TRADITIONAL PROCEDURES OF ENVIRONMENTAL VISION BUGIS ARCHITECTURE BULDING MATERIALS IN SOUTH SULAWESI, INDONESIA (BASED ON LONTARA AND OPINIONS BY PANRITA BOLA AS THE ARCHITECTS OF BUGIS TRADITIONAL ARCHITECTURE)

http://www.iaeme.com/IJCIET/index.asp 432 editor@iaeme.com
International Journal of Civil Engineering and Technology (IJCIET)
Volume 9, Issue 11, November 2018, pp. 432–442, Article ID: IJCIET_09_11_043
Available online at http://www.iaeme.com/ijciet/issues.asp?JType=IJCIET&VType=9&IType=10
ISSN Print: 0976-6308 and ISSN Online: 0976-6316
© IAEME Publication Scopus Indexed
TRADITIONAL PROCEDURES OF
ENVIRONMENTAL VISION BUGIS
ARCHITECTURE BULDING MATERIALS IN
SOUTH SULAWESI, INDONESIA (BASED ON
LONTARA AND OPINIONS BY PANRITA BOLA
AS THE ARCHITECTS OF BUGIS
TRADITIONAL ARCHITECTURE)
Syarif, Afifah Harizah and Moh Mohsen Sir
Theoritical Labo, Architecture History and Behavioral Environment, Department of
Architecture, Faculty of Engineering, Hasanuddin University, Makassar, Indonesia
Ananto Yudono
Labo Planning and Designing Labo, Departement of PWK, Faculty of Engineering,
Hasanuddin University, Makassar, Indonesia
ABSTRACT
This research aims to identify meanings of the environmental vision Bugis
architecture building materials. The research method is descriptive and explorative
qualitative methods; data collection techniques were unstructured interview to
interviewees (panritabola as Bugis traditional building architects) as the primary
data and lontara manuscript as the secondary data; as well as incidental and
purposive sampling techniques. Results of the analysis indicate that selection of Bugis
traditional architecture buildings are conducted in a natural manner based on
lontara and traditional knowledge by panrita bola, based on high quality control, for
example there are no building materials that have been struct by lighting, have been
twisted by vines plant, have been rubbed by its branch at the time of growing in the
forest and others. All of which are by considering on ‘meanings’ and structural
‘power’ of the materials, based on opinions or traditional knowledge given by panrita
bola, as Bugis traditional architecture architects.
Keywords: Material buildings, Bugis Traditional Architecture, Panrita Bola

