C. Basic Malay architecture has been observed to be very similar to Filipino vernacular architecture. Compare the two styles.

Malay architecture and Filipino vernacular

architecture are similar for the following

reasons: they are located in the same region

(similar climate) and they both reflect the

people of their area.

It is important to note that both countries are

located in the same region because it means

that they have the same problems to solve

and address. They are both humid and warm countries – heavy rains and when it is hot, it really

is. The houses are climactic meaning they are designed to adapt and withstand the existing

conditions of the place which is why both houses (along with other Asian countries) have similar

core forms – a house on stilts. This is to address the floods that occur come rainy season and also

provide better ventilation. Both also make use of steep roofs to decrease the pressure of the

rainfall. The difference (along with the similarities) between the two houses is evident in the way

they solve these problems.

Ventilation is important for

these houses especially during the

summer. Similarities that can be

found in both houses are the use

large roof eaves to ensure better

circulation of air and the use of

many high windows. In the Filipino

bahay na bato, double walls are created to insulate the rooms thus resulting in the creation of

koredors; voladas were also created to serve as balconies that could be shuttered to close protect

the rooms.

Figure 2 Climactic design of the Malay House

Figure 1 Bahay na Bato

The “sail-like tebar layar (gable end)” found on the roofs of Malay houses are used to

trap and move the air inside the house1. Malay architecture also makes use of ventilation joints in

the roof called patah to ventilate the roof space2. Similar to the Philippine bahay na bato,

overhangs (bolada or media agua) are used to provide shading, protection, and they allow

windows to remain open during the rain3. Cross ventilation occurs inside the house because of

the positioning of the rooms. Both also make use of materials that are found in the area (wood,

bamboo, and stones).

Religion affects the two forms of architecture – in Malay architecture; houses are

oriented to face Mecca because of their religion, Islam, and the women and men also sleep in

separate rooms; in Filipino architecture, a space is often allotted for an altar where one can see

saints and crosses because of the influence of Christianity.

The Filipino vernacular architecture and Malay architecture are similar in a lot of things

especially in the design of the house because Filipinos originated from the Malays which is

probably why their design aesthetic is similar, and more importantly, both forms of architecture

are solving almost the same problems. However, this does not mean that they are exact copies of

each other. Though both have the same core forms (house on stilts) they are still different in the

sense that culture, traditions, and history of the people have a lot of bearing on what it looks like.

Malay architecture has features in their houses that reflect their religion and culture. Philippine

architecture is similar because different influences (Malay, Chinese, Spanish, American, etc.) can

be seen in our houses – the combination of these influences is what makes our own architecture

unique.

1 Yuan, Lim Jae. The Malay House (Malaysia: Institut Masyarakat, 1987), 732 Ibid.,3 Zialcita and Tinio Jr., Ancestral Houses (Quezon City: GCF Books, 1987), 71

D. Explain “Organic Architecture” in the context of topics discussed in class. Cite at least two examples.

Organic Architecture is a way of thinking that uses nature as the basis for design. It

incorporates concepts in nature to create something that is natural. It uses materials that are

found in area and makes it into something that blends with the environment. 4 In a way, organic

architecture reflects the “spirit” of the time and area. It is going with nature – designing and

living with nature and incorporating it inside the home.

The Malay house is an example of organic architecture because of how it reflects the

land’s climate, geography, and culture of the people. The raised platform, orientation of the

house to Mecca, and the division of room between men and women reflect the culture and

religion of the people. The verandas, full length windows, and steep roofs show how they adapt

to the climate. The bamboo, wood, and other materials that they use are found in the area. For

this, their houses are organic because it is something that seems natural to the area.

Japanese houses are also very organic to look at because of

how it is made of wood and paper. The houses have a unique look to

them that can only be found in Japan. More importantly, their houses

also reflect their beliefs in being in harmony with nature and their

love for it. Their architecture style invites nature to go in to their

homes especially with the use of intermediate spaces – formal

entryway, verandas, and bamboo screens. Gardens are also very

important features of the house; some homes are even designed

around the garden to show it off to guests. In Figure 3, it is seen that the post and beam

framework of the house does not make use of any nails – the beams are assembled like a puzzle

and is firmly placed through wedges and pins. To complement the fine wood that can be found in

the house, straw tatami floor mats, plastered clay wall and the shoji windows are used which

gives the house an even more natural and organic feel.5

A perfect example of this is our own bahay kubo.

Our ancestors used materials that were found in the

area (bamboo, kogon, etc.) in building these 4 “Organic”; available from http://www.organicarchitect.com/organic/index.html; Internet; accessed on 01 March 20105 “Traditional Japanese carpentry”. available from http://japanesecarpentry.com/opera/info.htm; Internet; accessed 01 March 2010.

