0310587 Chan Kah Leong, Leon; Asian Architecture; Project 1 Case Study

Asian Architecture [ARC 2213/2234]

PROJECT 1: CASE STUDY

The implementation of a Contemporary design as a sustainable vernacular architecture in Phase 2 of Belum

Rainforest Resort.

NAME: Chan Kah Leong, Leon

STUDENT ID: 0310587

LECTURER: Ms Ida

SUBMISSION DATE: 12 June 2014

The implementation of a Contemporary design as a sustainable vernacular architecture in Phase 2 of Belum Rainforest Resort.


Table of Contents Page

Abstract ..........................................................................................................................2

1.0 Introduction.............................................................................................................2

2.0 An Overview of Vernacular architecture and contemporaty design........................3

3.0 Importance of both vernacular and sustainable contemporary design...................5

4.0 Overview of a Traditional Malay House..................................................................6

5.0 The adaptation for Phase 2 in Belum Rainforest Resort Phase 2..........................9

5.1 Similarities & Differences.......................................................................................

6.0 Improving vernacular architecture of Belum Rainforest Resort Phase 2..............12

7.0 Conclusion............................................................................................................13

8.0 References............................................................................................................14

ARC 2213/2234 Asian Architecture 1


Abstract This paper investigated on the viability of traditional vernacular architecture in a

traditional Malay house in terms of its sustainability in the contemporary architecture

which is the new Belum Rainforest Resort Phase 2. Literature review was conducted to

gain a basic understanding of the traditional Malay vernacular architecture. A

comparison in spatial layout between the traditional Malay house and the Belum

Rainforest Resort Phase 2 was intended to evaluate how Belum Rainforest Resort

Phase 2 executed vernacular architecture in a modern context. It was found that Belum

Rainforest Resort Phase 2 supports the growth and spread of natural climber plants

like vines, with the use of more modern materials like concrete which provides a rough

texture that lets the plants take root instead of smooth wood, the reuse of modern albeit

local materials like reclaimed steel rebar or compressed mud and soil. This was seen

as a design decision that responds to the modular requirements of the site. Freed from

the constraints of the old system, a new and dynamic adaptive architecture revitalizes

preconceived perceptions of vernacular architecture by employing newer yet simple

construction methods and technology.

1.0 Introduction

Prior to the contemporary influences in Malaysian architecture that was brought

about by western influences and the industrial development following fifty years of

independence, there were little to no variations in vernacular architecture. Back then,

vernacular architecture is commonly associated with traditional Malay houses. These

traditional Malay houses are considered to be one of the richest components of

Malaysia’s cultural heritage. As they were built by the user and the villagers, the quality

of construction and time taken to construct greatly differ. They however are highly

personal and adaptable to user specifications whilst addressing climatic response and

sustainability. Future additions can even be added to ibu rumah as the family grows or

as the user acquires the finance to build a bigger house.

Belum Rainforest Phase 2, designed by the architecture firm Juteras Sdn Bhd, is

located in Perak and incorporates six villas built in the aesthetic style of traditional

Malay homes in Perak that are adapted for contemporary and commercial use. Behind

the villas are modern executive suites that use a sustainable contemporary design in

addition to being vernacular in nature. The design of the executive suites are drastically

different to that of the villas because the firm’s original interpretation of vernacular



architecture is a modern design principle that fits its particular site context and usage,

whilst improving sustainability by supporting its natural environment. The villas were

constructed to fit the client’s initial perception of a vernacular architecture.

Belum Rainforest Resort Phase 2 challenges what defines vernacular architecture

in Malaysia by introducing modern day practices whist still improving upon pre-

established concepts. The Malay houses served the housing needs of the majority of

people living rural areas, even till this day. It is a design that has evolved according to

the needs, culture and environment.

