SOUTH EAST ASIA & MALAYSIA

ARCHITECTURE HISTORY
AAR 652 MEASURED DRAWINGS
BACHELOR OF SCIENCE (HONS.) (ARCHITECTURE)
FACULTY OF ARCHITECTURE, PLANNING AND SURVEYING
UNIVERSITI TEKNOLOGI MARA, SHAH ALAM

OCT 2021- FEB 2022

RUMAH RAJA DATO’ DIWANGSA

LECTURER:
TENGKU ANIS QARIHAH BINTI RAJA ABDUL KADIR
PREPARED BY;

AMIRA WANI BINTI JAMIL (2018252126)

AHMAD SYAHMI BIN AHMAD SHAHABUDDIN (2018643118)
AINIEN AMALEEN BINTI MOHD ZAMRI (2018640076)
NURUL HASNI BINTI NAJMUDDIN (2018802502)
SYAHMINA BINTI SHAHRUL EFFENDY (2018253842)
HANNAH AILEEN BINTI NOR HASNAN (2018217956)
MOHAMAD ARIFF BIN AHMAD NAZRI (2018439554)
AMIRAH NATASHA BINTI ABDUL LATIF (2018218192)
MOHAMMAD ARIF NAJMUDDIN BIN SAHARIZON (2017506681)
 ABSTRACT

Measured drawings have been the primary means of gaining a knowledge of the built environment
and communicating building and design ideas for ages. The importance of these two-dimensional pictures as
transitory portrayals of building forms and materials has been eclipsed by the usefulness of measured
drawings as teaching tools for learning about the architectural environment as well as signifiers of cultural
values. The production of measured drawings has been reduced to a narrower focus in the documentation
projects in the midst of an architectural culture increasingly utilizing three-dimensional virtual surrogates
together with state-of-the-art surveying and representation approaches. Ethnographers construct extensive
descriptions of cultural signifiers, and the methodological road to producing measured drawings is
comparable. This paper seeks to investigate architectural documentation via the lens of measured drawings
as an account of "thick description."
 ACKNOWLEDGEMENTS

We are pleased and blessed to have a supporting organization under the subject AAR 652 South East
Asia & Malaysia Architecture History Measured Drawings. The amount of guidance and dedication from our
beloved lecturer Dr. Tengku Anis Qarihah Raja Abdul Kadir have made this subject a powerful and
interactive impact between students, lecturers and the importance of Malaysia’s architecture. We thank her
from the bottom of our heart and prayed for her kindness to be served. Next, we would like to thank UiTM
under the Faculty of Architecture, Planning and Surveying for lending us some valued equipment to produce
such luxurious presentation. We then thank Muzium Warisan, Universiti Putra Malaysia for having us to do
measured drawings and document the process of this beauty thus, Pn. Nur Layla Witra Binti Rusop,
Pembantu Pegawai Tadbir Muzium for doing a helpful interview of this dwelling. Last but not least, we
would like to thank Prof Dr Muhammad Pauzi Abdul Latif, a lecturer in Communications at Universiti Putra
Malaysia (UPM) as he is the person behind the relocation and preservation of this traditional Malay House
for having a short conversation with us during the site visit. Thank you.
 TABLE OF CONTENTS
ABSTRACT 2
ACKOWLEDGEMENTS 3
1.0 Introduction ........................................................................................................................................... 5

2.0 Historical Background .......................................................................................................................... 6

3.0 Architectural Style ................................................................................................................................ 8

4.0 Construction Method ............................................................................................................................ 14

5.0 Spatial Quality ...................................................................................................................................... 17

6.0 Methodology ......................................................................................................................................... 22

6.1 On Site Methodology ............................................................................................................ 23

6.2 On Site Itinerary .................................................................................................................... 25

6.3 Timeline Workflow ............................................................................................................... 30

6.4 Job Scope .............................................................................................................................. 33

7.0 3D Model ............................................................................................................................................. 35

8.0 Interview .............................................................................................................................................. 40

9.0 Conclusion ........................................................................................................................................... 44

10.0 Measured Drawings .............................................................................................................................. 43

References ............................................................................................................................................ 74
 LIST OF FIGURES
Figures Title Page

Figure 1.1 Common Malay House Forms Found in Peninsular Malaysia ................................................... 5

Figure 2.0 Location of Rumah Raja Dato’ Diwangsa .................................................................................. 6

Figure 2.1 Original Image of Datuk Raja Diwangsa Muhammad Bin Jabar’s ............................................
House Located in Kg. Meluar, Negeri Sembilan 7

Figure 3.0 West Sumatera House Design ..................................................................................................... 8

Figure 3.1 Negeri Semibilan Traditional House .......................................................................................... 9

Figure 3.2 Drone Shot On-Site Top View ................................................................................................... 10

Figure 3.3 Material Used In Construction ................................................................................................... 11

Figure 3.4 6 Types Tiang Gantung Tak Jejak Bumi .................................................................................... 12

Figure 3.5 Ornamentation Using Flora Motifs ............................................................................................. 13

Figure 3.6 Image of Gable Ends .................................................................................................................. 14

Figure 4.0 Exploded Drawing ...................................................................................................................... 15

Figure 4.1 Construction Method ................................................................................................................... 16

Figure 4.2 Sectional Perspective for Construction Method .......................................................................... 17

Figure 4.3 Sectional Perspective for Construction Method .......................................................................... 18

Figure 5.0 Isometric View of The Interior ................................................................................................... 19

 LIST OF FIGURES
Figures Title Page

Figure 5.1 Sectional Perspective for Spatial Quality ................................................................................... 19

Figure 5.2 Interior View of Serambi ............................................................................................................ 20

Figure 5.3 Interior View of Rumah Ibu ........................................................................................................ 21

Figure 5.4 Interior View of Loteng .............................................................................................................. 22