Figure 5 Ifugao House Figure 4 Buensalido’s Pinakamagandang Bahay sa Balat ng Lupa entry

Figure 3 Beams without the use of nails

houses. With these materials, they built houses

that withstood rain (stilts) and the sun (proper

ventilation). Our ancestors built their homes

this way for a reason – it was effective and it

served its purpose. Variations of the bahay

kubo can be found all over the country – each

bahay kubo made unique to their place. The

Ifugao people built their houses in such a way

that the roofs were really steep that it looked

like a pyramid on stilts. They built it differently because their climate is much colder than in the

lowlands; they needed to keep the heat inside.

I would like to think that all vernacular architecture are organic because of how it makes

use of materials from the area and reflects the area. It is sad though that with modern technology

and Western influences, most Filipinos are leaning towards Western aesthetics and design; but

this should not be the case because their design (ex. the use of glass in the buildings in Makati

and Ortigas) is not suited for our environment. I am not suggesting that we go back to the old

traditional bahay kubo, but what I am saying is that we should use more materials that are natural

to our environment and incorporate traditional design with the technology that we have today.

Some Filipino architects have already started doing this like Bobby Mañosa. Not only will we be

able to create a house that suits our climate but it will also be something that is uniquely Filipino

– “architecture must be true to itself, its land, and its people”6 after all.

6 Hilario, Maria Stephanie Rose. “Redefining Filipino Architecture” The Varsitarian; available from http://www.varsitarian.net/circle/redefining_filipino_architecture; Internet; accessed on 1 March 2010.

E. In SEAsian vernacular architecture, the principle of “interlocking spaces” is much used. Cite examples to explain this point and how it is evident.

Interlocking spaces can be described as a spatial

relationship that “consists of two spaces whose fields

overlap to form a zone of shared space7”. Each

individual space retains its identity and characteristic

as a space but the resulting space between the two is

subject to many interpretations8. This principle is seen as something very Asian in the sense that

we apply it in order to bring the outdoors inside our homes – Asians are characterized as being

“one” with nature after all. An example of how evident this is can be seen in the different forms

of veranda that exists in SEAsia.

In Malay vernacular architecture,

there is the anjung (porch) and the

serambi gantung (hanging veranda). The

anjung acts as a transition space between

the outdoors and the house. Connecting

this area to the rambi gantung (core area

of the house where most activities

happen) is the serambi gantung which

serves as a greeting and entertaining

place for the guests9.

In the Filipino bahay na bato, the

azotea or the open terrace can also be considered as an application of this principle because it is

an open extension of the second floor. This area can be used for washing or it can also be used to

entertain guests where they can cool and enjoy the view.

7 Ching, Frank. Architecture: form, space, and order. Available from http://books.google.com.ph/books?id=GryqqV58cXcC&pg=PR5&lpg=PR5&dq=interlocking+spaces+architecture&source=bl&ots=_dMGM6n5WI&sig=3PEI0YxglZlCNXOSUGY52dgBqgQ&hl=tl&ei=3IeOS8inLo3-sQPotr2fCA&sa=X&oi=book_result&ct=result&resnum=8&ved=0CC8Q6AEwBw#v=onepage&q=interlocking%20spaces%20architecture&f=false; Internet; Accessed on 01 March 2010.8 Ibid.,9 Yuan, Lim Jae. The Malay House, 34

Figure 6 Interlocking Spaces

Figure 7 Malay House Layout

Another example is the traditional Japanese house which is probably the best example of

the use of interlocking spaces. They are essentially designed as a single space that can be

temporarily separated by shoji paper screens that in a way unify the house and garden into one

area. The intermediate spaces or the transitional elements in the house are still an example of

interlocking spaces. These spaces are important buffer zones between the interior and the

exterior, and are evident through its three components: the entranceway, veranda, and the

screens10. The genkan (formal entranceway) is a lowered area where shoes are removed to

symbolize the transition from the “unclean” exterior to the “clean” interior11. The engawa

(veranda) is the informal entranceway which can be viewed as an extension of the house where it

can serve as an informal living area where guests and the family can drink tea, talk, and enjoy the

nice view of the garden. From the outside, the engawa can also be viewed as a part of the garden

because there are really no railings and separation other than that is elevated12.

Another common factor of most Asian houses is that spaces in the house are open and

multifunctional meaning they have multiple purposes. The Filipino bahay kubo only had one

area for sleeping and eating. This, in a way, similar to the Japanese traditional houses where

spaces are separated by a thin shoji screen, and the Malay house where there are minimal

partition inside the house to allow flexibility. The houses are simple open spaces wherein walls

are not really necessary because spaces layer upon each other to give way for smaller individual

spaces.13

Based on the examples, one can see that interlocking spaces have developed its own

identity, each unique to the respective culture, as a space that links the two original spaces – the

interior and the exterior. This principle reflects the Asian characteristic of living in harmony with

nature as it gives an avenue for the outside to be a part of the home inside. Interlocking spaces

also maximize the usable area of the house allowing it to be flexible for different activities.

