COLIPANO, IMELDA JOANE ARCHIST MWF 1:30-2:30 02/27/2017

JAPANESE
Edo period
What is generally identified as the
Japanese aesthetic stems from
ideals of Taoism, imported from
China in ancient times about (206
BC220 AD). Japanese culture is
extremely diverse; despite this, in
terms on the interior, the aesthetic
is one of simplicity and minimalism.
The specific idea that a rooms true
beauty is in the empty space within
the roof and walls came from Laozi,
a philosopher and the founder of
Taoism, who held to the "aesthetic
ideal of emptiness", believing that
the mood should be captured in the
imagination, and not so heavily Figure 1Katsura Imperial Villa Exterior
dictated by what is physically
present. Japanese design is based strongly on craftsmanship, beauty, elaboration,
and delicacy. The design of interiors is very simple but made with attention to detail
and intricacy. This sense of intricacy and simplicity in Japanese designs is still
valued in modern Japan as it was in traditional Japan.
Interiors are very simple, highlighting minimal and natural decoration. Traditional
Japanese interiors, as well as modern, incorporate mainly natural materials
including fine woods, bamboo, silk, rice straw mats, and paper shji screens. Natural
materials are used to keep simplicity in the space that connects to nature. Natural
color schemes are used and neutral palettes including black, white, off-white, gray,
and brown.

KOREAN
United Silla Architecture
(Seventh Tenth century)
The plans of Korean Buddhist temples
were characterized by two pagodas
in front of the central main hall, in a
symmetrical layout on the northsouth
axis with other buildings. Pulguk
Temple (/entry/Bulguksa), built on a
stone platform at the foot hill of Mt.
Toham near Kyongju, is the oldest
existing temple in Korea. Its Tabotap,
located to the right of the court, is
unique in Korea and the rest of Asia.

Figure 2Iro Dang

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The temple was first founded early in the sixth century and was entirely rebuilt and
enlarged in 752.
The rock cave shrine of Sokkuram, located on the crest of Mt. Toham was built
around the same era, by the same master architect who built Pulguk Temple. This
cave shrine was artificially and skillfully constructed with granite blocks, and
covered with an earth mound on top to give the appearance of a natural landscape.
The graceful statue of Buddha on a lotus pedestal in the center is the dominant
feature of the chamber. Rock cave shrines are common in Asia, but few of these
shrines and sculptures reveal such a high level of artistry. None are as religiously
and artistically complete in overall design as those at Sokkuram.

MALAYSIA
(Early 20th Century)
In the early 20th Century, shophouses in the Straits Settlements began to adopt
Western architectural styles
with an emphasis on full-
length French windows with a pair
of full-length timber
shutters, an arched or
rectangular transom over
the window opening,
pilasters of classical orders;
and plaster renderings. In the early
1900, reinforced concrete was used
to allow wider roof
overhangs and more
elaborate cantilevered
brackets which sprung from
above the pilasters.
Figure 3:Baba Nyonya Heritage Museum
Unlike the early and
traditional shophouses which have a continuous row of windows, the Straits Eclectic
style developed with the breaking of the facade into two or three moulded
openings. Such style became popular among the Peranakan Cina community in
either Malacca or Penang. In some shophouses, the pilasters placed between
openings, the spaces above the arched transom and below the openings were
decorated with plaster renderings such as bouquets of flowers, fruits, mythical
figures and geometrical shapes. In addition, some of the window or door panels
were beautifully carved. These decorations among other things reflect not only the
wealth of the owners or tenants but also their status or position in the local
community.
The Peranakan Cina shophouses reached it richest phase with the addition of
coloured tiles on either walls or floors. Coloured ceramic tiles are not only popular in
the Peranakan Cina shophouses of the Straits Eclectic style but they are also used
by the Malays to decorate their main stairs. In the shophouses, the ceramic tiles are
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usually placed on walls below the front windows on the ground floor facing the
street. Flowers and geometrical designs are usually painted on the tiles.
Furthermore, coloured floor tiles made of terra-cotta are commonly seen in the
Straits Eclectic style, particularly in the verandahed walkway and inside the
shophouses.
Most of the shophouses throughout all stylistic periods were built with a series of
gable and pitch roofs; with the exception of courtyards or air wells and balcony.
Some have a jackroof which is a raised mini-roof locating at the peak of the main
roof. The space between the two roofs is filled with patterned grilles or timber
louvres. It provides both cross and stack ventilation which reduces the internal heat
build-up especially during day time. Load-bearing walls at both sides of the
shophouse support the roof load through timber purlins which span horizontally
across the width of the building. The walls are at least 15" thick from ground to first
floor and 9" onwards. After attap was banned, Chinese clay tiles of a V shape were
widely used. The tiles are similar in origin to those used in the Mediterranean roofs,
being introduced to Malacca by the Portuguese. In the early 1900's, the inter-locking
French Marseilles tiles were introduced to the shophouses in the Straits Settlements.
A typical Peranakan Cina shophouse usually has the first hall (ruang tamu), second
hall (tiah gelap), one or two courtyards or air wells (chim chae), ancestral hall,
bedrooms, bridal chamber and kitchen. In those days, visitors to the house were
normally allowed to the first hall. The second hall or tiah gelap was usually used by
the unmarried Nyonyas to peep through small openings dividing the first and
second halls. Now, as the social life changes, the younger generation of Nyonyas no
longer hide in the tiah gelap.
Besides the presence of the intricate plaster ornaments, carving and coloured tiles;
the Peranakan Cina shophouses are usually filled with antique furniture. During the
colonial periods, the interior of the Peranakan Cina house was decorated with
Chinese blackwood furniture including the family altar, chairs, side tables as well as
ornately carved teak cupboards with intricate mother-of-pearl inlay frames.
Porcelain figurines, Nyonya cockery and coloured ceramic wares were finely
displayed in these cupboards. This elegantly decorated interior is a portrayal of
higher social, economic and political status of the Peranakan Cina in those days.

