TUGAS STRUCTURE KAYU MENULIS TENTANG PER

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
SEMARANG
2017

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.
With few exceptions, the peoples of the Indonesian archipelago share a common Austronesian
ancestry (originating in Taiwan, c. 6,000 years ago), and traditional homes of Indonesia share a
number of characteristics such as timber construction, varied and elaborate roof structures. The
earliest Austronesian structures were communal longhouses on stilts, with steep sloping roofs
and heavy gables, as seen in the Rumah Adat Batak and the Torajan Tongkonan. Variations on
the communal longhouse principle are found among the Dayak people of Borneo, as well as the
Mentawai people in Nias Island.

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.

Toraja Village

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
The sharply inclined roof allows the heavy tropical rain to quickly sheet off, and large
overhanging eaves keep water out of the house and provide shade in the heat. In hot and humid
low-lying coastal regions, homes can have many windows providing good cross-ventilation,
whereas in cooler mountainous interior areas, homes often have a vast roof and few windows.

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
custom homes. The roof is made of fibers and is usually coupled with the roofs of the
smaller triangle is called a "ayo-ayo rumah" and "tersek". With soaring roof layers Karo's
house has a distinctive shape compared with other traditional houses that have only one

layer of roofing in North Sumatra. Read my next blog: Traditional House of North
Sumatera

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,
schematics nearly a square, but contain curved lines. Nias construction of houses made of
hard wood and sturdy. Poles are high, so people can get into under the house. Forms of
traditional chief's house, the roof is dominant compared to other houses.

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.

Rumah Gadang

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)

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.
Part of the room walls are decorated with carved floral motifs are painted with golden color. Not
infrequently, the owner uses the tin and gold carvings and antique chandeliers as an accessory.
Golden yellow color of paint that will be retained as distinct from Palembang. In addition to
wood carvings, decorative carved cabinets along the walls of a confirmation of the guest room

Limas House
8. Province Lampung
Traditional House : Nuwo sesat

Nuwo Sesat
9. Province Bengkulu
Traditional House : Rumah bubungan lima (Rumah Rakyat)

Bubungan Lima House
10. Province Bangka-Belitung Islands
Rumah Adat Tradisional : Rumah rakit/Rumah Gede
Physical form and function of the physical form of traditional house traditional house Belitong
very simple, is home Panggong; houses supported by wooden poles the best choice. All the

building materials made of wood up to the roof, called the shingles of buildings divided into
three parts, patio room, living room or main, buffer space, and space is public space
belakang.Ruang terrace; like a living room so the things that not so important can be discussed
here, even when the royal officials to watch the show on the Rumah Gede will always be sitting
here.

Rumah Rakit
11. Province DKI Jakarta
Traditional House : Rumah kebaya

Kebaya House
12. Province West Java / Sunda
Traditional House : Kesepuhan

Kesepuhan House

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.
Famous for its religious heritage, Central Java has some notable religious buildings. The
Borobudur and the Prambanan temple complexes are among the largest Buddhist and Hindu
structures in the world. In general, a characteristic Javanese mosque doesn't have a dome as its
roof but a Meru-like roof instead, which is reminiscent of a Hindu or Buddhist temple. The tower
of the famous Mosque of Kudus resembles a Hindu-Javanese or Balinese temple more than a
traditional Middle-Eastern mosque.

Kudus House
15. Province DI Yogyakarta
Traditional House : Rumah Bangsal Kencono

Bangsal Kencono House
16. Province East Java / Surabaya
Traditional House : Rumah joglo

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.

Bali House

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
Traditional House : Rumah panjang

Panjang House
21. Provinsi Central Kalimantan / Palangka Raya
Traditional House : Rumah bentang

Bentang House
22. Provinsi South Kalimantan / Banjarmasin
Traditional House : Rumah Banjar Bubungan Tinggi

23. Provinsi East Kalimantan /Tenggarong
Traditional House : Rumah lamin

24. Provinsi North Sulawesi /Menado
Traditional House : Rumah Pewaris

25. Provinsi Gorontalo
Traditional House : Rumah Dolohupa

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
The word 'Tongkonan' is derived from the Toraja word tongkon (‘to sit’). Tongkonan are the
center of Torajan social life. The rituals associated with the tongkonan are important expressions
of Torajan spiritual life, and therefore all family members are impelled to participate, because
symbolically the tongkonan represents links to their ancestors and to living and future kin.

29. Province West Sulawesi / Mamuju
Traditional House : banua layuk

30. Province Maluku / Ambon
Traditional House : Baileo

31. Province North Maluku
Traditional House : Sasadu

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.
Honai house has one door and small, it usually without windows and ventilation to safe from
beast and keep the room temperature still warm. Center of the room there is a furnace that is used
for cooking and for room heating. As well as a gathering place for families.

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
trajectory.

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
sukiya’s structure and the diversity of material approaches. In the example of the structure on
display, intersections between unfinished cypress framing elements conceal intricate joinery
strategies. However, few nails or other metal fasteners are used—a fact that is not readily
apparent. Additional displays feature a broad material palette of wood species and bamboo, as
well as earthen wall treatments and sliding screens. A standard practice in teahouse design is the
subtle use of variegated materials and construction techniques to make a tiny space seem more
expansive. This deception, which is typically too understated for conscious appreciation, is also
laid bare in the exhibit.

Blaine Brownell A view of the double-height space within the permanent gallery, showing a fullscale 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
plywood, glulam, and other contemporary wood composite materials—Japanese carpenters have
sought to take advantage of these particular traits. Not only do they work with wood’s inherent
grain by strategically orienting structural members to create strong connections and counteract

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
cypress—a standard structural material in Japanese temples and shrines that represents the
highest grade of lumber. Second, modern manufacturing methods are often less rigorous than
historical ones. For example, traditional carpentry tools exhibit the dual characteristics of
resiliency and rigidity found in Japanese swords and are far superior to today’s machinemanufactured tools. In addition, pre-modern Japanese architecture commonly employed
strategies of structural prefabrication and design for disassembly in ways that contemporary
practice has still not achieved. One of the museum’s exhibits displays a roof assembly made from
interlocking wood members that could be shop-tested for fit before on-site construction. The

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.
With the recent revival of interest in wood structures, the Takenaka Museum offers inspiration
for future timber-based construction methods. I am not suggesting that today’s building industry
emulate the shokunin’s approaches exactly, but rather that contemporary construction practices

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
important venue for disseminating knowledge about Japan’s built heritage but also as a platform
for developing more thoughtful next-generation material practices.

Blain
e Brownell A “skeletal” Japanese tearoom reveals its inherent construction complexity.

Blaine Brownell A sukiya structural joint made from Hinoki cypress: painstakingly intricate yet
seemingly simple when completed.

Blaine Brownell Detail of an exhibit displaying the various native tree species used in Japanese
wood construction.