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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)

(1) Energy Efficiency

(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

SOME OBSERVATIONS ON THE

TRADITIONAL MALAY ARCHITECTURE

(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.

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.

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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.