Tropical Architecture 2

TROPICAL ARCHITECTURAL STUDIES
TOWARDS
A
SUSTAINABLE FUTURE
by Prof Jimmy C S Lim

for use by students at the workshop on Tropical Studies
at
the Northern Territory University
Faculty of the Built Environment
on 14th - 21st April 1998
CONTENTS
INTRODUCTION
1.
WHAT IS TROPICAL ARCHITECTURE?

1.1
1.2
1.3
2.
Geographic Definition
Climatic Characteristics Analysis
Tropical Architecture.
MEANING OF TROPICAL ARCHITECTURE

2.1
Definitions of Tropical Architecture (By Notable Architects of the Region)
3.
Charles Correa
Geoffrey Bawa
Bobby Manosa
William Lim
Jimmy Lim
Robert Powell
Tan Hock Beng
TRADITIONAL EXMAPLES OF TROPICAL ARCHITECTURE

3.1
Local Usage And Undestanding
3.2
Colonial/Expatriate Intepretaions
IS TROPICAL ARCHITECTURE SUSTAINABLE
Issues of Tropical Rain?
A Passing Curiosity?
A Current Trend
Prevailing Issues Surrounding Tropical Architecture.
4.
CONTEMPORARY INTEPRETATION
4.1
Examples Of Current Works
5.
Appendix I
Appendix II
Appendix III
Appendix IV
Bobby Manosa
Geoffrey Bawa
Charles Correa
William Lim
ELEMENTS OF TROPICAL ARCHITECTURE

5.1
Jimmy Lim on Architecture
Future/Direction for Tropical Architecture
Copyrights Jimmy C S Lim

No Parts may be reproduced in parts or in full without the prior written permission of the Author
INTRODUCTION
Western tourists travelling to the East are confronted with a multitude of artistic
impressions that are difficult to classy, unless they have acquired during repeated
visits a 'knowledge of the East.
The Western education we receive in the 20th century does not normally acquaint
us with the styles, mythologies, religious and civilizations of that region. When
encountering Asiatic civilization, we need to have recourse to a reliable guide to
be able to perceive the correct relationship of the objects, sculptures or temples we
may come across to similar works belonging and so understand these works of art
and compare them with others.
Each great civilization is treated separately .giving a brief account of its art and
history ......e.g. temples, architectural decoration, sculptures, ceramics, the minor
arts, etc.
..................always chronological so that the .development of different styles for a
particular type of object in one civilization and compare them with developments
occurring in neighbouring civilizations.1
Jean Hirschen
As a Singaporean who studied in the United States for four years, I can tell you
there is a negative side to the scholastic achievements of Singapore students.
Look closely at their educational achievements: theyre hollow. There is plenty
of rote learning, but when these students are engaged in a conversation that
requires subjective thinking, they turn out to be automatons who, aside from the
subjects of cars and money, cannot even at the university
level..offer an opinion or original idea. They can function only in the
domestic market as regurgitators of useless facts to pass exams. They cannot
function abroad or in an international setting, which is what Singapore needs
most. Those of us with foreign education are better communicators; Singapore
students make great statisticians but are hollow real-world achievers."2
Mok Swee Wah
SINGAPORE
1
2
Jeannine Auboyer. Asia-Forms and Styles, page 7

Newsweek, Ec 3096/97 letter, page 6J

1.
WHAT IS TROPICAL ARCHITECTURE?
1.1
Geographic Definition
There is not and never has been a singular, definitive tropical
architectural style. Countries in the tropics, which comprise a
wide belt around the middle of the earth do not, of course, share
a univalent cultural or social framework. Sandwiched between
the Pacific and Indian oceans, the Southeast /Asia region has
from the earliest recorded history developed its own identity
through the practices of animism as well as continued contact
with other cultures.3
Tropical regions can be found between latitudes 15 north and 154south
of the equatorial belt and include regions in Mexico, South America, East
Africa, Indonesia, Philippines, Malaysia and parts of Thailand. Figure 1
shows the geographic locations of hot humid climatic zones of the world.
A further distribution of the region into lowland and highland climate is
necessary to understand its true elements. Examples of these regions in the
South-east Asian context are:
Lowland areas:
Kuala Lumpur / Georgetown /Singapore /
Ipoh
Highland areas:
1.2
Cameron Highlands / Genting Highlands /

Frasers Hill / Penang Hill
Climatic Characteristics Analysis

Typical characteristics for this region may be identified by the following: High Rainfall
Flooding
Violent electrical thunder storms
High humidity
Even temperatures
Monsoon seasons
Light winds and long periods of still air
Bright sunshine and large cloud formation
Overcast skies
Radiation Intensity high, although a large percentage id diffused
resulting in strong sky glare5
Tan Hock Beng. Tropical Architecture and Interiors. Page 10

allan Konya. Design Primer for Hot Climate. Page 11
5 Ibid. page
4

Figure 1
DESIGN PRIMER FOR HOT CLIMATES A. Konya
WORLD CLIMATIC ZONES


Figure 2
MEAN ANNUAL SOLAR RADIATION (KWH m per year on a horizontal surface at ground level
For an understanding of the climatic elements refer to Figure 3, for

rainfall and Temperature.
The region is also generally known as Asia of the Monsoons because of
the prevailing monsoon weather that effects nearly all South East Asia.
Topography creates some climatic irregularities like typhoons and tropical
cyclones but generally, the climate is characterised by intense sunshine,
heavy rainfall, prevailing winds, high humidity and equable temperature.
Evaporative cooling is greatly reduced due to the high humidity, which
averages about 75 percent or more. Temperature average between 22C
and 32C, with only minor seasonal variation. Climate is clearly one of
the prime factors in culture, and therefore built form. It is also the
mainspring for all the sensual qualities that add up to a vital tropical
architecture.6
1.3
Tropical Architecture
Building in the tropics is dealing with all its characteristic contradictions as
listed above. Buildings in the tropics had traditionally addressed these
problematic factors therefore developing a style typically associated with
the region.
When it rains in the tropics it pours.
Cutters are too small to contain the deluge.
The drains, rivers and plains get flooded.
People look for a roof over their heads,
four walls to protect them from the winds,
a raised floor to keep them afloat and their feet dry.
The drama of the violent electrical thunderstorms remind the inhabitants
of the existence of One mightier than them,
He who is above.
After the tempest, as the water ebbs and the country-side dries up
They yearn for some respite from the heat and the humidity
But there is to be none.
Tropical winds are not in abundance, they are light and sparing
Now they wish for no walls but open breeze-ways, or for an open to sky
space to sleep in.
When the sun shines its gets hot, exaggerates the humidity and begins to
rain
The people look for a roof over their heads again
A cycle of contradiction!
Where is the relief and respite for which the inhabitants seek?
A solution for these climatic constraints must be found.
Sufficient roof pitch and overhand to discard the rain off and provide
shading. A large roof also keeps the building cool. Raising the building
off the ground mitigates flooding, intrusions and damaging the
environment. This allows
Tan Hock Beng, Tropical Architecture and Interiors Tradition Based Design of Indonesia, Malaysia,
Singapore and Thailand. Page 13


