TEA HOUSE EKSKLUSIF!!

 JAPANESE TEA HOUSE

PRESENTED BY:

MOHAMAD FAWWAS BIN ABDUL HALIM

 

DEFINITION OF TEA HOUSE

•A tea house (茶室, cha-shitsu) is a structure designed for making Japanese tea ceremonies, chanoyu (茶の湯) or chadō (茶道; also pronounced sadō).

•Tea rooms for tea ceremony are also called cha-shitsu, but they are located within a dwelling.

•Tea houses in Japan are usually small, wooden buildings and are located in remote, quiet areas or in the gardens or grounds of larger houses. 

 

DEVELOPMENT OF THE TEA CEREMONY

•Tea ceremony can be conducted in a special room included in a building such as a private dwelling, palace, temple, or castle.

•In Kamakura Period, tea drinking was endorsed by Zen Buddhism, which was newly introduced from China.

•Sen-no-Rikyu (Tea Master) favored austerity, with an emphasis upon the aesthetic concepts of sabi (the patina that comes with age) and wabi (things that are simple, natural, and imperfect).

 

 

MATERIAL OF TEA HOUSE

 •Tea house usually built of wood and bamboo, and the only entrance and exit is a small.

• Square door which symbolically separates the small, simple, quiet inside from the crowded, overwhelming outside world, and encourages humility in the host and guests, as all must kneel to enter the room.

•Tea houses usually consist of two rooms, one used for the preparation of food, snacks and tea supplies, and the other for the holding of the tea ceremony itself.

•The main room is typically extremely small, often 4 1/2 tatami mats, and the ceilings are low.

•There is no furniture, except what is required for the preparation of tea. There will usually be a charcoal pit (炉, ro) in the centre of the room for boiling water for tea.

 

ATMOSPHERE OF TEA ROOM

•Guests and hosts sit seiza (正座) style on the floor. There is usually little decoration.

•There will be a tokonoma (床の間, scroll alcove) holding a scroll of calligraphy or brush painting, and perhaps a simple, small flower arrangement called cha-bana (茶花).

•All materials used are purposefully simple and rustic. All doors and windows are traditional Japanese shōji (障子), made of thin strips of balsa wood covered in a translucent Japanese paper which allows light from outside to come into the room.

•The floor is built a few feet above the ground in order to keep the room dry. These features are still common not only in traditional style houses and inns but also in ordinary residences.

 

EKSKLUSIF!!!!SOALAN SPOT HISTORY...

RUMAH GADANG
-kene sketch ngan explain sket..

STUPA
-sketch ngn explain gak..

KRATON
-sketch
-explain sket
-planning n concept

INDUSITI-MOHENJO DARO
-planning
-concept
-details(maybe sketch)

PAGODA
-sketch gak
-planning

SHINTO/SHRINE
-sketch gak
-planning

BALINESE COMPOUND HOUSE
-concept,planning,form
-sketches,explain

CHINESE COUTYARD HOUSE

TAOISM
-explain detail

ELEMENT BANGUNAN LAMA DI SOUTH EAST ASIA
explain

TEA HOUSE

TATAMI SYSTEM/KEN MODULAR SYSTEM

SHOIN BUILDING STYLE





stakat 2 je yg dpt diberitahu, sgala berita tntg exam akan diberitahu lagi..ok done..

Rumah Gadang

• Rumah gadang "big house"- or more correctly called by Minangkabau people rumah bagonjong "house with horn-like roof"
• The architecture, construction, internal and external decoration, and the functions of the house reflect the culture and values of the Minangkabau.
• A rumah gadang serves as a residence, a hall for family meetings, and for ceremonial activities. With the Minangkabau society being matrilineal, the rumah gadang is owned by the women of the family who live there - ownership is passed from mother to daughter.
• The houses have dramatic curved roof structure with multi-tiered, upswept gables. Shuttered windows are built into walls incised with profuse painted floral carvings. 
• The term rumah gadang usually refers to the larger communal homes, however, smaller single residences share many of its architectural elements.

