Practicum 1 P3 Report

House of Puan Azizah Yusof Pulau Duyong
ARC 1215 Methods of Documentation & Measured Drawings 2013
Declaration
This report is submitted for the subject ARC 1215 Methods of Documentation &
Measured Drawings to the School of Architecture, Building and Design of Taylor’s
University Petaling Jaya to obtain 5 credits for Practicum 1.
Name of house
Puan Azizah Yusof’s house
Address
No 3586, Kampung Duyong Besar
Jalan Tengku Mizan
231000 Kuala Terengganu
Terengganu
Group lecturer
Nooridayu Ahmad Yusuf
Group list
Syed Yunus Almahdaly Bin Syed Ahmad
Erna Syafina Binti Abdul Rahman
Nur Syazwani Binti Md Yunos (Syaza Yunos)
Fioona Pang Zi Ting
Aida Alipoor
Fildzah Muqsitha Djafar
Alex Sia Hong Rui
Mohsen Mohammed Althawy
Nur Khalisah Binti Burhanudin
Wan Izz Naufal bin Wan Ismail
Aryo Dhaneswara
Lee Ho Jun
Loh Pei Zhen
Chua Mer Sie
Angeline Chew Mee Koon
Phum Boon Wei
i.
1007P11013
1007P79453
1007P79444
0304044
0301393
0301333
0308954
0807P67453
0302754
1101P12392
0309093
1007P10652
0302114
0302059
0301645
1001JP88744

Acknowledgements
This report is made possible through the help and support from everyone includ-
ing: Puan Azizah Yusof, En. Fairuz bin Karim, The State Museum of Terengganu,
Puan NooridayuAhmad Yusuf, the Practicum 1: Terengganu group members, lec-
turers, the Centre of Modern Architecture Studies in South-East Asia (MASSA),
the School of Architecture, Building and Design (SABD) and Taylor’s University
Malaysia.
Firstly, we would like to thank Puan Azizah, the owner of the house, for the hos-
pitality, support and opportunity. We could not have given a better patron for our
Practicum 1. A million gratitude for the hospitality and a sincere apology for the
interruption of her daily routines.
Secondly, we have much to be thankful for such an inspiring tutor, Puan Noorid-
ayu for the love and guidance for without her we can hardly produce such work
with such passion and effort. We really appreciate the moral support.
Lastly, incredible thanks for the support and encouragements from our family,
friends and other groups from this Practicum 1. We love you all!
ii.

Abstract
Traditional Malay houses in Malaysia itself have also been proven to vary
between the states of Malaysia. It is vernacular, simple and unique in it’s own
way. The qualities of the style does not only occur within its building envelope but
as well as on how it is perceived, its principles of construction and the art within
its function and concept. This report discusses the research investigation of Puan
Azizah’s house in Pulau Duyong where the traditional Malay architecture takes
place, incorporating its chronology of events throughout its years of existence.
Findings of study indicate that within an area in Kuala Terengganu of the state
of Terengganu, an individual traditional house itself has its own uniqueness in
comparable with other individuals of houses due to the individualistic qualities of
its owners.
iii.

Table of Contents
DECLARATION
ACKNOWLEDGEMENTS
ABSTRACT
1 INTRODUCTION
1.1 Introduction of research
1.2 Aim and objective
1.3 Significance of research
1.4 Research and measurement methodology
1.5 Limitations of measurement & research
2 HISTORICAL BACKGROUND OF SITE
2.1 Historical Backgroud: Site
2.2 History of Pulau Duyung
2.3 Boat Making in Pulau Duyong
3 HISTORICAL BACKGROUND OF PUAN AZIZAH’S HOUSE
3.1 Chronology of events happening at the house: timeline
3.2 Ownership: timeline
3.3 The family: family tree
7
10
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4 CULTURE
4.1 Concept in Traditional Malay House: An Introduction
4.2 Traditional Malay House: Spaces & Functions
4.3 Building Science
4.4 Traditional Malay House: Culture & Tradition
4.5 Terengganu Traditional House: Culture & Heritage
5 ARCHITECTURE
5.1 Introduction: the Malay Vernacular Architecture
5.2 Puan Azizah’s House
5.3 Construction System of Puan Azizah’s House
5.4 Changes in Puan Azizah’s House
5.5 Traditional System of Measurements of Puan Azizah’s House
5.6 Prominent Elements of the House
5.7 Ornamentation
6 CONCLUSION
7 SCALE DRAWINGS
8 LIST OF FIGURES
9 GLOSSARY
10 REFERENCES
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55
56
87
91
95

Introduction
1.1 Introduction of research
‘Architecture is the manifestation of the society and their cultural practise. It reflects
the society’s way of life, their belief and philosophy; all encompassing; forms impor-
tant components and the uniqueness of a culture.’ (Ezrin Arbi, 1997)
This report ventures through the understanding of architecture and cultural signifi-
cance of Puan Azizah’s house and its site by looking into its timeline of early con-
struction methods, architecture concept and influence and the society of the place.
With a group of 16 students, 1 lecturer and 6 days, we endeavoured to take out the
task of measuring and documenting Puan Azizah’s house located in Pulau Duyong,
Kuala Terengganu, Terengganu.
1.2 Aim and objective
The aim of this Practicum 1 is to identify and understand the methods of construct-
ing an architecture structure as well as the significance of the heritage and culture
of the given site.
1
7

The objective of the Practicum 1 is basically: 1) document the exact measurements
of the building structure and 2) document the relationship of the architecture of the
building to its significance.
The aim and objective of this report on the other hand is to show our findings and
document our research and measured drawings of our given site, the house of
Puan Azizah Yusof for conservation and future reference.
1.3 Significance of research
With the rough age of 100 years old, Puan Azizah’s house is one of the oldest
houses situated in Pulau Duyong that was built using the traditional methods con-
struction and it has also gone through timeless events.
By carrying out the research of this report we learn the vernacular architecture of
Terengganu and the local context through understanding Puan Azizah’s house and
its area, Pulau Duyong, along with its inhabitants.
1.4 Research and measurement methodology:
1) Measuring instruments & techniques
• BOSCH laser measuring equipment (insert correct name here)
• BOSCH measuring ruler (insert correct name here)
• Measuring tape
• Ruler
By using the measuring equipments above, we have manually measured the house.
The group was divided into subgroups for efficient measuring such that no double
or triple work would take place. The reason for such decision is: we had only 6
days to cover the measurements of the whole house as intricate and accurate as
possible.
Our subgroups varied from heights, width, plans, sections, elevations and detailed
drawings. On top of that, we drew and crosschecked the drawings in AutoCAD
8

together after the measuring session to ensure on what we had to help prepare for
the next day.
2) Research technique
We attempt constructing our research report through various techniques such as
interviews, online, journals, books and museum visits. Interviewing the owner of the
house, Puan Azizah, we acquired sufficient amount of information about the house
and the local context. We also visited the State Museum of Terengganu, Kota Lama
Duyong – a branch of Terengganu State Museum displaying artefacts and having
information about Pulau Duyong, and the boat making yards. This helped us a lot
in understand the local context and significance of the area. On top of that, online
journals and books help us in understanding the architectural aspect and historical
factors of our site to accompany and support our interviews.
1.5 Limitations of measurement & research
Terengganu experiences yearly monsoon seasons thus it suffers flood, rain and
due to this, there is always a change in soil settlement. Moreover, Puan Azizah’s
house is so old that whenever it suffers from any construction setbacks, it would be
fixed by improvisations such as placing timber planks in slits and nailing additional
timber planks for cracks. Because of this, our measured drawings could not be as
precise as it should be, we had to standardise our measuring techniques to fit our
documentation for further reference.
During our time in Terengganu there was some unexpected weather conditions that
gave us quite a challenge to measure. It limited our time to measure the exterior
components of the house.
On top of that, there was a limited amount of published information available about
Pulau Duyong during our research for this report. This constrained our report in-
formation even though we had visited the museums and interviewed the local
people.
9

Historical Background: Site
2.1 History of Terengganu
Terengganu is situated alongside the main ancient sea routes. Its location attracts
traders from the four corners of the world. The history of Terengganu predates the
establishment of the Melaka Sultanate. Straddling the ancient trade routes, accord-
ing to records from the Chinese merchants and other seafarers from as early as
sixth century, under the influence of Srivijaya and traded extensively with the Ma-
japahit Empire, the Khmer Empire, the Arab, the Indian and the Chinese empire.
Terengganu has a very long history. Kuala Terengganu is believed to have been oc-
cupied and inhabited at least in the 10th centuryAD. In year 1178, the book of “Ling-
wai-tai-ta” composed by Cao Cu Fei whom is posts scholars from China, mentioned
as “Teng-ya-nu” in the book. Besides that, the book of “Cu-fan-pooh” written by Cao
Ju Kua in year 1226 was also mentioned about “Teng-ya-nung”. Many local histo-
rians are believed that Cao Cu Fei or Cao Ju Kua, or both were referring the name
of Tengganu or now so called Terengganu.
2
10
Fig 1: Old Terengganu

