physical makeup but, on how it is perceived, hence it is the responsibilities of the designer to be sensitive to those unique qualities in enhancing rather than to destroy them. Thus, knowledge on aesthetics is very much related to the discussion on beauty of its related arts and crafts. To understand a particular design or work of art from the viewpoint of function and related concept, one must first approach it from the perspective of their aesthetical principles. To the traditional Malays, sustainability is a necessity and a way of life; not just a concept. The designs, the construction process in terms of energy efficiency, the indoor environmental qualities, sustainable site planning, the materials and resources used have always been essential aspects related to their architectural practice. The discussion is aimed at investigating the elements of sustainability within the traditional Malay architecture as the past model indicators with the potential for future assimilation. Findings of the study indicate uniqueness of the overall traditional Malay architecture parallel with the current issues on sustainability. INTRODUCTION: SUSTAINABILITY AND THE GREEN BUILDING INDEX Sustainability has become the catchphrase in the architecture world these days, amid concern in depleting natural resources and increase global energy consumption. Exploitation of the natural environment together with the degradation of the ecosystem and its subsequent destruction, results in dreadful living conditions. There are many issues associated with sustainability such as land use, urban and regional planning, natural resources, energy etc. Johnson (1996) define sustainability as being rooted in a spirit of cooperation and commitment to utilise technology in a morally and socially responsible manner so that buildings and cities nurture human spirit and fully respect nature; to create sustainable architecture the architect must holistically mesh the knowledge of the new with that the old so that a built environment that respects culture, environment and history of the inhabitants can be created and preserved. World Commission on Environment and Development (The Brundtland Report, 1987) developed a definition that is widely used, contends that sustainable development on the other hand meets the needs of the present without compromising the ability of future generations to meet their own needs (World Commission, 1987). Mendler, et.al.(2006) also arrived at similar findings in that nature plays a very crucial role in sustainability; for it is efficient and effective in design producing essentially zero waste. However in contrast to nature we designers often make use of our natural resources, producing and utilising energy and at the same time creating waste in almost every step of the design process. Sustainability must take into account a process that is restorative, regenerative, dynamic and efficient as opposed to energy intensive, resource dependent, extractive and disposable methods. Consistent with Salama (1995), sustainability is envisioned as a state in which all humans, now and in the future can live at a decent level of well being within the limits of what nature can and continue to provide. Thus, sustaining the built environment in the tropics is already a major issue today. The tropical zone encloses approximately 50,000 square kilometre of land, which is a third of the earths landmass contains a population that is more than a third of the world population. This

frightening fact coupled with the pace of development in the region towards prosperity has placed a tremendous pressure on the environment. Following the Earth Summit in Rio, in 1992, greenhouse gasses, ozone depletion and sustainability issues became household words globally. In the construction industry this results in the development of Green Building ratings such as LEED (USA), CASBEE (Japan), GREENSTAR (Australia), BREEAM (UK) and GREENMARK (Singapore). This was the result of the realisation that buildings and the built environment contributes significantly to green house gas emissions and thus needed to be re-designed to reduce their negative impact to the environment. The Malaysian Institute of Architects (PAM) has over the years been developing and working towards a more sustainable and green architecture; and in 2008 the need for a localized Green Building rating tool became more evident especially in the light of increasing demand from building end-users for Green rated buildings that would not overly and adversely contribute to the destruction of the environment (Mun, 2009). The Green Building Index (GBI Malaysia) was officially introduced on 3rd January 2009 at the Green Design Forum held at Kuala Lumpur Convention Centre, Malaysia and launched officially in May 2009. GBI Malaysia is developed by Pertubuhan Akitek Malaysia (PAM) and the Association of Consulting Engineers Malaysia (ACEM). It is a profession driven initiative to lead the Malaysian property industry towards becoming more environment-friendly. From its inception, GBI has received the full support of Malaysias building and property players. It is intended to promote sustainability in the built environment and raise awareness among Developers, Architects, Engineers, Planners, Designers, Contractors and the Public about environmental issues. The rating system will provide opportunity for developers to design and construct green, sustainable buildings that can provide energy savings, water savings, a healthier indoor environment, better connectivity to public transport and the adoption of recycling and greenery for their projects. Key Criteria The GBI Malaysia rating is based on six key criteria: Energy Efficiency Indoor Environmental Quality Sustainable Site Planning and Management Material and Resources Water Efficiency Innovation Although the discussion of this study is aimed at investigating the elements of sustainability within the traditional Malay architecture; it is never intended to represent a GBI rating proper as only a certified GBI assessor could conclusively certify as such. It is hope the traditional Malay architecture may possibly represent one of the model case study as potential reference points for future assimilation. TRADITIONALISM AND ITS GENIUS LOCI Genius Loci in Latin term, means the genius of the place, referring to the presiding deity or spirit. Every place has its own unique qualities, not only in terms of its physical makeup, but also of how it is perceived; so it ought to be (but far too often is not) the responsibilities of the architect or designer to be sensitive to those unique qualities, to enhance them rather than to destroy them. Alexander Pope, in Epistle IV (1731) of his Moral Essays, addressed to Lord Burlington, states in his argument that, instanced in architecture and gardening, all must be adapted to the genius of the place and beauties not forced into it, but resulting from it. Traditional architecture despite being categorised as primitive has always been the main source of references in the social and cultural studies by architects and anthropologists. In