• A communal rumah gadang is a long house, rectangular in plan, with multiple gables and upsweeping ridges, forming buffalo horn-like ends. 
• They normally have three-tiered projections, each with varying floor levels. 
• They are broad and set on wooden piles that can reach as high as 3 metres (10 ft) off the ground; sometimes with a verandah running along the front face of the house which is used as a reception and dining area, and as a sleeping place for guests. 
• Unlike the Batak Toba homes, where the roof essentially creates the living space, the Minangkabau roof rests on conventional walls. Cooking and storage areas are often in separate buildings.

Architectural elements

Each element of a rumah gadang has its own symbolic meaning, which is referred to in adat speech and aphorisms. The elements of a rumah gadang includes:

• gonjong, hornlike roof structure
• singkok, triangular wall under the ends of gonjong
• pereng, shelf under the singkok
• anjuang, raised floor at the end of one style of rumah gadang
• dindiang ari, the walls on the side elevations
• dindiang tapi, the walls on the front and back elevations
• papan banyak, front facade
• papan sakapiang, a shelf or middle band on the periphery of the house
• salangko, wall enclosing space under a house that has been built on stilts

Some symbolisms of the house, for example, relate to the gonjong reaching to god, and the dindiang tapi, which is traditionally made of plaited strips of bamboo, symbolizing the strength and utility of the community which is formed when individual Minangkabau become part of the larger community instead of standing alone.

The pillars of the ideal rumah gadang are arranged in five rows which run the length of the house. These rows divide the interior into four long spaces called lanjar. Thelanjar at the rear of the house is divided into bedrooms (ruang). According to adat, a rumah gadang must have at least five ruang, and the ideal number is nine. The other lanjar are used as a common area, called the labuah gajah (elephant road), for living and ceremonial events.

A number of rice barns (rangkiang) ideally accompany a rumah gadang, with each having a different name and function. The rangkiang sitinjau lauik, contains rice for the family, particularly for adat ceremonies. The rangkiang sitangka lapa contains rice for donation to poor villagers and for times of famine in the village. The rangkiang sibayau-bayau contains rice for the daily needs of the family.

Coop Himmelblau

Kali ini saya nak fokuskan kpd seorg arkitek decon("Deconstructivist Architecture") yg agak menarik juga tntg design2 beliau nih...

Coop Himmelblau nih boleh lah tahan otainya dlm bgunan decon2 nih, dan prinsip deconnya sama hebat juga ngan Zaha Hadid, Bernard Tscumi, Frank Gehry dan lain2 lagi...

Jom kita usha hasil2 kerja beliau...

inilah Coop Himmelblau...

ini pavilion 21 opera space...fragmentation concept...

house of music...

art museum stongoli...

busan cinema center...

stakat tu je pasal Arkitek Coop Himmelblau yg boleh sy kongsi buat masa ini...



Why??? =_="

Why??? =_="



The reason why the old mosque has threes layers of roof:  

 

      The old mosque have three layers of roof because to symbolise three stages of life which is the "jah" Belanda and to welcome various cultures among the villagers,: 

      The mousqe has three layers of roof, with a shape likes a pyramid . The gap between these layers   allow the air flow and light directly into the mosque. The people believed the most upper layer is the "royalty of muslim to Allah S.W.T", the 2nd layer, "relation of human between human", and the third layer is " the relation of human and God in Univers.



 Example of mosque with three layers of roof:



Masjid Kampung Batak Rabit

 

 

 



Majid Jamek, Melacca



The mosque is located at Kampung Batak Rabit, Teluk Intan, Perak. The original structure of the mosque is said to be not less than 100 years old. Some modern renovations have been made through the year until now.

 

 

Masjid Agung Demak

 

The Masjid Agung Demak is located in the city Demak,not least than 10km from the semarang Jawa Tengah, was one of the oldest mosque in the Hipelato. The mosque was build by the 9 wali or wali songgo. The elements of the mosque has it's own meaning make it a unique and special. The material used for the construction is mainly wood.

 

 

One of the research found that the 3 stages of roof is the symbol for each individual those who commit devout, starting from MUSLIM, MUKMIN and MUHSIN.