10 “Intermediate Space”, 1911 Ibid., 2212 Ibid., 2413 Villalon, Augusto F. The “Bahay Kubo”: Form need not always follow Function. 8 January 2001. Philippine Daily Inquirer Online Edition. Available on http://www.seasite.niu.edu/Tagalog/Tagalog_Default_files/art_news_and_features.htm ; Internet; accessed on 01 March 2010.

F. There are always “Primary” and “Secondary” spaces in the vernacular architecture of SEAsia. Briefly state what these are and explain using examples from topics discussed in class.

Primary spaces represent the main function of the building. In vernacular architecture,

this usually means the essential spaces in the house. In Malay houses, the primary space is the

the rumah ibu. This is the most basic living space which can satisfy the basic needs of the family.

Similar to the traditional bahay kubo, this space can serve multiple functions - a place for

sleeping, cooking, and eating. The rumah ibu is so important in Malay architecture that its’ floor

level is the highest in the entire house14.

Secondary spaces are those areas that make the primary spaces usable. These are the

extra areas that a family can live without. Examples of these in Malay architecture are the

serambi gantung (verandas), selang (walkway), dapur (kitchen), and the anjung (porch). These

spaces can be added later on like in the diagram. Examples of these in Philippine vernacukar

architecture are the bodegas and azoteas.

Nowadays, primary spaces include the living space, kitchen, and the bath rooms. Any

other additional spaces are considered to be secondary spaces.

14 Yuan, Lim Jae. The Malay House, 36

Bonus:

G. SEAsian vernacular architecture is described as “space enveloping space”. Expound on this statement.

SEAsian vernacular houses is described as “space enveloping space” because they are

simple open spaces wherein walls are not really necessary because spaces layer upon each other

to give way for smaller individual spaces.15 Houses are open and multifunctional meaning the

can be used for multiple purposes. The Filipino bahay kubo is an example of this because there is

only one area for sleeping, eating, and cooking. Other houses in the Philippines such as the

Ifugao house have a similar lay-out. In Japanese traditional houses spaces are separated by a thin

shoji screen; this can be moved around so that there is flexibility in the use of space. The Malay

house also has a minimal partition made up of light materials. Traditional vernacular houses did

not really have any separation of spaces wherein one space is for sleeping or another is for eating

– they use the space according to their needs.

15 Villalon, Augusto F. The “Bahay Kubo”: Form need not always follow Function. 8 January 2001. Philippine Daily Inquirer Online Edition. Available on http://www.seasite.niu.edu/Tagalog/Tagalog_Default_files/art_news_and_features.htm ; Internet; accessed on 01 March 2010.

Bibliography

Ching, Frank. Architecture: form, space, and order. Available fromhttp://books.google.com.ph/books?id=GryqqV58cXcC&pg=PR5&lpg=PR5&dq=interlocking+saces+architecture&source=bl&ots=_dMGM6n5WI&sig=3PEI0YxglZlCNXOSUGY52dgBqgQhl=tl&ei=3IeOS8inLo3 sQPotr2fCA&sa=X&oi=book_result&ct=result&resnum =8&ved=0CC8Q6AEwBw#v=onepage q=interlocking%20spaces%20architecture&f=false ;Internet; Accessed on 01 March 2010.

Hilario, Maria Stephanie Rose. “Redefining Filipino Architecture” The Varsitarian; available fromhttp://www.varsitarian.net/circle/redefining_filipino_architecture; Internet; accessed on 1 March2010.

“Malay Architecture”; available from http://library.thinkquest.org/C001252F/aesthetics/architecture/malay_architecture.htm; Internet; accessed on 1 March 2009.

“Organic”; available from http://www.organicarchitect.com/organic/index.html; Internet; accessed on 03March 2010

“Traditional Japanese carpentry”. available from http://japanesecarpentry.com/opera/info.htm; Internet;accessed 03 March 2010.

Villalon, Augusto F. The “Bahay Kubo”: Form need not always follow Function. 8 January 2001.Philippine Daily Inquirer Online Edition. Available onhttp://www.seasite.niu.edu/Tagalog/Tagalog_Default_files/art_news_and_features.htm ; Internet;accessed on 01 March 2010.

Yuan, Lim Jae. The Malay House. Malaysia: Institut Masyarakat, 1987

Zialcita and Tinio Jr., Ancestral Houses. Quezon City: GCF Books, 1987