Figure 3
WORLD RAINFALL DISTRIBUTION

free flow of ground water and rain run-offs. The structure will be kept dry.
Openings and large voluminous spaces induce convection air movement
and ventilation, to reduce humidity and temperature. Openings in walls
will also allow water to penetrate. Such apertures must be addressed to
prevent water entry. Openings must be towards the directional flow of the
wind. Orientation of buildings to maximise wind exposure when required
but to deflect unwelcomed monsoonal winds and rains. Roof eave design
and height above ground is to be maintained such glare and radiation do
not penetrate into the interior, whilst at the same time the roof is to permit
light entry. Where the roof allows light to enter there must be sufficient
openings to allow heat to escape. Roofs must be designed using material
selected to minimise heat retention after sunset.
The proceeding paragraph provides suggestions on the combating of
tropical climatic elements.
Layouts and form: buildings separated and scattered with free spaces
between them to utilise airflow. Individual structures should be freely
elongated; rooms preferably single banked with access from open verandah
or galleries. It may be advantageous to raise buildings on stilts.
Orientation: north and south for habitable rooms, but if buildings are in
shade variation possible to provide maximum airflow.
Room: should ideally have openings on both the windward and leeward
sides. Heat and moisture producing areas should be isolated and separately
ventilated.
Outdoor areas: as for buildings, they should be shaded; vegetation must not
block free passage of air. Adequate storm water drainage must be
provided.8
Alan Konya. Deisng Pimer for Hot Climates. page 58

10
CLIMATIC DESIGN OF THE MALAY HOUSE

11
2.
MEANING OF TROPICAL ARCHITECTURE
2.1
Definitions of Tropical Architecture

Due to the complexities and variables of tropical architecture, and the lack
of data and R & D information, it is quite erroneous for anyone to try
identify or to obtain a singular meaning at this juncture. It is for this
reason that so many buildings in the tropics are copies from the West?
s an architect who was trained in the West, in their ways of
designing buildings for their climatic requirements and constraints, I found
myself totally ill-equipped to design buildings for the hot-humid low-land
Tropics of South East Asia. There were no books or reference available.
Most published reference books were more appropriate for the drier
highlands of Central Africa or for the Indian Sub-Continent.9
It is only appropriate that Architect and Students of Architecture
from the hot-humid low-land Tropics of Asia in general but those of South
East Asia in particular to make it a point of researching the climatic factor
and designing buildings and structures which are appropriate for and
reflective of the Tropical regional and cultural context where they are
from, and not to simplistically re-gurgigate images out of glossy foreign
architectural magazines.10
There is not and never has been a singular, definitive tropical
architectural style. Countries in the tropics, which comprise a wide belt
around the middle of the earth do not, of course, share a univalent cultural
of social framework. Sandwiched between the Pacific and Indian oceans,
the Southeast Asia region has from the earliest recorded history developed
its own identity through the practice of animism as well as continued
contact with other cultures.11
In trying to establish a common denominator for a meaning to tropical architecture

we hope these statements by some leading architects from the region will throw
some light on our search. The following quotes have been used to try define are
as follows:
Charles Correa describes the tropical house as
By definition, the individual house deals with open to sky space a
courtyard or a roofed terrace an additional room-of graduated space from
covered to open.12
Jimmy Lim. Tropical Studies Worskhop. Pre-workshop Exercise for Students. Page 1
Ibid. page 1
11 Tan Hock Beng. Tropical Architecture and Interiors. Page 10
12 Charles Correa in an essay entitled Transfers and Transformations, Robert Powell. Tropical Asian
House page 10.
10

12
Quek House
Figure a
1. Ventilation through gaps in floor-boards

2 Cross Ventilation
3 Low Level cool air inflor (convection current)
Integrated climatic features in the design

Figure b

13
Quek House
Figure c
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Carpark
Lobby
Lounge
Dining
Kitchen
Outdoor cooking
Study
Path
Bedroom
Bath
Figure d
Plan and Section

14
Geoffrey Bawa describes tropical architecture

firstly as about living our of doors
secondly a house in the tropics should not destroy any substantial trees on
the site, and it should be in harmony with nature
thirdly, a house in the tropics should be designed with the minimal use of
glass13
Booby Manosa defines tropical building as ensuring
cultural continuity through its transformative approach to vernacular
tradition14
Jimmy Lim describes tropical architecture in conjunction with climate in the
following:
We have plenty of sun so I keep the sun out
We have a lot of rain so I attempt to keep the rain out
We need a lot of shade, so I provide it by having a lot of trees,
With a lot of leaves, we should not have any gutters
as blocked gutters are useless
Because we are living in a hot climate,
we should have cross ventilation and
as much open space as we can15
Robert Powell in his new book, the Tropical Asian House has expanded his
initial three criteria for judging the appropriateness of the design of a house in the
design of a house in the humid tropics to include the following:
Have a living area which is the focus of the house and which is
permanately open to the sky;
Not destroy any substantial trees on the site and be in harmony
with nature;
Be designed with minimal glazing
Not have gutters;
Be surrounded by a garden and non-reflective landscaped surfaces;
Have wide overhanging eaves to provide shade;
Have in between spaces in the form of a courtyard, terraces and
shaded balconies;
Have tall rooms to create air mass and consequentially thermal
insulation;
Naturally ventilated with permeable walls facing prevailing breeze;
Be one room deep with openings on opposite sides capable of
being adjusted.16
The necessity to expand the checklist suggest that these were recurring
themes in the works of Asian Architects encountered by Powell. These
became obvious in his second book.
13
Geoffrey bawa in conversation with Robert Powell. Ibid. page 12