the Malay world the traditional principles of buildings built by the locals is very much related to knowledge gained over several generations. There are key players or experts involved namely; the builder (tukang), the pawang (traditional Malay healer), the head of religious matters (ketua adat or imam) and the craftsman (pengukir). The builder who is the expert on the overall construction process determines the type of timber or materials, equipments and the construction techniques of the house. Based on local practice the service of the pawang is required in determining the exact location, orientation, particular day to built, together with all the associated mantras related to the building process. The imam on the other hand will decide and head the local beliefs in blessing the overall process with prayers (doa) whilst the carpenter, a person of exceptional talent in woodcraft will be responsible in the aesthetics of the symbolic elements doting the overall house. Thus, the local spiritual beliefs on the mystical beings based on animism, HinduBuddha and the religion of Islam form a diverse mixture with the traditional thinking which constantly generate questions on the actual message or meanings behind the construction process and its elements. This relational or symbolic meanings of the Malay culture play important roles in the minds of the Malays manifested through their concept of things (living or non-living) or Semangati. Apart from these, the natural environment is also seen as their teacher (guru). Because of this, every aspect of the traditional Malay architecture and the construction process will have many resemblance and double meanings to the use of and articulation or reflection of the smell, the sight, the sound and the feel of the natural environment. Malay architecture and its civilisation has often been the inherent manifestation of its culture and belief. However, with the advent of new technologies and construction methods, the local architectural scene has been unavoidably transformed into modern township that is ignorant of the immense heritage and tradition of its genius loci. INDICATORS FOR SUSTAINABILITY The designs, the construction process in terms of energy efficiency, the indoor environmental qualities, sustainable site planning, the materials and resources used have always been essential aspects related to traditional Malay architectural practice. The immediate surroundings of the site, whether natural or manmade, have a considerable impact on design. Natural features outside can be incorporated visually to broaden conceptual boundaries. For example the traditional rice terrace, mountain village have influence planning and building technique. For example to comply with the local code, it was stated that no building shall be higher than the tallest coconut tree. The house backdrop in lush tropical vegetation and natural resources provides opportunities and challenges to the traditional Malay house. The Malays, being the inhabitants of the archipelago are understandably respectful not only of their natural environment but also towards the metaphysical elements related to their surroundings; hence, the use of natural material is considered as being in harmony with nature. As the timber rots, the rotting process contributes to the resurrection of the natural environment. Every trees felled, are used to the maximum with minimum waste and minimum disturbance to the balance of nature. The Malay house with is a model building that is environmentally sustainable. The house is essentially a timber post and beam construction that is lightweight and utilizes one of the earliest prefabrication methods in building construction. Consistent with Waterson (1997), essentially the Malay house is held together by means of techniques of jointing and mortising, entirely without the use of a single nails, giving the advantage in that it is capable of being dismantled and reassembled in a new location; which also strongly reflects its cultural kinship system.

