The Meaning Of Symbols Used In The Traditional Building Of Melayu Deli Serdang Society

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APPENDICES

MALAY DELI TRADITIONAL HOUSE

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REFRENCES

Sembiring, Matius.C.A.2013. Buku Pedoman Program D-III Studi Bahasa Inggris. Unpublihsed.

Catford, J.C.1965.A linguistictheory of translation: an essaybin applied linguistic. London: Toronto.

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3. THE ANALYSIS

3.1 The Analysis of Symbol and Meaning of Malay Traditional House

This paper discusses about traditional malay house. the malay house is a house built without nails, in fact, long before the arrival of outside influence, the native Malay Peninsula and Sumatra as well as other indigenous borneo has a sophisticated system of housing, beautiful and harmonious with the lifestyle and the nature around. While the Malays and the indigenous population on the peninsula, Sumatra and other islands are usually built a House (ala banglo) who live in a large family by; some tribes in borneo even more fond of the concept of ' the long home ' that can be occupied many people! every family to inhabit a part such as a ' named ' apartment next door, withanjung terbuka in front (called ' ruai ' in serawak) that connects all units into a long building. the materials used in the extract from natural sources that can be updated, i.e. various types of timber, rattan and Reed also to leaves

The House is

and boughs.

the oldest Malay Words. If according to the views and opinions of the people of old, that the words of the House is a translation of the Java language i.e.griya or gir. While the mountain is a natural from of the the original so great. Javanese people call home senagai bhodo, which has a broader meaning again. In addition to calling home, perekataan was alsoused to describe a building that not only has significance as the residence

-Terms of Use

of the family. In addition to food, clothing, housing and miniman is something the most basicneeds. And if seen in General has three meanings, yaitu:

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-In terms of Taste -In terms of a symbol

1) In Terms Of Its Usefulness, as a shelter from the rain and heat, on the dock and go home. As the place of individual activities as well as societal as well as a few otheractivities. The Malays could not be separated from home, just as they were born, livedand died. This life must be very in touch with the House as a place of residence.

3) of purposes of the instinct that is giving a sense of security, at peace, a senseof harmony, and gainpeace of mind. The Malays consider home is a piece of the place which belongs to its inhabitants.

4) In Terms of The Emblem, it gives a sense of pride to its inhabitants. Therefore, everyMalay people aspire to build a large and comfortable home. Certainly the views offinancial ability, social position and to have a House with an interesting shape maker.

The form of the Malay House usually only 2 (two), namely (1) the form of a rectangle with a long Ridge (rumah bubung melayu atau rumah belah bubung) called rumah melintang or also known asbubungan Melayu , and (2) of the rectangular-shaped Ridge with limas and called the limas House. Forms this form of mains building without taking into account the building's kitchen and aligned or porch. Usually, part of the parent House of the Malays with separate kitchen building. This separate buildings connected by a connecting buildings that are smaller than the parent buildings and building kitchen .This liaison edifice called "kilik anak" or “gajah menyusu" or "susur pandan". So,the kitchen building

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is the annex of the rear of the House. In the kitchen, made also apiece that merges with the kitchen and somewhat protruding out called "Pagu" that serves as a place to compose dishes and freshly washed glass. In addition, on the part of the kitchen made related to the selasar or "ketapak". selasar, or ketapak this section serves as a place to wash the dishes.

Additional building houses not only in the rear, but also performed in front of House .The building is called a selasar or beranda or anjung. selasar or beranda is divided into two types, i.e selasar berdinding and selasar terbuka given engraved fence. The buildings traditional Malay houses have a platform so that the House is called rumah panggung. Malay houses are usually made of hardwood, such as punak, for homes that are on the ground, and for existing homes nibung on the beach. The floor is made of thick boards, especially in the building lobby's parent, while the kitchen, there is made of planks and some are made from floor nibung or betel nut. The roof is made from sago palm leaves are woven in such a way by using parts of rattan in the look slim. Thatched roofs can last up to 10 years if plaited glazed and previously soaked in water for about a week. Matting like this called "webbing eye.

According to the custom of the Malays, the search for wood or "beramu kayu" done by the builders also or certain people that his work as a peramu kayu. It is they who determine a decent, good wood is seen in term of the quality of the wood as well as seen in terms of magical powers. To serve as the ingredient of the House.

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Head to the wood can not be done on a daily basis, but there should be a walker his or her good days. So did his treatment as they will cut the wood. Typically, peramu is using spells spells. This is done so that it does not appear the events that can be detrimental to the owner of the House or so as not to bring

Any bad luck.

framework should pay attention to the mounting base and the other end of the wood so as not to incorrectly install or breech. If this happens, according to the beliefs of the Malays can give rise to incidents which are not convenient for the homeowner and his family. The establishment of any House should be regulated anyway day and ground to be built home "turned off" or "deadly ground" ceremony. The ceremony of turning off this land with the devil in order to penyemahan the land which inhabited the land the House is gone and does not bother the landlord

3.2 Composition of the Malay House and his family.

Malay House consisted of three major elements, namely, pillars, walls and pillar. The strength and resilience of a House is dependent upon the combined building materials that fall into the "pillar of the passage". The most important building materials in this passage is the pillar of the House. Therefore construction must be than other types of wood are best, strong and resistant to bear the heavy burden of home building.There are various types of Poles in Malay homes. There is a long series of pole, pole, pole porch, pole, pole sticks and pendants add pole or mast supporter. The "main pillar" in the central part of the House long bubung also usually longer than on the same porch pole "up". In the

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row of the long pole, there is a pillar of the so-called "pillar". This pillar is the "pillar of custom" and it was important in the construction of the home. Short pole, pole pole sticks and pendants is just as high as the floor level only. Pole sticks or poles of Cedar floors tall and also usually plus later strengthen the position of the floor.

3.2.1Rasuk

Rasuk is a wooden house building materials serves as a binding order to the House. Without rasuk, pole – pole can not stand properly. rasuk normally used is a hard wood. Rasuk mounted penetrating mast. In addition to the known by the name of rasuk, usually this section also called "gelegar jantan" or "gelegar induk".

Lines horizontal wood is located above the "Reed" is called a girder. It serves as the base floor. "Sill" is the closing end of the wooden floor, encircling the building next to the outside of the House. Use as a separator Foyer spaces, home moms, the hose and the kitchen.

3.2.2Girder.

Girder-shaped round, half-round or square. Its size is smaller than rasuk. Girder arranged transverse (within certain) above rasuk. The number of certain number specified with the girder. Typically, the number of girder is useful to specify the "size of the House" for its owners.

3.2.3The Stick

The rod is part of the most down home, stick made in such a way from the ground (embedded into the ground) to prop up rasuk. Along the pole, the stick

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became the main strength of the joint home. That is, a sturdy Rod will allow the home to be strong anyway, and vice versa.

3.2.4The Ladder

The staircase is part of the House that serves as a place for people to go up and down from the House. The ladder consists of pillars of ladders and stairs. Mast ladder flat, rectangular, or round. The foot of the ladder (the ladder next to the pole below) there are planted and some are given a pedestal with hard objects. Upper part leaning to the resting threshold and is located above the sill.