Robert Powell. Tropical Asian House, page 13
15 Ibid.Page 13
16 Robert Powell.Ibid.,page 13
14

15
Robert Powell goes on to described the varying considerations such as

pollution, dust and privacy and security etc. to be taken into account when
designing buildings in a tropical city
In the major cities of South and Southeast Asia, there are problems of
dust, pollution and noise. For residents of cities such as Kuala Lumpur,
Bangkok, Manila or Bombay air-conditioning is arguably a necessity to
combat these conditions at least in the bedrooms.
There are also problems of security. In Colombo and Jakarta, this is
addressed by enclosing the site with a high wall, but this cuts out natural
cross-ventilation and makes it necessary to induce air movement by
varying the aperture size of internal openings..
Another approach is to incorporate duality into the plan arrangement,
where the outside of the house has all the appearance of an exclusive
enclosure, but the inside is comparatively open17
Below is a criteria set by Robert Powell to define tropical architecture in
the urban environment:
17
18
Duality in planning arrangement to give openness and direct access

to a garden face;
Air-conditioning in certain areas of the house to overcome heat,
noise, dust and pollution in the city;
Natural ventilation and air movement by innovative design;
The extensive use of landscape to modify the micro-climate;
Pools and fountains can contribute to the cooling of urban houses
in addition to the sensual qualities they offer;
Notion of reheat or refuge from the increasingly chaotic and
polluted centres of Asias conurbation.18
Ibid.Page 14
Robert Powell.Ibid.,page 15

16
17
The Works of Jimmy Lim
T H CHIEW HOUSE
18
The Works of Jimmy Lim
T Y CHIEW HOUSE
SECTION
MADAM TI HOUSE
19
20
CROSS SECTION
PUDU LAMA OFFICE


21
SECTION
SALINGER HOUSE
1
2
3
4
5
6
7
8
9
10
11
12
Carpark
Entry
Living
Deck/Gazebo
Dining
Kitchen
Bath
Dressing Room
Master Bedroom
Bedroom
Study room
Void
SALINGER HOUSE
Floor Plan Legend
22
CROSS SECTION
WALIAN HOUSE
23
SECTION
EU HOUSE
24
SECTION
QUEK HOUSE
JOHOR BARU

25
SECTION
TEN HOUSE
AMANSARI RESORT

26
Tan Hock Beng

In the following passages by Tan Hock Beng, he provides firstly a
statement to suggest there is no definitive architectural style.
Climate is clearly one of the prime factors of culture, and therefore built
form. It is also the main spring for all the sensual qualities that add up to a
vital tropical architecture.19
The tropical house type can be seen in the broad verandah the fluid
interaction between inside and outside, cool courtyards, steeply pitched
roofs with wide eaves and deep overhangs, concern for shade and
ventilation and the prevalent use of timber. The use of timber as building
material is sensible since it is abundant, locally available and has low
thermal mass so that minimal heat is transmitted into the building.
All these delighted qualities are triggers to the local collective
memory.20
19
20
Tan Hock Beng, page 14. Tropical Architectural & Interiors

Ibid. pages 13-14

27
3.0
TRADITIONAL EXAMPLES
3.1
(A)
Local Usage and Understanding
The traditional tropical house was designed and built by ordinary village
people. The following quotation describes how solutions into the climate
and culture of Malaysia were controlled by the indigenous population.
It created near perfect solutions to the control of climate, multi
functional use of space, flexibility in design and a sophisticated
prefabricated systems which, can extend the house with the
growing needs of the family.21
(B)
Typologies
Described:
(i)
The Malay Kampong Houses:Kampong is a Malay word meaning village.

Traditionally, the Malays lived in separate dwelling
grouped into Kampongs which were separated
social entities. The coasted and riverine Malay
Kampong house is very simply constructed with a
rectangular pitched roof shelter raised about 2
metres above the ground..22
(ii)
Shophouses:Shophouses and their residential counter-part,

rowhouses, were not indigenous forms but evolved
from cultural circumstances (Chinese Immigrant)
and Climatic consideration. Malaysia has not had a
long history of urban settlements, being a
predominately rural and Kampong (village) based
society. The large urban settlements such as
Malacca and Penang were established as strategic
locations for trade routes, or as Kuala Lumpur,
Taiping and Ipoh as centres of tin-mining activity.
The original residents and their architects/builders
derived inspiration and ideas from Europe, blending
them with architecture seen in neighbouring
countries.
The shophouses evolved to allow merchants to live
and work in the same building. Basically, the
design follows the same floor plan to the present
day. A covered colonnade forms the transition from
the street, the shop is in front, with storage and the
21
22
Lim Jee Yuen. The Malay House. Page 4

Sarawak Style, Page 123

28
kitchen
at
the
rear.
Upstairs
are
living/dining/sleeping areas. A central air well
provides light and ventilation and facilities the
collection and disposal of rain water. These long
narrow buildings are repeated to create
comprehensible streets and squares of human
scale.23
Blending with European concepts of urban life were
the perception of the merchants, most of who were
Chines. What emerged was a building from that
minimized the effects of heat, rain and glare in a
tropical climate by using thick, brick walls with high
ceilings, a roof with ventilation, an interior with an
air well and a shop front with a verandah. The early
shophouses were purely utilitarian adaptations to the
tropical climate. However by the early 1900s,
European, Chinese and Malay motifs were
intricately executed on the facades, creating the
illusion of a false front to the simple structure.
(iii)
Indigenous Longhouses:The longhouse is the oldest architecture from in

