FEATURES OF
THAI HOUSE STYLES
AND CURRENT
ADAPTATIONS
Associate Prof Ruthai Jaijongrak
National Artist (Architect art field)
In Central Thailand, houses are
made of wood. House floors are
raised for easier wind circulation,
protection from dangerous
animals and thieves at night,
and protection from flooding.
The space under the house can
be used for storage, relaxation
or for a family-business.
Traditional Thai houses
adapted for contemporary
use maintain a
high roof that allows
heat to escape from
the house. The space
below the raised floor
can be adapted for any
purpose.
Roofs are high for protection
against sunlight and rain, and
houses are usually positioned
so that the front faces a river.
In Northern Thailand, houses are
made of wood, and floors are
raised. Architectural features
are similar to those in Central
Thailand, but Northern Thai
houses have gabled roofs.
Northern traditional Thai house
(Doi Inthanon)
Central traditional Thai house
(Prapadaeng)
Features of Thai house styles and current adaptations
Housing Designs and Modern Thai Living
16 GH Bank Housing Journal
The bedroom is in the rear, but the space can
be used as a large hall or be divided into two
rooms. There are two steps in the front of the
house and two in back near the kitchen fire.
In Northeastern Thailand, houses are similar
to those in Central and Northern Thailand with
raised floors, but the gabled roof is lower than
in Central Thailand. In some houses, the ground
floor is used for relaxing at mid-day, conducting
a family business, having a meal or used
as a sleeping place for a son.
Houses are built parallel to one another.
In Southern Thailand, Buddhist Thai houses
follow the same style as Central Thai houses.
Muslim Thai houses, however, can be divided
into four types according to roof type and
interior layout: Gabled type; hip type; gable-hip
type; and gable combined with hip type.
Structures are generally wood with pillars and
rafters.
Traditional Thai houses adapted for contemporary
use maintain the advantages of a high
roof allowing heat to escape from the house,
and the space below the raised floor can be
adapted for any purpose.
To reduce the gloominess of the upper
bedrooms, windows are installed. The effects
of mid-day heat on the roof are reduced with
heat-reflective ceiling materials. Openings are
drilled into the gables to allow air to circulate.
In previous times, the bathroom was located a
distance from the house, increasing danger from
predatory animals. For contemporary use, the
toilet is built next to the bedroom, and modern
equipment is installed.
Northern traditional Thai house
(Mae Hong Son province)
Lima house (Pattani province)
Southeastern traditional Thai house
Thursday, November 12, 2009
Abstract
It is very grateful to write about Karla Cave, how the conception of the rock cut architecture. This research explore the ancient rock cut architecture for example Chaitya Hall, buddhist rock cut architecture and construction of the rock cut architecture. We can learn about the characteristic of Buddhist rock cut architecture, why the buddhist monk choose isolated cave like Karla cave to near to god and also the construction of rock cut cave, what source they use to lighten up the cave to carve the detailing and also the beauty of an ancient rock cut cave India.
2
Introduction of Karla Caves ( facts and figure )
Karla Caves is a complex of ancient Buddhist Indian rock-cut architecture cave shrines built over the period of 3rd to 2nd century B.C. Even though the caves were constructed over a period of time and the oldest one is believed to date back to 160 BC. Located in Karla near Lonavala,Maharashtra, the caves are on an major ancient trade route, running eastward from the Arabian Sea into the Deccan. Karli's location in Maharashtra places it in a region that is the division between North India and South India. Buddhism, having become identified with commerce and manufacturing through their early association with traders, tended to locate their monastic establishes in natural areas close to major trade routes so as to provide lodging houses for travelling traders.
The Buddhist caves at Karla are one of the finest examples of ancient rock-cut caves to be found in India. The magnificent hall that adorns the main cave reflects the high degree of architectural skills of the artisans who carved and embellished the caves on such a difficult terrain.
3
Karla Cave as the finest example of ancient rock cut architecture.
This complex of well-preserved, Karla Buddhist caves is built on the difficult terrain of a rocky hillside. The complex also happens to be one of the finest examples of the ancient rock-cut caves found in India. The large Karla caves were excavated by hewing out the rock. Great windows light the interiors.
There are fact saying that the natural lighting from the great window helps the workers to built the temple (carvings and many more). The light shinning to the cave wall and was reflected to other cave wall provide bright surrounding in the cave.