This paper will investigate the implementation of a contemporary design as a

sustainable vernacular architecture in Phase 2 of Belum Rainforest Resort by

responding to the following questions:

1. What defines vernacular architecture and a contemporary design?

2. What is the importance of both vernacular and sustainable contemporary designs?

3. What is an example of a traditional vernacular building?

4. What was the adaptation for Phase 2 in Belum Rainforest Resort?

5. What are the similarities and differences between the contemporary Phase 2

architecture and the traditional Malay House?

6. How can the vernacular architecture of Belum Rainforest Resort Phase 2 be

improved?

2.0 An Overview of Vernacular Architecture and Contemporary Design

To quote from Francis DK Ching’s book, A Visual Dictionary of Architecture,

vernacular architecture is a style of architecture exemplifying the commonest building

techniques based on the forms and materials of a particular region, period, or group of

people. By some definition, vernacular architecture can also be described as an



empirical architectural theory that lacks the mediation of a professional architect, i.e.

architecture without architects. The concept makes use indigenous materials, simple

and efficient design, and locally influenced forms that is highly unique.

In other to define “contemporary” architecture on the other hand, we first have to

distinguish it from “modern” architecture. In its most literal sense, contemporary

architecture is architecture of the moment, being produced in the present era. Modern

architecture is architecture that strove to differentiate itself with the past, specifically the

traditional styles before the Industrial Revolution, around the mid-20 th century.

Therefore contemporary architecture is highly innovative and does not necessarily refer

to any single style at a given point of time but is constantly changing and evolving. A

common trend of contemporary architecture of the now is to produce green eco-friendly

buildings, reuse old materials in fresh new ways, adopt present-day technology to

enhance the design and fabrication process, and almost always has the needs of the

user as the driving force behind the architectural idea. These common characteristics

of contemporary architecture allows it to synergize well with traditional vernacular

architecture.

Figure 1 Facade of a Traditional Perak Malay House (Source: Offdcouch, 2011)



Figure 2: Perspective of the contemporary architecture of Belum Rainforest Resort Phase 2

3.0 Importance of both vernacular and sustainable contemporary design

Vernacular architecture in the 21st century is slowly but surely has been

repurposed to address current global issues in the built environment after being largely

ignored by professional architects in the past. Frank Lloyd Wright has once described

in contempt about vernacular architecture as “Folk building growing in response to

actual needs, fitted into environment by people who knew no better than to fit them with

native feeling”. This critical statement hints towards vernacular architecture as a

primitive form of built form, lacking creative thought and thorough thinking.

However, more open minded and contemporary architects have returned to

analyze and scrutinize the design foundations laid down in the past by vernacular

architecture. They are attempting to find old solutions to new problems. As a design

that has proven to be energy efficient and altogether sustainable, it also serves to bring

back cultural building traditions in this age of rapid urbanization and technological

marvel. Since vernacular architecture came about in response to a humanistic

response of mankind to shelter himself from the elements with only immediate material



on hand, this simple architectural belief helps to combat rising energy costs in modern

society by employing passive means.

Despite having access to even more diverse materials than ever before, the

planets resources are rapidly dwindling in order to cope with the demand. An

unfortunate fact of the matter is that the building industry is huge contributor to the

current global environmental crisis by way of expelling high amounts of greenhouse

gas emissions. Not only will contemporary architecture based on traditional vernacular

architecture be more energy efficient by design, the embodied energy/demand required

to construct and transport materials to the proximity of the construction site will be

greatly lessened.

Finally it provides an identity which is easily recognizable by the community and

outsiders as a whole. This is especially important at sites like Belum Rainforest Resort

as it is a tropical getaway. The immediate association to the region attracts tourists visit

and gives a unique sense of belonging to the building. This enables not only the urban

built space to be relatable but for also the people there to fulfill their desire to be

culturally connected to the place.