2.1.1 Influence of Islam
Terengganu is recorded as one of the first states to receive Islamic influence in
the Malaysian peninsula. This is proven by the discovery of stone tablets that can
be traced back to around 1303 AD. A discovery in particular is of the stone tablet
(Figure ??) by a trader and preacher of Islam, Syed Ghulam Hussein al-Bukhari
in 1902. The stone was engraved with Arabic inscriptions - constitutes the earliest
evidence of Jawi writings based on Arabic alphabets in the Malay Peninsula found
in Kuala Berang, Malaysia. Known as “The Inscription Stone” (Batu Bersurat). This
founding has shown that Islam had reached Terengganu at least in the 12th century
AD, which is also the testimony that Islam as the official religion in Terengganu,
earlier than the Malacca Sultanate.
There were conflicting versions of how Terengganu obtained its name; some asso-
ciated it to the discovery of an incisor tooth of an unknown origin at a river estuary
by a group of royal hunters from a neighboring state. Thus they called the place
“Taring Anu” where the tooth was found. Another version, the name Terengganu
was derived from a very bright rainbow seen by a group of neighboring royal fleet
and proclaimed the land to be “Terang Ganu” (Bright Rainbow). Yet another version
implies the river of “Terenggan” as an important trade route between the coast-
al settlements and those from inland. Trade flourished with the river as the main
transportation link. Inland settlements go to Sungai Terenggan nu (that way to the
coastal) rather than to Sungai Terengganu ni (that way further inland).
11
Fig 2: Inscribed stone of Terengganu
(side A)

2.2 History of Pulau Duyong
Pulau Duyong is an island 1km 700m long and 600m large, It comprises of three
main islands; Duyong Besar, Duyong Kecil and Pulau Ketam. It is a small island
at the end of the Terengganu River that is situated in the district. According to the
history of “Darul Iman”, the origin name of “Terengganu” is associated with Duyong
Island. The island is where, long ago an ivory defense was found, which later could
only be identified as “Taring Anu” – thus from which, came the word “Terengganu”
Pulau Duyong previously was divided into two parts, Pulau Duyong Besar and Pu-
lau Duyong Kecil, until after some time a pile of sand deposition had it together
and changed the coastline, which then merge them together. The island used to be
the residence of a well-known scholar, Tok Syeikh Duyong (1802–1889), who was
respected by the palace as well as the people and his descendants. The Kota Lama
Duyong (Duyong Old Fort) is a remnant of his era. Due to its geographical shape
and the locational significance in terms of religious scholarship, Pulau Duyong has
been referred to as the tongue of Terengganu.
Tok Sheikh Duyong, whose real name was Tok Sheikh Abdullah bin Haji Wan Mu-
hamad Amin, was a scholar who is an expert in the field of Sufism, Hadith, Fiqh and
Usuluddin in Mecca. His broad knowledge about Islam is known throughout the
archipelago and made Terengganu famous for a place to study about Islamic laws.
2.2.1 Dato’ Nik Mohamad Bin Nik Hitam
He is the great grandson of Sheikh Duyong Tuk. His father was a fishing boat
captain. He received religious education from Wan Ismail Bin Saleh, a famous re-
ligious teacher in the village Duyong. Nik Mohamad or better known as Dato Bija
‘Sura, first started working as an administrator who helped conduct the general
office tasks at the court office.
12
Fig 3: Map of Kuala Terengganu

In 1911 he became the Vice Justice and a member of Ahli Mesyuarat who are
responsible to formulate the Laws of the Constitution meeting for the State Govern-
ment 2 November 1911 or 11 Zulkaedah 1329 of the Islamic calendar. He later held
the Syariah Court Judge in 1913, until he was then appointed as Judge of the court
and ‘Joint-Court’ to discuss the British Colonies Terengganu in 1915.
His persistency of holding court judge position made him get the award title of ‘Dato
Bija Sura’ in 1924.
In 1928, Dato Bija Sura was promoted to hold the office Judge of the Supreme
Court and became deputy of Mufti in 1937. His career did not just stop there, He
then got the title Pesuruhjaya Islamic Affairs Department from 1940 to 1942.
Dato ‘Bija Sura was an art lover. This could not be denied because if we look into
the architecture of the house, it was filled with carvings of high quality mainly found
in houses built in the area in the Old City Duyong.
He was said to have 4 wives. Che Wook, Che Nik Khadijah, Che Yah and Che
Wook Fatimah. He had also helped to cultivate Lanseh Tree in Kampung Beladau,
Kuala Terengganu.
Dato ‘Bija Sura died in 1943 after he suffered from high fever.
It became increasingly popular heritage destination after being ‘renewed’ by the
state government with the construction of facilities. The location of Pulau Duyong is
overlooking the South China Sea, which is famous for its variety of unique materials
and interesting history.
13
Fig 4: Dato’ Nik Mohamad Bin Nik Hitam

2.3 Boat Making in Pulau Duyung
Pulau Duyung located in the middle of the estuary of the Terengganu River is the
residence of captains of ocean going vessels (nakhoda) and fishing boat skippers
for a long time. The villagers have built a great number of houses, illustrating the
various styles of the Malay timber architecture.
Other than fishing, the inhabitants of the island were also ferry operators when fer-
ries used to be a vital mode of transport for the islander to commute to and from
Kuala Terengganu, which is located only about one kilometer away.
2.3.1 Boat Making: A Significance
Pulau Duyong Besar is the home of the most famous and the oldest traditional
boat making in Malaysia and is already an international tourist destination. Pulau
Duyong, which is only a few hectares big, sits between The Sultan Mahmud Bridge
and Kuala Sungai Terengganu making it easily accessible by road or river. Tradi-
tional Boat Making in Terengganu is best known worldwide for their rowboats, deep-
sea fishing boats and luxury yachts with its own heritage technique. The island has
gained worldwide recognition as a center for traditional boat making. The boats are
built without the use of blueprints or plans, everything was done by hand and using
only a few modern equipment. It’s true indeed that they don’t use a single blueprint
or plan to build a vessel, be it a giant trawler or a luxury yacht destined for foreign
shores.
All master craftsman needs to know is the type and size of vessels. He then draws
on his vast experience and photographic memory to begin his work. Even in this
day and age, well-worn traditional tools like axe, saw, plane and hammer are the
main tools of the trade.
14
Fig 5: Pak Awi the boat maker

Boat builders prefer to make use of the local high quality “Cengal” wood (neo bal-
anocarpus), “Penaga” wood (mesua ferrea) for the dowels. “Kulit gelam” (tree bark-
melaleaca leucadendron) is used for caulking, the waterproof packing pressed be-
tween the planks. The “Cengal” wood planks were left under sun for several months
before its full potential. This rendered “Cengal” wood lighter, easier to work and less
liable to warp.
Normally, boat builders take about two or tree years to finish their job and the costs
to finish the boat are around RM 2 billion to RM 3 billion, depending on boat size,
woods and any special requests.
2.3.2 Boat Making: A History
From the history background and geographical location, Terengganu receives cul-
tural influences from the neighbour in the north that are Kelantan and Thailand.
Apart from that, the main point is that the tradition boat building is one of the cul-
tures in Pulau Duyung, Terengganu. Pulau Duyung is situated in the estuary of
Sungai Terengganu. There are divided into two types, which are Pulau Duyung
Besar and Pulau Duyung Kecil. Pulau Duyung Besar is home to some of the master
boat makers and one of the oldest traditional boats building in Malaysia. Not just
that, Pulau Duyung Besar is also an international tourist destination that provided
marina facilities such as yacht racing, jet ski racing, boat racing as well as the venue
for luxury yachts stopovers.
In the 19th century, the people have always been more than just fishermen and
flourished the boat building industry in Terengganu. Pulau Duyung Besar is the old-
est traditional boat making in Malaysia and also a home to some of the master boat
makers.Apart from small fishing-boats that are 3m to 4m long, the boat makers also
built large trading boats called “Perahu Besar”, between 13 and 27m long. There
are several types of fishing boat such as “Kolek”, “Payang”, “Bedar” and “Sekoci”
and four types of Perahu Besar such as “Dogol”, “Pinis Dogol”, “Pinis Gobel” and
“Anak Bedar”. Besides that, Terengganu’s world-famous traditional boat makers in
Pulau Duyung are known to build row boats, deep-sea fishing boats and luxury
15
Fig 6: Old Pulau Duyong

yachts from memory and experience, master of craftsmen taught to them of the
previous generation and without blueprints and nails.
There are materials needed to be use to build traditional boat buildings as for hulls,
their preferred material is cengal, a tough wood and not allowing liquid to go through
to termite attack make it prized not only for boats but also the best kampung hous-
es. After the hull planking is covered with strong hardwood pegs, a special sealant
is derived from swampland trees, and resistant to rot is applied. Then the frame is
fitted to give the whole structure strength and flexibility. As the construction takes
place in dry docks, the local villagers often required putting their efforts to pitch in
the finished boats that have to be to turn and direct on rollers into the water.
16
Fig 7: Example of “Perahu Payang” and
“Perahu Kolek”. This boat is in a large
size and is used for fishing. The form at
the bottom of the boat with the shape of
a “U” that are commonly used in rivers is
used to carry goods and also for trans-
portation.
Fig 8: The advanced technologies have
influenced people’s lives and livelihoods
and slowly it influences the traditional
boat forms to modern boat forms.
Fig 9: In the past, the boat used to trans-
port commercial goods such as veg-
etables, rice, fish, and more from one
place to another place nearby. This photo
shows an example of great body shape
of “Perahu Besar”.

