Table of content

Abstract.......i
Table of content..ii
Chapter I Introduction
I.1 Background....1
I.2 Identification..1
I.3 Objective...1
I.4 Method...2
Chapter II Discussion
II.1 Signification...3
II.2 Study Case3
Chapter III Conclusion
III.1 Conclusion..7
Bibliography8













Abstract

As the main subject of architecture, human has the biggest influence that formed the
architecture itself. In the context of vernacular architecture in Indonesia, human
belief or mythology (that commonly symbolized by an animal) is another subject that
currently formed those architecture also. This paper discussed about how those
mythology (specifically formed by animal) affected the Indonesian vernacular
architecture. The result of the discussion indicated that animal commonly used as
symbolized in the vernacular architecture in Indonesia.
Keywords: vernacular architecture, mythology, symbol, animal.


















Chapter I Introduction
I.1 Background
As the main subject of architecture, human, probably not the only one that affected
the design of the space that formed. As we can learn from vernacular architecture in
several ethnic in Indonesia (Batak, Sumba, Malay), myth formed the architecture as
well as human itself. We know that human belief is formed the mythology,
mythology formed the culture, and the culture formed the architecture.
As Rapoport said, build the house is cultural phenomenon, so that the form and the
organization really influenced by those cultural aspect in which background it
(Rapoport, 1969).
Traditional building is a manifestation of the ritual aspects, cultural, social, and
material, techniques and expertise so that its manifestations are very complex (Frick
1988).
Animal is one of the subjects that oftentimes showed in order to describe those
mythologies.

I.2 Identification
In the context of vernacular architecture in Indonesia, animal has a function or
meaning that will be discuss in Chapter II in this paper. As a symbol that presented
the architecture itself and as a living thing that take apart in developing the space in
architecture.

I.3 Objective
There are several purpose that become background of this term paper,
1. To look inside whether human is the only subject that formed the
architecture, especially in vernacular architecture in Indonesia.
2. To know, as an embodiment of the myths, how big animal affected the
vernacular architecture in Indonesia.
3. Describing, with an example, animal as a symbol and living thing in
vernacular architecture in Indonesia.




I.4 Method
I try to use descriptive-analytical in the way of writing this term paper. Describing the
subject, then analysts what is it mean. The subject that describing is taken from
several fact or case study that exist in vernacular architecture, in Batak, Sumba, and
Malay.
There is the whole method that I used for writing this term paper
Chapter I Introduction
Containing describing why I choose the topic, the problem that will be discuss
in the next chapter, the objective, and the method of the paper.
Chapter II Discussion
Explain the signification of the topic that will be discussed, logical sequence
from the method, and the discussion of the topic that containing several literature
studies from several ethnic in Indonesia (Batak, Sumba, Malay).
Chapter III Conclusion
Containing my statement about summary.













Chapter II Discussion

II.1 Signification
One definition of symbolism conveyed by AN Whitehead in his book "Symbolism", as
follows " human thought has symbolically function when some components of his
experience to inspire awareness, beliefs, feelings, and a description of other
components of the experience. The device is a symbol of the early components and
devices that form the next component / gives the meaning of the symbol. Organic
functioning which causes the transition from symbol to meaning is expressed as a
reference. Meaning is the message that will be delivered in each symbol, thus there
are elements of human perception of something that is not the object or objects.
So, how the animal affected the vernacular architecture in Indonesia? As a symbol that
presented the architecture itself? Or as a living thing that take apart in developing
the space in architecture? Lets see in the case studies below.

II.2 Case Study
II.2.1 Sumba
Wajo
In a hierarchy, in the pattern of Wajo village, traditional house Soo Pilei and Peo
(use for ritual ceremony) lies at the highest contour. It is affected by philosophy of
Wajo society itself, that head lean on the mountain (North part), leg lean on the
ocean (South part). Udu mbeli kedi-ai ndeli mesi, which describing architectural
situation and village pattern as a snake that are protected the Wajo village. This
thing proved that mythical-magic of the traditional Wajos society became a
direction and orientation in their architecture.
Besides the snake that formed the pattern of the villages, a pig also involve in the
traditional ceremony within establishing the Sao Pile house. This animal used for
blood-shedding the woods or grass that still in the forest, before used for build the
houses. It is happen for asking permission to the guardian of the trees.
Waikabubak



All things that mythical-magic and contains of tradition human belief is still believed
by over 300 people in that village. And that village construct by ancestors belief.
(Kompas, Kornelis Kewa Ama)
As we can see in the picture, there is a lot of pig-jaw and buffalo-horn in the wall
outside the house. Every ritual or traditional ceremony been held, theres always
sacrificing the animal (usually a pig or buffalo) to the Marapu (ancestors). Those pig-
jaw and buffalo-horn also describing the social levels of the society, more jaws and
horns means more high in the social levels of the society.