Sarawak, going as far back as the history of the
ethnic groups can be remembered. Among the Iban,
Bidayuh and Orang Ulu, the basic concept of the
longhouses is similar. It is a linear arrangement
under one common roof of separate apartments, the
doors of which open out to a common hall or
gallery'.
From this corridor there is often a single exit. The
main door, through which everything entering or
existing must pass, is very important. The evil
spirits must be prevented from passing through.
Threatening faces are carved into the doors, often
accompanied by the stylised also motifs.
(Ave 1981:96)24
...Sited usually near a river or stream because of the
available of water supply, fishing and ease of
transportation, and on high ground for strategic
defence purposes, each longhouse varies in size
from about twenty to our eighty apartments.
Sometimes, because of site constraints two parallel
longhouses are constructed as the community
grows. The average house may accommodate
between two to three hundred people. The more
23UIA
24Luca
Page 22
Invernizzi Tettoni-Edric Ong, Sarawak Style page 103

29
size of the building is impressive, and the hive of

activity in the common gallery or verandah can be
overwhelming:adults, chatter, children running
about along the timber flooring, dogs barking. As
the longhouse is raised on wooden stilts or piles at
least a full storey above the ground, the area below
is where the pigs and chickens are kept, foraging
around for whatever rubbish or food that is thrown
down from the family kitchens above.25
(C)
Materials used for:-
Bamboo is also commonly employed for construction because it is

widely available and easily replenished. Its drawback are its short life
span and a large variability in moisture content.26
Whilst that may be the contention of many writers bamboo is a versatile
material once properly cured and well jointed for construction purpose. It
is properly the only organic material which has the highest resilient
property for both tensile and compressive laods. Bamboo structure is
known to return to its original structural shape and load carrying capability
after the imposition of a destructive impact load. Other materials
commonly used for constructing different building components are lsited
below.
(i)
Roofs
The most common roofing material used for the bumbung
panjang is the attap (a thatch made from nipah andother
palm trees found in the local naturla vegetation) However,
attap is fast being replaced by zinc in newer houses. Zinc is
used mainly because of the status attached to it and partly
because it requires less maintenance....27
Even the longhouses have not being spare the long arm of
pgoress. Attap is bieng replaced by zinc roofing. Often
these sheets are laid over the top of old attap roofing. The
old roof providing the insulation property for comfort.
Attap is the traditional material used for roofs and
sometimes even for the walls of poorer houses. Various
types of hatch are used for the attap roofing. The choice
depends on the availability of the material. Nipah palm
found in brackish fibre from the Kabong palm (attap ijuk)
which is more durable...
25Sarawak
Style Page 104

Page 13-4
27Lim Jee Yuan - The Malay House page 22
26Ibid.

30
Figure 1
WALL OPENING TYPOLOGY

31
Figure 2

32
Figure 3

33
Figure 4

34
Other traditional roofing materials used are wooden

shingles and clay tiles (attap genting). Clay tiled roofs are
commonly found in Malacca, Negri Sembilan and on the
East Coast of Peninsular Malaysia. Traditional roofing
materials are today being quickly replaced by zinc sheets
and, less commonly by, asbestos sheets.28
The large over-hanging roof had many advantages including assistance in
ventilation and contributing to providing shade and to protect against
heavy rain.
(ii)
Walling
Light weight, semi-permeable walls have always been a
feature of buildings in this part of the world. Their role is
to maximise the interface between the inside space and
surroundings. Instead of excluding the weather and
isolating a building's occupants from the external
environment, the architecture filters the outside selectively
through a system of lourvred openings. The buildings thus
offer immediate and direct contact with the lush landscape.
Open lattice encourage the free flow of air through the
buidling.29
Other materials used include bamboo, which is used for
wall panels, floors and props. Bamboo panels are very
durable and houses over 100 years old have been found
with these panels intact. The bamboo wall panels are
usually made from bamboo slits woven together to form
various beautiful and elaborate patterns..30
(iii)
Flooring
the 'nibong' tree trunk is another common material used.
The nibong is a tall straight palm with a uniformly formed
round trunk. It is used as coloums for smaller and poorer
houses and is split open into halves to make floors.
Bamboo is used similarly for the floors.31
28
29Ibid
page 13-14
Jee Yuang, The Malay House Page 103
31Ibid Page 103
30Lee

35
(iv)
Under floor
Environmental requirements in the traditional Malaysian
house meant buidling on stilts and keeping the house open
in plan and free from clutter in order to enahnce ventilation
to all parts of the building. Tan Hock Beng provides here a
useful passage describing the understanding how traditional
design combined functionality and environment.
Dwellings riased on stilts protect the occupants from floods,
provide under floor ventilation and a semi-ptrotected space
underneath for storage as well as keeping of domestic
animals. Built of local materials, such as teak or bamboo,
these houses with sleepily pitched roos were the efforts of
local craftsman and artisans.32
3.2
(A)
Colonial / Expatriate Interpretations
There are many examples in cities throughout Asia that were once
colonialised. Colonial rule brought rigid rows of deep planned
buildings which were quite well suited for the humid tropics with
the provision of internal air/light wells strung through the length of
the lot.
Today, western dominance and globalisation33 in the form of
images and education has caused a massive amount of buildings to
be designed and built with no little or no reference to the climate or
culture, resulting in loss of identity and genius loci.
The following quotation by Chris Abel explains the layers of
imported cultures in reference to the Pacific rim, and the
adaptation and absorption of such in order to suit the tropics.
Even prior to colonialisation, the region had been exposed to
layer upon layer of imported cultures which had been localised
over time, and adapted to local regional conditions. Hybridisation
was not so much the exception as the norm.
When it did not arrive, colonialisation brought with a whole new
set of cultural imports to be absorbed, both western and nonwestern. Singapore was never a Chinese city of the same kind as
those on mainland China, but developed in the typical dualistic
pattern of a colonial city, with half a European and half a native,
the latter already virtually a separate Chinatown -populated by
expatriate Chinese who migrated to seek their fortunes in 'Raffles'
new trading post.34
32Tan
Hock Beng, Tropical Architecture & Interiors page 15

Abel. The Architectural Review, Localisation Vesus Globalisation, page 4-9, col.1171. Sept 1994
33Chris
34Ibid