Fig 10: Traditional boat making work-
place found near Puan Azizah Yusof’s
housing area
17

Historical Background:
Puan Azizah’s House
3.1 Chronology of Events at the House
The original ‘Rumah Ibu’ was estimated to be 100 years old. The house was left
abandoned for 15 years while Pn. Azizah followed her husband who was working in
Kemaman, which resulted in the loss of brassware to the house.
Terengganu can be said to be a suburban area, in time, development by govern-
ment brought pipe water supply to the city. In Pulau Duyong itself, Pn. Azizah was
only 15 years old when they installed the pipe water supply and 18 years old when
they installed electricity. Tarmac road was introduced into Pulau Duyong as soon as
the Sultan Mahmud Bridge was completed in 1990.
Significant renovations to the house were done since the past 50 years. At around
the year 1967, the 24 year-old owner Pn.Azizah made some changes with the origi-
nal ‘Rumah Ibu’. Such could be seen from the roof part. It was originally of ‘Sing-
gora’ tiles and it was changed to Asbestos due to durability and function. Another
change from the original house was the ‘Janda Berhias’ wall. It was changed to its
current wall, a modern mixture of ‘Janda Berhias’. On top of that is the current
3
18
Fig 11: Sketch of Puan Azizah’s House (east side)

kitchen, which was added to the house about 4-5 years ago.
3.2 Ownership
The house was originally built and owned by the late Mohammad bin Hussain who
was the step grandfather of Pn. Azizah. He was originally from Telok Pasu, Tereng-
ganu. Like any other Terengganu citizens, Mohammad bin Hussain was a fisher-
man and was the owner of the boat that is currently still lying under the house.
The entire house was built and measured referring to the late Pn. Hajjah Aminah
Haji Mahmud’s body measurement, step grandmother of Pn. Azizah (IC number
1107719). Pn. Hajjah Aminah was a local resident, and was born in Pulau Duyong.
Until then the house was legally given to Pn. Azizah through a will made by Pn.
Napisah binti Mohamad, her stepmother.
Pn. Azizah was born and raised in Pulau Duyong, attended Sekolah Rendah Ke-
bangsaan Duyong, continued her studies at Sekolah Menengah Tengku Bariah,
and later became a housewife. For a living, Pn. Azizah does home food catering for
events, and making cookies for Hari Raya.
3.3 Family
Mohammad bin Hussain (Pn.Azizah’s grandfather) married Pn. HajjahAminah (Pn.
Azizah’s grandmother). He was the initial owner of the house.
They were married and had only one daughter, Napisah binti Mohamad – born
in Pulau Duyong, who went to school until standard 3, then joined the ‘Sekolah
Dewasa’ or school for adults for two years. She married Ali bin Mahmud, and had
no children of her own. Both of them later adopted Pn. Azizah Yusof (IC number
1107736) when Pn. Napisah was 30 years old.
19
Fig 12: Mohammad bin Hussain
(grandfather)
Fig 13: Pn. Hajjah Aminah (grand-
mother)

Ali bin Mahmud, the son in law of Mohamad bin Hussain and Hajjah Aminah was a
schoolteacher. He completed his trainings at Maktab Lembah Pantai, Kuala Lum-
pur. Pn. Napisah later adopted another child, who became Pn. Azizah’s brother,
named Abdillah 55 years old.
In 1983, Pn. Azizah Yusof married Ahmad bin Arifin on 23rd of September. She
was bestowed 2 sons and 2 daughters – Nurul Hidayah Ahmad, Khairul Idham
Ahmad, Shahril Lutfi Ahmad and Nadia Fatihah respectively. But then later decided
to divorce.
Pn. Azizah is now living with 3 of her children; Khairul Idham, 27 years old who is
currently working as a mechanic, Shahril Lutfi, 24 years old works as an oil plant
technician and Nadia Fatihah, 23 years old as a clerk. The oldest daughter of hers,
Nurul Hidayah, 29 years old, is now a housewife in Kemaman, Terengganu.
20
Fig 14: Pn. Azizah on her wedding day

4.1 Concept in Traditional Malay House: An Introduction
The traditional Malay house is one of the richest components of Malay-
sia’s cultural heritage and the houses were built by the villagers themselves, which
shows creativity and aesthetic skills of the Malays. A Malay house satisfies the
Malay inhabitants through addressing their actual needs while responding to the
local environments. The Malay house is designed and built according to the Malay’s
desires to suit the warm and humid tropical climate and for the multifunctional use of
space. Its design is also flexible as it caters to the widely different needs of the us-
ers. It also has an addition system, which allows the house to be extended to meet
the growing needs of each family.
4.2 Traditional Malay House: Spaces & Functions
The traditional Malay house are usually built on stilts by using timber, the
aboriginal and richly found material. Basically, the house can be divided into two
main portions, the front and the back and within these portions there are three main
spaces: ‘Serambi’, ‘Rumah ibu’, and ‘Rumah dapur’. These spaces on the other
hand, are usually covered by a long roof with some regional variation.
4 Culture
21
Fig 16: Section and
elevation of basic
traditional Malay house
showed the spaces of
“serambi”, “rumah ibu”,
and “rumah dapur”.

4.2.1 Building Layout
(Right) is a comparison of the layout design of a basic Malay house with a
house that uses the same style but located in a different region. It is deduced that
the basis of design, and the essence of spatial layout originated from environmental
concerns and socio-cultural impact. Simply said, they are very much identical.
4.2.2 Spaces
The entrances of a typical Malay traditional house are basically stairs that
leads up to a veranda called the Serambi. The Serambi of the house acts as a
good transition space between the public and the private domains. It also acts as
a central focal point for the entrance. Visitors and guests are entertained there.
For resting, chatting and watching the on goings and passers-by in the village, the
residents of the house usually like to be lingering around in the Serambi.
From the Serambi, it then links to the Rumah Ibu, which is the core area of
the traditional Malay house. This is the largest area in the house where most activi-
ties are conducted. Sleeping, sewing, praying, ironing, studying, chatting and even
feasting, Kenduri, which is held during marriages and other festivals, take place
here. Its floor level is often constructed as the highest level of the house to show its
prominence and importance.
Following the Rumah Ibu is Selang – a space that is considered as a walkway or
a passageway connecting the kitchen area. However, the Selang would only be
applied to the house of Bota Kiri, the traditional Malay house of Perak. Selang also
acts as a circulation space while being a given space for the female’s interaction.
It is a space for the female inhabitants to chat, socialize and entertain with the
other female neighbours. Additionally, this space is perceived as a linkage between
the main living room and the kitchen area. Furthermore, Selang provides an open
space between the two major parts of the house that is highly significant for the
thermal comfort of the users and reinforcement of lighting.
22
Fig 17: Fundamentals of Malay house
layout design.

The kitchen, Rumah Dapur, is always positioned at the back and lowest
floor level of the house. Modern kitchens of the new Malay houses are often built
on the ground level where floors are cement-made. Preparation of food, cooking,
washing and eating are all done there. The female also often group here to chit-
chat.
Apart from that, the functional space locations, zonings and spatial ad-
jacencies with the diagram above is identified that the front zone, the main house
zone and the kitchen zone are the three fundamentals of a basic Malay house while
other types of Malay houses still follow these fundamentals through the evolution of
time.
4.2.3 Level
The spaces inside the Malay house are categorized into public, private and semi-
private spaces, which can also be seen in its floor levels. Originally, a Malay house
is comprised with the front and the rear spaces as two major sections of its design
layout. This embraces the Rumah Ibu and Dapur. The Rumah Ibu is often with the
highest floor level and the Dapur with the lowest. On top of that, in Malay houses, all
the spaces have their own specific sizes based on their own given functions.
The particular zoning of spaces provides the level of privacy required: a guest zone,
public domain, which is with a clear male domain at the front, and the family zone,
private domain, which is the female domain. As the Malay houses are built on stilts,
the main entrance of the house is accessible through stairs leading to Serambi. The
floor level of the Serambi is lower than Rumah Ibu indicating the border between
functional spaces. Additionally, the floor level of Rumah Ibu is the highest among all
functional spaces of the house signifying its crucial impact on the house layout. The
Dapur is operated for various uses such as cooking, washing and food preparations
while being on the lowest floor level.
23

4.3 Building Science
There are several features in the traditional Malay house that are providing
effective ventilation. To catch winds of a higher velocity, the house is raised on stilts.
The elongated structure of the traditional Malay house with minimal partitions in the
interior, allows easy channel for air and cross-ventilation.
There are plenty of windows in the traditional Malay house and since the body level
is the most vital area for ventilation, full-length operable windows are normally used.
The purpose of the carved wooden panels and wooden grilles in the house is due to
their being as effective ventilation device.
The lightweight construction of the Malay house with basic use of minimum mass,
much voids, low-thermal-capacity and high-insulation materials is most appropriate
for thermal comfort in Malaysia’s climate. The wood, timber, bamboo or Attap used
have good insulating properties and they preserve or conduct little heat into the
building.
24
Fig 18: Vernacular architecture

4.4 Traditional Malay House: Culture & Tradition
A Malay kampong house is the place where the Malay culture and tradi-
tion are represented through local daily life. Culture of a region encompasses the
life style of people including their thoughts, beliefs and functional behaviours. It is
repeatedly cited to consider that cultural values in current housing developments
are influential parameters for the quality of life.
The design of the traditional Malay house not only reflects the identity of the owner
but its also show the socioeconomic, cultural and history of the past. The traditional
Malay house featured Malays in all way. The difference between the houses in
every state showed that the Malay race itself, as a social community, is not the
same. Each of them has their own perceptions in the design of the house, which is
influenced by different factors.
The Malay architecture has been influenced through many decades by a lot of
places, such as Indonesian Bugis, Riau and Java in the south; Siamese, British,
Arab and Indian from the north; Portuguese, Dutch, Acheh, Minangkabau from the
west; and Southern Chinese from the east. In a way or another, the Malay vernacu-
lar architecture style is a modification of the influenced style in order to adapt these
influences into its place, people and culture.
The design of Malay houses is based on an open plan layout, as the family intimacy
is one of the design concepts representing the cultural values. Besides the family
intimacy, the privacy, a significant role on the design Malay houses, is the main
reason of dividing the house into the different parts.
The Serambi is the first space attained right after the entrance, the entrance space
right before the Rumah ibu. It is considered as an open space for entertaining the
guests or family members with their child (boys) sleep can take place.
25
Fig 19: House of Pn. Azizah Yusof