Stairs round or flat. On the left of the right stairs sometimes given the hand ladder. This section in pairs parallel to the mast ladder and always given a decoration in the form of grating arrays or perforated Board. Stairs are sometimes bound with straps on the steps, but when the flat was sculpted (thin) into the mast ladder. Straps, usually made from rattan. While the number of stairs along with customized high low House. The higher the home more and more children of his own, also recommended the number showing a certain meaning. Singular staircases (one only) refers to the meaning of "oneness of God", four "number of companions of Nabi Muhammad", five "pillars of Islam", and so on. The distance between the rungs was not determined, but according to the custom of the distance of the steps between each other more or less a cubit. An important distance of stairs must be arranged in such a way that people easily go up to and down from the House. The ladder can be also made of cement. This cement staircase designed in the form of as beautiful as possible.

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3.2.5 Sill

Sill rectangular or round. The material also allowed no sill attached, and the same with the pole series and rasuk. Sill is also useful as a home room limits and boundaries of the floor.

3.2.6The Floor

The floor is the space between the pillars of the passage with the passage wall, wood on the girder. In ancient times people used the "lantai jerai", i.e., the Reed every single width approx 5-6 cm. slats-slats that were organised over the loud and packed with Wicker or roots. There also are using the floor than the reeds and fresh. Today Malay House floor turned into a Board that is cut with a saw or in pepatil with tarah. Now it is a lot of floor boards made of berketam which can be purchased from the refinery's Board.

3.2.7The Frame

The frame beam-shaped oblong or round. Its main usefulness is the place to attach the walls and pillars of the connectivity, rasuk as to cover the pillars. The frame is mounted perpendicular to the cover of rasuk pillars. At both ends are given a nipple. Putting the bottom was sculpted into rasuk, while putting the top of the chisel right into the lid of the mast. The frame material is the same as the ingredients of rasuk, i.e. hardwood.

3.2.8 Sentur

Sentur is a wood that connects the frame with the frame. Sentur made of wood square or round. Material such as porridge, but smaller in size and both ends of the sentur carved into the porridge.

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Sentur useful as a frame of a wall, door frame, and frame Windows (frames). The amount of sentur depends on the high wall as well as the number of doors, Windows, and vents. High-walled homes that need sentur more than a low-walled House (short). The more doors, Windows, and vents of the home, more and more also needed sentur.

3..2.9The pillars of the CAP

Closed rectangular pillars or beams. The magnitude depends on the size of the pole and useful as the upper locking pole. The materials used are the same with porridge. Close the pole connecting the four pillars series called "long pole" cover, while connecting with other pillars referred to "close the short pole".

3.2.10Reed

Wood mounted transversely in the upper lid of the mast is called a partition. Its shape is rectangular or round. The material is the same as the pillar of the CAP. The point can be likened to the attic or as beam girder pull under horses. Its size is equal to or slightly smaller than the cap on the pole.

3.2.11 The Rafters

Rafters rafters are called "large" males are useful as walk the horses, while smaller rafters on Rafter calls "females". Useful as a place to attach the roof. Rafter males located below the rolls-rolls, while the female's is located at the top of the Rafter rolls-rolls. The shape is there a round, flattened, or square. Material from hardwoods, especially for males, while Rafter to Rafter females can use nibung or Reed.

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3.2.12Rolls-rolls

Scroll-scroll shape is round or square. Rolls-rolls are mounted parallel to the bone bubung, above the rafters males.

3.2.13Bone Bubung

Bubung bone is the wooden top (on top of the roofs of the meeting). The material of hardwood, while the shape is round or square. Bone bubung Rafter is a meeting place and the tip of the roof next to the top.

3.2.14Pointing to the sky

Pointing to the sky rectangular or round. Material from hard wood or similar materials with pole series. The point as a pillar of bone place bubung and horses. Pointing to the ceiling mounted on top of the pole caps on both ends of perabung, while the middle is mounted above the reeds. The amount was not determined, but at least three pieces, two on the end and one in the middle. On top of the ceiling mounted horses and walk the horses. It's mounted bones bubung. 3.2.15The wall

The wall is part of the construction of a just wake up the House. The wall serves as a decorative addition to a contraction, engraved with a draw.

In the days before the wall Board is introduced, a Malay House using leaves to the wall. The leaves are used including leaf bertam, your Kindle, sago Palm and also a palm leaf. It leaves arranged become fields.

There are also using the wall made of bamboo. This wall can still be seen at home few long bubung area. The wall is made of plaited reeds that bar according to the desired pattern. Pelupuh style known as "kelarai", Wall

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pelupuhcould hold up to 80 years. An example of a House that uses a stylish tepas kelarai wall is the "Palace of the Tepas" or better known as the "Castle on the Hill" Cadan Kenanga, Kuala Kengsar, silver.,Dari kabar yang di dapat, this Palace was built in 1918, and became a temporary abode of Sultan Iskandar Shah (Sultan of Perak who ruled from 1918-38), this is done because it is looking forward to the completion of the official Palace (Palace of Iskandar in the construction).

3.2.16The door

On the walls there are Windows and doors. The door is a wall that can be closed and opened. The point gave way to the occupant comes out in. .. The doors had two leaves the door opened inwards, and rarely Malay houses leaves the door opened out. In the central part of the House there are also the "pintu gelangsar ", that leaves that door on the slide to the edge of the wall during the open. The doors of the first traditional house usually using ";" and "doorstop", but modern limas homes now use the key or mango.Doorstop also serves as key tools so that the door cannot be dikopak by nasty unwanted evils. In addition to that stake can also be used as a weapon if they were attacked by people during their opening doors.

Home – Malay traditional house usually has three doors, the presence of which is located in the Foyer or on the porch, the door also located on the hose or hose in kelek's children and the back door which is located behind the kitchen. Besides the doors leading out of the House, there is also a door in the home, that

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is like the door of the cubicle door, porch and doors separating the spaces of the mother house, the hose and the kitchen.

3.2.17 Window

No Windows according to certain arrangements. First, the Malay House using home Windows limas Melay. There is still a traditional Malay houses of old age that maintain large form of old, the Windows have a piece is leaves Windows open towards the House. Open window space is usually turned on "wood lattice". Windows usually consist of two pieces of leaves Windows open out. There are some Windows leaves his window made to the floor and half of the grille and window openings are given some not re side.As for home made with various window modes, apart from a piece or two pieces leaves a window.

3.2.18The Wind Holes

Is a hole which made specifically to get out the influx of wind (air). Vents are usually made octagonal, rectangular, or round six. In simple houses vents made of square shape. Usually, the wind hole was given a specific lattice, spherical-shaped coma, oblong, or interwoven and mixture. Vents are made specifically with various decoration called the "hole of the mirror".

3.2.19The attic

The attic is called "langa". Loft located above the back of the House are called "role" or "the", but not many who wear the attic. The attic floor is made of boards arranged a meeting just as the floor of the attic floor, only smaller and thinner. On a House that is not apparent in certain ceremonies of the attic, the upper part (the attic) closed with a fabric called "ceiling". The fabric is usually

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made from patchwork with colorful then sewn into a large field according to a certain pattern.

Many attics made didn't cover the entire upper part of the space, but only a part of the course or the shape of the letter "L". the attic was not walled, but given the ornate lattice made of wood or Board tebuk bubutan.

3.2.20Teban Screen

Also called "singap" or "splint". This section is typically made of multilevel and given a decoration as well as useful as a hole in the wind. On the part that protrudes out given the floor called "Reed" or "floor of the Hawk-the Hawk".