The main cave has a magnificent Chaitya with huge pillars and intricately carved relief's dating back to the 1st century B.C.
Chaitya Hall with Stupa
There are well carved sculptures of both males and females, as well as animals, including lions and elephants, a testimony to the skill of the artisan builders.
4
Within the complex are a great many other magnificently carved prayer halls or chaityas as well as viharas or dwelling places for the monks. A feature of these caves is their arched entrances and vaulted interiors.
The Interiors
Built in the time of the Theravada Buddhists, these caves do not actually show the image of Buddha. The outside facade has intricate details carved to imitate finished wood. The central motif is a large horseshoe arch. There is a lion column in front, with a closed stone facade and torana in between.
During this period it is likely that thousands of caves like Karla were excavated in the Sahyadri Hills
5
The Chaitya Hall At Karla
The monumental culmination of the extraordinary art form is the famous mammoth hall (chaitya) at Karla. The gigantic hall, built in the first century AD, is adorned with architectural motifs, lions, and elephants. The architect of this hall was fully aware of the potential of the visual drama and awe that could be infused into a visitor entering such a vast, sacred hall. At the entrance are two enormous 50-feet-high columns crowned by glorious lion sculptures. One passes into an anteroom lit by a recessed sun window set in a huge horseshoe archway. The light is wonderfully diffused. The walls are richly sculpted, and at one time, there were frescoes too. Moving further in, one discerns the most sacred object of veneration looming out of the dark-the stupa. Magic is created by a soft luminosity that filters in through the rows of flanking columns. The stupa seems situated in a fathomless cavern.
Though many rock-cut techniques evolved over the centuries, none have ever rivaled the chaitya hall at Karla. It embodies the powerful relationship that has endowed the caves of the Buddhists with magical qualities beyond the comprehension of day-to-day architecture.
6
Why they choose cave as a sacred place for Buddhist monk?
The Buddhist monks generally chose isolated rocky outcrops and hillsides to make rock-cut caves, which housed prayer halls or chaityas within them. From the late 2nd century BC until the mid-2nd century AD, thousands of caves like Karla were excavated in the Sahyadri Hills. They were apparently meant for all Buddhist communities. These cave sites were not randomly chosen. They were selected in accordance with the Buddhist prescription that the holy men should live neither too near nor too far from the cities-not too near to be distracted by material life, nor too far to make begging rounds impractical or to put the monks out of reach of people. Naturally, the existence of a natural cave was another determining factor. From this point of view, Karla was excellently situated. It was a natural cave and also used to be along one of the major caravan trading routes.
7
Buddhist architecture (rock-cut caves)
Rock-cut structures are one of the most primitive forms of architecture and are found in many places in India. The first rock-cut temples are a part of the Buddhist style of architecture, which originated in India after the death of Gautama Buddha (the founder of Buddhism).
The main monuments in the architectural repertoire of Buddhist style are
(a) the stupa (hemispheric funerary mounds built over the remains of Lord Buddha, and other Buddhist saints and teachers);
The Chaitya and the Stupa
(b) the chaitya (large hall for congregation and worship, having a central holy image or relic in one end);
(c) the viharas (monasteries, where Buddhist monks stayed);
(d) the rock-cut caves.
The rock cut caves are the most interesting part of Buddhist style of architecture. Cool in summer, cozy in winter,
The rock-cut caves are the most interesting part of Buddhist style of architecture. Cool in summer, cozy in winter, these rock-cut caves are particularly well adapted to Indian conditions, both material and spiritual. Apart from the climatic suitability, the concept of the cave strikes one of the fundamental chords of Indian spirituality-of being one with nature. At the same time, it must not be forgotten that for every rock-cut monastery there must have been scores of structural buildings of which no trace has survived. So, the Buddhist monks built not just shelters but everlasting tributes to their beliefs. The Buddhist monks diligently carved out replicas of stupas, chaitya halls, images and shrines out of rocky hillsides. The Karla Caves in Maharasthra are one of the finest examples of this architectural style.
8
Construction of rock-cut caves
The large number of cave shrine abandoned at various stages of construction gives us a broad outline of the ma
The large number of cave shrines abandoned at various stages of construction gives us a broad outline of the manner in which they were dug out. Work proceeded from the top downwards, eliminating the need for scaffolding. Caves were created in groups to provide accommodation for outside workers, since such undertakings were beyond the resources of a very small religious community. They consist of two types: chaitya halls and viharas.