Figure 6.1.0 Image of Used Equipment at Site ............................................................................................... 27

Figure 6.2.0 Rough Sketches Were Done and Discussing the Column Placement ........................................ 28
Before Measuring Took Place
Figure 6.2.1 Image Above Shows, The Measuring Process of Concrete Floor Pad By .................................. 28
Using Measuring Tape and The Dimension Were Jot Down In An iPad.
Figure 6.2.2 The Team Were Doing Rough Sketches on The Elevations Before .......................................... 29
Measuring Each Element.
Figure 6.2.2.1 Image Above Shows, The Process of Measuring the Window Dimension ................................ 29
While Having the Measurements Written Down.
Figure 6.2.2.2 Image Above Shows, The Measuring of The Height of The Fascia Board ................................ 29
For the Rear Elevation by Using Measuring Tape.
Figure 6.2.2.3 After Getting the Measurements, A Reevaluation Were Done To Prevent ................................ 29
Any Mistaken Measurements Taken.
Figure 6.2.3.0 This Shows the Process of Getting the Shape of Ornamentation by Tracing ............................. 30
The Cut-Out on The Tingkap Labuh with A Tracing Paper and a Marker
Figure 6.2.3.1 Image Above Shows, The Measuring of The Height of The Tiang Gantung ............................. 30
By Using Measuring Tape.
Figure 6.2.3.2 This Shows the Process of Getting the Shape of Ornamentation When ..................................... 30
It Has an Intricate Carving. The Use of Clay Was Pressed onto The End of Pemeleh,
Then,The Use of Ruler to Cut The Clay Into Shape. (Right) The Shape of The Clay
After Being Cut Precisely.
 LIST OF FIGURES

Figures Title Page

Figure 7.0 Overall View .......................................................................................................................... 36

Figure 7.1 Side View ............................................................................................................................... 37

Figure 7.2 Facade Detail ......................................................................................................................... 38

Figure 7.3 Rear View .............................................................................................................................. 39

Figure 7.4 Interview with The Pegawai .................................................................................................. 40
Figure 7.5 Interview with The Pegawai .................................................................................................. 41

Figure 7.6 Interview with The Pegawai .................................................................................................. 42

Figure 7.7 Interview with The Pegawai .................................................................................................. 43
 LIST OF TABLES

Tables Title Page

Table 6.3.0 Timeline Workflow ................................................................................................................ 31

Table 6.3.1 Timeline Workflow ................................................................................................................ 32

Table 6.3.2 Timeline Workflow ............................................................................................................... 33

Table 6.4.0 Job Scope .......................................................................................................... ..................... 34

Table 6.4.1 Task Division for Video Documentation ............................................................................... 35
Table 6.4.2 Task Division for Report Writing........................................................................................... 35

Table 6.4.3 Task Division for Measured Drawings .................................................................................. 35

1.0 Introduction

Traditional Malay houses have a unique and distinct

architectural style. It has its own unique history, which should not be
overlooked. This one-of-a-kind architectural legacy should be preserved
and celebrated. This is extremely important since the features of
civilized nation can only be recognized by its own unique architectural
style.

The Malaysian architectural legacy is regarded as a one-of-a-

kind collection of strong architecture that not only exists but also
serves as a reflection of the country's diverse cohesive culture.

Emphasizing the importance of these architectural gems living

the 'north life' of today's machine-age built environment, various sorts of
ongoing yet effective actions are required. One of the initiatives done by
Universiti Teknologi Mara (UiTM) is the development of a study known
as Measured Drawing as part of the History of Architecture course.

Therefore, measured drawings is a documentation of heritage

building that accurately drawn to scale in regards to its historical
background and architectural influence, spatial organization and
structural details on the basis of field measurement. The purpose of this
documentation will be archived as a conservation effort to be Figure 1.1 Common Malay House forms
Found in Peninsular Malaysia
appreciated for future generation to understand and value our historical
heritage.

9
2.0 Historical Background
Malay Heritage Museum or known as Muzium Warisan Melayu is an
interesting museum located within the campus of University Putra
Malaysia (UPM) at Serdang, Selangor. The museum, which was
opened on April 2012, showcases the unique culture of the Malay
people and contains a valuable collection of items, some of which is
not seen in other museum. Such as exhibition of traditional housing;
‘Rumah Negeri Sembilan’, ‘Rumah Perak’, ‘RumahPahang’ and
‘Rumah Terengganu’.

Variety of astonishing traditional houses to choose from but ‘Rumah

Negeri Sembilan’ captured our attention. This remarkable traditional
house belongs to one of the Four People of Istana Seri Menanti, Datuk
Raja Diwangsa Muhammad Yunus Jabar or otherwise known as Tok
Tonso. He is a nobility of Seri Menanti in the 1920s. His house was
donated to Universiti Putra Malaysia (UPM) in March 2013 by
Darwishah Muhammad Yunus, the successor of Tok Tonso to be
restored and preserved. The man behind the restoration and
transportation is Prof Dr Muhammad Pauzi Abdul Latif, a lecturer in
Communications at Universiti Putra Malaysia (UPM).

Figure 2.0 Location of Rumah Raja

Dato Diwangsa

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2.0 Historical Background

The Negeri Sembilan traditional house is located at Kampung Merual, Seri Menanti . Negeri
Sembilan’s traditional house belonging to the Four People of Istana Seri Menanti and now is belonging
to Datuk Raja Diwangsa Muhammad Yunus Jabar or affectionally called Tok Tonso by the village
people, a nobility of Seri Menanti in the 1920s. He was from suku Batu Hampar (Air Kaki Jernih) who
owned the privillage to the two position four people of Istana Seri Menanti that is Dato’ Seri Amar
Diraja and Dato’ Raja Diwangsa.

