The “Aceh Method” As a Mode of “Seeing” Vernacular Knowledge

Home , Acehnese people

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

The “Aceh Method” as a mode of “seeing” Vernacular Knowledge

Julie Nichols1, Darren Fong1, Naufal Fadhil2

1School of Art, Architecture and Design, University of South Australia, GPO Box 2471 Adelaide, South Australia 5001, Australia 2Department of Architecture and Planning, Faculty of Engineering, University of Indonesia, Depok, Indonesia *Corresponding Author: [email protected]

ABSTRACT

By re-envisioning Acehnese buildings through contemporary technological tools, the “Aceh Method” presents to scholars and local people a new way of seeing historical information that re-introduces a unique capture of architectural and cultural heritage. Some of the key problems informing the study of the Acehnese house are illuminated by establishing associations between information which is not normally read or interpreted together, and therefore results in new relationships or “ways of seeing” a rich heritage. The “Aceh Method” employs different forms of technology and skillsets to drive an outcome – a model of interpretation and structure which can be transferred between environments, purposes and cultures. Given Aceh’s catastrophic losses from the tsunami in 2004 particularly in terms of their people and their built cultural heritage records, a transferrable record, distributed to multiple locations offers a safeguarding and endurance of this newly recorded materials. It also offers a “way of seeing” and capturing heritage as a reference for future post-disaster reconstruction strategies. Notably a way of seeing reveals both ‘seen’ and ‘unseen’ conditions. These records will present a typology of housing well-suited to the socio-cultural and environmental conditions as well as a vernacular way of existing in the world, which may not be evident to aid workers and NGOs when they are presented with the colossal task of post-disaster reconstruction. This paper addresses origins of the Acehnese house re-presenting them from anthropological and theoretical perspectives. It reports on the fieldwork activities conducted for July 2017 that have led to the piloting of the “Aceh Method,” this involved a number of modes of capturing traditional Lambunot houses whilst this paper focuses on two of these: 1. VERNADOC – analogue measuring and drawing on site; 2. Digital capture of the surrounding environment through the gigapan tools. The villagers and their built environment are not solely the root of the study but the researchers in the field at the same time are also acknowledged as an integral part of the whole process resulting in a new way of seeing and engaging with this vernacular knowledge. This holistic method re-conceptualizes writing history through the “Aceh Method” acknowledges the curatorial and highly selective process of historiography. It embraces biases and distance from the historical artefact and subject as well as literature from western secondary sources–a reading, it is unapologetically from outsiders’ perspectives. This reading is informed by secondary sources whilst collecting and recording primary data to re- analyse the Aceh house as a microcosmic study of Acehnese built environments.

Keywords: Acehnese traditional house, re-conceptualizing vernacular; anthropological architecture.

INTRODUCTION According to Kamal A. Arif in his book Ragam Citra Kota Banda Aceh, the Acehnese house or Rumoh Aceh was originally conceived, from a maritime tradition as a boat-house typology. It is thought it was designed in response to an entrenched geographical association with the sea—a site of exchange, international networks and knowledge transfer for the local communities. Rumoh Aceh was also referred to as a type of stage house [elevated structure for activities of the family] that was earthquake-resistant and 6