BRUNEI
The Malay houses in Peninsular Malaysia, Singapore, Indonesia, Borneo and the
Philippine Island are quite similar in terms of their functions and the way of
construction as to Bruneian houses. This could be the result of the continuing
process of learning from one generation to another and the introduction of similar
expertise throughout the Malay community. However some small differences in
styles can be detected which helps to identify the authenticity of their architecture.
Pemantung tinggi
It is an unmovable piece of board about 300mm to 450mm in height or could be
higher, located
above the floor finished level at the main door entrance. The door panel is raised
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above the
pemantung level to be placed. People have to step over the pemantung in order to
enter the
house. The idea is to classify the barrier of the outer and the inner part of the house
(the public
and the private). It is a custom that the guest and the member of the family to take
off their shoes
before entering the house, by having pemantung, it indicates the boundary line of
the interior and
the exterior space. Another function could be to prevent small children from going
out to the
outer part of the house such as lorong and pantaran area (safety hazard). This also
identified
zone of male and female area.
Pantaran
For Kampong Ayer, it is a platform made up of timber located in front compound of
the house
and considered as a foyer or informal sitting area. Any visitor will pass through the
pantaran
area in order to get in the house. Pantaran is used as a working area for the male
family
members to do their simple work, such as hanging up the "pukat" and fixing the
broken net.
Nowadays the pantaran is normally wider and used as a small play area for the kids.
A small
access staircase made up of timber is also fixed in most pantaran for access to the
water-taxi or
perahu. Pantaran is also useful for conducting ceremonies, like wedding and family
gathering.
Some pantaran is lower than the house level (about 100 mm to 150 mm drop). The
difference
between Brunei Pantaran and Malaysian Serambi is that Brunei pantaran is linked
to the rear
part of the house (Kitchen) by an open corridor.
Sampaian and titian tikus
Sampaian is a ceiling joist made up of timber which runs through the upper wall all
around the
house. Titian Tikus supports the Sampaian and is also made up of timber. The
Sampaian is used
to hold the ceiling finish whereas the Titian Tikus can serve as ventilation. There
were introduced
by the Rumah Belah Bubong and later present in other house types. Because of the
introduction
of bricks and concrete structure, Sampaian and titian tikus lost its place in the
building industry.
In 1950, the system of fixed louvers was introduced to replace the titian tikus. It has
the same
function and is fixed on top of the window frames and sometimes in doors.
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Tangga pemandian (bathing staircase)

Tangga pemandian is situated at the rear back of the house. It consists of several
platforms for
washing and bath taking. The platforms are made up of bamboo or nibung,
sometimes timber
depending on the high and low tide. The width of the platform varies but the normal
length is
about a meter. Normally Tangga pemandian is covered by walls all around for
privacy. Since
proper piping system and proper sanitation has been introduced, the tangga
pemandian is no
longer required and therefore has been distinguished.