Tok tonso was married To Wok Binti Talib and lived at Kampung Merual .In 1935, the house
was built Tok Tonso with the help of two local carpenters , Dukun Mahat and Tukang Kasim. The
ceremony to put the house pillars was done by all community of Merual . The house was built at the
land that owned by his wife. This house consists of five main sections which are porch, closed verandah
(serambi), rumah ibu (main space) and loteng (attic).

Rumah Negeri Sembilan has its own uniqueness. This noble house has six uniquely shaped
pillars that is called Tiang Gantung Tak Jejak Bumi that supports the roof of the house and are
connected to two sail-like gable ends named Tebar Layar Bertingkat Tiga (Three layered Gable) and
Tebar Layar Mentari Terbit Pagi (Morning Sunrise Gable) that sits on the frontage of the house as the
Original image of Datuk Raja Diwangsa Muhammad bin
main entrance. And supposedly this Tebar Layar Mentari Terbit Pagi is placed at the outer side of the Jabar’s house located in Kg. Meluar, Negeri Sembilan
house facing the direction of sunset (kiblat). Nevertheless, due to restriction on site, this affirmation was
made to be undone. The other uniqueness is the place for washing and shrouding departed family Figure 2.1 Original image of Datuk Raja
Diwangsa Muhammad bin Jabar’s house located
members as it is customary in Negeri Sembilan in the olden days for this to be performed at home were in Kg. Meluar, Negeri Sembilan
done in rumah ibu as there was lantai selang which is a 2inch gap between two floor boards for water
to pass through easily. This dwelling truthfully designed for the owner’s way of living.

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3.0 Architectural Style
Minangkabau Culture and Architecture
In the 16th century is the began of the minangkabau culture and society, after the massive
migration of the Western Sumatera Minangkabau people throughout Southeast Asia.The migration of
the Minangkabau community to Negeri Sembilan has to some extent influenced the design of traditional
houses in Negeri Sembilan.

Negeri Sembilan’s traditional house is symbolized the identity and unity of Minangkabau
malay community. Negeri Sembilan traditional house architectural style characteristic shape the identity
of the Minangkabau community as a whole. Symbolism and aesthetic values create significant forms,
that symbolizing the community's identity and culture in the olden days. The Minangkabau culture and
architecture began to take base in Negeri Sembilan and remained until today. However, the customs
Figure 3.0 West Sumatera house design
practiced by the Minangkabau society in Negeri Sembilan is known as the ‘adat perpatih’ named after
the founder Datuk Perpatih from Western Sumatera. ’Adat perpatih’ in Negeri Sembilan is a maternal
custom system or matrilineal kinship system that has a close relationship with design such as
orientation, space layout, floor components, walls, pillar structure, and interior decoration of traditional
Negeri Sembilan houses. In addition, the long sloping roof design with both ends of the roof rising
slightly has become an architectural identity in Negeri Sembilan in its own right. Pepatih customs and
regional factors have influenced the design of this traditional house .

Figure 3.1 Negeri Sembilan Traditional House

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3.0 Architectural Style
Roof Style
The uniqueness of the Negeri Sembilan traditional house compared to other traditional houses is
the sloping style .Negeri Sembilan Traditional Malay houses have a long roof, which is a type that has a
ridge that extends from left to right that is parallel to the road or river. The evolution of the Negeri
Sembilan traditional house can be seen on its slightly sloping roof. The design of Negeri Sembilan houses
has a multi -storey roof between the roof of the ‘rumah ibu’ and the serambi’s roof. This house consists of
serambi or know as porch . Usually negeri sembilan traditional house that consist porch is the house for
the customary chiefs and the magnifiers, others have different sizes and architectural styles and this can be
clearly seen on the porch space. The evolution of the roof has changed from time to time influenced by
elements of Malay ethnic culture according to district or region. Regional is the life or daily way of life of
a person towards the local community that is influenced by the environment .

Loteng Roof

Serambi Roof

Figure 3.2 Drone shot on-site top view 13

3.0 Architectural Style
Material
Negeri Sembilan traditional house is built using local natural resources such as cengaL and
meranti for the main structure . These natural materials contribute to low impact on the environment.
Furthermore, the material is accessible and requires minimal effort to obtain it. Therefore, it is widely
used in the construction of Negeri Sembilan’s traditional house. It requires an interaction between the
social and cultural values of the Minangkabau community.

Meranti Tree Raw Meranti Hardwood Timber Varnish Meranti Hardwood Timber

Cengal Tree Raw Cengal Hardwood Timber Varnish Cengal Hardwood Timber

Figure 3.3 Material used in construction

14
3.0 Architectural Style
Column
Rumah Negeri Sembilan has their own uniqueness such as The noble house has six uniquely
shaped pillars that called Tiang Gantung tak jejak Bumi that supports the roof of the house and are
connected to two sail-like gable ends named Tebar Layar Bertingkat Tiga (Three layered Gable) and
Tebar Layar Mentari Terbit Pagi (Morning Sunrise Gable) that sits on the right and left side of the
house and at the main entrance.

Figure 3.4 6 Types Tiang Gantung Tak Jejak Bumi

15
3.0 Architectural Style
Ornamentation
Negeri sembilan’s traditional house consists of several ornamentation. All this ornamentation
is from different elements of flora and fauna and various types are also to show the art of the owner.
This motif also serves as a vent as well. This is because in the old days there were no fans to help with
ventilation, so they would hold as many vents as possible to keep the ventilation flow going well.

Tebar layar patterns typically have sunrise motifs to symbolize the joy of life. (Ab Aziz
Shuaib, 2012) Tebar Layar Bertingkat Tiga (Three layered Gable) and Tebar Layar Mentari Terbit Pagi
(Morning Sunrise Gable) that sits on the right and left side of the house and at the main entrance. And
other Tebar Layar Mentari Terbit Pagi a placed on outer side of house facing the direction of sunrise.
This help the house owner to identify the direction of kaabah. The other uniqueness is the place for
washing and shrouding departed family members as it is customary in Negeri Sembilan in the olden
days for this to be performed at home.