36
...What is certain is that by 1913 Lutyens was fully acquainted, in

both theory and practise, with Garden City and city Beautiful
planning principles.35
Later, with the arrival of the Europeans, the context changes yet
again. The circle becomes the Age of Reason - and the
concomitants Rationality, Science, Technology. Perhaps today,
as we reach the end of the 20th century, the circle is changing once
more. In the West, the myths of technology and progress are being
replaced by a concern for environment, for ecology. Men's
thoughts, actions and architecture will change to reflect this,
and a new vistara will open up36
(B)
Describe Colonial Typology
(i)
Ventilation roof
All colonial buildings without exception had a central raised roof
ventilator as its main feature. The space between the upper and the
lower roof was permanently open. Very often louvered other times
decorated with timber lattice screens. The projection of these roof
overhangs are large both for shading and for watershedding.
(ii)
Wide Verandah
Most colonial villas have rooms opening out to an outer living
space acting both as an extension of these rooms and also as
corridors for circulation purpose. These verandahs are extremely
useful and practical for cooling and keeping the rain out. The pity
few examples still surviving despite the onslaught of urbanisation,
development and modernism bear testimony to this claim.
(iii)
Raised above ground

Whilst the house on stilt was originally a vernacular and traditional
expression, the colonial builders were quick to adopt that which
was practical and it became a feature of almost all the colonial
buildings. These buildings were constructed of brick load-bearing
piers. The floors were timber beam and joist with planking for
flooring. At the turn of the century, many floors were constructed
with concrete.
87 Indian Summer Lutyens, Baker and imperial Dehli Robert Grant Irving, Yale University: 1982
Press Ltd London.
36Vistara - The Architecture of India, Page 9 Charles Correa
35Page

37
STRAIGHT THROUGH VENTILATION

Figure 5
38
PRINCIPLE OF COOLING FOR TROPICS

Figure 6
39
STRAIGHT THROUGH &UP-TOP VENTILATION

Figure 7
40
STRAIGHT THROUGH & ROOF VENTILATION

Figure 8
41
Figure 9
VARIATIONS TO SIDE WALL VENTILATION

42
Figure 10
MULTI-TIERED SHADING WITH

UP-TOP VENTILATION

43
4.
CONTEMPORARY INTERPRETATION
William Lim is a contemporary architect who has taken the various

cultural influences and these are reflected in his work. In the following he
describes the aforesaid with regards to the Bon House, Singapore.
This contemporary vernacular house exhibits a subconscious response to
the rich ethnic and cultural diversity of Singapore and the region.37
In the statement below, Paul Ricoeur suggests the necessity of societies to
sometimes abandon their cultural past in order to participate in a modern
civilisation, but stresses the difficulty in reviving old dormant civilisation.
In order to take part in modern civilisation, it is necessary at the same
time to take part in scientific, technical and political rationality, which
often requires the pure and simple abandonment of whole cultural past.
There is the paradox; how to become modern and to return to your
sources; how to revive an old dormant civilisation and take part in
universal civilisation.38
Paul Ricoeur
From now on, the places visited by the traveler become ever more similar
to the commodities that are part of the same circulatory system. For
twentieth century tourism, the world has become one big department store
of landscapes and cities.39
Jameson describes contemporary cultural productions fixation with
appearances and postmodern architectures preoccupation with surfaces as
contrived depthlessness. History and cultural terms are hence
commercialised.40
4.1
Examples of Current Works

Here we provide some examples of works by Architects of this region.
Bobby Manosa
The Floirendo House
Kaputian. Samal Islands, Davao, Philippines, Completed 1993
37
William Lim in conversation with Robert Powell. Robert Powell. The Tropical Asian House, page 120
Paul Ricoeur Universal Civilisation, National Civilisation 1961
39 Wolfgang Schivelbeck. Tan Hock Beng. Tropical Resorts. Page 20
38
40

44
The Floirendo House

Kaputian, Samal Islands, Davao,
Philippines
Architect: Bobby Manosa
Page 52 Robert Powell, Tropical Asian House
45
The Floirendo House

Kaputian, Samal Islands, Davao
Philippines
Architect: Bobbyt Manosa
46
Druvi & Sharmin De Saram House

Colombo, Sri Lanka
Architect: Geoffrey Bawa

47
Cinaman Hill House

Lunugango, Bentota, Sri Lanka,
Architect: Geoffrey Bawa
48
Geoffrey Bawa
The Cinnamon Hill House
Lunuganga, Beentota, Sri Lanka, Completed 1993
Druvi and Sharmin de Saram House
Colombo, Sri Lanka. Completed 1987
Charles Correa
Correa House
Koramangala. Bangalore. India. Completed 1988
William Lim
Villa Chancery Condominium
39 Chancery Lane,
Singapore 1130. Completed 1986
In the quest for modern urban forms, evidence of centuries of history is
vanishing in South East Asia. The buildings that evoke memories of a
distinctive tropical way of life. The urban architectural tradition of
Malaysia and Singapore.41
41
Page 22. Traditional Cinese Shophouses of Peninsular Malaysia

UIA International Architects, Vernacular, Pastiche, Modern?
The Search for a Malaysian Architecture.
49
5.
ELEMENTS OF TROPICAL ARCHITECTURE
The realization of the Architectural project brings with it both frustration and
pleasure. From the first idea to the final product many compromises have to take
place. The dream that might live ourselves does not belong only to us. It belongs
to us, to our clients, to those who for different reasons, are involved in the process
of developing and building the project.
The project presented here represent a change in scale. A development of an idea
from the private house to the resort. Our projects take shape within the context of
who and what we are and the environment and pace in which we live. IN all cases
the common element is the notion of tropical Architecture.
The building becomes an open object which lives within its natural surroundings
absorbing it and being absorbed by it, drawing its inspiration from the landscape
and the context within which it exists.
The Salinger house is an object whose irregular, undefined, edges project in to the
landscape, absorbing the trees that surround it. Sited on an spacious plot of land it
gives the impression of a bird perching between the trees.
In a different way, the Lim house also absorbs the nature that surrounds it, making
it form part of its Architecture. The site is much smaller here since it is paced in
the city, but even so the feel of being part of a natural surrounding, of not being in
the city becomes the ruling principle. The house is a constant experiment,
suffering transformations and additions as and when the family needs change. In
this respect this is a living project, never completed, always under constant
evolution.
The Impiana Hotel Resort at Cherating, Kuantan, on the East Coast of Malaysia;
remains a building in the landscape. It is composed of several blocks, as opposed
to one single object building. The fragmentation helps to provide air ventilation
with a minimum of air conditioning system, expect for the bedrooms.
From the early days our concern has been to develop a contemporary approach to
the traditional values of a tropical culture, trying to marry modern life demands
with climatic conditions and cultural traditions of a specific nature. Our design is
based on a careful analysis of the site conditions, making both advantages as well
as apparent disadvantages work o the improvement of the scheme. Without waste
all the site elements are slowly infiltrated by the clients personal requirements,
needs and preference, it is both an intuitive as well as a rational approach.42
42
Jimmy Lim. Asia forum 4, CSL Associates, august 1993