The actual process of construction is fascinating. The chosen hillside was cleared of shrubs and other growth.
The parallel tunnels were then run to the desired depth and timber wedges driven vertically into the exposed rock at convenient centers.
When moistened, these wedges expanded and dislodged large chunks of stone that were removed through the mouth of the cave.
Thus the rock was exposed. At this point all the exposed rock would be chiseled and polished and only then would the workmen continue the excavation.
Gradually, with mere one-fourth-inch chisels and hammers as the tools, the excavation was carried on from the ceiling downward-a tedious process but one that has survived, as Karla testifies.
Once excavated, timber trelliswork and balconies were added as trimmings.
9
Conclusion
Most of the architecture in this time of period are based on their believes.
Society at that time tries to be near to their god and to bring the superiority of god and goddess in their daily life.
The carvings, monument, sculptor and other elements gives the people the reason to explore the nature.
It is very grateful to write about Karla Cave, how the conception of the rock cut architecture. This research explore the ancient rock cut architecture for example Chaitya Hall, buddhist rock cut architecture and construction of the rock cut architecture. We can learn about the characteristic of Buddhist rock cut architecture, why the buddhist monk choose isolated cave like Karla cave to near to god and also the construction of rock cut cave, what source they use to lighten up the cave to carve the detailing and also the beauty of an ancient rock cut cave India.
2
Introduction of Karla Caves ( facts and figure )
Karla Caves is a complex of ancient Buddhist Indian rock-cut architecture cave shrines built over the period of 3rd to 2nd century B.C. Even though the caves were constructed over a period of time and the oldest one is believed to date back to 160 BC. Located in Karla near Lonavala,Maharashtra, the caves are on an major ancient trade route, running eastward from the Arabian Sea into the Deccan. Karli's location in Maharashtra places it in a region that is the division between North India and South India. Buddhism, having become identified with commerce and manufacturing through their early association with traders, tended to locate their monastic establishes in natural areas close to major trade routes so as to provide lodging houses for travelling traders.
The Buddhist caves at Karla are one of the finest examples of ancient rock-cut caves to be found in India. The magnificent hall that adorns the main cave reflects the high degree of architectural skills of the artisans who carved and embellished the caves on such a difficult terrain.
3
Karla Cave as the finest example of ancient rock cut architecture.
This complex of well-preserved, Karla Buddhist caves is built on the difficult terrain of a rocky hillside. The complex also happens to be one of the finest examples of the ancient rock-cut caves found in India. The large Karla caves were excavated by hewing out the rock. Great windows light the interiors.
There are fact saying that the natural lighting from the great window helps the workers to built the temple (carvings and many more). The light shinning to the cave wall and was reflected to other cave wall provide bright surrounding in the cave.
The main cave has a magnificent Chaitya with huge pillars and intricately carved relief's dating back to the 1st century B.C.
Chaitya Hall with Stupa
There are well carved sculptures of both males and females, as well as animals, including lions and elephants, a testimony to the skill of the artisan builders.
4
Within the complex are a great many other magnificently carved prayer halls or chaityas as well as viharas or dwelling places for the monks. A feature of these caves is their arched entrances and vaulted interiors.
The Interiors
Built in the time of the Theravada Buddhists, these caves do not actually show the image of Buddha. The outside facade has intricate details carved to imitate finished wood. The central motif is a large horseshoe arch. There is a lion column in front, with a closed stone facade and torana in between.
During this period it is likely that thousands of caves like Karla were excavated in the Sahyadri Hills
5
The Chaitya Hall At Karla
The monumental culmination of the extraordinary art form is the famous mammoth hall (chaitya) at Karla. The gigantic hall, built in the first century AD, is adorned with architectural motifs, lions, and elephants. The architect of this hall was fully aware of the potential of the visual drama and awe that could be infused into a visitor entering such a vast, sacred hall. At the entrance are two enormous 50-feet-high columns crowned by glorious lion sculptures. One passes into an anteroom lit by a recessed sun window set in a huge horseshoe archway. The light is wonderfully diffused. The walls are richly sculpted, and at one time, there were frescoes too. Moving further in, one discerns the most sacred object of veneration looming out of the dark-the stupa. Magic is created by a soft luminosity that filters in through the rows of flanking columns. The stupa seems situated in a fathomless cavern.