Figure 3.5 Ornamentation using flora motifs

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3.0 Architectural Style
Gable End
Negeri Sembilan traditional house consists two sail-like gable ends named Tebar Layar
Bertingkat Tiga (Three layered Gable) and Tebar Layar Mentari Terbit Pagi (Morning Sunrise Gable)
that sits on the right and left side of the house and at the main entrance that connected to Tiang Gantung
tak jejak Bumi that supports the roof of the house. According to Nakula (Warisan Kelantan IV, 62-64),
the arrival of the sail on the Malay house symbolizes Nur Muhammad and all the realms that happened
from him, while the real world is contained in Nur Muhammad and the essence of Allah is all-
encompassing. Arriving on the screen is a more specific symbol of "Allah and Muhammad" "Kalimah
Syahadat". Although the screen is not written with letters, sentences or sentences it still carries the same
meaning in the form of symbolism. The objective of this symbolism is to describe the shadow of the
knowledge of God and this knowledge of God is summed up in that dual.

Apart from that, the screen also carries the symbolism of "Tuban Layar". The word "Tuban"
means "white water that comes out before the birth of a child", while "Layar" is the same as "Tabir" or
"Kelir" wayang kulit where the shadow is born. a statue (a place that displays a story or story in it). Thus,
the word "tuban" means "introduction of knowledge" or "shadow of knowledge" before the "birth of
knowledge" in the real world. The "screen" is the inner chest where the shadow of knowledge is born.

Figure 3.6 Image of Gable End

Tebar Layar Bertingkat Tiga (Three layered Gable)
and Tebar Layar Mentari Terbit Pagi (Morning
Sunrise Gable)

17
4.0 Construction Method

Few people are aware that Malay traditional dwellings

feature a modular system for quick assembly and removal.
They're simple to move from one spot to another. The dwellings
were often erected without nails, and that the construction was
highly systematized with a high degree of flexibility and
diversity. (New Straight Times, 2017) Before the transferring of
the house from Kampung Merual, Negeri Sembilan to Muzeum
Warisan Universiti Putra Malaysia, the house has more spaces
than the current one due to space restrictions on site.

Figure 4.0 Exploded Drawing

18
4.0 Construction Method Structural Frame

First and foremost, a traditional Malay

house will start with tiang seri of the house. Tiang
seri is the first column that will be put up first.
This tiang seri is placed at ruang ibu. Therefore,
12 columns were set up for ruang ibu to be
constructed first. Since the columns are from kayu
cengal the use of high concrete footing to protect
the wood from termites and for structural integrity.

Next, when all of the columns were

constructed, pelantar which is the temporary floor
beams will be slotted in some column by the use of
wedges (pasak). The function of pelantar is to
align the columns for the floors to be placed.

Then, rasuk is slotted in for horizontal

load transfer then, gelegar and lantai will be
placed subsequently. Timber floor panels used for
this house if kayu meranti stated by the
interviewer. The function of timber floor panels is
to overcome live and dead load of the house.

Afterwards, alang panjang and alang

pendek placed at the top of rows of columns for
Source: Chapter 2: Malaysian Vernacular Architecture and Its Relationship to Climate structural stability.

Figure 4.1 Construction Method

19
 4.0 Construction Method
Second Floor (loteng)

When the wall plate is placed around the column and wall,
floor joists is placed on top with 300mm spacing. Then, timber floor
boards are placed on top as floor finish then subsequent columns are
stacked on top of first floor columns. Then, wall panels are constructed
with louvers and windows around the parameter of the space for
ventilation.

Image of wall to floor to roof Rumah

Negeri Sembilan’s structural
FLOOR FLOOR KASAU KASAU ALANG
COLUMN JOIST BOARD JANTAN BETINA PANJANG components

20
Figure 4.2 Sectional Perspective for construction method
 Roof Structure
4.0 Construction Method
For the roof structure on the first floor, kasau jantan
(rafter) is constructed with cut-outs for kasau betina (purlins) to
rest on it. Then, tulang perabung is to connect the rafters for
structural stability. Next, for every intersection connection for the
Wall Panels rafters, a vertical member of tiang gantung is constructed for

The wall panels for the structural stability for the curvature of the roof. Then, roof

coverings uses meranti timber finishes are placed on top of kasau betina. For the current house,

hardwood arranged in an 45̊ asbestos roof finish is used and as the connector of roof finish to

angled placement with wall studs purlins are the use of rivets.

as structural framing. Then, The construction method for the roof on the second floor
openings were constructed with differs slightly on the method of tunjuk langit placed in
kekisi crafted with flora carvings connecting the rafters (kasau jantan). Nevertheless, these tunjuk
at every window for safety and as langit are considered as tiang gantung as the structure hanging by
wind penetration as the windows the support of the rafters jointing.
were designed from floor to wall
height.

21
Figure 4.3 Sectional Perspective for construction method
5.0 Spatial Quality

Traditional Malay house has a specific type of spaces with its

function that shows cultural behaviours. The spaces consist of,
anjung, rumah ibu, selang, dapur and pelantar.

For this particular house, a few primary spaces were deducted due
to restriction of space on the site of Muzium Warisan Melayu
Universiti Putra Malaysia.

Therefore, there are only 3 main spaces within this house which
is, serambi, rumah ibu, and loteng that will be discussed further.