Traditional Procedures of Environmental Vision Bugis Architecture Bulding Materials in South
Sulawesi, Indonesia (Based on Lontara and Opinions by Panrita Bola as the Architects of
Bugis Traditional Architecture)
Cite this Article: Syarif, Ananto Yudono, Afifah Harizah and Moh Mohsen Sir,
Traditional Procedures of Environmental Vision Bugis Architecture Bulding
Materials in South Sulawesi, Indonesia (Based on Lontara and Opinions by Panrita
Bola as the Architects of Bugis Traditional Architecture), International Journal of
Civil Engineering and Technology, 9(11), 2018, pp. 432–442.
http://www.iaeme.com/IJCIET/issues.asp?JType=IJCIET&VType=9&IType=11
1. INTRODUCTION
There are many models and forms inhabited by various ethnic groups; each of which has
distinguished forms and characteristics as well as unique value as the reflection of their
culture. The values create more meanings for its inhabitation environment. Each house is
inhabited and has its own image, and characterizes mental and spirit of each ethnic group as
its builder. House does not only serve as a dwelling place, but also has symbolic values for its
owners. Physical performance of the house and its environment reflects the “owner”.
Existence of the traditional houses is back grounded by traditional norms, cultural habits,
spirituality, including selectivity of building materials to be used.
According to Robinson (2005) variations of house styles in each region reflects that the
houses are built from any available local materials; old houses reflect the use of extensive
materials such as big woods or bamboos. In selecting building materials, it is based on
traditional knowledge; this is caused by cosmogony trust from ancient mythology, so that the
trust concept always bases each of their life step and move that they take wherever they are
and they live. Bugis community gives great respect at their inhabitation buildings; houses are
parts of their life so that owning stilt house serves as life symbolization and ability as well as
establishment.
According to Christina et.al. (2014) they stated that long-lasting buildings depend on
natural resources, and dialogical inclusive culture with newness as well as era taste.
Architecture as a cultural product is a great past work with intensive „dialogue‟ with its
community as the owner and surrounding natural environment giving supports throughout the
history period until the current era. And then,Shima (2006) described that traditional house is
a product of evolution process, based on human empirical experiences in the past in the
interaction with nature. So that it can be considered as a reflection of traditional community
mindset and life pattern in the past; it certainly presents many lessons about wisdom in the
interaction with natural environment. This activity can be seen in Hinduism cosmology ideas.
There are many written events, but the practices, carpenters have been understood about these
events (Waterson,1990).
And then, Hamzahet.al (1984)described that many Bugis people before building houses,
they would previously examine the woods to be used as the house composition. The house
composition must be free from any attacks; lasoanging (windstorm), anreapi (fire),
nakennaoling / lette (struck from lightning), nanoriwuju‟(corpse), and all of which are
regulated and determined by a house expert called as “panrita bola”.
Based on the description above, there are „sacred‟ values used as the basic of selection
procedures of Bugis traditional building materials, based on thoughts and logics though their
knowledge level is still categorized in traditional knowledge. The existence of panrita bolaas
an architect of Bugis traditional house, serves as the „qualitycontrol‟in selecting Bugis
traditional building materials. Selection procedure of building materials is part of local
wisdom values of Bugis traditional architecture. Then it is necessary to conduct a study of
“exploration” about selection principles or procedures of Bugis traditional building materials.

Syarif, Ananto Yudono, Afifah Harizah and Moh Mohsen Sir
It is necessary to understand the local wisdom on the material selection principles, that
are still known and trusted by South Sulawesi community; particularly for those are living in
remote areas and familiar to stilt inhabitation environment. And for clearer description, then
the problem formulations are as follow:
1. It is yet explained about the traditional selection procedure of environmental
vision Bugis architectural building materials that are.
2. It is yet referred to the principles of symbolic value content-philosophical Bugis
architectural building materials.
Based on the above problems, the authors will focus on examining the
traditional selection principles or procedures of Bugis architecture building materials;
and will be confirmed in the forms of research questions as follows:
1. How is the traditional procedure of selecting building materials in Bugis
architecture buildings.
2. What are the content principles of the symbolic-philosophical value meaning of
Bugis architecture building materials;
This study aims to find out the selection principles of Bugis architectural building
material; and the linkage of local wisdom values owned and understood by panrita bola and
panre bola.
The benefits of this research are to preserve local wisdom values in the selection of Bugis
architectural building materials, owned by Bugis community; (panrita bola and panre bola);
and document in the research report.
2. RESEARCH METHODS
According to Sugiyono (2014), qualitative method can be used to understand meanings
behind visible data. Then the life historical development of a society will be traced through
descriptive and explorative qualitative methods, using documentary data or manuscripts.
Qualitative research methods are often called as naturalistic research methods, because the
research is done on natural settings.
Data collection technique is purposive incidental sampling, source of primary data is from
interviewees, panrita bola and panre bola; while the secondary data is obtained from lontara
manuscripts and literature. The data analysis process of qualitative research begins by
examining all available data from various sources; namely from interview with panrita bola
and panre bola, field observations written in the log books, official documents, personal
documents (lontara manuscripts), pictures, photos and others.
3. ANALYSIS AND INTERPRETATION
3.1. Research Location
The research location was conducted in Soppeng Sub district (figure 1), as one of the centres
of Bugis tribe community in South Sulawesi province. The number of population in 2013
census was 225.512 people (101.111 male and 119.401 female). The area of Soppengsub
district is 1.359,44 km2. Population residential is only centred in Watansoppeng city but also
distributes until remote areas and environment, the comparison of stilt buildings (Bugis
Traditional house) and non-stilt (walled-house) is 90% stilt house and 10% non-stilt house (9
: 1)

