Heritage identity conservation of the woodcarving placement and design composition typologies on Johor Malay houses

Woodcarving is a distinct heritage that can promote the identity of a region. However, current practices of using the design composition and woodcarving placement which do not belong to the local region pose a threat to the identity and authenticity of the original heritage. If such practices continue and the identity of the local heritage is not preserved and recorded, the traditional designs and local identity will eventually be lost. The objective of this paper is to identify the placements of woodcarving and the typology of design compositions of woodcarving which form the identity of the Johor Malay houses. Site visits were conducted to Limas Johor in which the wood carvings of 50 houses were examined, photographed and documented. Interviews were also conducted with the house owners or occupants, and the wood carvers. The samples were analyzed and the results were verified by experts. A total of 10 woodcarving placements and 23 typologies were discovered, drawn and coded. The findings of this research suggest that the typology combination of JT2-P5+KT7 of woodcarving represents the identity of Limas Johor houses. It is hoped that this study can bring recognition to Johor woodcarvings, contribute valuable guides for woodcarvers to apply these typologies into their future works to sustain and cherish the Johor local identity

Motifs, placements and influences of woodcarving in Muar traditional Malay houses

Almost every country, race or culture has its own traditional heritage including Malaysia and every state in it. Woodcarving is one of the Malaysian traditional heritage that has been passed through generations and should be preserved and maintained. Unfortunately, it is being forgotten due to the rapid urbanization and led to it getting destroyed and extinct. Nevertheless, there are still many traditional houses in some places which own very interesting woodcarvings that must be studied and analyzed before this heritage is permanently vanished such as in Muar, Johor where it owns an interesting history, thus making it among the earliest inhabited district and rich in woodcarvings. This study aimed to identify motifs and placements of the woodcarvings in traditional Malay houses in the districts of Muar including the influence on it. The research methodologies taken were case studies of existing traditional Malay houses in Muar. Site visits to the chosen houses are carried out where the process of taking data, photography and interviewing the resident as well as additional information from Center of Built Environment in the Malay World (KALAM) at Universiti Teknologi Malaysia (UTM) was then triangulated with the analytic interpretation of local woodcarvers. The results showed the existence of significant motif, placement and very strong influence on the woodcarvings found in these Malay traditional houses in Muar

The zoomorphic forms in traditional keris hilts.

In traditional keris hilts, there are several types of images representing the handle. The zoomorphic forms are one of them, which used several animals as the keris hilts. This article looks into three major animals, namely, horse, elephant and insect. It is discovered that these three types of animals have gone through three major evolutions. The article will discuss each type, particularly on the form, the origin, the materials used and the surface treatment decorating the form

Tipologi hulu keris tradisi

Traditional carving on Malaysian territory covers all aspects of life from architecture, furniture, agricultural tools, fishing equipment and personal items. In general, the type of carving, especially the architecture has a lot to say. Previous research includes understanding the types of carving, patent, and motives. However, engraved personal use items not examined in detail, including the keris. Expertise of artisans who carved the keris hilts are slowly decreasing which make the subject very important to be studied. This study highlights the keris hilts by giving a new typology for the classification. 1919 sample of keris hilts found around this region become a source and example of the study. It takes into account the nature of the classification from basic form leading to ‘bangunan’ and material of the hilt. The typology is based from the appearance of a human figure and a demon form. In zoomorphic form there are three major grouping of animals and birds that made a symbol of keris hilt. Characteristic of the bird is also categorized in the same group. Another group known as the utility is also categorized. There are some hilts which have combination characteristics of a particular group. These hilts are grouped according to their shape and are referred to as hybrid form. From four types of hybrid put forward, there are two small sub-group used as a hybrid. Each group was studied by a sketch for a typical identity. This sketch is a method used to find a typology that led to each group. There were variations in the hilt typology and a typical classification of each group is represented on a chart of 40 typical hilts. Distribution of the three groups is in accordance with changes in appearance from the original shape to some abstract and the full abstract as in the zoomorphic form. Most of the hilts categorized taking into account these factors. With this new typology each group were given details according to appearance of the form. The uniqueness of the hilts covers materials used and the type of decorative engraving the surface. New typology helps facilitate to identify the other types of hilts. This study successfully produced two diagrams that help to determine the existence of the type of hilts from the southern province of Asia such as Thailand, Java, Sumatra and other islands of Indonesia. The second diagram is to facilitate the reading of a new typology for the classification of the hilts based on Asian region

Investigation on the elements of Malay landscape design

This Malay landscape character research cover landscape architecture with the foundation of functions and Malay culture. Two main components that lead to developing Malay landscape architecture are plants and landscape furniture. These components consist of culture and artistic values that portray the Malay symbolism. Values on belief, world of thought and the culture had been the base of Malay cosmology. These values are indirectly defined by the design, art, composition, symbol and function. These elements also consist of indirect values and symbolism that can be ascertain through the perception of meaning that are meant to be delivered either in the aspect of culture or function. The qualitative and quantitative methods had been used to determine the elements and components of the Malay landscape either in physical or metaphysical form. The qualitative method focused on the symbolism in the Malay landscape through inventories and interviews with the respondent. Quantitatively, the research evaluate the statistic of landscape components that indicate the typology, function and the overall resemblance. The research data also define the existence of Malay landscape architecture from these values. Lastly, the characteristic of Malay landscape that had been identified will be used for the guideline of Malay landscape design that are relevant in the present environment

Kerjaya bidang seni bina

Seni Bina merupakan suatu bidang yang merangkumi ilmu tentang Sains, Sejarah, Geografi, Budaya, Ekonomi, Seni dan Pengurusan. Ramai yang berpendapat bahawa kerjaya ini ada kaitan dengan seni sahaja, namun hakikatnya bidang Seni Bina ini merentas pelbagai bidang yang memerlukan pemahaman tentang ketamadunan manusia dan interaksinya dengan alam. Kerjaya Arkitek adalah kerjaya yang mencabar, bagaimanapun, di sebalik cabaran itu bidang ini mampu memberi kepuasan dari aspek pengurusan kepelbagaian ilmu berkaitan manusia. Buku ini memberi pengenalan ringkas tentang bidang Seni Bina dan kerjaya yang berkaitan dengannya. Buku ini sesuai dibaca oleh para ibu bapa, dan guru kaunseling, untuk memberi panduan kepada pelajar dalam memilih kerjaya. Di samping itu, buku ini boleh digunakan oleh para pelajar peringkat sekolah menengah supaya inspirasi kerjaya dapat mekar awal dalam pendidikan sekolah. Malah, pelajar institusi pengajian tinggi yang berada pada tahun pertama bidang Seni Bina dapat memanfaatkan buku ini dalam memberi gambaran keseluruhan tentang kerjaya