TUGAS STRUCTURE KAYU
MENULIS TENTANG PERBEDAAN STRUCTURE
KAYU DI INDONESIA DAN DI JEPANG
Disusun Untuk Memenuhi Ulangan Tengah Semester
NAMA : Zulfan Ikhsaan Lubbers
NIM : 16.B1.0075
FAKULTAS TEKNIK PROGRAM STUDI TEKNIK SIPIL
UNIVERSITAS KATOLIK SOEGIJAPRANATA
Indonesia is a country with vast natural beauty stretching from Sabang to Merauke, diversity of culture and tourism combined with the unique characteristics of each local community. One of sample of the cultural heritage of Indonesia is Architecture Traditional. The unique from Architecture Traditional of Indonesia because Indonesia has 33 provinces, each of Indonesia's ethnic groups has its own distinctive form of the traditional vernacular architecture of Indonesia, known as rumah adat.
Rumah adat or Custom House are 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. Traditional Indonesian homes are not architect designed, rather villagers build their own homes, or a community will pool their resources for a structure built under the direction of a master builder and/or a carpenter.
Nias House : Longhouse and stilts
The norm is for a post, beam and lintel structural system that take load straight to the ground with either wooden or bamboo walls that are non-load bearing. Traditionally, rather than nails, mortis and tenon joints and wooden pegs are used. Natural materials - timber, bamboo, thatch and fibre - make up rumah adat. Hardwood is generally used for piles and a combination of soft and hard wood is used for the house's upper non-load bearing walls, and are often made of lighter wood or thatch. The thatch material can be coconut and sugar palm leaves, alang alang grass and rice straw.
Traditional dwellings have developed to respond to natural environmental conditions, particularly Indonesia's hot and wet monsoon climate. As is common throughout South East Asia and the South West Pacific, most rumah adat are built on stilts, with the exception of Java and Bali. Building houses off the ground on stilts serve a number of purposes: it allows breezes to moderate the hot tropical temperatures; it elevates the dwelling above stormwater runoff and mud; it allows houses to be built on rivers and wetland margins; it keeps people, goods and food from dampness and moisture; lifts living quarters above malaria-carrying mosquitos; and reduces the risk of dry rot and termites.
Padang Traditional House : Window details and decorative
Some of the more significant and distinctive rumah adat base on each of Province in Indoenesia, for example:
1. Province Aceh
Acehnese traditional houses called "Rumoh Aceh". This custom home-type houses on stilts with 3 main sections and an additional part. Three main parts of Aceh is home seuramoë keuë (front porch), seuramoë Teungoh (central foyer) and seuramoë likot (back porch). While an additional part that is rumoh Dapu (home kitchen).
Rumah Aceh : Rumoh Aceh
2. Province North Sumatra / Batak
Architecture of traditional houses found in various forms of ornamentation. In general, the form of building custom homes in the Batak indigenous group symbolizing "standing buffalo". It is even more clear to decorate the top of the roof with a buffalo head. The traditional house of the Batak, Batak Ruma, standing tall and stately, and still mostly found in Samosir.
Karo traditional house "Siwaluh Jabu" looks great and is higher in comparison with other
Batak Karo : Siwaluh Jabu
Batak Toba: Bolon, The form of custom homes in the area Simalungun quite attractive.
Complex custom homes in the village of Ancient Causeway consists of several buildings that "house Bolon", Bolon hall, drying, abstinence hall need, and dimples. Read my next blog: Traditional House of North Sumatera
Batak Toba : Bolon
Nias Island: "Omo Niha", The shape and layout of the house type and type Gomo Moro.
Home with the type of Moro, ovoid shape diagram. While the house type Gomo,
Nias Island House : Omo Niha
3. Province West Sumatra / Padang
The traditional house of West Sumatra, especially from ethnic Minangkabau called "Rumah Gadang". Usually built on a plot of land belonging to the parent family in the tribe / people are hereditary. Not far from gadang house complexes are usually also built a mosque that serves as a place of worship and residence of the adult male but not yet married. Tower House is made rectangular and divided into two front and rear portion, generally made of wood, and a cursory look like a house on stilts with the roof shape of a typical, stand out like a buffalo horn, the local community and was formerly called gonjong roof is made from fibers before switching with a tin roof. Bagonjong house is inspired by the local community of legend, which tells of the arrival of their ancestors by boat from the sea. Another characteristic of this traditional house is not wearing metal spikes but the use of wooden pegs, yet powerful enough as
a binder.