Figure 1. High ceilings, open spaces and large multiple openings provide excellent natural ventilation in the hot humid climate.

The traditional Malay arts and architecture is also a reflection of the splendour and beauty of the aesthetical elements or ornamentations adorning them that carry deeper philosophical and sacred meanings or Semangat. It is worth noting that all the decorations in the traditional Malay house are not merely objects of beauty but also as means to create an environment of peace and tranquility; and this uniqueness has been clearly observed in the functions and meanings attached to the traditional Malay culture and practices as seen in their timber carvings and ornamentations. The traditional Malay architecture subsist in the hot and humid tropical climates and this essential facts govern the shapes, designs, and ornamentations used in the Malay houses. Open spaces, high ceiling or roof are needed to provide good ventilation and airy space. For this reasons cut out carvings (ukiran tebuk) type normally used on tebar layar (gables), lubang angin (literary means wind holes at higher level of partition), kepala pintu (literary means door head ; timber panel above doors) and kepala tingkap (literary means window head; timber panel above windows) must performs their environmental functions appropriately to create a liveable and comfortable spaces internally.

Figure 2. The use of timber carvings and ornamentations not only for beauty but also serve as ventilation purposes creating a more comfortable spatial experience.

The Malay house with its deep overhanging attap roofing, timber panellings, carvings and being raised above the ground level is an outstanding example of how buildings responds to their context environmentally and culturally. The Malay house is an excellent example of how a building is designed to be part of its surrounding whilst acknowledging the existence of the prevailing climatic conditions.

Figure 3. The Terengganu House with its deep overhanging attap roofing, timber panelling, carvings; being raised above the ground level is an outstanding example of how buildings responds to their context environmentally and culturally.

ASSESSMENT CRITERIAS OR INDICATORS BASED ON GREEN BUILDING INDEX (GBI MALAYSIA)

SOME OBSERVATIONS ON THE TRADITIONAL MALAY ARCHITECTURE

(1) Energy Efficiency

(i) Less energy consumption due to good natural ventilation and natural lighting by design. (ii) Culturally prefer dimmed lighting indoors for privacy purpose. (i) The walls are usually incidental and act merely as screens that allow excellent ventilation with many openings i.e. lubang angin (sisip angin, jejala, kekisi, pagar musang, jerejak). (ii) Incorporates overhangs or sun shadings devices such as bidai (blinds made of bamboo or other natural materials) (iii) Serambi (verandah) as space for social interactions is often semi enclosed permits natural ventilation. (i) Construction techniques usually use the mortice and tenon methods, devoid of nails. Thus it represents a building system that is easily dismantled and reconstructed. (ii) Traditionally in the Malay culture the house is inherited for several generations. This is made possible because of the nature of the house itself; that is lightweight and can be easily relocated. 1 (iii) The design and location on site is typically site specific with particular emphasis on river fronting due to transportations and socio-economic reasons.2 Traditional architecture is a product of its environment (Dawson, B. and Gillow, J., 1994); similarly the Malay house uses many natural materials such as Cengal hardwood (Balonocarpus heimii), Teak (Techtona grandis), bamboo, sago palms(rumbia) for its construction. Rainwater harvesting has traditionally been a technique used by the owners to recycle and reuse of the precious rain water collected in a ceramic container (buyong) for general washing and watering flower pots etc.

(2) Indoor Environmental Quality Air Quality, Lighting, Visual & Acoustic Comfort

(3) Sustainable Site Planing & Management Site Planning & Transport

(4) Materials & Resources Reused & Recycled Materials

(5) Water Efficiency, Water Harvesting & Recycling

Waterson, R. 1997, in her book The Living House, Thames and Hudson, Singapore; discusses the flexibility of the traditional Malay house constructions in a sense that the house is held together without a single nail and capable of being dismantled and reassembled in a new location.
2

Findings are based on a study involving 60 houses in a traditional Malay village of Kampung Aji, Bota, Perak, which is entirely located along the Perak river See Kajian Gaya Kesenibinaan Kg Aji, Bota, Perak by Mohd Sabrizaa, A.R., et.al., (2003) IRDC, UiTM Perak., Seri Iskandar, Perak, Malaysia.