Figure 1 Soppeng Sub district Map, (a) Map of the Republic of Indonesia, (b) Map of Sulawesi
Island, (c) Map of Soppeng sub district
(Source: Office of Spatial Department of Soppeng Sub district)
Figure 1 above Soppeng sub district presents its location in the center of South Sulawesi
peninsula, borders with Bone regency in the east and south, Wajo regency in the east and
north, Sidrap regency in the north as well as Barru regency in the west.
3.2. Research Focus
This research is focused on five sub districts, in Soppeng Regency which are dominated by
wooden stilt buildings, and each sub-district is represented by one sample. The distribution of
the samples is as follows:
Figure 2 Sample distribution map in Soppeng Regency
3.3. Mario Riawa Sub district
Is the sub district located in the most northerly part of Soppeng regency, its population
inhabitation in general is wooden stilt house.

Table 1 Selection of building materials and construction process, houses in anincong village, Soppeng
Regency
Construction
materials
Pre-construction Re-construction Poleconstruction
Ready for
occupancy
1. Kumiah wood
2. Baramming wood
3. White Jatiwood
Process of inserting
pegs (pattolo)into
the pole(aliri)
Process of
establishing the
buildings worked
by many people
Process of making /
installing board floor
House in the
finishingstage
In the Table1 above, it shows traditional selection of environmental vision building
materials by Panre bolawith agreement by Panrita bola.
3.4. Donri-donrisub district
Donri-donrisub district is the division of Lalabatasub district in Soppeng regency, borders
with Barru regency.Its population inhabitation in general is in the form of wooden stilt house.
Table 2 Selection of building materials and construction process, houses in Tana Bellangnge village,
Soppeng regency
Construction
materials
Ready for
occupancy
1. Kumia wood
2. White Jati wood
3. Baramming wood
Process of making /
installing board
floor
Process of
installing
temporary walls
Process of making
or trestle and
building roof
House is ready for
occupancy
In the Table 2 above, it shows traditional selection of environmental vision building
materials by Panre bola.
3.5. Lalabatasub district
Lalabatasub district includes in the area ofWatansoppeng city. Its population inhabitation is
mixed between walled/stone buildings and wooden stilt house.

Table 3 Selection of building materials and construction process, houses in Paowe village, Soppeng
regency
Construction
materials
Ready for
occupancy
1. Kumiah wood
2. Baramming
wood
3. White Jati
wood
Process of
inserting pegs
(pattolo) into the
pole(aliri)
Process of
establishing the
buildings worked
by many people
Process of making
the building
elements
House in the
finishingstage
materials by Panre bola with agreement by Panrita bola.
3.6. Mario riwawosub district
Is the sub district in the most southerly part in Soppeng regency and borders with
Boneregency, its population inhabitation in general is wooded stilt house.
Table 4 Selection of building materials and construction process, houses in Bellalao village, Soppeng
regency
Construction
materials
Ready for
occupancy
1. Jati wood
2. Bitti wood
3. Mangga wood
Process of making
holes in the
pole(aliri) for the
pegs (pattolo)
Process of
installing the
pegs (pattolo) in
crosswise and
lengthwise
positions
Process of making /
installing board
floor
House is ready for
occupancy
3.7. Ganrasub district
Is the division of Lili rilausub district in Soppeng regency, Ganra sub district directly borders
with Wajoregency. Its population inhabitation in general is wooden stilt house.