4. Province Riau
Traditional House : Rumah melayu selaso jatuh kembar (Rumah Lancang)
Rumah Lancang
5. Province Riau Islands
Traditional House : Rumah Selaso Jatuh Kembar (Rumah Belah Bubung)
6. Province Jambi
Traditional House : Rumah Panjang
Rumah Panjang
7. Province South Sumatra / Palembang
The house is a wooden stage. In terms of architecture, the wooden houses were called Rumah Limas / pyramid house because of the shape of a pyramid roof. Inherent nature of South Sumatra with fresh water, be it wetlands and rivers, people build houses on stilts. Sungai .Musi on the banks of the pyramid there is still a house overlooking the river entrance.
There are two types of pyramid house in South Sumatra, the pyramid was built houses with floors of different heights and are parallel. Limas house whose floor level is often called a pit house. House building pyramid using unglen or merbau wood is waterproof. The walls are made of wooden planks arranged upright. For up to the house pyramid made of two wooden terraces from the left and right. Part of the terrace house is usually surrounded by a wooden fence called tenggalung barred. Philosophical meaning behind the wooden fence that is to hold that girls are not out of the house.
Limas House
8. Province Lampung
Traditional House : Nuwo sesat
Nuwo Sesat
9. Province Bengkulu
Bubungan Lima House
10. Province Bangka-Belitung Islands
Rumah Adat Tradisional : Rumah rakit/Rumah Gede
Rumah Rakit
11. Province DKI Jakarta
Traditional House : Rumah kebaya
Kebaya House
12. Province West Java / Sunda
Traditional House : Kesepuhan
13. Province Banten
Traditional House : Kasepuhan
Kasepuhan House
14. Province Central Java
Traditional House : Rumah joglo
The architecture of Central Java is characterised by the juxtaposition of the old and the new and a wide variety of architectural styles, the legacy of many successive influences by the Indians, the Persians and the Arabs, the Chinese, and the Europeans. In particular, northern coastal cities such as Semarang, Tegal and Pekalongan can boast fine colonial European architecture. The European and Chinese influence can be seen in Semarang's temple of Sam Poo Kong dedicated to Zheng He and the Domed Church built in 1753. The latter is the second oldest church in Java and the oldest in Central Java. Inland Surakarta, as a former capital, also has some fine European architecture.
Kudus House
15. Province DI Yogyakarta
Traditional House : Rumah Bangsal Kencono
Bangsal Kencono House
16. Province East Java / Surabaya
Joglo House
17. Province Bali
Bali house in accordance with the rules of Asta Kosala Kosali (the Vedas are the layout of rooms and buildings, like Feng Shui in Cultural China)
According to the philosophy of the Balinese people, the dynamism of life will be achieved when the realization of a harmonious relationship between aspects Pawongan, Palemahan and
Parahyangan. For the construction of a house should include these aspects, or the so-called Tri Hita Karana. Pawongan are the occupants of the house. Palemahan means there must be good relations between residents and the environment.
In general, buildings or areas of traditional Balinese architecture is always filled with ornaments, carvings, tools, and the color. Decorative contain a certain sense of beauty as an expression of symbols and communication delivery. Decorative forms of fauna species also serve as ritual symbols are displayed in the sculpture.
18. Province Nusa Tenggara Barat / Lombok
Traditional House : Dalam loka samawa
Dalam loka samawa
19. Provinsi Nusa Tenggara Timur / Kupang
Traditional House : Sao ata mosa lakitana (Musalaki)
Musalaki House
20. Provinsi West Kalimantan / Pontianak
Panjang House
21. Provinsi Central Kalimantan / Palangka Raya
Traditional House : Rumah bentang
Bentang House
22. Provinsi South Kalimantan / Banjarmasin
23. Provinsi East Kalimantan /Tenggarong
24. Provinsi North Sulawesi /Menado
Traditional House : Rumah Pewaris
25. Provinsi Gorontalo
26. Provinsi Central Sulawesi /Palu
Traditional House : Souraja / Rumah besar
27. Provinsi Southeast Sulawesi /Kendari
Traditional House : Laikas
28. Province South Sulawesi /Ujung Pandang
Traditional House : Tongkonan
29. Province West Sulawesi / Mamuju
30. Province Maluku / Ambon
Traditional House : Baileo
31. Province North Maluku
32. Province Irian Jaya / Papua
Traditional House : Rumah Honai
33. Province West Papua / Manokwari
West Papua has more than 300 indigenous tribes, as a group and live a nomadic life, or to move where. The traditional house has only one form of "Honai House", though different tribes, languages and lifestyles. Honai house built by wood and straw, that materials building are readily available in natural surroundings.
One Honai house, consisting of several families or single heads of households with multiple wifes and children. Home honai has circular form with a half of coconut-shaped roof. Also open space interior with 2 level, which on top level used as a bed.