PuanAzizah Yusof’s house has stairs that lead up as entrance towards its Serambi,
which in Terengganu is called the Lambur. The Lambur acts a good transition space
between the public and the private domains where the guests can be entertained,
for resting, chatting and also watching the passers-by around housing area.
The Rumah Ibu is the allocated place for the prayer - Muslims must offer prayer five
times a day. This main part of the house is utilized for meetings, discussion, receiv-
ing guests and many other public interactions. Certainly, this flexibility in functions,
which results in ideal use of space, expresses the Malay’s simple way of living with
no regards to ostentatious life style.
Moreover, a Malay house is based on the lack of regard for pretentious lifestyle that
leads to spaces without modern furniture. Thus, a living space without furniture can
be used for sitting, entertaining guests, chatting, prayer and other functions while at
night it is the allocated space for sleeping.
On top of that, Puan Azizah’s house has private spaces to suit her needs of privacy.
In a Malay family, as the children grow older—the boys, they have more freedom
to go out, visit friends or work for earning incomes. On the other hand, the girls are
much more confined in the house to help their mothers and they spent most of a
day in the Rumah Dapur area.
The Malays like to keep the floor in the house clean so that they can sit on the floor
and pray in any allocated space at anytime. Therefore, the Malays must take off
their shoes before entering to the house. The main part of the house, Rumah Ibu,
is mainly allocated for men while the prayers can also be carried out there. How-
ever, the Rumah Dapur area is an allocated space for women. The activities such
as preparing food, cooking, washing, family dining, chatting is carried out inside
the Rumah Dapur while the guests are served in the Rumah Ibu or the Serambi/
Lambur. The Rumah Dapur is a given space for females and even the house owner
(male) cannot enter the Rumah Dapur area while the female guests are there.
26
Fig 20: Guests on Pn. Azizah’s wedding,
which took place in the house.

When a couple, husband and wife, come for a visit, the husband will enter the
house from the main entrance at the landing and will be entertained at the Serambi/
Lambur by the husband or the eldest son of the house owner. However, the wife will
enter the house through the Rumah Dapur and will be entertained by the wife of the
house owner or the eldest daughter in the family.
The Rumah Dapur is always a restricted functional space that is allocated for the
females and a male guest cannot enter there unless he is a family member or son
in-law. These facts represent the fundamental role of privacy as a significant socio-
cultural values embodied in the functional spaces of traditional Malay houses. The
kitchen, Rumah Dapur, of Puan Azizah Yusof’s house is the private spaces that
always positioned at the back and lowest floor level of the house. The floor and the
wall of the kitchen are made of cement, which is very different from the other spaces
of the house that are built of Cengal wood.
Regardless, the traditional Malay houses in different regions of Malaysia have mi-
nor differences in design. However, the functions and functional spaces of every
section remain the same. When a guest intends to enter a Malay house, the status
and relation of the person to that particular family is considered. If the person is a
stranger, he can only stay at the landing area while if the person is a friend of the
family members, he can enter the house up to the Serambi/Lambur. However, if the
person is a relative of the family, he can go into the Rumah Ibu to be entertained
there.
27

4.5Terengganu Traditional House: Culture & Heritage
Architecturally, Terengganu has a rich heritage of traditional buildings but
Kota Lama Duyong is the one example of marrying the western influence, a bur-
geoning Islamic consideration and traditional Malay elements. The house is based
largely on the traditional Malay house. Its main entrance faces north and the sea,
convenient for visitors coming to the island. Like other typical Terengganu Malay
houses, normally its orientation shows a similarity with the architecture of the Chi-
nese and sequences. The main part of the house (Rumah Ibu) is higher than the
other spaces while the kitchen has the lowest elevation.
The Western influence is not apparent at first but it is embedded in the materials
used in its construction. A combination of timber and concrete structure is used to
create both the traditional and Islamic spaces. While the floor is made out of
cement, the brick walls are stacked to the height of a man’s waist. Perforated timber
strips formed the upper level. The house also faces Mecca, roughly pointing from
east to west. However, one of the most significant examples of Islamic influence
is in the design criteria of Kota Lama where separate spaces for men and women
have been constructed.
4.5.1Evolution of Space
The addition system of the traditional Malay house offers a wide range of choices
for the user who seeks to extend his house. Through adaptations and use, 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 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 and afford of the users.
28
Fig 21: Addition system of Malay Traditional house

The concept of incremental housing 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 re-
quires only a small initial capital investment and grows when the family has the
means to expand the house. This can reduce 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
requires many bureaucratic procedures of housing approval, use middle-class and
Western standards and require expensive housing materials.
Puan Azizah’s house has undergone a process of transformation as well, which
can be dated to 1960s. A great number of started of changes of Traditional Malay
houses dates back to the fifteenth century and some derive from an even earlier pe-
riod. Today one can still observe this phenomenon. Currently, Puan Azizah’s house
is adopting industrialised building components.As an alternative to traditional open-
ings, the factory-produced adjustable louvered windows have become accepted by
the indigenous builders. This has resulted in slight changes in the subcomponents
of the middle zone. Short shutters, for instance, are no longer used and the rules
which pertain to them no longer apply.
At first , Puan Azizah’s house only contain the Rumah ibu and a room. After that,
Puan Azizah added the living hall, another room and the verandah with the stair-
case. The third and fourth room were added afterwards. Lastly the kitchen was
added beside the third and fourth room using cement render.
29
Fig 22: Evolution of Pn. Azizah’s House

30
Fig 23: Floorplan of house with its
functions

5.1 Introduction: the Malay Vernacular Architecture
Malay vernacular architecture is greatly affected by climate and weather.
Therefore, the traditional Malay houses are mostly raised on timber stilts or pile to
elevate and protect the building from floods and also serve as a source of natural
ventilation. Malay vernacular architecture house usually made of materials which
are easily available from the tropical forests such as timbers, bamboos, rattans, tree
roots, and leaves. No nails are used in a traditional vernacular 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. The houses usually have veranda in front, high ceilings
and lots of big openings for ventilation purposes.
5 Architecture
31
Fig 24: Sketch of Tebar Layar structure

5.1.1 Basic Design Layout of the Malay House
There are usually 2 main parts to a traditional Malay vernacular house: the
“rumah ibu” (main house) and the “dapur” (kitchen annex). The” dapur” is separated
from the “rumah ibu” for fire protection as the bulk of the buildings are made from
timber. One or more “serambi” (verandas) are attached to the “rumah ibu” for work,
relaxation, or where non-familiar visitors would be entertained, thus preserving the
privacy of the interior.
Although these characteristics are particularly common in all Malay hous-
es throughout the Peninsular Malaysia but their shapes and sizes differ from state
to state.
32
KITCHEN
MAIN HOUSE
SERAMBI
ENTRANCE
Fig 25: Map of the shape and size of
Malay house from state to state
Fig 26: Basic layout of Malay Traditional house

33
Fig 27: External Environment of the
Malay House
Fig 28: Internal Environment of the
Malay House

5.2 Puan Azizah’s House
There are usually 2 main parts to a traditional Malay vernacular house: the
“rumah ibu” (main house) and the “dapur” (kitchen annex). The” dapur” is separated
from the “rumah ibu” for fire protection as the bulk of the buildings are made from
timber. One or more “serambi” (verandas) are attached to the “rumah ibu” for work,
relaxation, or where non-familiar visitors would be entertained, thus preserving the
privacy of the interior.
Although these characteristics are particularly common in all Malay houses through-
out the Peninsular Malaysia but their shapes and sizes differ from state to state.
Puan Azizah’s house was set on stilts and raised three feet off the ground to avoid
slanting tree buttress, allowed cutters and cut down a tree within a day. This practice
saved families from flood danger and kept ground dampness at a distance. Another
benefit of these elevated homes was to protect occupants from wild animals active
at nights (Diagram 7). It also helps to catch winds of higher velocity.
Besides that, raised house also provide large spaces underneath the house which
could serve a multitude of purposes such as used as workshop, fishermen repaired
boats and stored them here during the monsoon season. Hens, goats and cows
remained safe and secure from wild animals. At dusk, families burned rubbish and
twigs to smoke out the underside of the house to repel mosquitoes.
34
Fig 29: Floorplan of Pn. Azizah’s house

Puan Azizah’s house was built on stilts, which has a steep roof, gently
curved gable ends and rhomboid shaped terracotta roof tiles. During that time,
layers of roof also shows the status of the owner. The more layers of the roof in
the building show the higher status of the owner. As we can see in Puan Azizah’s
house, it has only a layer of roof so it might be the building owner of lower status.
Regarding roof decorating elements, wooden panels, called “tebar layar” on the
gable ends of Puan Azizah’s house, served as a passage for ventilation as well as
important sculpture decorations for the façade.
35
Pitched roof
Materials
which
were easily
available
Hand-
crafted
pattern
Verandah in
front
of the house
which is
raised lower
than
the living
room
Raised three feet
off the ground
• Avoid flood
• Avoid animal active
Fig 30: Pn. Azizah’s House, Pulau
Duyong