Figure 5.0 Isometric View of the Interior

22
5.0 Spatial Quality (Thermal Comfort)

Louvers

Allow cross-ventilation and

stack effect to cool interior Salir Angin
spaces
Allow wind penetration
within the spaces with
aesthetic value applied
through flora motif

Raised Floors

Allow wind penetration

to cool interior floors

Figure 5.1 Sectional Perspective for Spatial Quality

23
5.0 Spatial Quality

Serambi

This space is used to welcome visitors, as

resting space, or discussion space or for handling
events. This space is exactly right after the entrance
door. Therefore, any activities happening within this
space can be seen by outsiders for community
curiosity purposes. As for this particular house, since
the owner is Datuk Raja Diwangsa Muhammad Yunus
bin Jabar who is one of the Orang Empat Istana Seri
Menanti, Negeri Sembilan this space is always filled
with people for discussion purposes. Usually serambi
is a semi-enclosed space but for this house, the
serambi is an enclosed space where most discussion
can be done in private.

Figure 5.2 Interior view of Serambi

24
5.0 Spatial Quality

Rumah Ibu

This space is a subsequent space from

serambi where most daily activities were done here.
As mentioned before, some spaces were deducted
after the transferring of the house, with that this space
is used for the kitchen as well since it is the biggest
space among all spaces and it is connected to the back
door. Some elements found in this space are selang
floors that were used to bathe corpse or to do dishes.

Figure 5.3 Interior view of Rumah Ibu

25
5.0 Spatial Quality

Loteng

This space is at the second floor where the

staircase is connected from rumah ibu. As mentioned
from the interview, this space was specifically for
women or girls because it is a separated space where
the girls can freely do their activities. Another
interesting part about this space is when there was a
fight approaching, the women can easily ran-off from
the loteng and climb trees to escape. There are a few
carvings on the wall panels for ventilation and louvers
around the space.

Figure 5.4 Interior view of Loteng

26
6.0 Methodology

Preparing site Background Field Trip Documentation

consent form Study

• Research on the • The heritage house • The historical

• Identifying a will be measured background of the
background study of
heritage house to be during site visit to house and
the house through
chosen obtain accurate architectural drawing
sources of articles
• Preparing site obtained from the measurements for will be gathered for
consent form to internet drawing and documentation
prepare for the site documentation
visit

27
6.0 Methodology

Case Study Approach

The case study will be carried out by two methods, which is research and
field trip. The first method, which is the research method is used to obtain historical
information on the house. The information needed is such as the previous and current
location of the house as well as the previous and current owner of the house.

The second method is a field trip, where a group of students will be visiting the
current location of the house. During the field trip, the on-site measurement will be
done on the building to obtain an accurate measurement of all parts of the house. The
measurement will be used to draw a detailed drawing of the house for documentation.

Sample of Study

The sample of this study is Rumah Traditional Terengganu, previously

owned by Haji Wan Muda bin Wan Hassan. The house was moved from Tanjung
village; Kuala Terengganu is believed to be about 200 years old.

28
6.0 Methodology

Procedure

To start this study, research through the internet will be done to obtain the
Desk Study
historical background of the house. The research will be searched through articles and
journals posted online. This research will give historical information of the house
through the study and documentation done by other researchers.

Site Visit
After getting a better understanding of the historical background of the
building, the study will be continued by a field trip to Muzium Warisan UPM,
Serdang. During the field trip, the on-site measurement will be done on the building.
The measurement done will be including every detail of the building, such as the Measuring
Activity
motif and ornamentation on the building. The field trip will be a whole day visit, from
10 am to 4 pm.

Next, an architectural drawing of the house will be done using all the Research Analysis

measurements taken during the field trip. Some of the architectural drawings included
are floor plan, elevation, section, and detail drawing of the construction method.

Documentation
Lastly, the historical background of the house and the drawing will be
gathered to compile for documentation. A 3D model of the house will be done using
3D modelling software for final documentation.

29
6.1 On-Site Itinary

Time Activity Analyse data collection

09.00 Breakfast
Historical background -The place (location plan, old and
10.00 Arrive at UPM current photographs)

- Interview with Pegawai Tadbir of UPM. -the owner

- Do interview with the owner of the house. -the building/premise

10.20 Start briefing with groupmate
10.30 Start measure building

- Sketch floor plan Architectural style -Exterior and interior

- Determine
Construction method Past and present, sketches/
 Floor plan diagrams/ photos, type of
-using the same floor plan start to analyse construction
Construction and materials Every component
 Roof Plan
 Elevations - sketches/ diagrams/ photos,
 Sections materials/sizes/jointing
 Assembly/detail (components) techniques/finishes
 Door and Window Schedules Spatial organization and Past and present, sketches/
 Staircase schedule
function diagrams/ photos, room names
 Motif / ornamentation schedule
Pictorial description - On site activities
12.00 Lunch Break
14.00 Start measure again Video compilation -On site activities
15.00 Collecting data
-documentation about the house
16.00 Wrap-up Model making The detail of the house
Repeat the activity in 3 days straight

30
6.1 On-Site Methodology
Equipment Used Figure 6.1.0 Image of used equipment at site

31
6.2 On-Site Methodology

To start the process of measuring the house, the team were divided into 3 smaller groups for discreet and effective measuring process. The team consist of;
floor plan, elevation 1 (Front Elevation, Rear Elevation), elevation 2 (Right Elevation, Left Elevation) and ornamentation.

6.2.1 Floor Plan

The group consists of 3 members that does the rough sketch then, measuring process by the use of laser or measuring tape.

Figure 6.2.0 Rough sketches were done and discussing the Figure 6.2.1 Image above shows, the measuring process of
column placement before measuring took place concrete floor pad by using measuring tape and the dimension
were jot down in an Ipad.

32
6.2 On-Site Methodology

6.2.2 Elevation

This group consists of 4 members that were divided between front and rear elevation with right and left elevation. Therefore this team will work in pars.

Figure 6.2.2.0 The team was doing rough Figure 6.2.2.1 Image above shows, the Figure 6.2.2.2 Image above shows, the
sketches on the elevations before measuring process of measuring the window dimension measuring of the height of the fascia board
each element. while having the measurements written down for the rear elevation by using measuring tape

Figure 6.2.2.3 After getting the measurements, a reevaluation were done to

prevent any mistaken measurements taken
33
 6.2 On-Site Methodology

6.2.3 Ornamentation

This group were done in pair right after the front and rear elevation were done since the items to measure were lesser than right and left elevations.