• MUSLIM: is the person who has obey and actualize the rukun Islam.

• MUKMIN: is the islam people who devout toward the rukun Iman.

• MUHSIN: is the people who have been nice and hate toward "maksiat", and afraid to go in to the hell

 

 

3Layers of roof has its own significant in Islam:

• 1st roof  -menjunjung Syariat

• 2nd roof -menguasai Hakikat

 

•  3rd roof  -mencapai Maarifat

On top of the roof is (pointed toward the sky or sometimes with star and crescent shape)

A little bit about the Thai House...

In Thailand, many houses have two floors. The bottom is a shop to work or to sell goods. The first floor contains the bedrooms

 

In rural Thailand, many houses are built on poles in order that animals, creeping insects cannot enter inside.

Often many relatives are found living under one roof. Old parents don't go to retirement houses but stay with their children.

When building a new house, Thai architects start by the foundations , build poles in angles and then install the roof before finishing the walls. When building a house, Thai people often lay supplementary soil, which should lie during one year. As Thai people fear inundations, it is safer that the house is above the ground level. If the ground moves, fissures in the walls may appear as thin red bricks are used. So it is very important to dig deep ground foundations for the house.

 

In rural areas, water access can be a problem, especially during hot season. Water acess is often stopped due to water shortage. So many people built a well to get artesian water ("NAM BADAN" - น้ำบาดาล). Due to environment problems, such wells shall are forbidden.

Mosquitoes come when the rain comes. Thai houses are often opened to the exterior. Mosquitoes enter easily. Stagnant water shall be avoided. In public areas there are advertisement to tell Thai people how to get rid of mosquitoes. Thai traditional bathrooms with their water container are a place where mosquitoes are numerous.

In Thailand, due to monsoon, buildings are getting old faster. Permanent renovation is necessary.

In modern Thai houses, there is the air conditioning but no heating. In Thai northeast and northern areas, temperatures can be as low as 10 °C / 50 °F during winter

The house is an open space. Thai neighbours just enter to see what is going on. There is no privacy, no invitation. When Thai people enter in a Thai house, they shall remove their shoes at the entrance. In almost every Thai house, TV, fridge, radio can be found.

Thai people still like wooden houses but teak wood price is now too expensive. Sometimes Thai people get wood from old houses in order to build new home.

Rural Thai people think it is always safer to live close to a road and to have neighbours. This is due to the fear of robbers. Often a light is lit during all night to avoid dark areas around the house. A wall is also built around the house.

Some Thai-style wooden houses are made of old traditional teak houses brought in from various regions of Thailand as teak logging is now forbidden.

Teak wood is very popular for Thai traditional houses as it is long lasting and termite-resistant. Nowadays teak is more difficult to find due to the prohibition against teak logging.

Illegal timber can still be found in Thailand. It may come from Laos, Burma or from illegal encroachments in Thai forests.

Jom Explore Phra Nakhon Si Ayutthaya, Wat Mahathat - UNESCO World Heritage Site!!!!~

are you ready????

• Head of Buddha under a Bodhi tree
• Though the body is gone, the sandstone head is entrapped in the roots and lies beneath a Bodhi tree in the vicinity of Wat Mahathat in Ayutthaya. 

• The remain of some prangs and Buddha images without head

• Zoom out! Under a big shady tree lies a Buddha head!~

• The main prang in Wat Mahathat was believed built to house relics of Buddha. 
• Also known as royal monastery, several restoration works took place before Ayutthaya was sacked and this wat was burnt. 
• Since then it remains as laterite ruins.

• The Enligtened One

*In 1956 A.D., Fine Arts Department discovered the relics of Buddha in a chedi/stupa besides some other antiques including Buddha image, votive tablets, covered boxes in the shaped of fish and gold plaques in the animals form. These objects were later transferred and kept in Chao Sam Phraya National Museum.