Puan Azizah used singgora tiles for the roof at the beginning after the attap roof. At-
tap roof are made from natural materials and it is waterproof called. Attap roofing of
low thermal capacity gives good insulation against heat. Gently curved peles (gable
ends) are fitted to the ends of the overhangs, giving the houses their distinctive ap-
pearance. Now, Puan Azizah used the asbestos as asbestos can help to prevent
leak from the rain .Ventilated roof space helps to cool the house. Large roof eave is
useful for effective shading. Besides that, open interior spaces with minimal parti-
tions allow good ventilation in the house.
Fig 31: Enhanced ventilation of Roof Space
Fig 32: Roof structure of Pn. Azizah’s
house
36

Puan Azizah’s house are made of extremely durable cengal wood because they
can be dismantled and reassembled easily. Two of the more fascinating architec-
tural aspects of Puan Azizah’s house are the lack of nails and foundation. Pegs and
wooden dowels stabilize the entire structure which stands erect on pillars; it is not
embedded in soil or concrete.Thus, the entire house can be taken apart like a Lego
toy and put back together at another location. Even the walls are made of timber
panels slotted into grooves (in the beams).
Lastly, the most interesting part of Puan Azizah’s house is there has no ceiling .
This is to allow hot air to rise up away from the floor, thus promoting thermal comfort.
37
Fig 33: Wooden dowels to join the
beams in Pn. Azizah’s house
Fig 34: No ceiling in Pn. Azizah’s house

5.3 Construction System of Puan Azizah’s House
As a timber structure, Puan Azizah’s house regularly uses posts and a lin-
tel timber structure. What is posts and lintels? It is a structure consisting of vertical
beams (posts) supporting a horizontal beam (lintel).The posts rest on concrete or
stone footings without any foundation required. No foundations were required since
the house is light-weight structures.
Using prefabricated construction methods where all the components are made and
assembled on site allows the house to be dismantled and reassembled elsewhere
in different locations.
5.3.1 Methods of Constructing
Construction of Puan Azizah’s house starts by the “tiang seri”, the first col-
umn (located in the middle of the house). Meanwhile, other structural components
such as posts and girts are laid in their respective positions. After all the posts and
girts have been erected and braced, top girts and king posts are then set up at both
sides. Following that, the roof ridge supported by king post is placed, and subse-
quently the roof structures such as principal rafters, purlins and common rafters are
put up. Finally, the non-structural components are placed to make the house an
enclosed structure.
38
Fig 35: Post and Lintel structure Fig 36: Basic stilt construc-
tion method
Fig 37: Construction
Method

Fig 38: Steps of constructing the Rumah Ibu
39

5.3.2 Materials Used in Puan Azizah’s House
Since Malaysia has a tropical climate, building materials such as timber,
rattan, tree roots, bamboo and leaves are easily available from the tropical forests.
In a traditional vernacular Malay house, timber is used for the building structures,
rattan and tree roots are used for tying up joints whereas bamboo and leaves are
used for floors and walls. Most of the houses were built using “cengal” wood that
employs “tebuk-pasak” (mortise and tenon) technique at the joints, avoiding the
need for nails during original construction. Such technique facilitates the ease of
dismantling and reassembling of the structure, convenient when it needs to be relo-
cated.
5.3.2.1 Roof
Puan Azizah used attap roofing at the first place, made by splitting fronds
of “nipah”, “rumbia” or” bertam” palm and reinforcing the spine with bamboo. How-
ever, because such roofing needs to be regularly maintained and renewed every
few years, and because it is increasingly difficult to obtain, Puan Azizah then used
“Singgora” tiles .During the early 1960’s she changed it to asbestos as asbestos
can help to prevent leak from the rain and easier to be maintained.
5.3.2.2 Stairs
10 years ago, the staircase in Puan Azizah’s house was made of wooden
poles. Each step was secured with rattan or creeper. However, Puan Azizah pre-
fers to use better quality stairs after years. She then changed the stairs which are
made from planks as planks have an aesthetic value besides being used for safety
purposes.
40
Fig 39: Asbestos as roof material
of Pn. Azizah’s house
Fig 30: Ornamented staircase railing of
Pn. Azizah’s house

5.3.2.3 Floor
During the early period, the floors were made of wood from the Ficus plant
soecies, or from strips from the trunk of the palm or hollow bamboo. These strips
were arranged on top of the joists and subsequently tied using rattan or creepers.
Today, the floors of PuanAzizah’s house are made with well fitted planks purchased
from sawmills. Planks is a low thermal capacity materials. Gaps between the planks
used to facilitate activities of cleaning (sweeping and washing) or for religious needs
(bathing the family member’s deceased).
5.3.2.4 Walls
Walls in Puan Azizah’s house were made of panelled planks. These walls
are made of hardwoord such as the cengal wood, merbau wood or any other woof
of good quality. Holes between panelled planks can help in better ventilation.Fitting
a wall requires a wooden support frame , known as the jenang or turus dinding
(uprights).
41
Fig 41: The early periods of constrcution, stairs made from bamboo
Fig 42: Different wall textures of Pn. Azizah’s house

5.4 Changes in Puan Azizah’s House
Puan Azizah’s house have undergone a process of transformation since
very early times. A great number of changes date back to the fifteenth century and
some derive from an even earlier period. Today one can still observe this phenom-
enon. Currently, Puan Azizah’s house is adopting industrialised building compo-
nents. As an alternative to traditional openings; the factory-produced adjustable
louvered windows (Diagram 18) have become accepted by the indigenous builders.
This has resulted in slight changes in the subcomponents of the middle zone. Short
shutters, for instance, are no longer used and the rules which pertain to them no
longer apply.
42
Fig 43: (Above) Louvered windows of
Fig 44: (Right) New kitchen of Pn.
Azizah’s house

From the beginning , PuanAzizah’s house consists only two types of spac-
es that are Rumah ibu and a bedroom. Later on, PuanAzizah added the living area,
another bedroom, and the staircase that leads up to the verandah. After that, Puan
Azizah’s house was reconstructed again by adding the third and fourth room. Lastly
the kitchen was placed on the ground level of the house using cement render that
are very different from any other area that made of cengal wood.
43
Fig 45: Addition Sequences of Pn. Azizah’s house

5.5 Traditional System of Measurements of Puan Azizah’s House
Measurement based on the human body (usually the hands and arms of
the carpenters, but on some occasions of the women of the house) are used also
by the Malays. Human proportions and dimensions has been traditionally a basis of
measurement throughout Puan Azizah’s house. This was a result of human instinct
to fulfil their fundamental needs of building their own indigenous house for shelter
and protection. The dimension of the house was made based on the masurement
of Hajjah Aminah Haki Mahmud’s body , Puan Azizah’ grandmother.
The longest unit of measurement in human body is ‘depa’ – the dimension between
the tips of the fingers of the horizontally outstretch arms often used to measure
lengthy objects and wide spaces. The smallest unit is one ‘jari’ or the width of a
finger. One ‘jari’ or more is often used to measure smaller elements.
44
Fig 47: Depa unit of measurement and Metric equivalent
Fig 46: The unit of measure in Depa system

5.6 Prominent Elements of the House
45

Large spaces
underneath:
• Burn rubbish
• Hens remained safe &
secure from wild
animals
Built on stilt:
• Saved families from
flood
• Protect families from
wild animals
• Catch wind of higher
velocity
“Rumah Ibu”
Wooden structure
(“Cengal” Wood)
• Help to dissipate heat
• Withstand monsoons
Fully operable window
• Allow ventilation at body level
Fig 48: Cross section of Pn. Azizah’s house


Hand crafted pattern to reflect the
owner status
No ceiling
• Allow hot air to rise up away
from the floor
• Promoting thermal comfort
“Cengal” Wood
• Can be dismantled
• Can be reassembled
“Serambi”
(Verandah)
• To welcome the
guest
Fig 49: Longitudinal section of Pn. Azizah’s house
46


“Tebar Layar” (Gable Ends)
• Served as passage for ventilation
• Sculpture decoration for facade
Ventilated roof space
Asbestos as material
for roof
• Help to prevent leak
from the rain
Large eaves roof
• Effective for sun
shading
Fig 50: West Elevation of pn. Azizah’s house
47


Well fitted plank as
material for floor
• A low thermal capacity
materials help to keep
house cool
“Cengal” wood plank as
material for walls
• Gap between wall planks
provide better ventilation
Wooden plank as
material for stairs
• Provide aesthetic value
• Safety purposes
Fig 51: North Elevation of Pn. Azizah’s house
48