3.2.21 The roof

The main material of the roof is a palm leaf, leaves the Sago Palm, then also there are tiles, zinc and asbestos. A roof made of palm leaf or leaves of the palm leaves were made with a single piece of wood at a braiding called "bengkawan", usually made from slats staple nut, nibung Palm Grove or boughs, Reed. On bengkawan that's a roof attached, woven with rattan, reeds, leather or skin stem of sago Palm. If the roof is made of one ply leaves called "kelarai", while if the two layers of the eye is called the "crab" (the roof). The roof of the eyes of the crab class more meetings, thicker and more resistant than the roof of kudi.

Half-walled loft called "platform lurking". Attic in the back (the) made in a very simple form with a rare floor. L-shaped loft is a loft-shaped elbow-elbow,

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and the attic is made if the home of the Virgin. They lived above the attic (especially adult or was engaged) as a bed and a place to weave fabric.

3.2.22Bubung Bubung (second)

covers a wide range of wooden frame, wooden partition length (head of a pole) to the bones of his perabung above all. Composite materials on wooden rafters bubung consists of males, females, Rafter rolls-rolls, point to the sky, dragons, perabung bone (bone of the pillar), jeria, roofing and more.

Over bubung there close bubung. Layer of cover is made from various ingredients bubung. In ancient times, people use the "roof of your Kindle", i.e. the leaves of your Kindle (a type of Palm-growing staple in the forest). There is also a close bubung roof made of palm leaves and Palm roofs. Right now, most of the Malay House using pieces of wood as a roof and is known as "insert" or "roof roof" diamonds.

3.3 The Size of The House

In the tradition of the Malay community, make the House can not be done with it, but shall require the specific requirements. One of the conditions to make a matching House for its owners i.e. by determining the size of the House. 3.3.1 A Matter of Hasta

Before the House is built of wood and supplies cut, the home owner (husband and wife) should make the size using a piece of string that is calculated by "count cubits". On each menghasta the rope there is usually a term itself, for example

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-first : ular berang -Second : meniti riak

-third cubits : riak meniti kumbang berteduh -four cubits : habis utang berganti utang -Fifth cubits : utang lama belum terimbuh Any word on each particular meaning cubit, i.e.:

1) ular berang, meaning Snake House was no good, always hot and cross are frequent disputes both between fellow occupants or with other people.

2) meniti riak, meaning residents will always be proud and arrogant.

3) abis utang, meaning its inhabitants will always owe, difficulties and destitute. 4) utang lama tak terimbuh mean residents will always in distress, even entire

Because of the meaning of every word in it, the homeowner will determine his home with large repeat hasta her several times, then stop on the number with a good word, i.e. "riak meniti kumbang berteduh".

Preferably do this measurement is a wife, because it is considered a wife hand cooler from the hands of men. Moreover, the wives are at home a lot more. Such a thing it is, be equated when sowing rice, supposedly the hands of women better, rice seed grown larger into her hands than men.

3.3.2Mounting Size Rafter

Another way to determine the size of the House is with "kasau", and in this way is called the number of rafters. Before you build the House, the homeowner made the size on a piece of string or a knotted pandan leaves. The size was calculated from the tip of the elbow to the tip of fingers clasped hand

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book, called "setulang". Every measure with his hands, he mentions the following words:

1) the first bones: Kasau 2) the second bones: risau 3) the Third: rebah

4) four bones: api

Each word contains a specific meaning, namely if it is:

1) Kasau means the House will be very good for the owner, as it will bring happiness and harmony.

2) Risauu means will wreak havoc and always whose unfortunate. 3) rebah meaning the residents always in a threat of danger.

4) the Api means the House is hot, always happens bickering and fighting, both among fellow residents as well as between the occupants of the other party.

To search for a matching size, homeowners will do calculations with over and over again, and try to count to the number of rafters. Thus expected the House to be built later got the grace of Almighty God. So it will bring happiness.

3.3.3Size of Girder

The number of the girder is the usual ways are also used to determine the size of the House. The trick is similar to the calculation of the number of rafters, just a different word.

1) the first bones: gelegar 2) the second bones: geligi

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3) Third: ulur

4) four bones: bangkai

Each word has a meaning, that is:

1) Gelegar means the House is very good. 2) Geligi means residents will be sickly.

3) Ulur means the owners are always in trouble. 4) bangkai its owner will be overwritten catastrophe. 3. 4The arrangement of the Spaces

Malay room generally consists of three main parts, namely anjung (breezeway), parent's House, and the kitchen.

3.4.1The porch Porches (breezeway) is the very front.

The floor is lower than the parent's House and the walls are generally half open. Anjung distinguished by anjung fall, outside porches. "The porch outside" is separate from the porch House mains and is much indented to the fore. If the porch it was attributed by the parent's House, but the floor is lower than the parent's House, called "the porch fall", and the one with the porch House parent is called a breezeway. The outer porch used to place children play. In certain ceremonies, such as weddings, outside porches used as regular guests and the youth.

Anjung fall also useful as a regular guest spot when certain events are implemented. In daily life this room was made where to put tools or supplies fishermen or farmers.

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While "the porch in" was used as a place for receiving honored guests, either in a particular event as well as in everyday life. There is also called "elephant anjung suckle", usually used as a place to put the dishes in the wedding ceremony, and festivals-followed and so on. On a typical day is also used as a place of childhood play and parents bersembang-sembang.

3.4.2The parent House

Inside the House, her mother next room, space and deep space. The Division of spaces that suit its location, i.e. next to the front entrance, called the vestibule. While part of the parent's House in the middle is called the middle room, and the master behind the House called deep space.

The vestibule is used place of families, it is also used as a space to sleep aboard or family stay. While the living room as a guest place parents or close family. In the room there is usually the middle of the booth number is matched with the magnitude of the House. Deep space is used to place the House of mother and family bedding women. In this place there are also some booths. The kids slept in this room, the generally except a boy already 7 years and over, who had to sleep in the middle of the room. The virgins of old women sleep together in cubicle inside.

3.4.3The kitchen

In the kitchen there are two rooms namely kilik child and kitchen. "Kilik children" are the liaison between the parent room and kitchen. The kitchen itself is the cooking space.

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Kelek children used to store part of the farmers and fishermen's equipment. In this room also placed reserve of water. While the kitchen space is where cooking and family dining. At the end of the kitchen is always also created pelantar which is used to wash away, wash the dishes, place jars of water or put dirty objects.In addition, in the kitchen always also created a place to store its dishes-bowls and so on that are used everyday. The place is called "roles" that are made from the overhanging wall the kitchen out. The role is the place to store the items of daily necessity, reserves of food which needs to be drained and so on. While the "the" is located on top of the cooking.

3.5 Building forms

Home of the Malays Riau Islands, initially or generally is the home stage. True to its name, the floor of the Malays could not trace of soil, but composed on top of a girder supported by sticks. Because it uses a stick and floor layout in such a way that the Malay House, also known as the House stage.Home of the Malays was named after the shape of its roof. In such case it is known by several names, among others, the "home" or "Malay bubung dividing bubung" or "long" bubung home. Supposedly, the name given by the bubung House foreigners especially the Chinese and Dutch.

The influence of the regional culture is clearly also will effect to the art community development home of the Malays. Malay House was originally made with simple then evolve in the form of long bubung home. Such a thing is also due to the emergence of carpentry tools better like a saw, chisel, coconut and other equipment. Other than that it is also due to the influence of the shape of the House

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of strangers (Europe) towards the art form of Malay House community became known as "the Limas House".