4.0 Vernacular architecture of a Traditional Malay House

Traditional Perak Malay Houses are exceptionally well constructed to suit the

local hot and humid climatic conditions whilst employing good economy of space by

having multifunctional rooms. This built houseform normally has gable roofs, porches

on the front façade, verandahs, wide and long fenestrations to allow adequate

ventilation and interior illumination, high ceiling, long stilts and are built by local

craftsmen and from local materials.

It was a necessity to elevate the basically post-and-lintel structure off the ground

with stilts so as to avoid damage by flooding and to also allow ventilation to cool the

floor. On the façade we can also find it has a long gable roof normally called bumbung

panjang with large overhangs. The large overhangs prevents the heavy rain from

entering the house in lieu of the large fenestrations all alongside the building. They also

provide plenty of shade in the hot climate and cut down the sun’s glare. The simple

gable roof supported by kingposts has ventilation joints and ventilation grilles at its

gable ends that work in conjunction with the large fenestrations all alongside the

building to effectively cool the house down.



Figure 3: Diagram illustrating the flow of ventilation through the building

(Source: Archfullstop, 2010)

As it was built with adaptability in mind, the building has a very humble yet

practical design language that reflects its culture and its dependence on nature. The

house efficiently suits local climatic conditions with passive design by using low thermal

capacity building materials and with a lot of solar control devices. Additionally the

house has an intelligent prefabricated and flexible layout that is open to change as

much as the user sees fit. This is due in part to the interior spaces having no partition

or walls to separate the spaces, but are defined by changes in floor level. Besides once

again enhancing air flow, it allows the spaces to be combined or have multi uses. This

feature allows the house to conveniently accommodate large gatherings of people, for

example, during the many communal celebrations common in Malay culture. Being

prefabricated grants a great deal of versatility to the form with practically infinite

variations befitting the needs of its user. The building is a progressive process, often

taking years to complete, thus allowing the user to invest in the house by gradual

increments.



Figure 4: Diagram Illustrating the design and layout of a traditional Malay House

(Source: Archfullstop, 2010)

Through many generations of external influences, the Malay architecture has

drawn inspiration from the Portuguese, Dutch, Acheh, Minangkabau from the West; the

Indonesian Bugis, Arab and Indian from the North; and Southern Chinese from the East

and this have a very diverse range of styles depending on the region. This is important

to note as it shows that even traditional vernacular architecture can evolve like

contemporary architecture and create a new identity.

Figure 5: Diagram illustrating the variation in design of a traditional Malay House

(Source: Hbp, n.d.)



5.0 The adaptation for Phase 2 in Belum Rainforest Resort Phase 2

Belum Rainforest Resort Phase 2 consists of six kampong-style houses, 36

new rooms in the executive suites, a larger main lobby, a convenience store, five spa

rooms, a larger main lobby, and an administrative centre. It is part of the Pulau

Banding eco-tourism project near 130 million-year-old Belum Temenggor rainforest

carried out by the Emkay Group.

Taking cues various cues from traditional vernacular architecture, Juteras Sdn

Bhd has designed two different types of buildings that have their own take on the

philosophy. Taking a look first at the executive suites, it can be argued that it isn’t

vernacular architecture at a glance. However, the architects desired intention and

reasoning behind a contemporary building when requested to do a vernacular

architecture lies deeper beyond the external aesthetics of the building.

Figure 6: Diagram showing the side façade of one the suites

While it employs a very contemporary design, the initial driving idea behind

the project was to make an eco-friendly, practical and affordable use of building

materials and building technique. The architecture of the building uses locally

sourced materials in close proximity to the site. Examples include the many trellis

around the building that allows climber plants to grow are reclaimed steel rebar from

previous projects and that the walls on the front façade of the each suite has a



rammed earth wall made out of the surrounding mud found at the site. Other features

that were intended to take influence from vernacular architecture is the modular and

clustered nature of the buildings. All the suites hard a similar rectangular box shape

that are very organized and respond to their site context very well. It also makes

great use of space by providing access to its flat roof via a series of walkways. These

spaces serve a multitude of function, from having feasts, to barbequing or to just

have a good vantage point for sightseeing. The aforementioned steel walkways also

have perforations underfoot so as to not be so hot when tourists walk on them

barefoot after a swim. The rooms and the building themselves are all human scale so

as not to be so ostentatious against the backdrop of the lake and the surrounding

environment. The layout of each room within the suites also aim to maximize the

efficient use of space by having no heavy walls inside, with the bathtub even situated

by the backyard of each suite on the lower floor.