Figure 6.2.3.0 This shows the process of Figure 6.2.3.1 Image above shows, the Figure 6.2.3.2 This shows the process of getting the shape of
getting the shape of ornamentation by tracing measuring of the height of the tiang gantung ornamentation when it has an intricate carving. The use of clay was
the cut-out on the tingkap labuh with a tracing by using measuring tape. pressed onto the end of pemeleh, then, the use of ruler to cut the clay
paper and a marker into shape. (Right) The shape of the clay after being cut precisely.

34
6.3 Timeline Work Flow

Tables 6.3.0 Timeline Workflow

35
6.3 Timeline Work Flow

Tables 6.3.1 Timeline Workflow

36
6.3 Timeline Work Flow

Tables 6.3.2 Timeline Workflow

37
6.4 Job Scope

Video/Digital Model Report/Photobook Measured Drawings

Nurul Hasni Binti Amirah Natasha Binti Abdul Syahmina Binti Shahrul Effendy
Najmuddin (Leader) Latif (Leader) (Leader)

Ahmad Syahmi Bin Nurul Hasni Binti Najmuddin Hannah Aileen Binti Nor Hasnan
Ahmad Shahabuddin

Mohamad Ariff Bin Amira Wani Binti Jamil Mohamad Ariff Bin Ahmad Nazri
Ahmad Nazri
Amira Wani Binti Jamil

Ainien Amaleen Binti Mohd Zamri

Ahmad Syahmi Bin Ahmad

Shahabuddin

Tables 6.4.0 Job Scope

38
6.4 Job Scope
1 Video Documentation
Tasks Division

Name Topic Equipment

1 Amira Wani Binti Jamil  Historical Background  Camera
 Architectural Style  Drone
 Construction Method  Tripod
 Power bank
Ahmad Syahmi Bin Ahmad  Architectural Rendering  Smartphone
Shahabuddin
2 Nurul Hasni Binti  Spatial Organization and
Najmuddin Function
 Construction and materials
 Pictorial Description
3 Mohamad Ariff Bin Ahmad  Virtual Reality/Ai
Nazri
Tables 6.4.1
Task Division for Video Documentation

2 Report Writing
Tasks Division

Name Topic Software

1 Amirah Natasha Binti  Historical Background  Microsoft Word
Abdul Latif  Architectural Style  Microsoft Excel
 List of Task  Microsoft
 Conclusion PowerPoint
2 Amira Wani Binti Jamil  Construction Method
 Spatial Organization and
function
 Pictorial Activities
 Citation
3 Hannah Aileen Binti Nor  Construction and Materials
Hasnan  Pictorial Description
 References
Tables 6.4.2
Task Division for Report Writing 39
6.4 Job Scope

3 Measured Drawings
Tasks Division

Name Topic Equipment

1 Amira Wani Binti Jamil  Key and location plans  Electronic
 Site plan measuring tape
 Elevations (laser)
2 Ahmad Syahmi Bin Ahmad  Floor plans  Measuring tape
Shahabuddin  Roof plan (small + large)
 Assembly/ detail (components)  Ladder
drawings etc  Butter paper +
3 Mohamad Ariff Bin Ahmad  3d model tracing paper
Nazri  Pencil + pen +
4 Ainien Amaleen Binti Mohd  Sections marker
Zamri  Clay/Plasticine
6 Hannah Aileen Binti Nor  Motif / ornamentation  Sketchbook and
Hasnan schedule tablet
7 Syahmina Binti Shahrul  Door and Window schedules
Effendy
8 Nurul Hasni Binti  Staircase schedules
Najmuddin

Tables 6.4.3
Task Division for Measured Drawings

40
7.0 3D Model

Figure
Image shows artist 7.0 Overall
impression View
of the house at site
41
7.0 3D Model

Figure
Image shows artist 7.1 SideofView
impression the house at site
42
7.0 3D Model

Figure
Image shows artist 7.2 Façade
impression of Detail
the house at site
43
7.0 3D Model

Figureimpression
Image shows artist 7.3 Rear of
View
the house at site
44
7.0 Interview
Interview question and answer
Interview was done between our teams representative with the organizer, Puan Nur Layla Witra Binti Rusop, Pembantu
Pegawai Tadbir Muzium

Q1. Bolehkah puan menceritakan serba sedikit mengenai latar belakang rumah Negeri Sembilan ini?
A1. Pemiliknya ialah Dato’ Raja Diwangsa atau nama sebenarnya ialah Muhammad Yunus Bin Jabar, Rumah ini
kebiasaanya dipanggil rumah untuk orang-orang kerabat.

Q2. Dikatakan orang ini adalah orang empat Istana Seri Menanti, yang merupakan seorang pembesar dan
adakah status dan jawatan ini mempengaruhi senibina rumah Negeri Sembilan ini?
A2. Sebenarnya, Dato’ Raja Diwangsa hanyalah pembesar di istana kerana beliau tidak mempunyai darah diraja
tetapi hanya mempunyai pangkat di istana. Rumah ini mempunyai Ciri ciri di dalamnya yang
menunjukkan dia adalah pembesar tetapi ianya tidak sehalus senibina rumah Negeri sembilan yang diduduki
oleh keturunan diraja.