II.2.2 Batak
Toba Batak Traditional House called the Bolon House. Type the typical Toba Batak
traditional house is the curved roof form and on the front edge of the roof is
sometimes attached to a buffalo horn, so that traditional house resembles a buffalo.
Buffalo ridge is a curved roof, the legs of the buffalo are the pillars on under the
house.



The lower part serves as a place of livestock such as buffalo, cattle, etc. The middle is
a room where human occupancy. The top of the storage places of sacred objects
(ugasan homitan). According to a researcher and writer Gorga Batak (Rumah Batak)
in 1920 named DWN De Boer, in his book Het Huis Toba Batak,
Roof Toba Batak house shaped like a buffalo's back and is the curved gable with a
pointed tip and usually placed the head of buffalo for homes similar to the buffalo.
Another decoration is on the entrance door frame, usually decorated with carvings
of eggs and darts. The held ropes sloping wall called ret-ret rope, made of palm fiber
or rattan. This strap form a pattern like the lizard that has 2 heads opposite each
other, that is the lizard is figured as a guard house and 2 opposite each other head
symbolizes the entire household has an equal and mutual respect. Pieces which
lower than the sloping walls on each side of the door were filled with a vertical
mullion board that provides the entry of light and wind.

The door under the house used to buffalo his way so he could get into the gutter. In
terms of function Batak people who like to raise (buffalo, goat, etc.) to enable the
space below as kandang ternak. By system like this in a room temperature stable
Bolon at home, at night will feel warm because the heat of the body temperature of
cattle, and at noon it will feel cool because a lot of openings in the wall.



II.2.2 Malay
Among these motifs, the most used is the one derived in the plants (flora). This
happens because the Malays are generally Muslim, so mode of animals (fauna)
feared to lead to things that smelled of "idolatry". The style of the selected animals
generally contain a specific nature or relating to a myth or belief host. Ant mode of
use-though not in actual form, called consecutive-ant because harmonious
characteristic and mutual help of the ant. Similarly, the pattern of bees, called
hanging-bee, because the nature of bees that are always eating clean, then remove
it for the benefit of people crowded (honey). Dragon pattern associated with the
myth of the mighty dragon as ruler of the seas and so on. In addition, the celestial
bodies like the moon, stars, sun, and cloud patterns used because it contains the
value of a specific philosophy.


Decoration hanging-bees

Decoration is located under the roof stream (Lesplang) and sometimes under the
stairs is called "bee dependent" or "waves. glowing symbol on decorative motifs,
believed "beehive" which depends at the branch of the wood.
According to the Malay culture perabung decoration contains several meanings,
among others. One of them is about attitude of sacrifice and selflessness, taken from
the nature of honey bees that provide service to mankind.






Chapter III Conclusion

III.1 Conclusion
It is true that human is the main subject of architecture. But, in the context of
vernacular architecture, human in here doesnt mean human as a body that need
space, rather than human belief that formed the mythical-cultural belief which in the
end formed the architecture. As we can see in the pattern of Wajo village which
formed by the mythical-snake (that guarding the village)
As a symbol, animal presented the mythical-cultural belief that formed the
architecture itself. The house in Waikabubak for example, the jaws and the horns in
the wall of the house are presented the owner social levels in the society.
As a living thing, animal also affected in developing the space in architecture. In Toba
batak traditional house for example, the house enable the space below for the
animal (ternak) to live on.















Bibliography

Yunus, Akhmad dkk, 1985. Upacara Tradisional Daerah NTT. Jakarta: Depdikbud.
de Vletter, Nas Martien, 1991. Arsitektur di Indonesia.
Avianti, Sri Wresti, 1997. Antara Arsitektur Tradisional Rumah Sumba dan Arsitektur
Tradisional Rumah Joglo di Jawa. Jakarta: Jurnal Arsitektur UI Kilas.
www.kompas.com




















TERM PAPER
ETHNIC ARCHITECTURE




ANIMAL IN INDONESIAN VERNACULAR
ARCHITECTURE

BUYUNG ANGGI
0706269022









DEPARTMENT OF ARCHITECTURE
ENGINEERING FACULTY
UNIVERSITY OF INDONESIA