• Buddha heads are gone - no thanks to the unethical head hunters

• Octagonal chedi

• Chedis and laterite ruins

• One of the last few complete Buddha images

byebye!~

SUKHOTAI

• Sukhothai is considered to be the first true Thai kingdom. (1238 till 1438)
• Today many Thais view the Sukhothai period as the golden era of Thai history, an ideal state, a land of plenty, governed by just and paternal kings who ruled over peaceful, contented citizens. 
• Wat Mahathat completed in the first half of the 13th century lies in its present day natural setting, the greatest of the Sukhothai wats, and Wat Saphan Hin, to the west of the city, in the forest, containing a 12.5 meter high Buddha image with its hand raised in the attitide of 'giving protection', both clearly illustrate the 'Sukhothai Style'.

Example:

Wat Mahathat

Sri Sanpet

Thai Sukhothai Style Art

• Thai Sukhothai art refers to the art and style of the Sukhothai [ translated as the dawn of happiness ] Empire Period. Sculpture [ bronze, stucco and stone ] was inspired by Theravada Buddhism which created a new style in which spiritual serenity is merged with human form and reflected in the numerous images of the Buddha.
• Accordingly the artists created images that were intended to reflect the compassionate and superhuman nature of the Buddha.
• During this period bronze images of Hindu gods were also caste. These Hindu gods are crowned and wear royal attire and were cult objects in royal court rituals performed by Brahman priests.
  
• In addition, Sukhothai was famous for ceramics. There were two forms, the monochromes in brown and white and the celadon and painted wares. The later have dark brown or black designs and have a clear glaze.
• Sculpture [ bronze, stucco and stone ] was inspired by Theravada Buddhism which created a new style in which spiritual serenity is merged with human form and reflected in the numerous images of the Buddha.

Sukhothai Period Stucco Buddha At Chaliang

 

Sukhothai Period Architecture Made Of Laterite & Stucco At Si Satchanalai.

Sukhothai Bronze Buddha

BUDDHA IMAGES IN SUKHOTAI STYLE

• Phra Phuttha Chinnarat at Wat Phra Sri Rattana Mahathat in Phitsanulok.
• This Buddha image is generally regarded to be the 'second most' important Buddha image in Thailand.
• [The Emerald Buddha at Wat Phrakaew in Bangkok is probably the most important]
• A replica of Phra Phuttha Chinnarat is present as the main Buddha image at Wat Benchamabophit in Bangkok.

 

•  Walking Buddha, Sukhothai Historical Park 

• Standing Buddha, with the gesture of forbidding the relatives from fighting each other.
• In the style of the Sukhothai period.
• Found at Wat Bang Oi Chang, Nonthaburi province.
• Image present in the cloister of the Ubosoth at Wat Benchamabophit, Bangkok. 

 

• Walking Buddha image with the gesture of Imparting Fearlessness.
• In the style of the Sukhothai period.
• From Wat Mahathat, Bangkok.
• Image present in the cloister of the Ubosoth at Wat Benchamabophit, Bangkok.

 

 

• Standing Buddha image, with the gesture of Forbidding the Relatives from Fighting.
• In the style of the Sukhothai period.
• Found at Wat Mai Nakhon Luang, Ayutthaya province.
• Image present in the cloister of the Ubosoth at Wat Benchamabophit, Bangkok.

• Walking Buddha, with the gesture of Imparting Fearlessness.
• In the style of the Sukhothai period.
• From Wat Ratchathani, Sukhothai province.
• Image present in the cloister of the Ubosoth at Wat Benchamabophit, Bangkok. 

• Standing Buddha image, with the gesture of Imparting Fearlessness.
• In the style of the Sukhothai period.
• Cast and enlarged from an ancient model.
• Image present in the cloister of the Ubosoth at Wat Benchamabophit, Bangkok. 

• Sitting Buddha image, with the gesture of Subduing Mara.
• In the style of the Sukhothai period.
• Found at Wat Praya Krai (Jotanaram), Bangkok.
• Image present in the cloister of the Ubosoth at Wat Benchamabophit, Bangkok. 

• Buddha Image with the Gesture of Subduing Mara.
• (15th century A.D.)
• National Museum Prachinburi

• Buddha at Wat Mahathat, Sukhothai