Though many rock-cut techniques evolved over the centuries, none have ever rivaled the chaitya hall at Karla. It embodies the powerful relationship that has endowed the caves of the Buddhists with magical qualities beyond the comprehension of day-to-day architecture.
6
Why they choose cave as a sacred place for Buddhist monk?
The Buddhist monks generally chose isolated rocky outcrops and hillsides to make rock-cut caves, which housed prayer halls or chaityas within them. From the late 2nd century BC until the mid-2nd century AD, thousands of caves like Karla were excavated in the Sahyadri Hills. They were apparently meant for all Buddhist communities. These cave sites were not randomly chosen. They were selected in accordance with the Buddhist prescription that the holy men should live neither too near nor too far from the cities-not too near to be distracted by material life, nor too far to make begging rounds impractical or to put the monks out of reach of people. Naturally, the existence of a natural cave was another determining factor. From this point of view, Karla was excellently situated. It was a natural cave and also used to be along one of the major caravan trading routes.
7
Buddhist architecture (rock-cut caves)
Rock-cut structures are one of the most primitive forms of architecture and are found in many places in India. The first rock-cut temples are a part of the Buddhist style of architecture, which originated in India after the death of Gautama Buddha (the founder of Buddhism).
The main monuments in the architectural repertoire of Buddhist style are
(a) the stupa (hemispheric funerary mounds built over the remains of Lord Buddha, and other Buddhist saints and teachers);
The Chaitya and the Stupa
(b) the chaitya (large hall for congregation and worship, having a central holy image or relic in one end);
(c) the viharas (monasteries, where Buddhist monks stayed);
(d) the rock-cut caves.
The rock cut caves are the most interesting part of Buddhist style of architecture. Cool in summer, cozy in winter,
The rock-cut caves are the most interesting part of Buddhist style of architecture. Cool in summer, cozy in winter, these rock-cut caves are particularly well adapted to Indian conditions, both material and spiritual. Apart from the climatic suitability, the concept of the cave strikes one of the fundamental chords of Indian spirituality-of being one with nature. At the same time, it must not be forgotten that for every rock-cut monastery there must have been scores of structural buildings of which no trace has survived. So, the Buddhist monks built not just shelters but everlasting tributes to their beliefs. The Buddhist monks diligently carved out replicas of stupas, chaitya halls, images and shrines out of rocky hillsides. The Karla Caves in Maharasthra are one of the finest examples of this architectural style.
8
Construction of rock-cut caves
The large number of cave shrine abandoned at various stages of construction gives us a broad outline of the ma
The large number of cave shrines abandoned at various stages of construction gives us a broad outline of the manner in which they were dug out. Work proceeded from the top downwards, eliminating the need for scaffolding. Caves were created in groups to provide accommodation for outside workers, since such undertakings were beyond the resources of a very small religious community. They consist of two types: chaitya halls and viharas.
The actual process of construction is fascinating. The chosen hillside was cleared of shrubs and other growth.
The parallel tunnels were then run to the desired depth and timber wedges driven vertically into the exposed rock at convenient centers.
When moistened, these wedges expanded and dislodged large chunks of stone that were removed through the mouth of the cave.
Thus the rock was exposed. At this point all the exposed rock would be chiseled and polished and only then would the workmen continue the excavation.
Gradually, with mere one-fourth-inch chisels and hammers as the tools, the excavation was carried on from the ceiling downward-a tedious process but one that has survived, as Karla testifies.
Once excavated, timber trelliswork and balconies were added as trimmings.
9
Conclusion
Most of the architecture in this time of period are based on their believes.
Society at that time tries to be near to their god and to bring the superiority of god and goddess in their daily life.
The carvings, monument, sculptor and other elements gives the people the reason to explore the nature.
Friday, August 21, 2009
Tun Dr. Mahathir bin Mohammad
Latar Belakang
Dr. Mahathir dilahirkan di No.18, Lorong Kilang Ais, Seberang Perak, Alor Setar, Kedah pada 20 Disember 1925. Bapanya bernama Mohamad bin Iskandar berketurunan separuh India (anak kepada seorang Malayalee yang berhijrah ke Malaysia dari Kerala, India) sementara ibunya seorang Melayu bernama Wan Tempawan binti Wan Hanafi.. Dalam autobiografinya, Dr. Mahathir mengaku bahawa beliau mempunyai keturunan orang India yang mempunyai kaitan dengan Kerala, India (di mana tempat asal orang Malayalee), manakala ibunya adalah orang Melayu yang dilahirkan di Kedah. Walau bagaimanapun, beliau mengganggapkan dirinya sebagai Melayu yang tulen.