THAILAND
(Mon-Khmer and Malay - 9th to 13th Century)

Thai architecture reflects the influences of the Buddhist countries and of the various
groups with which it has mingle and associated for two millenia. Most noticeable in
Thai architecture are the
swooping multi-tiered
rooflines, the distinctly
ornamental decorations,
the stunning interior
murals, the vivid colors
and the lovingly crafted
and gold-adorned Buddha
images.
Thai House
The basic thai house of the
past was simple structure of bamboo and thatch, raised off the ground for
protection against floods and wild animals. Most family life took place on a veranda-
like platform outside the one or two rooms that served as sleeping quarters. This
model evolved into more complex structures of wood, varying both in form and
decoration to suit conditions in different regions but always retaining their essential
simplicity
Central Plains Houses
Elevated on stout round posts, it has steep roofs with curved bargeboards and
paneled walls leaning slightly inward; the various components are prefabricated to
enable easy dismantling and reassembly. The simplest house consists of a single
unit with an outside veranda, while those accommodating larger families might
have several separate units arranged around a central platform.
Roof Gable (Ngao)
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A distinctive feature of the Central Plains house is the elegant curved decoration at
the ends of the peaked bargeboards surrounding the gables. Known as ngao, it
evolved from Khmer architecture and appears in elaborate form on religious
buildings and palaces. A Stylized version can also be seen in domestic houses.
Paneling
Paneled walls are a relatively recent addition to the Thai house
Gate
Houses belonging to more prosperous families usually have a gate, often sheltered
by a Thai-style roof that opens on to the central platform. A jar of water is placed at
the bottom of the steps so that visitors and residents can wash their feet before
coming inside the house.
Wat architecture
Parts of a Wat
The Bot
All wats usually include an ordination or assembly hall known as the bot or
sometimes known as an ubosot. The bot is
reserved for monks to perform ceremonies,
meditate and sermonize. It faces east and
usually houses the main Buddha image.
Ubosot:
Wat Benchamabophit
Bai Semas
Surrounding the bot are bai semas. These are
sacred boundary stones, used to demarcate
the sacred ground of the bot and to keep
away evil spirits. Normally eight are used in
total, but double slab stones for royal wats.
This is also an example of how animist beliefs
coexist with Buddhism.
The Chedi
The Chedi is a solid domeshaped structure
where relics of Buddha may be housed, such
as a bone fragment or hair, or the ashes of a
past king. Some Thai wat complexes are
specifically designed and built around the
sacred Chedi.
the Vishnu
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At the top of a Chedi may be a stylized thunderbolt sign of the Vishnu, an ancient
Hindu lord of the universe.
The Wihan
A second assembly hall, similar to the bot but usually larger, is the wilhan. Within a
complex, there may be several wilhan and each may have an eclectic mix of
architectural styles. The wilhan is used by laypeople to make their offering before a
large Buddha figure. Normally there are no bai sema surrounding the wihan.