Figure 7: Bird-eye-view of the villa

Figure 8: Picture showing that the roof is no longer the traditional design in

order to accommodate wires and pipes



The other attempt at a vernacular design is in the more familiar shape of the

traditional Perak Malay house. However there are plenty of amendments to its design

and layout that sets it apart from a traditional Malay House. Each individual villa is far

more spacious compared to the executive suites and more rooms for dedicated

purposes. They come with a veranda, a toilet, a room with a long dining table and at

least one bedroom depending on the villa chosen. They also feature stilts and a gable

roof design. Since they are designed for more practical use and ease of comfort they

also come with basic amenities like lights, fans, Wi-Fi and even air conditioners.

Besides aesthetically resembling a traditional Perak Malay House, the façade also

has contemporary design elements like ram earth walls to grant an increased sense

of privacy and even steel and metal trimmings with nails or screws to fix certain

elements in place.

5.1 Similarities & Differences

It is more interesting to first analyze the similarities and differences between a

traditional vernacular Malay house and the villas in Phase 2 because of their physical

resemblance at first look. A similarity that they both share and is a defining

characteristic of a traditional Malay house is that both are supported by stilts. However

the villas are only supported by the stilts on the cantilevered side overlooking the lake.

This means its function is not the same as the ones found in a traditional Malay house.

Here it is to provide support and balanced and doesn’t need to address flooding as it

has a far more concrete foundation. Both the villa and traditional Malay houses are

built predominantly with timber, lending it its distinctive and recognizable appearance.

Both the villa and the traditional Malay house have a long overhang that

generally serve the same purpose of shading the big windows on the façade from glare

and direct sunlight. However since the villa’s windows have glass on them, they no

longer function as allowing ventilation through the building and do not require the

overhangs from shading the interior from getting wet during the rainy weather. This

modification allows the villa to have bigger and more numerous openings without

concern of getting the interior wet or compromising the comfort of the user. Although

gable roof employed no longer has openings that provide a flow on ventilation, it now

allows the use of more conventional cooling methods that use electricity or opening the

big windows for natural ventilation and sunlight.



The layout of the villa also greatly differs from the more traditional design. It now

contains partitions and walls that separate and segregate the spaces into specific uses.

It unfortunately did not inherit the hierarchy of spaces found in traditional Malay house

despite having floor drops to denote a change in space. Despite the change in layout,

both still have a veranda that serve somewhat same purpose that is normally

connected to the bedroom. Furthermore, the design of the building is such that it is

harder to build extensions or change the form.

Figure 9: Diagram illustrating the general layout of the each villa

While the executive suites couldn’t be more physically different than traditional

vernacular architecture, I feel it has a more encapsulates the essence of vernacular

design more. Both address the need for eco-friendly and practical living spaces

sourced from the local environment but approach them at a different angle. Both have a

relatively small interior space that maximizes its use by having little to no partitions or

walls. Both aim to coexist with the environment, in the suite’s case by allowing the

plants to grow over the compound and up the concrete stucco walls and trellis,

ultimately intending to provide shade from the sweltering sun. The inclusion of the top

deck and walkways for walking gives a greater versatility not found in the villa.