Nama datuk beliau, "Iskandar" turut diabadikan pada sebuah sekolah rendah di bandar Alor Setar, Sekolah Rendah Kebangsaan Iskandar. Manakala ayahnya pula adalah guru bahasa Inggeris dan juga Guru Besar pertama Sekolah Inggeris di Alor Star, sekarang dikenali sebagai Kolej Sultan Abdul Hamid (KSAH). Di sekolah tersebut, bapa beliau dipanggil sebagai "Master" atau "Mohamad Iskandar".
Ibunya mempunyai kaitan keturunan dengan Wan Mat Saman, iaitu bekas Menteri Besar Kedah yang berusaha membangunkan pertanian di Kedah melalui terusan yang terkenal dengan nama 'Terusan Wan Mohamad Saman' atau Sungai Korok.
Beliau mempunyai 9 adik-beradik, iaitu empat perempuan dan lima lelaki, yang mana Dr. Mahathir merupakan anak bongsu. Empat dari mereka (dua lelaki dan dua perempuan) adalah saudara sebapanya, hasil perkahwinan Mohammad bin Iskandar dengan isteri yang pertama.
Pendidikan
Dr. Mahathir mendapat pendidikan awal di Sekolah Melayu Seberang Perak, Alor Setar, Kedah. Selepas lulus, beliau kemudiannya melanjutkan pelajaran di Government English School (GES), kini Kolej Sultan Abdul Hamid, Alor Setar pada tahun 1932. Beliau akhirnya lulus Sijil Tinggi Pelajaran (Senior Cambridge) di sekolah tersebut. Sewaktu Perang Dunia Ke-2, Dr. Mahathir menghabiskan masanya dengan berniaga cendol, diikuti dengan membuka kedai kopi dan kemudiannya gerai buah-buahan di Pekan Rabu, Alor Setar.
Beliau seterusnya menuntut di Kolej Perubatan King Edward VII, Universiti Malaya, Singapura, dan dianugerahkan Ijazah Sarjana Muda Perubatan dan Pembedahan (MBBS) pada tahun 1953. Selepas mendapat ijazah, beliau ditugaskan sebagai doktor pelatih di Hospital Besar Pulau Pinang, Malaysia.
Kerjaya dan Keluarga
Pada tahun 1954, Dr. Mahathir berkhidmat sebagai pegawai perubatan di Alor Setar, Jitra, Langkawi dan Perlis sehingga tahun 1957.Beliau kemudian melangsungkan perkahwinan dengan Dr. Siti Hasmah binti Mohd Ali pada 5 Ogos, 1956 dan dikurniakan tujuh cahaya mata, iaitu empat lelaki dan tiga perempuan. Anak-anak beliau ialah Marina Mahathir, Mirzan Mahathir, Melinda Mahathir, Mokhzani Mahathir, Mukhriz Mahathir, Maizura, Mazhar, Daniel Fariezs.
Pada tahun 1957, beliau berhenti dari perkhidmatan kerajaan untuk membuka kliniknya sendiri, MAHA Klinik yang terletak di Jalan Tunku Ibrahim. Ketika itu, beliau merupakan anak Melayu pertama yang membuka klinik persendirian di Alor Star yang pada ketika itu terdapat lima buah klinik sahaja. Klinik ini kemudiannya berpindah ke 1587, Jalan Sultan Badlishah, 05000 Alor Setar dan kekal sehingga sekarang.
Penulisan Blog
Beliau mula menulis blog pada 1 Mei 2008 pada pukul 1:27 AM, dengan penulisan beliau "The Appointment of Judges". Pada 19 Jun, blog beliau dr-chedet.blogspot.com, telah disekat oleh Bloggers.com kerana disyaki menyebarkan mesej berbentuk spam.
Kini blog beliau terletak di http://www.chedet.cc/.
The Leaning Tower Of Pissa
THE ARCHITECT
There have been controversy about the architect of Leaning Tower
For many years, design was attribute by Guglielmo and Bonnano Pisano.