Then the House with Limas form growing and increasingly popular and has such a huge influence in the Malay community art. Then, later, limas House also get listed in the home of the Malays.

3.5.1 The House Long Bubung

The House was then more developed bubung made in such a way. Although in part still sticking with style, with all the advantages of a Malay House art community itself. Nevertheless there are some form of long flat bubung House porch that is widely used by the Malays. Small forms called home twelve pillars, while the little big house called the pillar of sixteen. Second home may be known by the number of Poles in his mother's HouseIs the home of the twelve pillars, is has twelve main pillar, comprised of six long and six pillars of the porch the same ride. The position of the shaft is arranged in three rows, i.e. from the direction before the House (the direction of the stairs before). If it is viewed from the side (direction of stocking display), appears four lines, and each line contains three stem pole.Sixteen pole House, his room is larger, because the number of posts which is comprised of eight long pole and eight pillars of the porch the same rise it has formed three spaces at home mom, not two spaces at home twelve pillars, at his less three meters. Therefore it can be seen from the presence of that House with sixteen pillars are longer than twelve pillars.

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The House is long sometimes bubung using an open porch, intent is not walled. Even if it is not full-walled, whether using a grating or wall board size approximately shoulder length when sitting cross-legged.

3.5.2Limas House

Since the influx of Europeans in the cultural life of a Malay person turned out to be very influential in the construction of the House. Alone again by Europeans (Portuguese, Netherlands and United Kingdom) who made it home, built the buildings with limas bubung form. Then the Malays from the lies that have been infused with the modern culture of sharing, have started changing tastes by making the house shaped bubung limas. Then came the one form of Malay houses that are no longer rooted to the art community development home bubung long.

Bubung limas House consist of various types. Earliest forms known as "Limas Perabung Five", that bubung wear five perabung, comprised of one perabung continue horizontally and connected with four perabung dropping into the stream. Rasuk bones form the two bones bubung lengthwise and two closed side bubung shaped triangle or pyramid called the limas. With the position of the bone bubung, he formed close bubung sphere surrounded by the stream. The form is different from the home of the only wear one bubung bone perabung that form the two close bubung only.

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4. CONCLUSION AND SUGGESTION 4.1 Conclusion

Malay architecture is greatly affected by climate and weather. Hence, the traditional Malay houses are almost always raised on timber stilts or pile to elevate and protect the building from floods and also serve as a source of natural ventilation. No nails are ever used in a traditional Malay house as pre-cut holes and grooves were used to fit the timber together. Roofs of these houses are typically steep and have wide overhangs for shading and protection from tropical downpours. There are usually 2 parts to a traditional Malay house: the main house (Rumah Ibu) and the kitchen annex (Rumah Dapur). The Rumah Dapur is separated from the Rumah Ibu for fire protection as the bulk of the buildings are made from timber. One or more verandas (Serambi) are attached to the Rumah Ibu for seated work, relaxation, or where non-familiar visitors would be entertained.

Materials and construction The traditional Malay house relies for its strength on a complex jointing system made rigid by the use of timber wedges. This allows the house to be easily taken apart and reassembled elsewhere. The traditional Malay house is primarily a timber structure, built off the ground using the post-andbeam method by local carpenters or by the owners themselves. Its

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walls are usually made of timber, although bamboo is still used in certain areas. Numerous full-length windows line the walls, providing both ventilation and a view outside. The high-pitched, gabled roof, which dominates the house, was traditionally covered with thatch but is now more often covered with galvanized iron.

The meaning of the Malay House is also very functional for the life of a day today, becausehouse is built on stilts some metres above ground. There is a reason for that; houses built on the ground are prone to be flooded and not to mention the uninvited guests in the form of crawling creatures (snakes, centipedes, etc).

4.2 Suggestion

1) The writter hopes that he reader gets a benefit information by reading this paper.

2) The writer welcomes suggestion and contructive critims for better improvement in the next writting.

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2. REVIEW OF RELARED LITERATURE

In the words of belief, art, morals, law, custom and any other capabilities and habitsacquired by man as a member of society." (Tylor 1871:1)Cambridge dictionary states that culture is, "the way of life, especially the general customs and beliefs, of aparticular group of people at a particular time." As a defining aspect of what it meansto be concept i through social evolved ability to categorize and representexperiences with imaginatively and creatively. This ability arose with the evolution of unique to humans, although some other species have demonstrated similar, though much less complex abilities for social learning. It is also used to denote the complex networks of practices and accumulated knowledge and ideas that is transmitted through social Some aspects of human behavior, such as and technologies such as found in all human societies. The concep expressions of culture, such as technology, architecture and art, whereas the immaterial aspects of culture such as principles ofsocial organization (including, practices of political organization and socialinstitutions), mythology, philosophy, literature (both written and oral), and sciencemake up the intangible cultural heritage of a society.

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In the humanities, one sense of culture, as an attribute of the individual, has been the degree to which they have cultivated a particular level of sophistication, in the arts, sciences, education, or manners. The level of cultural sophistication has also sometimes been seen to distinguish civilizations from less complex societies. Such

hierarchical perspectives on culture are also found in Class based distinctions between a high culture of the social elite and a low culture, popular culture or folk culture of the lower classes, distinguished by the stratified access to cultural capital. In common parlance, culture is often used to refer specifically to the symbolic markers used by ethnic groups to distinguish themselves visibly from each other such as body modification, clothing or jewelry. Mass culture refers to the mass-produced and mass mediated forms of consumer culture that emerged in the 20th century. Some schools of philosophy, such as Marxism and critical theory, have argued that culture is often used politically as a tool of the elites to manipulate the lower classes and create a false consciousness, such perspectives common in the discipline of cultural studies. In the wider social sciences, the theoretical perspective of cultural materialism holds that human symbolic culture arises from the material conditions of human life, as humans create the conditions for physical survival, and that the basis of culture is found in evolved biological dispositions.When used as a count noun "a culture", is the set of customs, traditions and values of a society or community, such as an ethnic group or nation. In this sense the concept of peaceful coexistence and mutual respect between different cultures inhabiting the

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same territory. Sometimes "culture" is also used to describe specific practices within a subgroup of a society, a of evaluated because any evaluation is necessarily situated within the value system of a given culture.

2.1 Malay

Malayis an the and coastal Sarawak andSabah, and the smaller islands which lie between these locations - that collectively known as the Alam Melayu. These locations today are part of the modern nations of Malaysia, Indonesia, Singapore, Brunei, Burma andThailand.