6.0 Improving Vernacular Architecture in Belum Rainforest Resort Phase 2

In relation to the villas found at Belum Rainforest Resort Phase 2, the

application of vernacular architecture is too shallow and superficial. The layout of the

villa ignores the unique and fundamental characteristics found in traditional Malay



houses, like the clever usage of more passive cooling properties. Here the elements of

the traditional Malay house are used mostly as mere decorative ‘cultural symbols’.

Since the design already has contemporary design influences, they concrete walls

should be more eco-friendly and affordable by using congregate recycled from other

projects. Recycled concrete has lower life cycle assessment compared to traditional

concrete and is more sustainable and energy efficient whilst maintaining the same

outlook and durability.

For the executive suites found in phase 2, there should be more fenestrations

that are also orientated towards the lake to take advantage of the cross ventilation. The

bottom units are forced to rely on artificial lighting and active cooling because the ram

earth wall is positioned in such a way that it blocks too much potential natural wind

coming from the lake. Instead they should have a longer overhangs like the traditional

Malay houses that serve the same purpose of the wall that is to provide shade, yet

enabling better ventilation. The over reliance on electricity could also be alleviated by

having solar panels installed on the open deck on the rooftop where there is a lot of

space.

7.0 Conclusion

There is still much that contemporary architects can learn from traditional

vernacular architecture. The executive suites are one step closer to providing a

contemporary design whilst relying on locally sourced labor and materials whereas the

villa is a disappointing attempt at emulating traditional vernacular architecture. It should

also be noted that a lot of design principles that made the traditional vernacular

architecture so successful has become obsolete and can no longer be applied in this

day and age, for example, society today puts much greater focus on privacy. From this

we can understand that we cannot truly build traditional vernacular buildings as

architects but we can study them and apply the ideology into a more radical and

contemporary design. The executive suite is already beginning to challenge our pre-

conceived notion of vernacular architecture and there is a greater potential in the future

of contemporary vernacular architecture if the construction industry continues in that

direction.



8.0 References

Francis D. K. Ching (2011). A Visual Dictionary of Architecture (2nd ed.). John Wiley &

Sons, Inc.

Sarah Edwards (2011, August). Vernacular Architecture and the 21st Century.

Retrieved from www.archdaily.com/155224/vernacular-architecture-and-the-21st-

century/

Miss Doo Ree (2008, March). Traditional-Malay -House Blog [Web log post]. Retrieved

from http://traditional-malay-house.blogspot.com/

Lim Jee Yuan (n.d.). Under one roof. In Sabri's Home Page. Retrieved from

http://www.sabrizain.org/malaya/library/malayhouse.pdf

Ham Scsfulie (2010, November 12). aRchitecture FullStop: Traditional Malay House. Retrieved from http://archfullstop.blogspot.com/2010/11/traditional-malay-house.html

Assoc. Prof. Dr. A. Ghafar Ahmad (n.d.). MALAY VERNACULAR ARCHITECTURE. Retrieved from http://www.hbp.usm.my/conservation/malayvernacular.htm

The traditional Malay house. (n.d.). Retrieved from http://tcdc2.undp.org/gssdacademy/sie/docs/vol4/malay_house.pdf

Von Holstein Group (n.d.). What is contemporary vernacular and why is it so important? | Von Holstein GroupVon Holstein Group. Retrieved from http://vonholsteingroup.com/what-is-contemporary-vernacular-and-why-is-it-so-important/


http://vonholsteingroup.com/what-is-contemporary-vernacular-and-why-is-it-so-important/

http://vonholsteingroup.com/what-is-contemporary-vernacular-and-why-is-it-so-important/

http://tcdc2.undp.org/gssdacademy/sie/docs/vol4/malay_house.pdf

http://www.hbp.usm.my/conservation/malayvernacular.htm

http://archfullstop.blogspot.com/2010/11/traditional-malay-house.html

http://traditional-malay-house.blogspot.com/

http://www.archdaily.com/155224/vernacular-architecture-and-the-21st-century/

http://www.archdaily.com/155224/vernacular-architecture-and-the-21st-century/

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