INDONESIA
(18th-14th Century)
The Architecture of Indonesia
reflects the diversity of cultural,
historical and geographic influences
that have shaped Indonesia as a
whole. Invaders, colonizers,
missionaries, merchants and traders
brought cultural changes that had a
profound effect on building styles
and techniques. Traditionally, the
most significant foreign influence
has been Indian. However, Chinese,
Figure 4 Complek Candi Arjuna
Araband since the 18th and 19th
centuriesEuropean influences have played significant roles too in shaping
Indonesian architecture.
Indonesia has 33 provinces, Each of province has its own distinctive form and
identity of traditional vernacular architecture, known as Rumah Adat in Indonesian.
The concept of Rumah Adat are based on social relations, traditional laws, taboos,
myths and religion. The characteristic Architecture of Indonesia such as timber
construction, varied and elaborate roof structures. Concept design
overall; symmetric, nature contextual and used nature materials. Some of design
form come from domestic architecture influence religion foreign such as; Java, Bali
and others province common Austronesian ancestry (originating in Taiwan, c. 6,000
years ago). The earliest Austronesian structures were communal longhouses on
stilts, with steep sloping roofs and heavy gables, as seen in the Batak rumah adat
and the Torajan Tongkonan
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Candi
It is large and sophisticated, tower-like
structures, it is built in Java during the
peak of Indonesias Great Hindu-Buddhist
Kingdoms (18th-14th Century). The earliest
surviving Hindu temples in Java are at the
Dieng Plateau, thought to have originally
numbered as many as 400, only 8 remain
today.
The use of bricks in Indonesias Classical
Era mastered by the Majapahit builders,
Figure 5 Majapahit Hindu Temple
using a mortar of vine sap and palm sugar
Temples of Majapahit
have a strong geometrical quality with a
sense of verticality achieved through the use of numerous horizontal lines often
with an almost art-deco sense of streamlining and proportion
Majapahit influences can be seen today in the enormous number of Hindu temples
of varying sizes spread throughout Bali. Although they have elements in common
with global Hindu styles, they are of a style largely unique to Bali and owe much to
the Majapahit era.
Rumah Adat
Rumah adat or Custom House is at the
center of a web of customs, social
relations, traditional laws, taboos,
myths, and religions that bind the
villagers together.
The house provides the main focus for
the family and its community, and is
the point of departure for many
activities of its residents.
Characteristics:
timber construction,varied and
elaborate roof structures, longhouses
on stilts, steep sloping roofs and heavy
gables, Built on stilts except for Java
Figure 6 Rumah Adat Batak
and Bali
Construction System:
post, beam and lintel structural system with either wooden or bamboo walls that are
non-load bearing
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rather than nails, mortis and tenon joints and wooden pegs are used
Batak architecture (North Sumatra) includes the boat-shaped jabu homes of the
Toba Batak people, with dominating carved
gables and dramatic oversized roof, and is
based on an ancient model.
The Minangkabau of West Sumatra builds
the rumah gadang, distinctive for their
multiple gables with dramatically upsweeping
ridge ends.
The homes of Nias peoples include the omo
sebua chiefs' houses built on massive
ironwood pillars with towering roofs. Not only
are they almost impregnable to attack in
former tribal warfare, but flexible nail-less
construction provide proven earthquake
durability.

BURMA
(between about 1050 and 1300)
There are essentially three kinds of Buddhist
structures: 1) stupas, bell-shaped structures that contain a holy relic or scripture; 2)
temples, place of worship somewhat similar to a church; and 3) monasteries, which
contain living quarters and meditation cells for monks.
The lotus motif is a decorative feature found on
the architecture of Buddhist shrines and sacred Figure 7 Pagan Structure
depositories such as chedis (stupas). The upper part of a chedi just below the
pinnacle consists of the diamond budthe pennant-shaped vane. The umbrella (hti)
is an elongated bulbous portion of the chedi known as the banana bud. Just below it
is the Kya-yint (Mumifh) that is a motif of large lotus petals encircling the chedi.
Next is the Kya-lan (Mumvef), which is the part of the chedi that resembles a
spreading upturned lotus flower. Then comes the Kya-nu which is a motif of small
lotus petals. And lastly is the Kya-Hmauk (MumarSmuf), which resembles an
inverted lotus flower. These motifs add to the grace and beauty of chedis. The lotus
motif also decorates the pinnacles of tiered roofs of monasteries and palaces and
there is also a vessel somewhat like a fruit stand decorated with lotus petals for
offering food and fruits at sacred Buddha shrines. The exotic lotus is a motif which
also adorns the gold thrones on which we place Buddha images.
Ordination halls in temples and monasteries in Myanmar are called Thein in
Myanmar, from the Pali Sima. They are used not only for the ordination ceremony
itself but also for other such ceremonies as the confession by monks
All Pagan structures were made of brick plastered with stucco except for three
buildings that were made of stone or were faced with stone. The bricks were kiln
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fired, regularly shaped and thinner but much larger that the standard western brick.
The average brick measured 36 x 18 x 6 centimeters.
Bricks were laid with great care, especially the outer bricks that were visible. The
only mortar used was clay, at times with a considerable admixture of sand. If more
complex organic binders were used, as mentioned in inscriptions, they have now
disappeared and do not appear in chemical analyses of mortar samples.
Interestingly, the high-quality mortar used as plaster on the exterior of the buildings
was never employed as a binding agent for the masonry itself, even though this
would have created a more lasting and stronger bond.
A remarkable technique used at Pagan for the construction of vaults and arches was
the pointed arch created with voussoirs. The extended use of this technique is only
found in Pagan Period buildings (and some later Burmese copies) and sets the
architecture of Pagan apart from contemporary monuments elsewhere in Southeast
Asia as well as in India. Although probably originating in India, the technique was
never widely used there and was never employed in complex ways to span broad
spaces as is found at Pagan.