There is considerable genetic, linguistic, cultural, and social diversity among the many Malay subgroups, mainly due to hundreds of years of immigration and assimilation of various regional ethnicity and tribes within Maritime Southeast Asia. Historically, the Malays population is descended primarily from the earlier Malayic-speaking tribes that settled in the region, who founded several ancient maritime trading states and kingdoms, notably Brunei, Old Kedah, Langkasuka, Gangga Negara, Old Kelantan, Negara Sri Dharmaraja,Malayu and Srivijaya, and the later Cham and Mon-Khmer settlers

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The advent of the Melaka Sultanate in the 15th century triggered a major revolution in Malay history, the significance of which lies in its far-reaching political and cultural legacy. Common definitive markers of a Malay identity - the religion of Islam, the Malay language and traditions - are thought to have been promulgated during this era, resulting in the ethnogenesis of the Malay as a major ethnoreligious group in the region.In literature, architecture, culinary traditions, traditional dress, performing arts, martial arts, and royal court traditions, Melaka set a standard that later Malay sultanates emulated. The golden age of the Malay sultanates in the Malay Peninsula, Sumatra and Borneo saw many of their inhabitants, particularly from various tribal communities like the Batak, Dayak, Orang Asli and theOrang laut become subject to Islamisation and Malayisation.Today, some Malays have recent forbears from other parts of Maritime Southeast Asia, termed as anak dagang ("traders") and who predominantly consist ofJavanese, Bugis, Minangkabau and Acehnese peoples, while some are also descended from more recent immigrants from other countries.

Throughout their history, the Malays have been known as a coastal-trading community with fluid cultural characteristics.They absorbed numerous cultural features of other local ethnic groups, such as those of Minang, Acehnese, and to some degree Javanese culture; however Malay culture differs by being more overtly Islamic than the multi-religious Javanese culture. Ethnic Malays are also the major source of the ethnocultural development of the related Betawi, Banjar, Cape Malay, Peranakan and Sri Lankan Malaycultures, as well as the

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development of Malay trade and creole languages likeAmbonese Malay, Baba Malay, Betawi Malay and Manado Malay.

2.1.1.Malay Deli Serdang

Deli Serda t borders the chartered city for approximately 30 km east of Medan. Its 2010 census population was 1,789,243 people,but the latest official estimate (for January 2014)is 1,865,695 Medan's new airport in

The

1) To the north: the

2) To the south: the

3) To the east: the

4) To the west: the

Deli Serdang has three (LONSUM).

In June 2004, farmers and indigenous peoples in a number of villages within the district had protested over land ownership of their villages (apparently, the government had leased the land in the villages to LONSUM, but they rejected such leasings and resisted moving. It is said that the authorities had shot farmers and indigenous people attempting to reoccupy the villages.The national census of 2000 recorded 1,572,768 people, but by 2010 the regency's population increased

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by 13.76%to 1,789,243; the latest official estimate (for january 2014) is 1,865,695.

2.2. Concept of Malay Traditional House

The traditional Malay house is a timber house raised on stilts. It is basicallya post-and-lintel structure with wooden or bamboo walls and a that chedroof. Windows are plentiful, lining the walls and providing good ventilationand views for the house. This quality of openness is also reflected by the largeopen interior spaces with minimal partitions.

From a distance, the Malay house seems to merge naturally with theenvironment.The roof, which is large, dominates the low walls and the openstiltedbottom of the house. The juxtaposition of the roofs with different sizes and atdifferent orientations creates an interesting visual form. adapting to their needs,culture and environment. It may not possess thegrandeur or ostentatiousness found in modern buildings designed by modernself-conscious designers but it reflects other qualities lacking in the modernbuildings - a clear expression of the way of life and culture of its users.With a direct dependence on nature for its resources and embodying adeep knowledge of ecological balances, the house is efficiently designed tosuit the local climatic requirements using various ventilation and solar-controldevices, and low-thermal-capacity building materials. Besides being welladapted to the environment, the house has also evolved a prefabricated buildingsystem which is flexible and varied to suit the needs of the users. It hasalso developed a very sophisticated addition system which allows the houseto be extended in line with the growing needs of the user.Various traditional

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and hybrid Malay houseforms can be identified in PeninsularMalaysia. They are classifiedmainly by their roof shapes. The basichouse forms are the bumbung panjang,bumbung lima, bumbung perak andbumbung limas.

The most common house form is the bumbung panjang, characteristic byalong gable roof. The bumbung panjang houses are the oldest identified inPeninsularMalaysia, many of them being over a hundred years old and still ingood condition.The bumbung panjang is the simplest of the four house forms. It has asimple gable roof, supported by kingposts. The most common roofing materialusedfor the bumbung panjang is the roof (a thatch made from nipah andother palm trees found in the local natural vegetation).The simple bumbung panjang roof-form ismost efficient in its ventilationproperties. Its simple funnel shape, the use of ventilation grilles at itsgable ends and the use of ventilation joints allow good ventilation of the roof, space which cools the house effectively.

The roof is simple and easy to construct, and this partly explains the popularityof this house form among the poorer villagers and those who build housesthemselves. The bumbung panjang, due to its simplicity, is a very efficientroof-form for making additions to the house.The bumbung lima, bumbung limas and bumbungperak are all house formswhich are not indigenous but developed through foreign influence. Thebumbung lima and bumbung perak houses are believed to have been influencedby colonial Dutch and British houseforms.he bumbung lima house has a hipped roof, the bumbung perak househas a gambrel roof and the bumbung lirnas house has a pyramidal roof. Ofthese three foreign house forms used in Malay houses, the bumbung

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perakhouse form (also called bumbung Belanda roof in theEast Coast) is the most popular.

Design and layout

Basically, the traditional Malay house can be divided into the front and back portions which are centred around the core house and the kitchen respectively. At the entrances of most traditional Malay houses, stairs lead up to a covered porch called the anjung. The porch acts as a good transition space between the public and the private domains. The anjung also acts as an important focal point for the entrance. Unfamiliar visitors and guests are entertained here. It

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is also a favourite place for the house occupants to rest, chat and watch the goings on and passers-by in the village. From the entrance porch, one enters into the serambi gantung (hangingverandah). This is the place where most guests are entertained. dows in the serumbi guntung allow for good ventilation and good views to the exterior. From the serumbi guntung, one enters into the core house, which is thecore area. This is the largest area in thehouse where most activities are conducted.Sleeping, sewing, praying, ironing,studying and even feasting (kenduri)which is held during marriages and other festivals, all occur here. The importanceof the core house is expressed by its floorlevel being the highest in thehouse. selung is a closed walkway used to link the kitchen and the core house together. The side entrance to the kitchen is also located here. Besidesbeing a circulation space, selang is often used by the womenfolk as aspace to chat and socialise. selang is a very effective linking device whichleaves anopen space between the two portions, allowing good ventilation andlighting for thehouse. The kitchen is always situated at the back of the house, and is on the lowestfloor level. Modern kitchens in new Malay houses are often dropped to the ground level where floors are cemented. Preparation of food, cooking,eating and washing are all done here. The womenfolk also often group here tochat. The court space, which is peculiar only to Malay houses in Malacca, is anintimate, private interior open space in between the core house and the kitchen.This space is the wet core of the housewhere the washing, drying and toiletareas are situated. It is often beautifully decorated with flowers and plants. Itis a favourite resting place for the users. Sometimes, informal guests, especiallyladies, are entertained here.

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2.2.1. Adapting to the Climate

One of the main characteristics of vernacular houses is that they are designedwith a deep understanding and respect for nature. A comprehensive knowledge ofnature’s ways and ecological balance was prevalent in traditionalsocieties as the villagers relied heavily on nature for most of their resources. Their food, medicines,and building and household materials wereobtained directly from the natural environment.This design-with-nature approach found in the traditional Malay house isbest reflected in the climatic design of the house. To appreciate the climaticadaptations of the traditional Malay house, one must first understand the climaticand environmental conditions that the house is set in.

