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.

ARC 2213/2234 Asian Architecture 1

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 ................................................................................ 11

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

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

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








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

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

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

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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)


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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 21
st
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
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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 faade, 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 faade 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 suns 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.
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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.
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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.)

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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 isnt
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 faade 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
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previous projects and that the walls on the front faade 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
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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 faade 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 doesnt 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 faade from glare
and direct sunlight. However since the villas 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.

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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 couldnt 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 suites 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
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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.



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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/