(6) Innovation

Similarly can be repeated here on the mortice and tenon technique of construction (without nails) called tanggam pasak.

Table 1.GREEN BUILDING INDEX Assessment Criteria & Comments for Residential Non Commercial (RNC)3

CONCLUSIONS The overall construction process of the traditional Malay house reflects a clear manifestation in the way of life and understanding of the Malays themselves in relation to man and the natural environment. The sensitivity of the Malays towards the natural environment highlights the fact that their mental, physical and emotional needs can co-exist harmoniously in their daily lives. It is worth noting that all the decorations in the traditional Malay architecture are not merely objects of beauty but also as means to create an environment of peace and tranquillity; and this uniqueness can be clearly observed in the functions and meanings of the traditional Malay culture and practices. Although the Malay architecture do not specifically identify the criteria related to sustainability issues their culture very much relates to their soul which carry symbolic meanings, often manifested through their everyday practices and expressed in the local built environment as exemplified by the traditional Malay architecture and their traditional houses. This study proves that the architectural elements of the traditional Malay house do play an important role not only in disseminating the symbolic meanings of its art, design and construction but most importantly as the elements representing their genius loci.
REFERENCES
Brundtland, G.H., 1987, Our Common Future, World Commission on Environment and Development (WCED), Oxford University Press, N.Y. pp.4. Green Building Index Malaysia (GBI Malaysia) at www.greenbuildingindex.org [assessed on July 2009] Johnson, L.E., 1995 Sustainability: Towards an Holistic Vision of Architecture,The Structurist, no.35-36, pp86-98. Mendler, S., et.al., (2006) The HOK Guidebook to Sustainable Design, 2nd Ed., John Wiley and Sons, Inc., New Jersey. Sabrizaa, A.R., Norhasandi, M and Sufian, C.A., 2009, Reinventing Sungai Perak: an issue on Socio-cultural Marginalisation, International Geographical Union (IGU) Conference, UiTM, Malaysia. Sabrizaa, A.R., and Sufian, C.A., 2009 Intellectual Property and Heritage Issues in the Built Environment, MyIPO & Malay Heritage Seminar, Kuala Lumpur, Malaysia. Sabrizaa, A.R., Kajian Simbolisme Elemen-Elemen Estetik dan Ragam Hias Rumah Tradisional Melayu : Kajian Kes Seni Bina Gaya Pantai Timur, unpublished PhD Thesis, Institute of Graduate Studies, USM, 2007. Sabrizaa, A.R., Ramlah, A., and Ruzana, K., 2003, Laporan Kajian Gaya Kesenibinaan Kg Aji, Bota, Perak , IRDC, UiTM Perak., Seri Iskandar, Perak Darul Ridzuan. Mun, T.L., Apr-May 2009 The Development of GBI Malaysia (GBI), Journal of the Malaysian Institute of Architects, vol.21, issue 2. Powell, R. et.al., The Contemporary Kampong, Majalah Akitek, 1- 4:1988. Rao, S.P., et.al., May 2008, Environmental Sustainability Issues in the Education of Built Environment Professionals at the University of Malaya, Building Engineering International News. Salama, A., 1995, New Trends in Architectural Education Designing the Design Studio, Tailored Text & Unlimited Potential Publishing, U.S. Waterson, R. 1997, The Living House, Thames and Hudson : Singapore.

The table only shows general observations on indicators or criteria related to the traditional Malay house. Remarks shown are purely based on visual analysis of the equivalent performances vis-vis the GBI(Malaysia) indicators; but not representing the actual ratings achievable if evaluated by a qualified GBI(Malaysia) assessor.