50
Correa House
Koamangala, Bangalore, India,
Architect: Charles Correa
51
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
darwaza
entrance
couttyard
dining/conference
office
library
studio
kund
living
kitchen/pantry
weaving
master bedroom
bedroom
toilet/bathroom
verandah
carpenter
servant
store
garage/print machine
studio/bedroom
roof terrace
Correa House
Koamangala, Bangalore, India,
Architect: Charles Correa

52
Boon House
Singapore
Architect: William Lim
53
54
Architect: William Lim
Boon House
Singapore
PRECIMA HOUSE
(Figure e)

55
PRECIMA HOUSE
(Figure f)

56
PRECIMA HOUSE
(Figure g)

57
WALIAN HOUSE
LEGEND
1.
CAR PORCH
2.
PUMP ROOM
3.
GUARDS ROOM
4.
STORE
5.
CHILDREN PLAYING ROOM
6.
BATH
7.
VERANDAH
8. SERVANTS ROOM
Figure h
Ground floor plan
LEGEND
9.
GUEST ROOM
10.
COVERED HALL
11.
DINING
12.
KITCHEN
13.
STUDY
14.
PANTRY
15.
LAUNDRY
16.
FAMILY LOUNGE
Figure j
First floor plan

58
WALIAN HOUSE
LEGEND
17.
SWIMMING POOL
18.
VOID
19.
BEDROOM
20.
KITCHEN
21.
STUDY
22.
PANTRY
23.
LAUNDRY
24.
FAMILY LOUNGE
Figure k
Figure m
Second Floor Plan
Front Elevation

59
Figure n
A typical layout of a Malay village with the

central square for community gatherings,
having other activities & houses scattered
around it.
Figure p
Adopting the balancing principle from the

traditional weighing device and the Chinese
traditional column capital to achieve an
innovative bracketing system.

60
Peter Eu House
LEGEND
8.
9.
Bath
Guest Bath
Level One Plan
10.
11.
12.
13.
Bath
Balcony
Living
Kitchen
Figure q
Level Two Plan

61
Peter Eu House
LEGEND
1.
2.
3.
4.
5.
6.
7.
8.
Garage
Entry
Main Stair
Family Area
Study
Servant
Utility
Bath
Level Three Plan
9.
10.
11.
12.
13.
14.
15.
16.
Guest Room
Dining
Balcony
Living
Kitchen
Master Bedroom
Bedroom
Dressing
Figure r
Level Four Plan

62

63
5.1
Jimmy Lim talking about Architecture

Lim works on the premise that every piece of architecture is he result of
an interaction between the Architect, the site and the Client. The client
impose the functional requirements, coloured by his personal lifestyles,
tastes and needs.43
The work shows how Lims personal views, philosophy, heritage, are
manifested in his designs for private homes. In particular, his belief in
"tai chi of architecture affects the creative process form.
(i)
(ii)
(iii)
the visual/aesthetic aspect - light and shade, proportions, movements,

texture and landscape;
the functional aspect space utilisation, adaptation to the site, use of
materials, consideration of end user needs and;
the spiritual aspect harmony between man, house and nature.44
Architecture has to do with spiritualism. Ones response to spiritualism is
influenced by ones background, upbringing and attitude to life. All these
factors contribute towards influencing the type of Architecture one
creates.45
Consider what a mosque ,
a temple or church is.
It is a place where we try to elevate ourselves spiritually
to meet with GOD The Creator
It is a place where He dwells,
a place we go to solace and to
communicate with Him.
It is a place we go to,
To seek solace and communication with Him.
It is a place we feel most at ease, and
where His presence, peace and comfort are
Most felt
It is indeed our refuge
If I can use that as the basis of symbolism,
then a house is your personal mosque, or temple,
a place where your total,
spiritual-self, on a higher plane, and
physical-self, on a secondary plane, dwells.46
Because we live in the tropics it is important to create space with the
feeling of movement. How can air movement be achieved? By creating
lofty spaces contrasted by low spaces. Lofty spaces, coupled with light
filtration at the top allows hot air to rise upwards and escape. This helps to
create body comfort. It has functional implications and is an important
aspect in designing. This is also part of movement in Architecture which
is important.47
43
Chris Abel. Architecture on Architecture, page 7

Ibid Page 8
45 Jimmy Lim. Architecture on Architecture Page 9
46 Ibid.page 16
47 Ibid. page 55
44

64
.
In designing, I look for unity, harmony and proportion. These
three elements are very important. There has to be oneness with
nature and harmony of the physical and spiritual. The physical
must be able to capture the sole so that the spiritual can be aroused
and when there is harmony between the two, the being is at peace.
This is fung shui the unity and harmony of the spiritual and
physical which plays such an important roles in the lives of the
Chinese.
When you step into a house that sits right then you will fee right. You can
almost feel this, there is no end to what you can achieve in life ..48
(A)
GEOMETRY
Geometry : It is a basic tool used in Architecture. They are the
building blocks that the Architect uses in organising spaces
within a building. You start off with the simplest shape the
square, and work up to the cube and within his geometric shape
that the Architect plays around with the spaces to create the rooms
that are needed. I look too, at the geometry of nature e.g. the angle
of repose of a heap of earth is conical in form with a broad base
finishing off at a peak this being the most natural shape as
provided by nature. It is the source of our reference. What you
want to design is always dictated by geometry.49
(B)
PROPORTIONS AND AESTHETICS