5.7 Ornamentation
5.7.1 Purpose and function
Woodcarving is an ornamentation that is part of Malay Culture and considered as
an integral component to the vernacular Malay houses of Terengganu, the north-
eastern states of Peninsular Malaysia. The purpose of the art is featured in ordinary
dwellings and Palaces is that it enhances beautiful ambience and symbolize re-
gional identity of the vernacular architecture of the states.
5.7.2 Influences
In the history, Hinduism has influenced the development of culture in the Malay
world. During the first century, it began with this distinctive influence in the socio-
cultural formation of Malay society that had remained from the Hindu period. The
elements of Hindu culture which had a deep and lasting effect on the socio-culture
of Malay society encompassed literature, religion and beliefs. It is believed that the
Hindu culture has influence the particular woodcarving in the Malay world in the de-
veloping the handicraft. Besides that, feudal system is the most obvious influence
relating the social structure of Malay society. The social structure of Malay society
was segregated based on social status under this feudal system. This system is
dividing it into two main dominant groups which are the aristocracy and the com-
moners that influenced Malay social structure in a traditional way. The two main
dominant groups which are the aristocracy in the palace comprising of royalty and
court officials; and the commoners who live in the villages, the fringes of the seaside
and in the jungle.
In the year of 1459-1477, the palace of Sultan Mansur Shah of Melaka is one of
the earliest references of woodcarving in the “Sejarah Melayu” (Malay Annal) that
describes the feature of art. It is also known as “Istana Hawa Nafsu” (The Palace
of Lust and Desire) that describes a palace that has more than enough decoration
and enriched with woodcarving as ornamentation.
In less than 200 years old, there are surviving examples of past woodcarvings that
influence the architecture of house. The “Istana Balai Besar” (Palace with a Big Hall)
49
Fig 52: Sketch of Ornamentation on wall
in Pn. Azizah’s house

in Kelantan has been decorated with woodcarving approximately in 150 years old.
In instance, “Istana Tengku Nik” and “Rumah Tele” of Terengganu build during the
reign of Sultan Zainal Abidin in year 1881-1918. “Istana Satu” is also one of the pal-
aces in Terengganu have been relocated to the National Museum in Kuala Lumpur
for some reason and “Istana Raja Besut”, which is in the district of Besut, Tereng-
ganu. The palace of “Sri Meranti” in Negeri Sembilan is the last timber-built palace,
where the construction began in year 1920 and was completed in year 1928. It was
the official residence of the Yang Dipertuan Besar Tuanku Muhammad.
Woodcarving as an ornamentation can also be found in mosques, “surau” (prayer
houses), “wakaf” (religious gifts), on products such as wooden trays, household
items such as “kukuran” (coconut grater), furniture such as tables, chairs and beds,
boat, folding screen divider, beetle-nut box, bird-cage and many more. In the past,
woodcarvings like any other forms of art were the privilege of the Malay ruling class
and some rich commoners. Indeed, the houses of the elite would not be complete
if not decorated with intricate woodcarving. Most of the famous masters are crafts-
men even though they are of peasant background.
5.7.3 Tools & Materials
Simple tools that need to use for Malay woodcarving are consist of an assortment
of chisels, large and small saws, hammers, and files. Some tools are self-made and
some others can be bought from stores. In recent times, the changes of technology
expand and create new tools such as motorized chainsaw and a drill called band
saw are used to speed up the work of woodcarving. The band saw has a long, thin
blade welded into a loop and is an electric motor powers that blade around two
large wheels that removes the unwanted part of the panel before the actual carving
work is done.
50

The most common wood used for carving is cengal, which is one of the hardest
woods found in the jungles of Malaysia. The other types of wood used are the me-
dang, sena, merbau, meranti and nyatuh.
5.7.4 Design & Motif
The surrounding environment is an important source of inspiration for a woodcarv-
er’s creativity. The design and motif in woodcarving are largely based on objects
found in the natural and socio-Cultural environment. There are two basic types of
popular designs among Malay carvers that are “ukiran tebuk” (cut out) and “ukiran
timbul” (low relief). Cut-out design oil a panel, which serves as a ventilation panel,
would admit air and light. Ventilation panel are normally placed above the main
door or window of a house or on the upper part of a wall. A folded screen divider
also can be used for cut-out design. There are good example of cut-out panels of
this design call be seen in the palace of’ Raja Besut and the palace of Tengku Nik
of Terengganu.
As for low relief design, it does not allow air and light to pass through. The common
design of this category is the “awan larat” that is normally represented in the form
of spiral leaves and branches. The design is repeated from one end of the panel to
the other.
51
Fig 53: Ukiran Tebuk (cut-out design)
found in Pn. Azizah’s house

There are five different types of motifs, namely cosmic motif, floral motif, faunal
motif, geometric motif, and calligraphy. Both cosmic and faunal motifs are remnants
of the pre-Islamic cultural tradition.
Faunal motifs are rarely used in Malay woodcarving, as carving of living creatures
is forbidden in Islam. However, this prohibition is not fully adhered to, and we can
still see many works of art with such motifs.Among the common faunal motifs is “itik
pulang petang” (“Clucks returning at dawn”) which, by depicting ducks walking in a
row, emphasizes social discipline.
The most common motifs are floral motifs and in recent times, calligraphy. Flora
always present in the immediate surroundings of the Malays, are useful either as
food items or as traditional medicine.
A carver usually selects of his natural surroundings certain items like leaves, flow-
ers, plants, or even insects that lie is most familiar with and that have it special
meaning to him. 52
Fig 54: Floral motif
Fig 55: Geometry motif
Fig 56: Creeping Plant motif
Fig 57: Calligraphy motif
Fig 58: ‘Itik pulang petang’
motif

5.7.5 Principles
The motifs in woodcarvings are guided by several principles, which reflect the cul-
tural values of the Malays. First, a new emerging branch of a plant must be fea-
tured as appearing from behind or below the original branch. This represents a
Malay cultural value that the elderly must be given precedence.As the Malay saying
goes, “orang tua makan garam lebilh dahulu” (“older people tasted salt earlier than
younger ones”).
Second, when two leaves are portrayed in close contact, the sharp end of one must
not touch the other. This is to indicate that in one’s life, one must not hate or despise
or cause hardship to others. Living in harmony and having good relations is a virtue,
as opposed to conflict and antagonism. This underlines the maxim that all Muslims
are brothers. It also conveys the message that “liok tak patah, tajam tak menikam”
(“though soft it is not easily, broken, though sharp it does not pierce”). This literally
means that we must be flexible and not practise back-stabbing.
Third, a design should not be too elaborate. There should not be a mixture of sev-
eral motifs to form a sophisticated pattern. Such a design is regarded as mabuk
(drunk) and mabuk is not permitted in Islam. It is also riot pleasing to the eve.
Fourth, the design should not be stiff. It must express the softness of tile carver.And
finally, a small branch should end in a fold. This means that life ill this world is full of
mystery and that our life does not end in this world.
53

5.7.6 How does ornamentation relate to Puan Azizah Yusof’s house?
In every Malay house, there must be a present of ornamentation, which is wood-
carving. This also applied to Puan Azizah Yusof’s house but there are only few
woodcarving can be found that are the baluster of the staircase, ornamentation
above the window at the rumah Ibu area and ventilation panel in verandah. Obvi-
ously, the three different designs of woodcarvings found in the house is a cut-out
design (ukiran tebuk) that would be able to admit air and light.
When it comes to motifs, there are two different types of motifs found in PuanAzizah
Yusof’s house that are geometry motif and carved panel with creeping plant motif.
In the house, the geometry motifs have been used for the baluster of the staircase
outside the verandah and the ventilation panel in verandah. The geometrical motifs
featuring a curve or square shapes are arranged in a row. Typically, these motives
can also be seen as pottery tools, crosspiece, betel-leaf box and copper goods.
As for the ornamentation above the window at the rumah Ibu area, it was carved
panel with creeping plant motif. Creeping plant is a plant whose stems spread along
the ground and root by means of adventitious roots. The reason why they placed
ornamentation above the window is to allow the air to go through or in order the get
a good ventilation of the house.
54
Fig 59: Geometrical motif ornamenta-
tions found in Pn. Azizah’s house
Fig 60: Creeping floral motif ornamenta-
tion found in Pn. Azizah’s house

Being one of the main ports in sea trading, Pulau Duyong became the
main place for boat making in Kuala Terengganu. Kuala Terengganu’s main income
during the olden days was also related to the sea, through fishing, boat making
business and sea trading.
Our site, Puan Azizah’s house, shows much of the traditional Terengganu style of
architecture in the sense of its unique features, vernacularism and principles. And
through this Practicum 1 projects: measured drawings and report, we have learned
the detailed characteristics of Terengganu architecture not only in its basic style
of architecture but also its construction methods, historical factors, concepts and
fundamentals.
This Practicum 1 also gave us the opportunity to experience the different sense of
environment, meet new people and understand another place with its inhabitants.
Moreover, we learned to experience the art of participation and adaptation by work-
ing together as a group.
6 Conclusion
55
Fig 61: Sketch of bedroom window in