Similarly, because of high humidity, evaporative cooling and perspirationare greatly reduced and even inhibited. Evaporation of moisture from the bodyin the humid climate quickly forms a saturated air envelope around the body.The saturatedair envelope prevents any further evaporation from the bodyand undermines the last means of heat dissipation.

Thus, to achieve some degree of thermal comfort, the saturated air envelope around the body must be removed. Air flowing across the body can remove the saturated air envelope and accelerate evaporation. However, this is insufficient because without ventilation (air exchange), both the temperature and humidity in a room will build up to very high levels, leading to very uncomfortable conditions. This temperature and humidity build-up is caused by the heat and moisture output of human bodies within an enclosed space. Though

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natural ventilation is often accompanied by air movement, the reverse is not necessarily true. Air movement can often occur without ventilation. This is illustrated in the familiar situation of the use of fans in badly ventilated rooms. The circulation of hot and humid air within a confined space does little to relieve climatic stress. Thus, adequate ventilation is the critical factor in dissipating body heat. Direct and indirect solar radiation, hot air, together with conduction and radiation from the building fabric are the main sources of heat gain to the body. Direct solar radiation is the primary source of heat gain while the others are secondary sources, thus making the proper control of solar radiation most crucial for the achievement of thermal comfort. The other major source of heat gain lies in the type of building material used. In most modern buildings where high-thermal-capacity material such as bricks, concrete and zinc is used, the heat absorbed within the building fabric which is radiated to the interiors of the buildings causes great discomfort. From the above discussion, it is clear that to achieve thermal comfort in the warm humid Malaysian climate, solar heat gain by the building and human body must be minimised while heat dissipation from the body must be maximised by ventilation and evaporative cooling. A deep understanding of such thermal-comfort requirements and the nature of the Malaysian climate is reflected in the climatic adaptation of the traditional Malay house discussed in the following sections.

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From the preceding explanation of the climatic characteristics of Malaysia, it is obvious that to attain optimal climatic control, a houseform in Malaysia should provide for the following:

a) allow adequate ventilation for cooling and reduction of humidity;

b) use building materials with low thermal capacity so that little heat is transmitted into the house;

c) control direct solar radiation;

d) control glare from the open skies and surrounding.

e) protect against rain; and

f) ensure adequate natural vegetation in the surroundings to provide for a cooler micro-climate.

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The Malay house was designed and built taking these points much into account. As a result, it is a very appropriate houseform suited specifically to the vagaries of the tropical climate of Malaysia. Indeed, it is much more suited to the local climate than the modern Western-style brick house. The wooden traditional Malay house raised on stilts exhibits a quality of openness which is unseen in most modern houses. This is shown by the many voids of the building in its windows, ventilation grilles and panels; the open stilted bottom; and its open interiors with minimum partitions. This quality of openness reflects the importance given to ventilation in the design of the Malay house. There are numerous features in the traditional Malay house that are geared towards providing effective ventilation. The house is raised on stilts to catch winds of a higher velocity. The elongated structure of the traditional Malay house with minimal partitions in the interior, allows easy passage of air and cross-ventilation.

Windows are plentiful in the Malay house and since the body level is the most vital area for ventilation, full-length fully openable windows are used. The carved wooden panels and wooden grilles in the house are also effective ventilation devices. The sail-like gable end of the roof is used to trap and direct air to ventilate the roof space. Ventilation joints in the roof called the patah are another creative ventilation device used to ventilate the roof space. Besides ensuring adequate ventilation in the interior of the house, winds from the exterior are also encouraged to flow through the house. The random arrangement of the kampong houses and the careful planting and selection of trees ensure that winds are not blocked for the houses in the latter path of the wind. The lightweight

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construction of the Malay house with minimum mass and much voids, using low-thermal-capacity and high-insulation materials, is most appropriate for thermal comfort in our climate. The wood, bamboo and roof used have good insulating properties and they retain or conduct little heat into the building. Solar radiation is effectively controlled by the large thatched Malay house roof with large overhangs. The walls of the house are low, thus effectively reducing the vertical areas of the house exposed to solar radiation. The low walls also make the task of shading easier. The large overhangs which provide good shading also provide good protection against driving rain. They also allow the windows to be left open most of the time for ventilation, even during the rain. The Malay house is also designed to control direct exposure to heat from direct sunlight. Traditionally, many Malay houses are oriented to face Mecca for religious reasons. This East-West orientation of the house reduces the exposure of the house to direct solar radiation. The compound of the house is also often heavily shaded with trees and covered with vegetation. This sets the house in a cooler environment, by the trees and vegetation not absorbing and storing heat from solar radiation and reradiating it into the environment. Glare, which can be a major source of stress in the Malaysian climate, is effectively controlled in the traditional Malay house. This is done by excluding open skies and bright areas from the visual field. Windows are kept low and shaded by large roof overhangs to reduce glare from the open skies. Glare from the surrounding environment is lessened by the less reflective vegetation ground cover, trees and houses. Glare is also controlled by the use of

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grilles and carved wooden panels which break up large bright areas into tiny ones and yet allow the interiors to be lighted up.

The traditional Malay house with its large roof and low windows tends to be underlighted. This gives a psychological effect of coolness as strong light is often mentally associated with heat. Indirect sources of light like internal and external reflected light are used in the traditional Malay house. They are the best forms of natural lighting for our climate as they minimise heat gain and glare. Direct sunlight should not be used for daylighting as it is accompanied by thermal radiation. It can be seen that the traditional Malay house uses mainly ventilation and solar radiation control devices to provide climatic comfort for the house.

Extending the house: The addition system Like the design flexibility found in other user-designed traditions, the traditional Malay house caters well to the varied needs of the users. This design flexibility is clearly expressed in the addition system of the traditional Malay house. This is basically a system in which new extensions are added on to the basic core house. The new parts may be built as extensions at various stages and times as and when the need arises, for instance when the family grows in size. The system grew out of the needs, means, constraints and socioeconomic contexts of the users. It is a very well-developed and sophisticated system which is based on addition principles which are sound in design, construction and aesthetics, and causes minimal disruption to the original house. The traditional Malay house is set in a rural setting where the main economic activities of the people are farming and fishing. The seasonal patterns of work leave much spare time to the villagers during the off-seasons for house

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building, mending nets and boats, making household implements and doing other part-time economic activities. The addition system of the Malay house is well suited for this seasonal pattern of work by facilitating house building during the off-seasons, and thus allows the house to be built up gradually at a pace controlled by the users. The addition system also fits well with the economic means and the needs of the users. As a family accumulates savings over time, or as the family needs grow, or where there is a desire for a more comprehensive dwelling place, additions to the house are made. The addition system which allows the house to grow slowly also does not create heavy financial burdens on the users by allowing them to build according to their financial resources over time. The addition system in the traditional Malay house is not an ad hoc system of extensions like those made to modem houses and other non-traditional houses such as the spontaneous squatter houses. The addition system is a highly developed and sophisticated system following certain principles that integrate and grow well with the core house. The core house The basic core house of the addition system is the rumah ibu. The addition system is built upon the extension of this core house and this necessarily makes it the most important and central part of the house. The core house is the most basic housing unit which satisfies the basic needs of a small family. The core house can be big or small depending on the needs and affordability of the family. A small core house can, in fact, be converted to a kitchen if the family decides to build a much bigger of the core house. This is made possible by the use of standard houseforms and a variety of construction methods.