Table 5 Selection of building materials and construction process, houses in Enrekeng, Soppeng
regency
Construction
materials
Ready for
occupancy
1. Jati wood
2. Bitti wood
3. White Jati
wood
Process of
establishing the
pole(aliri) and
installing the pegs
(pattolo)
Process of
installing the
pegs (pattolo) in
crosswise and
lengthwise
positions
Process of
installing board
floor in floor box
House is ready for
occupancy
4. TRADITIONAL SELECTION PROCEDURE OF ENVIRONMENTAL
VISION BUGIS ARCHITECTURAL BUILDING MATERIALS
Each building element is monitored and examined in physical and visual manner by panrita
bola and panre bola,any bulding material to be used will be considered its construction and
strength.
4.1. Selecting good time
The Bugis have traditional knowledge of "good times" for an activity, good time is
considered as a good fortune and will then determine the future. Panrita bola has knowledge
of "good times and bad times" to start a job. In the cycle time; hours, days, weeks, months,
and years there is "substantial time " (good) and "empty time" (bad). For example, morning is
considered better than afternoon. Within a week, the first Wednesday and the last Thursday
of each month are considered good days to start building a house. The time is not good on the
first Thursday and the last Wednesday of each month. The moon of Muharram is considered
a "hot" month meaning it contains many dangers, fires, epidemics and others (Mardanas,
1985).
4.2. Cutting trees
In Bugisese manuscripts, there is a record of action and words to be followed, at the time of
logging into the woods. It reads "you need to sleep on your axes at night before entering the
forest and leave home before dawn; depart from east then south, then move towards the
desired direction". Then walk around the trees, approach all directions, make a fireplace. Get
close to the trees, and hold the axes, hold your breath and start to cut the tree. After three
times cutting off the trees, just then breath. Throw pieces that have fallen in the direction of
the sun rising, followed by the logging process until it falls (Robinson, 1996).

4.3. Examining Pasu (knot)
There will be any Pasuwhen there are any branches in the wood, pasu usually in the form of
hollow or patterned / circular fiber knots. Pasuaffects negatively when it is placed in the
wrong place, otherwise pasu will bring good luck if it is in the right place. During the
selection of building materials by panrita bola, then pasu is one of the focus of observation,
although actually pasu can be accepted, seen by the size of the pasu (Figure 3).
Table 6 Pasuposition and its meanings
No. Position of Pasu Its meanings
1. Pasu in the poleis scratched by chicken. There will be many fights
2.
Pasubelow the polecan be urinated by
dogs.
Dwellers will be not respected by others
3. Pasuis close to the base of walls Dwellers (female) will elope.
4.
Pasuin the poleis in the similar height with
salima floor (bamboo floor).
Dwellers can get stab.
5. Pasuclose to the door is facing the door. Callers of guest and fortune
6.
Pasuin the poleis mutually facing the
corner of the house.
Dwellers faces many deaths.
Source: Robinson 1996, interview results with panrita bola 2016
In the table 6 above, it can be seen the meanings of pasu positions to provide goodness
and badness for house owners.
4.4. Tolerance of Pasu (defected wood)
Panrita bola andpanre bolahas traditional knowledge to determine the reliability or not of a
pasu. Results of interview withpanrita bola “Haji Jufri” (70) fromPinrangRegency South
Sulawesi, he mentioned that if there are any pasuin the building materials, which its diameter
is “small” (diameter of 2 cm) then, it can be closed by “thumb” and invisible, then thepasuis
considered reliable since it does not affect on the related material (Figure 3).
Figure 3 Haji Jufri(Panrita Bola/Sanro Bola)showed reliable wooden pasu to be maintained
4.5. Pole(aliri) is established to be installed in the reserve direction
Bugis vertically upright stage poles functions as supporting structures and distributing loads
from buildings. Stilt houses should stand upright, with the base at the bottom; while the tip is
on the top. Panrita bola or panre bola, strongly forbids pole (aliri) installed upside, namely;
the base is at the top and the end is below (Figure 4).