However, recent studies seems to indicate Diotisalvi as the original architect due to the time of construction and affinity of other Diotisalvi works (Bell Tower Of San Nicola and Baptistery in Pisa). Diotisalvi always sign his work but there is no sign of him in the Leaning Tower .
THE ARCHITECT OF THIS BELL TOWER IS STILL MISTERIOUS .
BONANNO PISANO
• Active in 1170s to 1180s
• Was an Italian Sculptor (Byzantine and Classical Element)
• Born in Pisa, worked there most of his life
• 1180s, he went to Monreale in Sicily, to finish the doors of the cathedral before returning to Pisa
• He died in Pisa
• Buried at the foot of Leaning Tower
• 1820s, his sarcophagus was found at the foot of the tower.
DIOTISALVI
• Architect from Pisa, Italy
• Worked on a second half of 12 century in Pisa
• Original architect of Baptistry Of Pisa, in Piazza Dei Miracolli
• He was a fabricator in 1113 and magister on 1153
Location : Pisa, Italy
Behind the cathedral. 3rd structure in Pisa Campo Dei Miracoli
(field of miracles)
Time : 1073 – 1350
Building Type : Church complex, tower
Climate : Mediterranean
Style : Romanesque
CONSTRUCTION
• Cultural icon that symbolize the human ability to sometimes almost defy nature.
• This tower lean by accident, not by design.
– The tower began leaning to southeast soon after the construction in 1173 due to poorly laid foundation and loose substrate that has allowed the foundation to shift.
• Was work of art
Perform 3 stages over a period of about 200 years
First floor of the white marble campanile began on August 9, 1173, a period of military success and property. The 1st floor surrounded by pillars with classical capital, leaning
• 1272, construction resume under Giovani de Simone, architect of tje Camposampo
Another 4 floor were built at an angle to compensate for the tilt.
Construction was stop again in 1284, when Pisans was defeatedby Genoansin the Battle Of Melonia.
The bell chamber was not finally added until 1372. It was build by Tomasso di Andrea Pisano, who suceeded the in harmonizing the Gothic elementof the bell chamberwith the romansque style of the tower
ELEVATION OF LEANING TOWER OF PISA
• Elevation : 6 feet / 2 meter
• Height : 55.863 m / 183 ft 3 in / 8 stories
• Outer diameter of base : 15484 m (50 ft 9.6 in)
• Inner diameter of base : 7.368 m ( 24 ft 2.1 in)
• Thickness of the wall at the base : 8ft (2.4 m)
• Angle of slant : 3.97 degree / 3.9 m / 12 ft 19 in from the vertical
• Weight : 14700 metric ton
• Steps to bell tower : 296
THE BELLS
• Total number of bell : 7 , tune in music scale, clockwise
• 1st bell L’ assunta, cast in 1654, by Giovanni Pietro Orlandi, weight 3620 kg
• 2nd bell Crocifisso, cast in 1572, by Vicenzo Possenti, weight 2462 kg
• 3rd bell, San Ranieri, cast in 1719 – 1721, by Giovanni Andrea Moreni, 1448 kg,
• 4th bell, La Terza, cast in 1473, weight 300 kg (smallest)
• 5th bell, La Pasquereccia or La Giustizia, cast in 1262, by Lotteringo, weight 1014 kg
• 6th bell, Vespruccio, cast in 14th century, by Nicola Di Jacopo, weight 1000 kg
• 7th bell, Dal Pozzo, cast in 1606 again 2004, weight 652 kg
• Special : 5th bell. The name Pasqueressia comes from Easter because it use to ring on Easter. The bell is older that the chamber itself and comes from the tower Vergata in Pisa where it was called Giustizia (the Justice)
Tuesday, August 11, 2009
Masjid Universiti Gadjah Mada, Yogyakarta
Masjid Kampus Universitas Gadjah Mada.. Semua universiti mesti ada tempat ibadatnya. Jadi saya memilih masjid sebagai topik kajian saya di Universiti Gadjah Mada ini. Sebenarnya, sudah beberapa minggu saya cuba mencari bangunan apa yang paling sesuai untuk saya kaji di Universiti Gadjah Mada ini akhirnya penantian saya berakhir. Saya bersyukur kerana saya tidak berputus asa dan Allah S.W.T masih memberi kekuatan kepada saya untuk meng'update' blog ini.MASJID UNIVERSITI GADJAH MADA
.jpg)
Masjid Universiti Gadjah Mada merupakan tumpuan para pelajar universiti untuk bersolat dan semestinya penuh sesak apabila berlangsungnya solat jumaat bak kata kawan saya yang mengambil jurusan perubatan disana. Dia memberi banyak komen sehingga mengatakan bahawa masjid depan UM kita dulu jauh cantik daripada masjid di GM (singkatan Gadjah Mada) kerana tiada unsur-unsur nilai estetika yang tinggi. Masji GM cantik sebab dia baru je.