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

designed to anticipate floods and ocean tides. (Arif, 2009). Potentially, the Rumoh Aceh and its evolving vernacular from a boat-like house to a stage-like space for daily dwelling reflects a respectful acknowledgement of the natural environment as well as a mode of dwelling bridging physical and spiritual worlds. To recast the Acehnese house as an architecture adhering to modern concerns of maritime environmental disasters, historical continuity of spiritual belief systems, repositions this vernacular knowledge as a living tradition—an anchor for socially cohesive practices for resilient communities. This is the conceptual positioning from which the “Aceh Method” – a multi-modal means of recording, measuring, and representing the traditional archetype of the Acehnese house in its existing socio-cultural context of Lambunot Village Indrapuri, is proposed. (Nusfi, 2017). Geographer Yi Fu Tuan’s notion, of what we will call, ‘seen’ conditions bring to this study of the ‘traditional’ Acehnese house another layer of interpretation to pragmatic considerations of environment. ‘Seen’ conditions are understood as representing a permanent, tangible, familiar, sentimental and sedentary attachment to place, relying on human qualities of sensory perception of their environment encompasses relationships typically explored in vernacular architectural discourse. (Tuan, 1976). These tangible experiences are related to human sensory visible spatial responses to climate. The paper also explores new ‘ways of seeing’ the house with the ‘Aceh Method,’ whereby often non- tangible relations that exist in vernacular architecture may be conceptualized as ‘unseen’ conditions. These are dynamic interconnections between the built form, as well as psychological or spiritual understandings established from ancient belief systems. The ‘Aceh Method’ acknowledges that architectural space-making theorized through these different lenses—geographic quantities of the land and sea, resonating as both physical and cosmological entities in pre-modern Indonesian cultures are necessary considerations of these house typologies. There is some debate around these origins in contemporary understandings. The ‘Aceh Method’ encourages multiple understandings through new ‘ways of seeing’ for contemporary insight. Pragmatic and ‘seen’ conditions of the sea include: the sourcing food; trading materials; food, technologies and ideas; an avenue to facilitate transport for social or religious purposes or generally as a connection to a global environment for travel and exploration. A stage house was responsive both structurally and spiritually in its demountability and varying level changes in the house. The sea was also an unknown realm, exhibiting ‘unseen’ relationships with cosmological sea creatures as part of an underworld of potentially submerged dangerous spirits. It also poses unpredictable, environmental threats to villages within its proximity. Positive connotations included being transported via the sea between cosmological worlds. The land and sea appear as design influences in the evolution of the archetype of the house. Socio-cultural practices of the local communities’ with belief systems infused by ancient Hindu references (the ‘unseen’) alongside Koranic understandings of being in the world (the ‘seen’) are conceived as a bridging of these theoretical ideas. Therefore, the Acehnese house is re-conceptualised as a precedent embodying both ‘seen’ and ‘unseen’ contributions which imbue meaning in architectural space. The qualities of the production of such space cannot be measured in terms solely of their tangible and intangible attributes but rather how they inform, unite and create social cohesion through sets of rules which enable the historical continuity of cultural relationships. The ‘Aceh Method’ provides the leverage for this holistic analysis. Firstly, through the theoretical and historical analysis, secondly onsite architectural anthropological analysis, thirdly 3-D capture through gigapan and drone mapping of context, and video capture of people in their daily lives and landscapes. Between architectural and anthropological sources the ‘Aceh Method’ revives Acehnese archetypes as a long and living tradition, exhibiting valuable cultural memories to challenge generic housing solutions which have prevailed in post-tsunami Aceh 2004. Questions around, why is the preservation of built cultural heritage important for societies who have experienced significance loss and trauma? To what extent does adhering to historically continuous ideas around built space, construction and habitation facilitate a sense of belonging and identity with a community beyond shelter but contributing to psychological and socio- cultural rehabilitation? A reconsideration of approaches to the future creation of domestic spaces for living is required. The ‘Aceh Method’ links information for new understandings which necessarily respond to socio-cultural conditions. It is a proposal to navigate desires and aspirations for modern conveniences, whilst relating to an evolving identity to continue to ‘anchor’ social resilience.

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

ACEH: HISTORICALLY – WAYS OF SEEING Aceh’s early urban settlements supported ethnicities ranging from Persians, Indians, Chinese, Arabs, Malays, Acehnese as an indication of some of the cultural diversity in the Sumatran port cities. (Leigh, 1982). With the arrival of Islam in early thirteenth century to Aceh, over a period of hundreds of years, it was seen as the Gateway to Mecca for pilgrims in and to Southeast Asia. Scholars to Aceh embraced religious teachings before travelling to the Holy Land. (Leigh, 1982). Prior to this period, there is archaeological evidence of religious built structures from Hinduism and animistic practices. These origins continued to influence architecture and cultural rituals in the seventeenth century under Sultan Iskandar Muda’s court, where religious leaders such as Hamzah Fansuri engaged in what was described as “pantheistic mystical Islam.” (Encyclopedia of Islam, 1960). According to Dutch scholar, Snouck Hurgronje, in his two volume study “The Acehnese,” the influence of Sufism waned and prospered up until the twentieth century, and one of the major tenets of Sufism is the belief in the unity of existence. (Hurgronje, 1906). Al-Attas highlights in this belief system, how Allah is metaphorically likened to the ocean whereas man is considered at the scale of a wave and when man and Allah are united the ecstatic experience occurs as ‘wajid.’ (Al-attas, 1963). Similarly, in Sufi doctrine relations between Allah and the Universe are metaphorically considered as a mirror and its reflection. (Leigh, 1982). These are some of the early documented connections between the sea as a physical and tangible ‘seen’ entity catering for trade and the global interactions with religious scholars as well as through spiritual teachings and the non-tangible or ‘unseen’ metaphorical connections through belief systems.