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2.2.4 Addition Possibilities

The addition system of the traditional Malay house offers a wide variety of choices to the user seeking to extend his house. Through adaptations anduse, the users in different parts of Peninsular Malaysia have evolved a wide range of possibilities, some of which are peculiar to localities and some of which are found throughout the Peninsula. What is described here is only a basic range of possibilities which are found throughout the Peninsula. In actual fact, combinations of the various possibilities are also possible. The range of possibilities can be enlarged in accordance with the variation in size and quality depending on the priorities of the users. The concept of incremental housing

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shown in the addition system of the Malay house is a flexible approach which grows with the needs and means of the user. This housing concept is most appropriate for housing the poor as the house requires only a small initial capital investment and grows when the family has the means to expand the house. This lessens the financial burden on the poor. Incremental housing seen in the traditional Malay house can also be found in other vernacular houses and other autonomous houses such as those built by squatters. But incremental housing for the poor is today obstructed by rigid bylaws which require many bureaucratic procedures of housing approval, use middle-class and Western standards and require expensive housing materials. The incremental-housing concept is also hindered by the modern concept of housing as a highly finished final product rather than as an activity which changes and grows. Housing as a highly finished final product for the poor is oppressive in a sense that the heavy financial burden placed on the buyer or user removes the opportunity for the use of financial resources for other basic needs and social mobility. Special allowances for flexibility in the use of building materials and building design standards must be made to cater for the special needs of the poor.

2.3 Theoritical Concept of Semiotic

Semiotics, translated as the science of signification, is often said to derive from two sources: F. de Saussure (Swiss-French, 1857-1913) and C.S. Peirce (Anglo-American, 1839-1914). Some other researchers known for their work in semiotics are Noam Chomsky, Umberto Eco, R. Barthes and Jean Baudrillard.

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2.3.1. Core Assumptions and Statements

Semiotics is the theory of the production and interpretation of meaning. It's basic principle is that meaning is made by the deployment of acts and objects which function as "signs" in relation to other signs. Systems of signs are constituted by the complex meaning-relations that can exist between one sign and another, primarily relations of contrast and superordination/subordination (e.g. class/member, whole/part). Signs are deployed in space and time to produce "texts", whose meanings are construed by the mutually contextualizing relations among their signs.There are two major traditions in European semiotics: F. de Saussure, semiology; and C.S. Peirce, semiotics. Saussure's approach was a generalization of formal, structuralist linguistics; Peirce's was an extension of reasoning and logic in the natural sciences.

General Semiotics tends to be formalistic, abstracting signs from the contexts of use; Social Semiotics takes the meaning-making process, "semiosis", to be more fundamental than the system of meaning-relations among signs, which are considered only the resources to be deployed in making meaning.Multimedia semiotics is based on the principle that all meaning-making, because it is a material process as well as a semiotic practice, necessarily overflows the analytical boundaries between distinct, idealized semiotic resource systems such as language, gesture, depiction, action, etc. Every material act and sign can be, and usually is, construed in relation to more than one system of sign relations (e.g. a written word is both a linguistic sign and a visual orthographic one; a spoken word is also construed in relation to its non-linguistic acoustical qualities; an

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image is interpreted both visually and usually also linguistically; etc.). Therefore it becomes important to study how different sign-systems are physically and semiotically integrated in texts and multimedia productions of various kinds

Semiotics is the study of sign systems. It explores how words and other signs make meaning. In semiotics, a sign is anything that stands in for something other than itself. This lesson focuses primarily on linguistic signs. The word 'semiotics' dates back to ancient Greece, but its use in modern linguistics was propelled in the 19th century with the research of Ferdinand de Saussure. Saussure was a Swiss linguist who contributed greatly to the study of semiotics, also sometimes referred to as semiology.

Saussure, Scholars of modern linguistics understand that words do not have innate meanings. That is, when we say the word 'rabbit', it is not because those sounds or letter symbols have anything to do with the qualities of a small, furry herbivore. In fact, the word, sounds, and letters are all unrelated to the creature we call rabbit, except that humans have assigned a value to them.Because people have developed the ability to assign meaning with words, we are able to describe abstract meanings. That means we have words for things that we may not be able to actually see in front of us. Furthermore, the history of a word may not directly influence what it means to someone. As an example, we can use the word 'cool' without any thought or reference to temperature. The usage is separate from its history.For Saussure, language itself makes meaning rather than simply conveying meaning. Therefore, our experience is influenced by the language we use to describe it. This meaning-making is why the theories of Saussure have

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become important to literary theory. When we understand that language is a sign system and not just a naming of objects, we read and discuss literary works differently.

2.3.2 Scope and Application

Social semiotics examines semiotic practices, specific to a culture and community, for the making of various kinds of texts and meanings in various situational contexts and contexts of culturally meaningful activity. Social semiotics therefore makes no radical separation between theoretical and applied semiotics and is more closely associated with discourse analysis, multimedia analysis, educational research, cultural anthropology, political sociology, etc.

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I.INTRODUCTION 1.1 The Backround of Study

Indonesia is a country that consisting of several island and has many provinces from Sabang up to Marauke. This country has its diversity of culture, ethnicity, and religion with its our habits such as the Bataknese, Banjo, Javanese, Acehnese, Malay and others. The Indonesian people believe that the picture is customary behavior or symbol the society has long been coming to hearts Human life of the several tribes in Indonesia prayers only thing unique is the Malay tribes. Indonesia’s cultural diversity is something that can not deny is existence. In the context, besides cultural ethnic groups, people of Indonesia also consists of various regional culture territorial. One of them is the Malay, who lives in the coastal area of North Sumatera. The Malay has a unique culture in the form of customs, traditional art, and local dialects. The Malay ethnic group in Indonesia prioritizes the traditional that has been passed down through generations since the ancestors. They believe that is the customs can still be maintained, then they can teach them as hereditary to the next Malay generations. The Malay unique has its characteristic in terms of house, arts, clothing, tenunan, ukiran, handycrafts, stationary, and many more.

The Malay as the indigenous people inhabits the regions of Deli Serdang district, Serdang Bedagai, Langkat, Asahan. Deli Malay live in the coastal areas, the riverbanks and Labuhan Deli. They are scattered in various places in the suburbs.

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1.2 The Problems of Study

Based on the backround above, the problems of study are as follows: 1) What is the structures of Malay traditional house?

2) What is the meaning of the Malay traditional symbols in the decorations in the house?

1.3 The Scope of Study

The scope of this paper is to explain the meaning of symbols used in the traditional building of Melayu Deli Serdang. In this paper the author explains in detail how the process and structure of the building wither and their functions, in other to increase the public awareness of the importance of preserving Malay culture in terms of traditional house.

1.4 Purposes of Study

The writing of this paper, is aimed at:

1) To explain the structure of the Malay traditional house.

2) To explain the meaning symbols used in the traditional house of Melayu Deli and Serdang society.

3) To finish her study and get a Diploma of Ahli Madya at the study of English, Faculty of culture Science University of Sumatera Utara.

1.5 Reason of choosing the topic

The writer choose this topic because she is are attracted by the uniqueness found in the Malay traditional house, each element of its contructions house high cultural value and symbols by doing so, it is obliged to make known especially in contemporary times many people has forgetten their native culture

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specially the constructions of building Malay house. A native of Indonesia it is worth preserve our culture so we can filter that the foreign culture. They are valuable meanings that can be found in the decorations of Malay traditional house. Moreover, the symbols can also be found in the decoration of this house.