Figure 4 Position of the pole (aliri)is installed vertical as at the time it is grows
4.6. To determine the bottom or tip of the pole (aliri)
If a pole between the bottom and the tip is almost in the same dimension, so it is rather
difficult to determine which part of the base and the tip. There are two ways that are often
done to find out which part of the base and the end of the pole. The first pole is "weighed" in
its middle point (Figure 5a), and if the pole is in motion (non balancing) it will determine that
the base will be heavier. Both poles are immersed in water, then the sinking part is further
down in the water, then it is considered as the base of the pole (Figure 5b).
Figure 5 Determine the base of the pole (aliri) (a) the pole is weighted then the weight part will be
sunk to the bellow direction, (b) The pole will be sunk and the weight part will go into the water
4.7. Classification of environmental vision material
There are several issues to be considered at the time of selecting building materials.
According to panrita bola (Bugis traditional architect) who plays as "quality control" of the
material, that prohibition of the use of wood is based on philosophical reasons presenting
certain meanings. But when it is examined deeper, in these meanings, it contains values of
structural strength, hope, care for the environment (Ludang and Mangkoedihardjo, 2009;
Mangkoedihardjo, 2010), preserving flora and fauna. The classification type of material and
philosophical meaning is as presented in Table 7.
4.8. Selection of “AliriPosi Bola” (Center Pole of the house)
AliriPosi Bola means as the center pole of the house (soko guru); a pole that is considered a
"the center of the house" and is considered as the sacred part. Posi bola is considered as a
symbol of a "woman", the mother who controls the life of the household. The material for the
center pole of the house is ajupanasa (jackfruit tree). Panasa in Bugis language means minasa
meaning aspired. It means that what is desired is always achieved. If the center pole of the
house is purchased from the timber seller, then the selected wood is the "intact" one (not
split). It means that the residents of the house will always be in one piece, never short of
something (Shima, 2006).

Table 7 Classification of Material Types and Its Philosophical meaning
No. Classification of Material types (wood profile) Its philosophical meanings
1.
The wood is struck by lightning at the time it grows in the
forest.
The wood is dead in unnatural way.
2.
The wood is rubbed in the tip part or in its branch when it
grows in the forest.
The wood is defected, less strength.
3.
When cutting the wood, it is fallen into living creatures (the
creature is dead).
The wood takes a life of a creature.
4. At the time of growing, the wood is twisted by vines plants.
The wood has less strength, its fiber
is twisted.
5. The wood is holed by bees when it grows in the forest.
The wood has less strength since it
has holes.
6.
when it grows in the forest, there are birds making nets on
it (the birds wait for hatching the eggs and then the small
bird can fly,) the bird just fly away.
Preserving natural preservation
(fauna).
7.
If there are a set of woods containing some stems, then it is
selected the most perfect wood to be cut.
Giving other stem opportunity to
grow
8.
The pole is forbidden to be installed in inverse direction (as
it is when it grows in the forest), the tip part is in the top.
The wood is treated as it grows so
that the dwellers will always be
healthy.
9.
When the wood is cut, seeing at its fallen direction, since
when establishing the house, the direction of establishment
is in the contrary to its cutting process.
Treating the wood as it grows.
Source: Mardanas 1985, interview results with panrita bola 2015, 2017
Table 7above shows that the woods at the time of growing in the forest and have defected
part because of natural environmental effects. Actually, philosophical meanings have full
moral messages.
5. CONCLUSION
Bugis community is very concerned about the selection procedures of environmentally sound
building materials, based on local wisdom values for stilt house buildings, the house is
established on itself (human reflection), which is often referred to as the rupa tau (human
form).
The traditional selection procedure of Bugis architectural building materials has been
applied by panrita bola and panre bola, which function as the "quality control" for example;
avoiding the use of wood, having been struck by lightning, once tangled by vines, once
rubbing its branches while in the forest, once perforated by beetles / birds, wood will not be
felled when a bird is nesting, only whole and perfect timber will be cut. The selection of
building materials had begun at the time of logging in the forests of ancient times.
Currently, woods are purchased on the market, panrita bola or panre bola will still check
the wood such as; wood defects, wooden pegs, wood dimensions, base and tip of wood and
type of wood.
The content of symbolic-philosophical meanings and values of building material selection
is very symbolic and philosophical for the purpose of prosperity, welfare, and well-beings; so
the meaning is very noble, polite, spiritual and humane.

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TRADITIONAL PROCEDURES OF ENVIRONMENTAL VISION BUGIS ARCHITECTURE BULDING MATERIALS IN SOUTH SULAWESI, INDONESIA (BASED ON LONTARA AND OPINIONS BY PANRITA BOLA AS THE ARCHITECTS OF BUGIS TRADITIONAL ARCHITECTURE)

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