7 Scale Drawings
56

57
N
N
Kuala
Terengganu
Kuala
Terengganu
Pulau
Duyong
Kelantan
Pahang
Terengganu
Fishing villages
K.besut
Kg.raja
Lata tembakah waterfall
Jertih
Kg.jabi
Kg.setiu
lama
Kg.k.setiu
lama
Kg.tok dol
Kg.pasir
akar
Kg.susun
Kg.la
Bandar permaisuri
Kg.keruak
Kg.rahmat
Kg.hulu
caluk
Penarik
Kg.bari besar
Kg.merang
Kg.ru tapai
Kg.pecah rotan Batu rakit
Kg.telipukKg.pdg.maras
Kg.s.tong Kg.takir
Pulau duyung
State Museum
Kg.Manir
Waterfront
Pasar payang
Bukit Puteri
Kuala terengganu
Tengku tengah zaharah mosque
Istana Maziah
Kg.cenering
Sutera semai centre
Kg.t.telemung
Tk.petai
Kg.binjai
rendah
P.gumia
P.kapas
Marang
Fishing villages
Kg.p.kerengga
Wakaf tapai
Ajil
Kg.mesta
K.berang
Sekayu
recreational
forest
Tasik kenyir
Kg.Mercang
Rantau abang
Kg.jambu
bongkok
Kg.jerangau
Kg.dendang
baharuSungai
ceralak
waterfalls
Kg.papan
Dungun
Fishing
villages
Kg.suraBatu lima
Kg.kolam Paka
Kg.tg.gemia
Kg.labuhan
Kertih
Kg.kubu Kemasik
Kg.payuh
Kg.ibuk Kijal
Peng.yakyah
Kg.lubuk batu
Kg.air
putih
Kg.batu empat
Kg.tg.batu
Kg.k.kemaman
Cukai
Cherating
Kg.cherating
Kg.ceneh
Kg.s.ular
1519
G.lawit
543
Bt.bintang
661
Bt.yong
1249
Bt.temiang
790
Bt.kapal
1206
G.gajah terum
162
Bt.jintik
445
Batu besi
230
Batu laba
1433
G.hulu perus
520
Bt.bandi
622
Bt.paluh
224
Bt.sah
178
Bt.pengorak
P.perhentian
Tg.gelang
P.lang
tengah
P.redang
P.pinang
P.yu besar
P.yu kecilP.bidung
South china sea
Sg.besut
Sg.terengganu
183
Bt.bidung
darat
Sg.mar
ang
Sg.dungun
Sg.paka
Sg.
dun
gun
Sg.
kem
am
an
Sg.cukai
N
Pulau
Duyong
607
382
605
378
385
608
386
610
359
611 612 364
366
365
614 615
340
338
334
337
3 336
332
284
302
299
300
296
703
277
288
275
271
268
264
145
630
631
150
148
591
623
622
155
572
570
596
597
157
349
598
599
600
357
602
374
358 367
368
355
353
370
325
327
322
313 311
316
568
565
566
156
308
307
309
152
833
331
281
282
279
286
2
305
303
151
180
173
165
168
579
822
823
826
831
637
638
258
254
256
253
250 248
238
240
241
239
234
233
236
232
242
244
246
245
247
561 97
94
92
32
86
560
11
81
82
80
83
74
89
84 77
76
79
75
72
70
73
40
39
39
804
802808
820819
812
810
50
46
59
58
5553
57
52
51
494847
29
30
27
24
26
25
17
581
582
119
583 121
126 125
133
132 130
128
60
62
64
63
66
214
216
218
219
577
229830
210
211828
209
207
204
201
203 200
199
197
195
192190
189
194821
160
135
586
163
586
580
16 18
19 20
703
818
2221
33
34
35
37
38
36
69
103
104
105
106
108
109
107
112
113
114
111110
115
Pkb.
islam
Klinik
kesihatan
duyung
Pkb.
islam
SRK pulau
duyung
Kemas
Pn Azizah Yusof
Resident House
9
8
5
642
Terengganu
RiverTerengganu
River
Sultan Mahmud Bridge
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCEDBYANAUTODESKEDUCATIONALPRODUCT

N
58

CEMENT RENDER
N
59

N
60

N
61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

TIMBERTIMBERTIMBER
STOREROOM
78

79

80

KITCHEN
81

82

83

84

85

CEMENT
RENDER
86

8 List of Figures
87

• Fig 1: Taku, S. (n.d.). (gambar) nolstagia terengganu zaman dahulu.. Retrieved
from http://takusahrisau.wordpress.com/2011/07/23/gambar-nolstagia-terengga-
nu-zaman-dahulu/
• Fig 2: Jalil, O. (2008, 04). Batu bersurat terengganu (inscribed stone of tereng-
ganu). Retrieved from http://www.unesco-ci.org/photos/showphoto.php/pho-
to/4954/title/inscribed-stone-of-terengganu28side-a-29/cat/949
• Fig 3: Map of Kuala Terengganu
(2011). Kuala terengganu city map. (2011). [Print Photo]. Retrieved from http://
go2travelmalaysia.com/maps/ktreng_map.htm
• Fig 4: Portrait of Dato’ Nik Mohamad.
Terengganu National Museum archive
• Fig 5: Photograph: Wan Izz
• Fig 6: Taku, S. (n.d.). (gambar) nolstagia terengganu zaman dahulu.. Retrieved
from http://takusahrisau.wordpress.com/2011/07/23/gambar-nolstagia-terengga-
nu-zaman-dahulu/
• Fig 7: Terengganu National Museum archive
• Fig 10: Photograph Mer Sie Chua
• Fig 11: Sketch: Alex
• Fig 12: Photograph Pn. Azizah Yusof
• Fig 16: http://www.epublication.fab.utm.my/263/1/ICCI2006S5PP24.pdf
• Fig 17: Abidin, 1981
• Fig 18: http://tcdc2.undp.org/GSSDAcademy/SIE/Docs/Vol4/Malay_house.pdf
• Fig 19: Photograph John
• Fig 20: Photograph Pn. Azizah
• Fig 21:Photograph Leomg Yau Soon
• Fig 22: Diagram Angeline Chew
• Fig 23: Drawing plan Pei Zhen Loh
• Fig 24: Sketch Yunus Almahdaly
• Fig 25: Ghafar Ahmad, A. Retrieved from http://www.hbp.usm.my/conservation/
malayvernacular.htm
• Fig 26: Dalilah Dahlan, N. (2012). The essence of malay vernacular houses.
(2 ed., Vol. 2, p. 5). Retrieved from http://cept.hopto.org/ISVSeJournal/volume-
2-issue-2-papers/enhancing-quality-of-life through-vernacularkampong-houses-
of-malaysia)
* Fig 27: Jee Yuan, L. The Malay house. (p. 83). Rediscovering Malaysia’s Indig-
enous Shelter System b.
Retrieved from http://tcdc2.undp.org/GSSDAcademy/SIE/Docs/

• Fig 28: SOURCE: Voon Fee, C. (1998). Architecture. (Vol. 5, pp. 20-21). Singa-
pore: Archipelago Press
• Fig 29: Sketch ALex
• Fig 30: Author
• Fig 31: OURCE: (1993). Climate responsive building. Retrieved from
http://collections.infocollections.org/ukedu/en/d/Jsk02ce/3.4.html
•Fig 32: SOURCE: Hashim, W. (2011). The traditional malay house. (p. 93). Ma-
laysia: ITNM.
• Fig 33: Photograph ANgeline
• Fig 34: Photograph Angeline
• Fig 35: http://www.cartage.org.lb/en/themes/arts/architec/Generalities
/IllustratedArchitecture/P/Purlin/Purlin.htm
• Fig 36: sahabuddin, F. (2012). The Establishment of Äir House: Retrieved from
http://lensahijau.blogspot.com/2012/10/the
establishment-of-air-house-standard.html
• Fig 37: Voon Fee, C. (1998). Architecture. (Vol. 5, pp.23).
Singapore: Archipelago Press
• Fig 38: Voon Fee, C. (1998). Architecture. (Vol. 5, pp. 22-23). Singapore: Archi-
pelago Press.
• Fig 39: Gourp
• Fig 40: AUthor
• Fig 41: Hashim, W. (2011). The traditional malay house. (p. 23). Singapore:
ITNM.
• Fig 42: Author
• Fig 43: Author
• Fig 45: Diagram Angeline
• Fig 46: Zulkifli, I. Modularity concept in traditional malay house (tmh) in malay-
sia . (p. 5). Malaysia: Retrieve from http://www.epublication.fab.utm.my/263/1/
ICCI2006S5PP24.pdf
• Fig 47: Zulkifli, I. Modularity concept in traditional malay house (tmh) in malay-
sia . (p. 6). Malaysia: Retrieve from http://www.epublication.fab.utm.my/263/1/
ICCI2006S5PP24.pdf
• Fig 48: Plan group
• Fig 52: Sketch Alex
• Fig 53: Photograph Mersie

• Fig 54: http://eprints.utm.my/6817/1/IsmailSaid2009_CarvingMotifsInTimber-
Houses.pdf
Houses.pdf
Houses.pdf
Houses.pdf
• Fig 58: http://desaukirankayu.blogspot.com/2010_07_01_archive.html
• Fig 59: Photograph group
• Fig 60: Photograph group
• Fig 61: Sketch Alex

9 Glossary
91

8.1 Glossary of Terminologies
• Aesthetic - Pertaining to a sense of the beautiful
•Asbestos - Either of two incombustible, chemical-resistant, fibrous mineral forms
of impure magnesium silicate, used for fireproofing, electrical insulation, building
materials, brake linings, and chemical filters.
• Awan larat - Tired cloud
• Bilik mayat - a utility room that use to store patient or dead people
• Cantilevered - A projecting structure, such as a beam, that is supported at one
end and carries a load at the other end or along its length.
• Capacity - The ability to hold a fluid
• Cengal - a type of wood found in Malaysia. It is known for its rot resistance, abil-
ity to be readily carved, effective use as ribs, and for planking.
• Dapur - kitchen, for preparing food
• Depa - A measure of length; the span of a man’s body and out-stretched arms
measuring from fingertips to fingertips
• Dissipate - To drive away; disperse
• Dogol - stupid
• Dowel - A usually round pin that fits tightly into a corresponding hole to fasten or
align two adjacent pieces
• Eaves - The projecting overhang at the lower edge of a roof.
• Embed - To fix firmly in a surrounding mass
• Façade - The face of a building, especially the principal face
• Fascia - A flat horizontal band or member between mouldings
• Foundation - The basis on which a thing stands, is founded, or is supported
• Frond - A large compound leaf of a palm
• Girts - To fasten or secure
• Groove - A long narrow furrow or channel
• Istana Hawa Nafsu - The Palace of Lust and Desire
• Istana Balai Besar - Palace with a Big Hall
• Istana Tengku Nik - The Palace of Tengku Nik
• Istana Satu - The One Palace
• Istana Raja Besut - The Palace of the King of Besut
• Itik pulang petang - Clucks returning at dawn
• Kenduri – an even feasting
• King post - A central vertical supporting post used in architectural, bridge, or
aircraft design applications.
Kitchen annex – Area which was separated from the main house (Rumah Ibu) for