The House: conceptually ‘seen’ and ‘unseen’ Given these diverse cultural influences in Aceh’s early history it is not surprising the ‘traditional’ domestic architecture exhibits multiple references. More generally within Indonesia it is also interesting to observe even in Sumatra how varied the vernacular forms developed despite environmental similarities. This would suggest cultural factors or ‘unseen’ conditions motivate different styles and spaces. (Nas, Domenig, & Schefold, Indonesian Houses: Tradition and Transformation in Vernacular Architecture, 2004). Anthropologists such as Schefold suggest that understanding built form requires multiple knowledges and ways of seeing or interpreting. He says, “…among other things, a consideration of the relations between different types of structure and the distribution of functions between them. …. and proposes that there is an interweaving of kinship structure, rank and ritual.” (Nas, Domenig, & Schefold, Indonesian Houses: Tradition and Transformation in Vernacular Architecture, 2004). Amos Rapoport suggests the house generally is culturally realised as an ideal or utopian environment where its spatiality expresses its societal “social ideologies and an ethos for living.” (Rapoport, 1969). Anthropologist, Roxana Waterson explains how these social ideas and understandings both define the space physically in addition, orientate the individuals inhabiting it to act out behaviours and move within domestic space in a particular way. (Waterson, 2013). These may be the ‘unseen’ conditions, which are culturally constructed, dynamic practices transcribing the Acehnese house spatiality with meaning through complex social relationships. These practices are almost independent of ‘seen’ considerations and pragmatic requirements of the house as a shelter. Let us consider ‘seen’ or tangible characteristics of the Acehnese house?

‘SEEN’ CONDITIONS Anthropologist James Fox explains that a house in Indonesian culture is understood as a structure which will endure beyond the life span of one individual. Consequently, there is a certain expectation of permanency around its creation. Yet Acehnese houses are designed to be disassembled to facilitate change of ownership and movement to alternative sites. This flexibility of siting, endurance of the materials, as well as method of construction catering for tying and interlocking of the structural members, provides a different understanding of settlement and connection to place. (Waterson, 2013). The responsiveness of the house to factors such as local materials as well as different ecological conditions affecting availability of supplies together with other considerations such as social realignment, security reasons, and dynamic socio-cultural conditions all play a role in the transformative nature of new and divergent constructions. (Waterson, 2013). The vernacular house response operates at a number different levels from the aesthetic (visual perception) through to the functional (to climatic and socio- cultural requirements). Tuan believes basic requirements for humans’ survival are mediated through exposure to the natural world. (Tuan, 1976). This delicate balance between engagement in, and attachment to, the natural world’s aesthetic and climatic or ‘seen’ conditions is explained further below.

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

Waterfront Settlement According to Arif, peoples of the riverbank towns lived in two types of houses — Rumah Rakit, a wooden boat house or Rumah Tiang Seribu, a stage house. (Arif, 2009). Materials ranged from meranti hardwood for columns and flooring; wattled coconut leaves or rumbia as walls; nibung timber or bamboo flooring, and coconut leaves or reeds as roofing.

Cross Ventilation and Orientation The orientation of the houses to the beach, captured prevailing winds for air circulation through the house. (Arif, 2009). The covered underfloor area or pit area between the stage house columns was coolest during the daytime. At noon, this was the main occupied area for house-hold activities, places for play, and for rest. Women utilised this space for caring for the children and craft-making. The triangulated part of the roof, known as Tulak Angen is both ornamental and for ventilation. Tulak Angen manages wind pressure preventing damage by high winds. Daylight enters internal spaces through timber screens to control and filter the light. This feature is similar to Masyrabiyyah, or oriel windows partially enclosed with carved wood latticework typically located on the second storey of a building and oriented along an east-west axis. As the Mecca verandah area (Serambi Mekkah) oriented in the Qibla direction. Rumoh Aceh reflects Islamic values through the roof on an east-west axis. According to architectural historian Greg Dall, this orientation is applied to all dwellings in the street. Male and female spatial differentiation dictated road layouts between houses. (Dall, 1980). Separation of access continues with two verandahs to the house. The male verandah (Rumoe rinyeun) is public events and at the front of the house while the female verandah (Rumoe Likot) used for household activities is at the rear. Verandahs are used for praying, with water containers placed at the base of the stairs for wudhu or washing feet before prayer.

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

Carving In Rumoh Aceh, carving was symbolic and pragmatic. A hollow carving technique typically displayed floral motifs known as Bungong Aceh, in addition to the cross, triangle, rhomb, and heart. These are found under the windows, kindang (timber that encloses the beam above the stage column), also above the windows, roof beams, doors, room separators, and railings. The stage house responds to environmental conditions in both aesthetic and functional ways and mediates socio-cultural relations through spatial hierarchies within the house. According to Hurgronje, females are the owners of the house and the males are more similar to ‘tenants’. (Hurgronje, 1906). These kinship and social structures further contribute to what are considered the ‘unseen’ relations which determine the spatiality of the Acehnese house, discussed below.