Japanese architecture has long been admired for its high level of craft, precision, and simplicity. The contemporary Japanese architectural vanguard has the respect of the international design community; firms like SANA, TOKYO ITO & ASOCIATE, and Sou Fujimoto Architects continue to receive significant attention in such acclaimed exhibitions as ““A Japanese Constellation: Toyo Ito, SANAA, and Beyond," now at the Museum of Modern Art, in New York. While these and other Japanese firms design structures almost exclusively out of concrete and steel, wood was the dominant construction material in Japan for centuries. Brisk
industrialization and diminishing timber resources spurred the shift away from wood during the 20th century. Although many qualities of traditional Japanese architecture carry forward in current designs, a closer look at historical construction practices reveals how much has been lost. One of the best venues for such an assessment is the Takenaka Carpentry Tools Museum,
founded in Kobe, Japan, in 1984. The museum houses more than 32,000 items related to
traditional architecture and construction, including tools, models, documents, and scale building components, and it enables visitors to gain hands-on knowledge of past building materials and methods. To someone with limited knowledge of building design and construction, the country’s hand-built wooden temples, residences, and tearooms may appear beautiful yet obsolete in their conveyance of seemingly antiquated practices. Yet the deeper analysis afforded by the museum divulges a reality of misconceptions, paradoxes, and regressions in Japan’s architectural
Blaine Brownell A partial model of a building roof assembly, revealing the sequential nature of construction using prefabricated building components.
Complexity
A traditional sukiya-style teahouse appears remarkably simple, composed of a straightforward wood post-and-beam structure with mud-plaster walls and a few small openings. Yet this
intentionally humble structure, which dates back to the late-16th century, is anything but simple. The museum includes a full-scale tearoom in which finish materials are purposefully absent, allowing viewers to appreciate the intricacies of its varied framing and apertures. The inhabitable pavilion and accompanying material samples reveal two surprises: the intrinsic complexity of the
Blaine Brownell A view of the double-height space within the permanent gallery, showing a full-scale structural detail of the Yakushiji Temple in Nara, Japan.
Control
The use of modern engineered lumber exemplifies the architect's will to eradicate all material unpredictability and inconsistency. Material behavior in traditional Japanese architecture also appears to be tightly managed. Most historical buildings exhibit exacting construction standards with precisely repeating elements, and many centuries-old structures remain in good condition today. Certainly, the shokunin, or craftsmen, demonstrate expert control over the behavior of wood and other materials. However, their approach is demonstrably different from that of industrial methods. Explains master carpenter Nishioka Tsunekazu in Master Carpenters in Japan, China, and Korea (Takenaka Carpentry Tools Museum, 2014), “When selecting the lumber, it is not uniformity but rather individuality of trees that is important.”
Rather than eradicate anisotropy and other material variations—such as in homogeneous
sag, but they also use lumber’s original circumstances to their advantage. For example, shokunin
can manage material changes by utilizing wood in the same orientation as its living state—for example, a south-facing tree will be used on the south side of a building. Furthermore, they design details that anticipate wood’s inevitable transformation over centuries, compensating for shrinkage and deflection.
Blaine Brownell A sample of the various framing elements used in typical sukiya-style teahouse architecture.
Sophistication
Such refinement reveals profound material expertise and remarkable technological
sophistication. A common assumption is that these historic structures are physically inferior to modern wood, concrete, and steel constructions, if not technically obsolete altogether. Yet this is, arguably, incorrect. First, modern materials are often inferior in quality. The performance of an industrially engineered timber column pales in comparison to that of a single log of Hinoki
sequence-based framing system also anticipated the possibility of readily replacing damaged members with minimal waste.
Blaine Brownell One of countless hands-on exhibits revealing the intricacies of Japanese joinery.
Reviving Lost Material Wisdom
The Takenaka Museum’s artful elucidation of Japanese wood construction’s many desirable traits raise the question of contemporary architecture’s material decline. The point is not that we should mimic the style or features of historic buildings today, but that we should challenge the relative expedience and inferior quality of contemporary material practices. Certainly, resource mismanagement represents a critical problem. Explains Azby Brown in The Genius of Japanese Carpentry: Secrets of an Ancient Craft (Tuttle, 2013): “Japan’s once-extensive Hinoki forests have largely been cut down, the toll being especially heavy during the mid-20th century war effort. Today, it is among the costliest of woods.” Automation is another factor, although machine fabrication is not intrinsically worse than hand-made craft.
would benefit from a deeper appreciation of material origins, deployment, and long-term behaviors. Functioning as a catalyst for such thinking, the museum serves not only as an