Q3. Bolehkah puan menceritakan serba sedikit mengenai sejarah atau peristiwa yang pernah terjadi di
rumah ini sebelum dinaikkan?
A3. Rumah ini diambil di Kampung Buyau, seperti rumah tradisional yang lain, pembinaannya akan bermula
dengan menaikkan tiang (pasak) terlebih dahulu, tetapi sebelum itu, untuk membina sesebuah rumah,
masyarakat kampung akan membuat mesyuarat terlebih dahulu bagi mengeluar kata sepakat dan memperoleh
persetujuan dari penduduk kampung untuk kebenaran membina rumah bersama-sama di sesuatu kawasan yang
dah ditetapkan. Bermula dengan Tiang Seri dinaikkan dan di ikuti dengan yang lain. untuk sejarah, rumah ini
Figure 7.4 Interview with
mempunyai maksud maksudnya yang tersendiri, seperti Tebar Layar tiga peringkat yang menghala dan
the Pegawai
menunjukkan ke arah kiblat. Antara sebab mengapa menghadap arah kiblat adalah kerana, matahari petang
tidak menghadap di hadapan rumah dan ini membantu memperolehi pengudaraan yang lebih baik dan
membuatkan keadaan dalam rumah lebih nyaman. Pintu masuknya rendah kerana ini akan membuatkan orang
yang masuk ke dalam rumah akan tunduk dahulu sebagai tanda hormat kepada rumah dan tuan rumah juga. 45
7.0 Interview
Interview Question And Answer

Q5. Rumah terdahulu menerapkan penggunaan tanggam tetapi kami lihat disini lebih banyak penggunaan
paku dan juga ‘bolt and nut’, bolehkah puan jelaskan mengapa?
A5 Sebelum rumah ini dipindahkan , fungsi asalnya adalah kegunaan bagi sesebuah keluarga akan tetapi setelah
dipindahkan , fungsi utamanya adalah untuk pelawat. Disebabkan itu cantuman pasak dan tanggam ditukar
kepada paku agar rumah ini lebih kukuh untuk pelawat turun dan naik ke rumah ini.

Q6. Bolehkah puan jelaskan perubahan rumah ini di tapak lokasi sebenar dan di tapak lokasi ini setelah
dipindahkan?
A6 Seperti yang dilihat di dalam gambar, rumah ini masih ade bahagian bahagian yang tidak dibina semula
disini kerana untuk membaiki rumah ini menggunakan bahan yang asal, sebuah rumah yang lain perlu
dikorbankan untuk memperolehi material yang sama (meranti dan cengal) seperti rumah yang hendak
dibaiki semula itu. Size rumah asal lebih besar akan tetapi disebabkan keadaan rumah ini agak lusuh dah
rapuh ketika hendak dipindahkan ,kuantiti kayu yang masih elok untuk digunakan adalah terhad.

Q7. Berdasarkan petikan dilaman web muzium warisan melayu utm, dr muhammad fauzi abdul latif
berkata ,rumah negeri seembilan secara simboliknya dimaksudkan semangat pada tiang dirumah
sebelum dinaikkan, bolehkah puan jelaskan ape itu semangat yang dimaksudkan?
A7 Semangat yang dimaksudkan sefaham saya ialah hanya sekadar semangat seorang pembesar.

Q8. Adakah ukiran yang berada di tiang tergantung ini melambangkan sesuatu status atau simbolik yang
tersendiri?
Figure 7.5 Interview with
A8 Namanya ialah tiang tergantung tak jejak bumi, jadi ini memang menunjukkan status rumah pembesar, the Pegawai
kerana hanya rumah pembesar sahaja yang wujudkan tiang sebegini. Di rumah ini terdapat 6 tiang
tergantung yang terletak 3 di bahagian hadapan rumah dan 3 lagi di bahagian belakang rumah.

46
7.0 Interview
Interview Question And Answer

Q9. Kepercayaan orang terdahulu meletakkan duit syiling perak di bawah tiang seri untuk menunjukkan
tahun rumah itu dibina dan sebagai semangat pada rumah. Adakah posisi syiling itu di kekalkan setelah
rumah ini dipindahkan atau tidak?.
A9. Betul,syiling perak itu diletakkan semula di bawah tiang seri itu sebagai tanda hormat dan agar semangat
rumah ini tidak hilang. Semasa rumah ini dibina semula , duit syiling pada tahun tersebut diletakkan juga di
bawah tiang seri ini.

Q10. Disini mempunyai selang di lantai yang di letakkan di dapur,bolehkah puan jelas kan fungsi selang di
lantai ini.
A10. Lanti ini dipanggil lantai jarang, fungsi lantai ini digunakan Ketika memandikan jenazah atau membersihkan
perkakas dapur atau digunakan semasa proses ibu bersalin kerana lantai jarang ini membenarkan air jatuh
terus ke tanah bawah rumah. Posisi lantai jarang ini bergantung kepada kehendak dan keperluan tuan
rumah tetapi kebiasaannya di dapur.

Q11. Dikatakan lonteng atas ini berfungsi untuk ruang kepada Wanita sahaja, adakah lonteng digunakan
sebagai fungsi lain?
A11. Seperti yg dimaklumkan tadi ianya berfungsi untuk ruangan Wanita, seperti yang dilihat, rumah ini mempunya
satu bilik sahaja untuk Wanita dan lelaki tidak mempunyai bilik dan mereka akan tidur di ruang tamu . ini
adalah kerana ,jika rumah ini diserang , lelaki yang akan melindungi rumah ini terlebih dahulu. Manakala
Wanita sempat melarikan diri melalui tingkap dan panjat ke pokok yang berdekatan. Ini adalah salah satu ciri
Figure 7.6 Interview with
keselamatan. the Pegawai

47
7.0 Interview
We are truly blessed to be able to have a short conversation with Prof Dr Muhammad Pauzi Abdul
Latif, a lecturer in Communications at Universiti Putra Malaysia (UPM). He is the person behind the
relocation and preservation of this traditional Malay House

Interview Question And Answer

Q1. Adakah procudur ritual sewaktu memulakan pengalihan rumah traditional Melayu
ini?
A1. Pertamanya, kami doa semoga proses peralihan berjalan lancer dan sewaktu itu memang
ada ustaz yang berada di kawasan sewaktu proses berlangsung supaya tiada makhluk halus
yang ikut.