1.6 The Method of study

In writing of this paper, the writer uses some methods to collect the data. Firstly, using the library to research in other about Malay to read some books culture. Secondly, the author looks for some information on the internet to add some references related to the title by browsing data. Third, after all of the data collected, the author conduct the research by analysing the data. Lastly, she conclude the analysing.

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ABSTRACK

Paper entitled "The Meaning of Symbols Used In The Traditional Building of Melayu Deli and Serdang society" describes how parts of the Malay traditional house from the beginning of construction until the final stages. in the construction of custom homes, there are multiple meanings and rules at each building. The purpose of writing a paper this paper in order to provide insight to the public at large in order not misappropriated meanings contained in the development of Malay traditional house and so that the young generation can preserve the original culture of the Malays. For help writing a paper this paper writer looking for information by reading books and various sources related to the topic.

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ABSTRAK

Kertas karya yang berjudul "The Meaning of Symbols Used In The Traditional Building of Melayu Deli and Serdang society" berisi tentang bagaimana bagian-bagian rumah adat melayu mulai dari awal pembangunan hingga tahap akhir. dalam pembangunan rumah adat melayu, terdapat beberapa makna dan aturan pada setiap bangunan. Tujuan dari penulisan kertas karya ini agar memberikan pemahaman kepada masyarakat luas agar tidak menyalah gunakan makna yang terdapat di dalam pembangunan rumah adat melayu dan agar generasi-generasi muda dapat melestarikan budaya asli melayu. Untuk membantu penulisan kertas karya ini penulis mencari informasi dengan membaca buku-buku dan berbagai sumber yang berhubungan dengan topik.

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A PAPER

THE MEANING OF SYMBOLS USED IN THE TRADITIONAL BUILDING OF MELAYU DELI SERDANG SOCIETY

WRITTEN BY

YUYUN MAULIZAR REG. NO. 12202067

DIPLOMA – III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY

UNIVERSITY OF NORTH SUMATERA MEDAN

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It has been proved by Supervisor,

Prof.T. Silvana Sinar, MA.,ph.D NIP.

Submitted to Faculty of Culture Studies, University of North Sumatera in partial fulfillment of the requirements for DIPLOMA (D-III) in English

Approved by

Head of Diploma III English Study Program,

Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001

Approved by the Diploma III English Study Program Faculty of Culture Studies, University of North Sumatra as a Paper for the Diploma (D-III) Examination

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Accepted by the Board of Examiners in partial fulfillment of the requirements for the D-III Examination of the Diploma III English Study Program, Faculty of Culture Studies, University of North Sumatera.

The examination is held on: 2015

Faculty of Culture Studies, University of North Sumatera Dean,

Dr. Syahron Lubis,MA NIP. 19511013197603 1 001

Board of Examiners Signature

1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) 2.Prof.T. Silvana Sinar, MA.,ph.D (Supervisor) 3. Drs.Siamir marulafau,SH,M.Hum (reader)

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AUTHOR’S DECLARATION

I, YUYUN MAULIZAR, declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.

No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submited for the award degree in any tertiary education.

Signed : ...

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COPYRIGHT DECLARATION

Name : Yuyun Maulizar

Title of paper: The Meaning of Symbols Used in The Traditional Building of Melayu Deli Serdang Socirty

Qualification : D-III / Ahli Madya

Study Program : English

I am willing that my paper should be available for reproduction at the disrection of the librarian of the Diploma III English Departement Faculty of Culture Studies, University of Sumatera Utara on the understanding that users are made aware of their obligation under law of the Republic of Indonesia.

Signed : ...

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ABSTRACK

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ABSTRAK

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ACKNOWLEDGEMENTS

First of all, I would like to thank Allah SWT, for giving me health, strength, and capability to finish this paper.

Then, I would also like to express a deep gratitude, love, and appreciation to: Big thanks to both of my beloved parents, T. mirza and kamariah. I deeply thank you for your endless supports, love, advices and prayers for me. I am here today because of both of you. Thankyou also to my beloved sisters, Nurul Hijah thankyou for all of your support and prayer.

Dr. Syahron Lubis, M.A., as the Dean of Faculty of Cultural Studies, University of Sumatera Utara.

Dr. Matius C.A Sembiring M.A., as the Head of English Diploma Study Program, who has given me directions in doing this paper.

Prof. T Silvana Sinar, PHD, MA as my supervisor. I am thankful for your valuable time in directing, teaching,and inspiring me to complete this paper.

As my reader. Thankyou very much for the valuable time for reading this paper.

All the lecturers at English Diploma Department. Thank you very much foor the knowledge have i got.

To all of my best friends at English Diploma Department especially SOLIDAS 2012 class A and B. Thank you so much for the time we have filled together.

To my best friend Diah, Nurul, Ahada, Bahrun, Yuslida, Lia, and Jeje. Thank you for becoming my best friend.

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Finally, I do realize that this paper is far from being perfect, I accept any critism for better improvement in the next writing.

Medan, 2015 The Writer,

122202067 Yuyun Maulizar

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AUTHOR’S DECLARATION ... i

COPYRIGHT DECLARATION ... ii

ABSTRACT ... iii

ABSTRAK ... iv

ACKNOWLEDGEMENTS ... v

TABLE OF CONTENTS ... vii

1. INTRODUCTION 1.1 The Background of the Study ... 1

1.2 The Problems of the Study ... 1

1.3 The Scope of the Study ... 2

1.4 The Purpose of the Study ... 2

1.5 Reason of Choosing the Topic .. ... 2

1.6 The Method of the Study ... . 2. REVIEW OF RELATED LITERATURE 2.1 Malay ... 6

2.1.1 Malay Deli serdang ... 6

2.2 Concept of Malay Traditional House ... 7

2.2.1 Adapting to the climate ... 9

2.2.2 Design for climatic ... 11

2.2.3 Addition possibilitie ... 13

2.3 Theoritical concept of semiotic ... 14

2.3.1 Core assumption one ... 16

2.3.2 Scope and application... 17

3. ANALYSIS 3.1 The analysis of symbol and meaning of malay traditional house ... 18

3.2 Composition of he malay house ... 26

3.2.1 Rasuk ... 32

3.2.2 Girder ... 34

3.2.3 The stick ... 36 3.2.4 The ladder... . 3.2.5 Sill... 3.2.6 The floor... 3.2.7 The frame... 3.2.8 Sentir... 3.2.9 The pillars of the cap... 3.2.10 Reed... 3.2.11 The refters... 3.2.12 Rolls-rolls... 3.2.13 Bone bubung... 3.2.14 Pointing to the sky...

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3.2.16 The door ... 3.2.17 Widow... 3.2.18 The Wind holes... 3.2.19 The attic... 3.2.20 Teban screen... 3.2.21 The roof

3.2.22 Bubung bubung (second)

3.3 The size of the house... 3.3.1 A matter of hasta... 3.3.2 Mounting size rafter... 3.3.3 Size of girder... 3.4 The arrangement of the spaces... 3.4.1 The porch porches (breezeway) is the very front... 3.4.2 The Parent House

3.4.3 The Kitchen 3.5 Building Form

3.5.1 The House Long Bubung 3.5.2 Limas House

4. CONCLUSIONS AND SUGGESTIONS

4.1 Conclusions ... 42

4.2 Suggestions ... 43

REFERENCES ... 45