Buildings are meant for people, and hence must be designed
according to the human proportion. The parts of the building must
bear relationship to human sizes. There are buildings around that
give no clues whatsoever to the size of human being. On the other
hand, there are those with the height of the average person these
buildings relate to the human size. Looking at buildings of this sort
makes you feel good and the Architect who can do this has
achieved a good solution. There are certain elements in a building,
that are governed absolutely by the human size and proportion
which cannot be changed. Take the staircase for example. All
stairs have a 15cm riser and 30cm tread. The reason is obvious.
Consequently, when you have stairs expressed in a building, be it
ornamental or otherwise, it immediately gives you a gauge of the
human proportion.. the proportions that I use tie in with that
of the average person.50
Proportion has everything to do with beauty. A building must be in
proportion the parts of it must be in proportion to one another and
also to the land.
48
49
50
Ibid. page 56
Ibid. page 51
Ibid. page 553-54

65

66

67

68

69

70
(C)
SPACE AND MOVEMENT

When I create spaces within a building I like to incorporate the
feeling of movement both horizontal and vertical. Spaces must be
lively not flat or dead. I like to give space light, especially at high
levels, to liven it up. This is what makes the space interesting.
Nothing is more boring than walking into a space that is flat, static
and monotonous.
Because we live in the tropics it is important too create space with
the feeling of movement. How can air movement be achieved? By
creating lofty spaces contrasted by low spaces. Lofty spaces
coupled with light filtration at the top allows hot air to rise upwards
and escape.
In designing oneness with nature, combining both physical and
spiritual is the ultimate aim of my Architecture. A Oneness with
Nature the feeling of completeness to be felt and enjoyed not
only by those who see the building but most of all by those who
live in it.51
(D)
THE PROCESSIONAL ROUTE

All great operas, ballets and dances are well choreographed or have
a good routine. If all they had were great music but not well
backed up by a good and well co-ordinated routine, the whole show
would fall flat. Most story themes are the same. But what is it that
makes the difference.? The choreography of course. What
choreography is to a great ballet or dace act,, the Professional
Route is to great achitecture.
A building without a properly choreography movement cannot be
fully considered well proportioned and expressed. It many beauties
is not fully expressed and felt.
To express and experience the delights of architecture, the person
must be brought into the structure and deliberately directed and
channeled through the various spaces designed for the enjoyment
of the user. This is the total physical manifestation leading one to
the finale where one can at that point feel the uplift to the spiritual
plane52.
5.2
Future/Direction for Tropical Architecture

(A)
Sustainability
The concept of a balanced tropical environment must be based on
the co-operation of everyone. Each accepting his role and playing
51
52
Ibid page 58
Jimmy Lim, Talking about Architecture.

71
his role altruistically and sincerely. That which is beyond ones

scope ought to be left to the others. Architectural training is one
meant for a universal macro overview of what constitute
quality environment for
quality living, leading to a
quality of life, which is
not an imposition on nature and the natural environment, but one in
harmony and in complementary manner creates a balance where on
the one hand there is sustainable Development and balanced with
Conservation.
Since the Modern Movement and the establishing of formal
Architectural training, the methodology, theoretical and teaching
approach to Architecture has not changed greatly.
Global
technology since the Industrial Revolution has gone through the
electronics and now going into the Green environment Era. The
aftermath, impact, residue and consequences of Industrialization is
not being felt, causing alarm, and concern; the Global warning,
the depletion of the ozone layer, the increase of carbon dioxide in
the earths atmosphere etc. The sudden demand for quality of
environment control and a need for an awareness of renewable and
sustainable development question existing value. The realization
and refocusing on a global basis towards conservation and
preservation of earths natural resources to counter-balance the nonsustainable or reusable resources has become a compulsion and
necessity. Architecture is at the crossroad. In witnessing a shift in
values and re-evaluation of existing norms, the body of Architects
have to formulate a new role for the profession to craft a new
architecture for the 21st century a caring architecture, a
sustainable Architecture based on renewable resources, and an
Architecture for global survival for the tropics.
Both our Architecture and the natural environment are at the cross
road and solutions may be difficult, but we may and can.
(a)
plot and chart the path towards a renewable and sustainable
management of natural resources;
(b)
lay out some basic ground rules for a sustainable
development for the future; and
(c)
restrict and define terms and reference in the context of the
change in global values towards maintaining sustainable and
renewable developments; etc. for Malaysia so that some
form of what we now have, will be maintained, retained,
sustained, preserved and handed down to our future
generation.
Architects and other professionals associates with development of
new habitat and housing must be
Aware of; conscious of, and senstive to
the natural environment, be economical in their designs to conserve
energy and to propagate an awareness and an attitude towards
environment friendliness.
72

73

74

75
Degradation of the atmosphere is caused by carbon dioxide

emission and 80% is attributed to the development North whilst the
South is responsible for only 20%. The need to re-discover, reorientate and re-focus on building materials, construction
techniques and traditional values which will not degrade the quality
of our atmosphere and environment becomes primary concern for
architects. The present route without foresight will lead the
profession into a cul-de-sac; whereby we may be accused of being
uncaring, or even irresponsible.
Steel and concrete hailed as new technology were major
breakthroughs for construction, in late 19th century and celebrated
all over Europe with great elation. Today the celebration which
propelled the West if fast exhausting and depleting the natural
minerals and raw material reserves.
Debris of that great
celebration can be seen all over Europe and U.S. The fuel and
energy consumed in order to sustain the production of these
materials must now evoked careful evaluation with respect to the
deterioration of the natural environment and the quality of the
atmosphere.
Prevailing attitudes must change. Man-made structures must
complement the landscape and co-jointly inspire and create a sense
of belonging for its occupiers. In this context the Architects from
the tropics have a heavy burden and responsibility towards our
change.
The cultural spirit and texture of the tropical
surroundings must be captured in the creativity of the local
architecture, translating the local spirit into spaces and structure
within the works expressed. There should be more concern and
serious attempts at understanding and appreciating the deeper
meaning of tropical architecture from among Local Authorities and
planners when vetting and approving design submissions. Current
values have no standard for precedence; and approving officers do
not appear to have the basic requisite tools in order to evaluate what
constitute good design. In this respect the Architect is required to
educate the public on what is good or bad. A consistency of
thought and work need to be encouraged from among the different
strata of the tropical society.53
(B)
Balance between Nature and Buildings co-jointly to produce an

emotionally balanced substantial entity.
For architects to be committed towards an Environmentally
friendly and balanced millenium we must observe the following:
(a)
(b)
53
we do not allow ourselves to be intimidated by other

professionals, authorities and clients, but to maintain our
courage and conviction of what is the right course for the
well being and best for tropical architecture;
we are not afraid to commit ourselves or make a stand on
Jimmy Lim. Architectural Commitment to an Environmentally Balanced Landscape