Q2. Adakah banyak bahan-bahan yang tak dapat diselamatkan semasa proses peralihan
berlangsung?
A2. Terdapat banyak papan-papan yang memang tidak dapat diselamatkan dan kami terpaksa
menggunakan kayu yang baru. Bagaimanapun, kami sebaik-baiknya memelihara kayu-kayu
rumah ini supaya semua dapat merasai asal usul rumah ini.

Figure 7.7 Interview with

the Pegawai

48
8.0 Conclusion

Traditional Malay house is a remarkable beauty of Malaysia's heritage and identity. It is a sophisticated and well

thought design and planning in considering religion, culture and climate. The aspiration and ideas evolving from the past

to adapt a modern spatial quality may differ from the actual intention of a dwelling that revolves around cultural and

climatic aspects. The modern era has made Malaysia lost its actual essence of identity through the colonization from the

West. We, as Malaysia's citizen should care and it is our duty to preserve and appreciate the blood, sweat and tears of our

ancestors creating a dwelling designed that caters to all aspects of living. ‘Our way of living’. Therefore, the idea and act

of measured drawing gives countless benefits for the preservation of Malaysia's true identity.

Negeri Sembilan traditional house has many elements in design consideration such as in culture, religion and

climatic aspect. The houses in Negeri Sembilan defines the rich culture of Minangkabau people. From the religious act to

cultural activities, the dwelling of Negeri Sembilan symbolize their true identity. We were blessed with the existence of

Malaysia’s traditional houses. The exposure given to us from the knowledge through research papers, site visit, and

lecturer’s guidance made us a proud Malaysia’s citizen on appreciating our country’s heritage. The benefits we absorbed

form site visit duly helps us on understanding the beauty of modular construction method especially on assembling and

dismantling when relocated to a new location. Plus, the spatial quality on assimilating cultural activities of Minangkabau

people .

49
MEASURED DRAWINGS
RUMAH DATO’ RAJA DIWANGSA
KG. MERUAL, NEGERI SEMBILAN
KEY PLAN, LOCATION PLAN

51
SITE PLAN

52
GROUND FLOOR PLAN

53
FIRST FLOOR PLAN

54
SECOND FLOOR PLAN

55
ROOF PLAN

56
FRONT ELEVATION

57
REAR ELEVATION

58
LEFT ELEVATION

59
RIGHT ELEVATION

10

60
SECTION X-X’

11

61
SECTION Y-Y’

12

62
 SECTIONAL DETAIL
SYAHMIN
A
13

63
WINDOW AND DOOR SCHEDULE

14

64
STAIRCASE ENTRANCE AND REAR

15

65
STAICASE INTERIOR

16

66
ORNAMENTATION FLOOR PLAN

17

67
KEKISI AND ROOF FRONTAGE SCHEDULE

18

68
PAPAN CANTIK SCHEDULE

19

69
OTHER ORNAMENTATION SCHEDULE

20

70
TIANG GANTUNG SCHEDULE

21

71
 VOID

OR1, 0R2

22

72
 VOID

OR3

23

73
 VOID

OR4

24

74
OR6, OR7

25

75
 SCALE 1:1

SCALE 1:10 VOID

K1, K2

26

76
 SCALE 1:1

SCALE 1:10

VOID

K3

27

77
 VOID

RF1

28

78
REFERENCES

Avanvar. (2021, June 6). Rumah traditional Bumbung Panjang Beranjung. bumbung kalis kebocoran.
Retrieved February 18, 2022, from https://bumbungkaliskebocoran.blogspot.com/2021/06/rumah-
traditional-bumbung-panjang.html

Kerekbudu. (1970, January 1). Estatika Rumah Tradisional Kelantan ciri 2: Tiba Layar. PERSATUAN
PENCINTA SEJARAH KELANTAN. Retrieved February 18, 2022, from http://pp-
sk.blogspot.com/2016/01/estatika-rumah-tradisional-kelantan_83.html

Measured drawing full report. SlideShare. (n.d.). Retrieved February 18, 2022, from
https://www.slideshare.net/euxuanmackenzie/measured-drawing-full-report
Pelan Rumah Tradisional Negeri Sembilan. Blog. (n.d.). Retrieved February 18, 2022, from
https://nnikajaha.web.app/pelan-rumah-tradisional-negeri-sembilan.html

Pemuliharaan Rumah Lama dato' Raja Diwangsa, Orang Empat Istana Seri menanti. Pemuliharaan
Rumah Lama Dato' Raja Diwangsa, Orang Empat Istana Seri Menanti. (1970, January 1). Retrieved
February 18, 2022, from http://seriesiantan.blogspot.com/2013/03/pemuliharaan-rumah-lama-dato-
raja.html

Reka bentuk Rumah Tradisional negeri ... - rekajournal.usm.my. (n.d.). Retrieved February 18, 2022, from
https://rekajournal.usm.my/images/Volume_1/paper14M_035-small.pdf

79
THANK YOU PROF DR MUHAMMAD PAUZI ABDUL LATIF PN. NUR LAYLA WITRA BINTI RUSOP DR. TENGKU ANIS QARIHAH BINTI RAJA
ABDUL KADIR AMIRA WANI BINTI JAMIL NURUL HASNI BINTI NAJMUDDIN SYAHMINA BINTI SHAHRUL EFFENDY HANNAH
AILEEN BINTI NOR HASNAN MOHAMAD ARIFF BIN AHMAD NAZRI AMIRAH NATASHA BINTI ABDUL LATIF AINIEN
AMALEEN BINTI MOHD ZAMRI AHMAD SYAHMI BIN AHMAD SHAHABUDDIN MOHAMMAD ARIF NAJMUDDIN BIN
SAHARIZON 80