• Kitchen annex – Area which was separated from the main house (Rumah Ibu)
for fire protection
• Kolek - dinghy
• Kukuran - Cocout grater
• Lambur -Aporch or balcony, usually roofed and often partly enclosed, extending
along the outside of a building
• Lintel - A horizontal structural member, such as a beam or stone, that spans an
opening, as between the uprights of a door or window or between two columns
or piers.
• Liok tak patah, tajam tak menikam - Though soft it is not easily, broken, though
sharp it does not pierce
• Louvered - A framed opening, as in a wall, door, or window, fitted with fixed or
movable horizontal slats for admitting air and light and shedding rain.
• Mabuk – Drunk
• Mandi Jenazah – a dead body being cleaned
• Mortise -Ausually rectangular cavity in a piece of wood, stone, or other material,
prepared to receive a tenon and thus form a joint.
• Orang tua makan garam lebih dahulu - Older people tasted salt earlier than
younger ones
Ornament - Something that decorates or adorns
• Overhangs – Extend beyond over something that lies beneath
• Perahu besar - Big boat
• Post - A long piece of wood or other material set upright into the ground to serve
as a marker or support.
• Prefabricate - Can be easily shipped and assembled.
• Pulau Duyung - Mermaid Island
• Pulau Duyung Besar - Big Mermaid Island
• Pulau Duyung Kecil - Small Mermaid Island
• Purlin - One of several horizontal timbers supporting the rafters of a roof
• Rumah dapur - kitchen
• Rumah ibu – The main house of a traditional malay vernacular house
• Rumah Tele - House of Tele
• Sekoci – a lifeboat
• Sejarah melayu - Malay Annal
• Selang – a walkway or a passageway
• Serambi - A porch or balcony, usually roofed and often partly enclosed, extend-
ing along the outside of a building

• Sill - The horizontal member that bears the upright portion of a frame, especially
the horizontal member that forms the base of a window
• Singgora tiles - Traditionally handmade clay tiles used for the roof covering
• Spatial - Of, relating to, involving, or having the nature of space.
• Steep - Having a sharp inclination
• Stilts - Poles, posts or pillars used to allow a person or structure to stand at a
height above the ground.
• Structure - The way in which parts are arranged or put together to form a
whole
• Surau - Prayer houses
• Tebar Layar - A two-sided sloped roof having a gable at both ends. Also called
gable roof.
• Tenon - A projection on the end of a piece of wood shaped for insertion into a
mortise to make a joint
• Terracotta - A hard semifired waterproof ceramic clay used in pottery and build-
ing construction
• Thatch - Plant stalks or foliage, such as reeds or palm fronds, used for roofing.
• Tiang seri - The main pillar in traditional Malay buildings
• Transition - Passage from one form, state, style, or place to another.
• Truss - A rigid framework, as of wooden beams or metal bars, designed to sup-
port a structure
• Twigs - Any small, leafless branch of a woody plant.
• Ukiran tebuk - Cut-out design
• Ukiran timbul - Low relief design
• Velocity - Rapidity or speed of motion; swiftness
• Ventilate - To admit fresh air into
• Wakat - Religious gifts
• Wedge - A piece of material, such as metal or wood, thick at one edge and
tapered to a thin edge at the other for insertion in a narrow crevice, used for
splitting, tightening, securing, or levering.

10 References
95

Pulau duyong kaya warisan sejarah. (2011, 10 30). Retrieved from http://
teganukita.blogspot.com/2011/10/pulau-duyong-kaya-warisan-sejarah.html
Terengganu, the historical facts. (2011). Retrieved from http://tourism.tereng-
ganu.gov.my/index.php?option=com_content&view=article&id=76&Itemid=283
&lang=en
Jidin. (05, 2008). Traditional boat makers, pulau duyong, terengganu, malay-
sia.. Retrieved from http://chapayam.blogspot.com/2008/05/traditional-boat-
makers-pulau-duyong.html
Taku, S. (n.d.). (gambar) nolstagia terengganu zaman dahulu.. Retrieved from
http://takusahrisau.wordpress.com/2011/07/23/gambar-nolstagia-terengganu-
zaman-dahulu/
Jalil, O. (2008, 04). Batu bersurat terengganu (inscribed stone of terengganu).
Retrieved from http://www.unesco-ci.org/photos/showphoto.php/photo/4954/
title/inscribed-stone-of-terengganu28side-a-29/cat/949
Taku, S. (n.d.). (gambar) nolstagia terengganu zaman dahulu.. Retrieved from
http://takusahrisau.wordpress.com/2011/07/23/gambar-nolstagia-terengganu-
zaman-dahulu/
8.2 References
1)
2)
3)
4)
5)
6)

Ahmad , G. Malay vernacular architecture. Retrieved from http://www.hbp.usm.
my/conservation/malayvernacular.htm
The traditional malay house . (6 ed., Vol. 2). Retrieved from http://tcdc2.undp.
org/GSSDAcademy/SIE/Docs/Vol4/Malay_house.pdf
Bt Kamal, N. (2010). Sejarah dan teori senibina 2. (Vol. 2). Retrieved from
http://nalenda14.blogspot.com/2010/11/malay-vernacular-architecture.html
Ismail, Z. Modularity concept in traditional malay house (tmh) in malay-
sia. Malaysia: Retrieved from http://www.epublication.fab.utm.my/263/1/IC-
CI2006S5PP24.pdf
Dalilah Dahlan, N. (2012). The essence of malay vernacular houses: towards
understanding the socio-cultural and environmental values. Retrieved from
http://cept.hopto.org/ISVSeJournal/volume-2-issue-2-papers/enhancing-quali-
ty-of-life-through-vernacular-kampong-houses-of-malaysia
Burhanuddin, W. (1984). The malay house. Design Policy: Design and Society.
Retrieved from http://www.hbp.usm.my/wburhan/malayhouse/mhousepaper.
htm
Voon Fee, C. (1998). Architecture. (Vol. 5, pp. 20-21). Singapore: Archipelago
Press
Hashim, W. (2011). The traditional malay house. (p. 93). Malaysia: ITNM.
Jee Yuan, L. (1987). Rediscovering malaysia’s indigenous shelter system. Ma-
laysia: Institut Masyarakat.
7)
8)
9)
10)
11)
12)
13)
14)
15)

Roshida, O. Pengangkutan: Galeri Gambar. Perbadanan Perpustakaan Awam
Kedah. Retrieved from http://www.memori-kedah.com/page_pengenalan.php?
p=2&idstopic=31&idskandungan=108&id=448&mtopic=4#
Wamora, W. (2010, October 21). Perahu Besar Terengganu. Terengganu He-
bat. Retrieved from http://terengganuhebat.blogspot.com/2010/10/perahu-be-
sar-terengganu.html
Unit Pengurusan Maklumat Negeri (UPMN).(2011). Culture & Heritage: Pulau
Duyong.TourismTerengganu.Retrievedfromhttp://tourism.terengganu.gov.my/
index.php?option=com_content&catid=41:culture-a-heritage&id=345:pulau-
duyong&Itemid=283&lang=en
Carlos, S. (2012, June). Stock Photo: Wood carving with work tools, iso-
lated. Royalty Free Stock Photos, 123RF. Retrieved from http://us.123rf.
com/400wm/400/400/kartos/kartos1207/kartos120700105/14545399-wood-
carving-with-work-tools-isolated.jpg
Richard.(2010, September 10). Band saw review. 5Black Cats. Retrieved from
http://richarddoering.ifunnyblog.com/bandsawreview/
Mark, C. (2011). Woodworking Machinery. The Sculpture Studio. Retrieved
from http://www.thesculpturestudio.com/wood_carving_tools.html
Leong, S.H. (2009, May 26). Rumah Cina Kelantan: A marriage of tradi-
tions. Svarnabhumi Studio. Retrieved from http://svarnabhumi.blogspot.
com/2009_05_24_archive.html
Cinta Seni. (2009, November 9). Ukiran Kayu. Pendidikan Seni Visual. Re-
trieved from http://senivisual1.blogspot.com/2009/11/ukiran-kayu.html
16)
17)
18)
19)
20)
21)
22)
23)

Gunsanad. (2009, Februay 6) Tugasan 1: Ukiran Bunga Timbul. Pen-
didikan Seni Visual G2. Retrieved from http://2.bp.blogspot.com/_
CcEn9d8h6Ps/SYvKv_SN1mI/AAAAAAAAAU8/w3Pklk2tDqc/s320/image-
upload-64-775718.jpg
Ismail, S. & Zumahiran, K. Carving Motifs in Timber Houses of Kelantan
and
Terengganu. Faculty of Built Environment, Universiti Teknologi Malaysia.
Retrieved from http://eprints.utm.my/6817/1/IsmailSaid2009_CarvingMotifs-
InTimberHouses.pdf
Desa Ukiran Kayu. (2010, July 11). Elemen dalam Ukiran Kayu. Desa Ukiran
Kayu. Retrieved from http://desaukirankayu.blogspot.com/2010_07_01_ar-
chive.html
Retrieved from http://www.vacationtourz.com/boat_building_pulau_duyong_
island.htm
Camar, O. (2001). Terengganu East Coast Region of Peninsular Malaysia:
History & Heritage. Vacation Tourz. Retrieved from http://www.vacationtourz.
com/malay_exotic_wooden.htm
Haziyah, H., Zawiyah, B.,Aminuddin, H.,Aishah, E.H.M. (2012). The philoso-
phy in the creation of traditional Malay carving motifs in Peninsula Malaysia.
Geografia Online Malaysia Journal of Society and Space 8 issue 7 (88 - 95),
ISSN 2180-2491. Retrieved from http://www.ukm.my/geografia/images/up-
load/9.geografia-okt%202012-aishah-english-am.pdf
24)
25)
26)
27)
28)

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