Recording ‘seen’ conditions - i. VERNADOC Lambunot Houses Another key component of the ‘Aceh Method’ relates to an understanding that embedded within urban built environments are communal memories and the materials of transgenerational social practice. The toll of catastrophic disasters on society is both immediately tangible through loss of life and material environment, and far-reaching, as individuals and communities struggle to rebuild (‘seen’ conditions) and remember (‘unseen’ relations). Studies have suggested that individual and community resilience is closely linked to life experience, shared memory, social capital, and an affirming social narrative (Chamlee-Wright & Storr, 2011). Built environments and urban spaces are social constructs, encoded with mnemonic structures and assemblages or ‘memory forms’, that enable communities to locate themselves not just physically but socially and temporally (Crinson, 2005) thus a loss of environment is linked to a loss of communal identity and individual resilience. (Nichols, Fong, & Avey, 2017) Integral to the process being proposed here is the use of hand-drawing as a research method which as anthropologist Tim Ingold suggests, engages researcher and subject in a dialogue that is both “metaphorical” and “methodological” in process, outcome and potential (Ingold, 2011). VERNADOC is an immersive method of documenting built form (Sananwai, 2014) that requires the production of drawings on site in an interactive process that places the researcher, subject and record in context enabling knowledge transfer and experiential understanding to be transcribed. Key features of this manual process are the positioning of researchers with the subject over an extended time-period maximising opportunity for interactive local community input and meaningful outcomes. These documents communicate traditions of building, contextualise the structures within their environment, record spatial relationships between buildings and, through the accurate depiction of everyday artefacts, the buildings’ role in communal life. These are not only records but are interactive representations of the subject. Unlike photographic images which record instantaneously a single moment in time these images are collaborative both during their production and through interpretive readings and activation as archival records (Nichols, Fong, & Avey, 2017). Anthropologist Marie Stender advocates for the benefits of architecturally-focussed anthropology suggesting an approach which “interviews” individual and collective built forms allowing them to reveal 10

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

their role as active players in the social environment (Stender, 2016). Similarly, architect and VERNADOC veteran Sudjit Sananwai likens her drawing practice to a communion with elders “who can still whisper to me some of their stories” (Sananwai, 2014). VERNADOC projects demonstrate processes and resultant documents communicate the value of built heritage to international audiences as well as reinforce this value to the local community (Sananwai, 2014). The archived artefact acts as a repository of collective memory and a collective narrative protecting social capital, cohesion and community resilience in the face of future disaster (Chamlee-Wright & Storr, 2011). New records will become a datum from which to re-envision images of Aceh’s lost built environment to re-imagine new urban re-development. The ‘making’ of hand drawn records requires not only research data but knowledge gained through the early culturally immersive procedures. (Nichols, Fong, & Avey, 2017).

Recording ‘seen’ conditions – ii. Gigapan conditions A key aspect of the “Aceh Method” requires that the researcher is working in the field collecting the data, alongside the local community. Data collection specifics are guided by the researcher and informed by the community. Data methods of capture from Lambunot consisted of analogue and digital [digital photography, video, still images and anecdotal conversations]. Vernacular architectural recording methods include using photogrammetry, laser scanning and LiDAR to (Alshawabkeh & Haala, 2004) , (Akbaylar & Hamamcıoğlu-Turan, 2007), (Grussenmeyer, Landes, Voegtle, & Ringle, 2008), (Tait, Laing, Grinnall, Burnett, & Isaacs, 2016), (Megarry, Davenport, & Comer, 2016). These methods can provide a high level of accuracy, however as discussed by (Grussenmeyer, Landes, Voegtle, & Ringle, 2008) the post- processing can be intensive and time consuming despite the reduction of time in onsite data collection. Simultaneously during one week VERNADOC process, sufficient time is available for digital capture of houses identified by the community and creates a research journey between onsite participants (Nichols, Fong, & Avey, 2016). To grasp the socio-cultural and environmental conditions holistically the researchers utilized a GigaPan Epic Pro to capture the images for creating the panoramic spheres. This technique has been successfully utilised by (Smith, Cutchin, Kooima, Ainsworth, Sandin, Schulze, Prudhomme, Kuester, Levy, & DeFanti 2013) and (Prechtel, Münster, & Kröber, 2013) for capturing images of cultural heritage . The GigaPan is a tripod mounted device that fully automates the process of taking series of images consisting of columns and rows methodically in a 360° sphere. The images are then post-processed to produce spherical panoramas that can be viewed immersively and on flat screens. A scoping study of existing software was undertaken to broadly determine which software would be best suited for the researcher requirements of integration of the diverse data types. Consideration was given to the ability to import differing data types, such as text, images, audio, video and importantly the panoramas that are produced by the GigaPan. The aim was for an immersive and adaptable delivery environment, as a stand-alone application and across the internet. The Easypano Panoweaver, and Easypano Tourweaver (www.easypano.com) appeared the best fit for the requirements previously identified. This followed a similar line of research with (Koeva, Luleva, & Maldjanski, 2017) utilising the same software. Easypano Panoweaver enables Giga Pixel Panoramas and batch processing, whilst being compatible with its sister software Tourweaver. Easypano. However Panoweaver software, was found to be limited in the size of the panoramas that could be stitched together. Original images were 18 Megapixels each comprised in 11 rows and 16 columns. The number of rows x columns is based on the focal length of the lense, which in this case is 50 mm. The researchers utilized GigaPan Stitch software which was part of the GigaPan package, and produced large megapixel panoramas without issue with 1.4 Gigapixel panoramas taking approximately 10 minutes. However processing capability is dependent on the hardware platform.