76
(c)
(d)
(e)
any issues [even if it later proves to be a mistake]. For

every issue there has to be a win-lose situation. We hope
to win always but if we have to lose sometimes so be it.
We can only do our best;
do not be afraid to take chances if the situation calls for it.
If we win, the environment and tropical architecture wins.
It is the case of no venture, no gain and a new architecture
for the tropics is a venture;
do not give in without giving the issue a good fight.
Architects have gentlemen for far too long. We must
make a stand, to say enough is enough; we must now
make a stand in order to create an environment suitable for
tropical living, which is not dictated by the developers of the
Local authorities;
do not give into aging. With aging one becomes senile.
Samuel Ullmans essay Youth has been adopted wholesale
by the Japanese businessmens life philosophy. This single
minded approach after adopting this philosophy hsas taken
them to where they are now. Allow me to quote a little
from this fine essay:
Youth is not a time of life;
it is a state of mind
We grow old by deserting our ideals..
In the center of your heart and my heart, there is a
wireless station.it receives messages of courage and
power
When the aerials are down and your spirit is covered with
snows of cynicism and the ice of pessimism, then you are
growing old,,,,,,your aerials are up.there is hope you
may die young at 80

77
BIBLIOGRAPHY
1.
Auboyer, Jeanine
Beurdeley, Mitchel
Boisselier, Jean
Asia Forms & Styles

Evergreen; Koln, 1994
2.
Irving, Robert Grant
Indian Summer
Lutyens, Baker and Imperial Dehli
Yale University Press; London, 1981
3.
Konya, Allan
Design Primer for Hot Climates

The Architectural Press LTD; London, 1980
4.
Lee, Jee Yuan
The Malay House Rediscovering Malaysias

Indigenous Shelter System
Institute Masyarakat; Malaysia, 1987
Menon, A.G Krishna
Cultural Identity & Development

Intach; New Delhi, 1989
Powell, Robert
The Tropical Asian House

Select Books Ptd LTD; Singapore, 1996
Powell, Robert
The Asian House

Select Books Ptd LTD; Singapore, 1993
Tan, Hock Beng
Tropical Architecture and Interiors Tradition

Based Design of Indonesia, Malaysia, Singapore,
Thailand
Page One Publishing Ptd LTD; Singapore, 1994
Tettoni, Luca Invernizzi
Sarawak Style
Times Edition Ptd Ltd; Singapore, 1996
10.
Vale, Brenda and Robert
Green Architecture Design For A Sustainable

Future
Thames and Hudson, London, 1996
JOURNALS/CATALOGUE
1.
The Architectural Review, Localization versus Globalisation Chris Abel. London

Vol. 1171. Sept 1994 pages 4-9
UIA International Architect Vernacular, Pastiche, Modern? The Search for a Malaysia
Architecture. International Architect Publishing Ltd; London 1984
Catalogue of the Exhbition, edited by Carmen Kagal Vistara the Architecture of

India.

78

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What are some definitions of tropical architecture mentioned?

What are some definitions of tropical architecture mentioned?

What are some elements of tropical architecture discussed?

What are some elements of tropical architecture discussed?

TROPICAL ARCHITECTURAL STUDIES

by Prof Jimmy C S Lim

WHAT IS TROPICAL ARCHITECTURE?

MEANING OF TROPICAL ARCHITECTURE

Definitions of Tropical Architecture (By Notable Architects of the Region)

TRADITIONAL EXMAPLES OF TROPICAL ARCHITECTURE

Examples Of Current Works

ELEMENTS OF TROPICAL ARCHITECTURE

Copyrights Jimmy C S Lim

Jeannine Auboyer. Asia-Forms and Styles, page 7

Copyrights Jimmy C S Lim

WHAT IS TROPICAL ARCHITECTURE?

Cameron Highlands / Genting Highlands /

Climatic Characteristics Analysis

Tan Hock Beng. Tropical Architecture and Interiors. Page 10

Copyrights Jimmy C S Lim

WORLD CLIMATIC ZONES

Copyrights Jimmy C S Lim

For an understanding of the climatic elements refer to Figure 3, for

Copyrights Jimmy C S Lim

Copyrights Jimmy C S Lim

WORLD RAINFALL DISTRIBUTION

Alan Konya. Deisng Pimer for Hot Climates. page 58

Copyrights Jimmy C S Lim

CLIMATIC DESIGN OF THE MALAY HOUSE

MEANING OF TROPICAL ARCHITECTURE

Definitions of Tropical Architecture

In trying to establish a common denominator for a meaning to tropical architecture

Copyrights Jimmy C S Lim

1. Ventilation through gaps in floor-boards

Integrated climatic features in the design

Copyrights Jimmy C S Lim

Plan and Section

Copyrights Jimmy C S Lim

Geoffrey Bawa describes tropical architecture

Geoffrey bawa in conversation with Robert Powell. Ibid. page 12

Copyrights Jimmy C S Lim

Robert Powell goes on to described the varying considerations such as

Duality in planning arrangement to give openness and direct access

Copyrights Jimmy C S Lim

The Works of Jimmy Lim

The Works of Jimmy Lim

PUDU LAMA OFFICE

Copyrights Jimmy C S Lim

Copyrights Jimmy C S Lim

Copyrights Jimmy C S Lim

Tan Hock Beng

Tan Hock Beng, page 14. Tropical Architectural & Interiors

Copyrights Jimmy C S Lim

Local Usage and Understanding

The Malay Kampong Houses:Kampong is a Malay word meaning village.

Shophouses:Shophouses and their residential counter-part,

Lim Jee Yuen. The Malay House. Page 4

Copyrights Jimmy C S Lim

Indigenous Longhouses:The longhouse is the oldest architecture from in