Tapi itu merupakan pendapat orang yang bukan di bidang seni maka sebenarnya mengikut pendapat saya, semestinya ade reason setiap bangunan itu dibina. pasti setiap design itu ada nilai estetika yang tinggi bagi arkiteknya. Ini kerana bukan senang untuk design bangunan yang boleh memuaskan hati setiap orang. Inikan pula bangunan yang pasti digunakan hari-hari dan digunakan oleh ramai pelajar. Pasti banyak cerita disebalik bangunan ini hari-hari.
Masjid Besar UGM memiliki design yang unik pada bentuk bangunan dan ornamen yang menghiasinya. Kemegahan masjid ini terlihat pada bentuk atap yang unik dan pengaturan landscape dengan skala landscape yang cukup besar.
Berbeza dengan masjid-masjid lain pada umumnya, masjid yang terletak pada sisi timur kompleks UGM ini terlihat unik bila dilihat secara sekilas, namun bila kita perhatikan lagi dengan mata architecture, keunikan-keunikan tersebut dapat melemahkan kekuatan designnya, khususnya design yang berkaitan dengan filosofi agama Islam.
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Salah satu kekurangan dan terlihat sangat jelas adalah pada penataan landscape yang membuat masjid ini 'kurang' terlihat kemegahannya. Dengan posisi masjid yang berada beberapa meter diatas jalan raya membuat masjid ini tidak mampu memperlihatkan seluruh fasad bangunannya kerana tertutup oleh tanah didepannya. Selain itu peletakan banyak pokok disekitarnya membuat masjid tersebut lebih bersifat 'terselubung' dan tertutup. Mungkin pengaturan landcape yang demikian sudah dirancang oleh arkiteknya dengan maksud dan erti-erti tersendiri yang membuat masjid ini memiliki kelebihan tersendiri. Namun hal ini dapat ditepis oleh 'kegunaan lain' dari majid ini yang merupakan tempat peristirahatan. Hal ini membuat masjid ini lebih bersifat terbuka, atau 'terbuka bagi yang tertutup'. Maksudnya terbuka bagi yang mau beristirahat yang biasanya sendiri.
Selain itu peletakan ruang-ruang service yang ada dapat membuat pengunjung yang pertama kali datang kesana merasa bingung kerana jalur yang disediakan untuk menuju ruang service dan peletakan ruang service yang susah dijangkau oleh pengunjung.
Berbeza dengan masjid lain pada umumnya, biasanya masjid memiliki sifat 'menerima' dan 'terbuka'. Namun masjid ini malahan lebih tertutup. mungkin design yang demikian memiliki filosofi lain, hal ini membuktikan bahawa kelebihan dapat menjadi kekurangan.
Friday, July 31, 2009
Introduction Of Gadjah Mada University
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Saturday, March 14, 2009
Khas untuk my En. Firdaus 'big smile'
A LITTLE BIT ABOUT NOOR NASIHA RAZALI
After two weeks En. Firdaus gave me this assignment, right now i am started. Selepas beberapa minggu saya cuba membuang mood rumah, susah sangat, yea la baru habis cuti katakan, akhirnya saya sudah mendapat mood yang amat saya sukai, mood meneroka... Let me start with a bit about myself :
Name : Noor Nasiha Razali
Age : 20 years old
I love to describe myself with pictures...
Life Crumbs :
This is my family, Abah, mama, Adik study in MRSM Gemencheh and kakak...
we are happy..
After two weeks En. Firdaus gave me this assignment, right now i am started. Selepas beberapa minggu saya cuba membuang mood rumah, susah sangat, yea la baru habis cuti katakan, akhirnya saya sudah mendapat mood yang amat saya sukai, mood meneroka... Let me start with a bit about myself :
Name : Noor Nasiha Razali
Age : 20 years old
I love to describe myself with pictures...
Life Crumbs :
This is my family, Abah, mama, Adik study in MRSM Gemencheh and kakak...we are happy..
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