Figure 4: Example of tiled images before stitching, 35 mm Focal Length resulting in 54 images

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

Figure 5: Example of tiled images before stitching, 50 mm Focal Length resulting in 176 images

An example of the GigaPan Image Panorama is demonstrated above in Figure 4 and 5. The use of the GigaPan enables high resolution photo-spheres to be created, Figure 4 and 5 are 392 and 1318 megapixels respectively and higher resolution images are possible using a narrower field of view, for instance a 70 or 100mm lense. These images were too large for the Tourweaver software to import. GigaPan Stitch was easily able to export the panoramas at a reduced size that was suitable, about the 100 megapixel range.

Figure 6: Spherical view of the generated panorama, 98 megapixels after reducing size. Figure 7: The spherical view is exported as a flattened JPEG image

The spherical panoramas form the basis of the navigation. The other materials that were prepared were the scanning of the VERNADOC drawings, conceptual text experiences and video. Possibly customized icons for ‘hotspot’ navigation and information would be preferable for legibility. Given that the focus of this research is the integration and dissemination of the information, the standard icon system was used for this project. Virtual tours can then be created with Easypano Tourweaver Pro to enable an immersive and navigable environment with ‘hotspots’ highlighting points of interest and information. The spherical panoramas are imported into the software, and a simple navigation system is set up to allow ‘movement’ from sphere to another. Within each sphere, the user can ‘zoom in/out’’, pick on points of interest or navigate to another location.

Dissemination and Storage The software allows the ‘tours’ that are created to then be published into a number formats from a web based format, mobile device and a self-running executable file that contains all of the content which could be ‘played’ from a USB. The offline storage of data is always problematic, with changes in technology, enhancements of standards and the growth of new devices leaving older technology behind. Even the proposition of using LTO(TM) tape and Blu-ray(TM) to store data could be outdated in the decades to come. (Cerf, 2011) Our consideration is not only offline storage, but the persistence of data over time in addition to standard archives and data storage. Similar to a physical collection of antiquities being 12

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

maintained, we propose data is maintained online, and updated where practical to current formats as new standards and methods become available. This attempts to avoid ‘bit rot’ however it is not a guarantee that data may not become corrupted by other means. (Rosenthal, 2010) The use of open formats for data storage and management, and clarification of legal ramifications and ownership of data, must allow data to be publicly available, in an open format for dissemination. The use of a defined management and maintenance process for the up-keep of the data and viability using automated systems and manual oversight will also be explored in this study.

‘UNSEEN’ CONDITIONS: THE HOUSE, COSMOLOGY AND THE SEA Peter Nas, Dutch architectural historian in his study of vernacular Indonesian houses highlights this ‘unseen’ or cultural continuum of ideas. He believes ‘unseen’ conditions are fundamental to the meanings intrinsic to the architectural identity of the region and are realised in the aesthetic design of the house. Schefold believes there are some common architectural regional features which may date back to prehistoric times. These entities include: tripartite structure, multi-levelled flooring systems, outward slanting gables and walls, gable finials, a saddle-backed roof, as some examples. (Nas, Domenig, & Schefold, Indonesian Houses: Tradition and Transformation in Vernacular Architecture, 2004). Rapoport in his book House Form and Culture, argues the importance of understanding the limitations in explaining domestic space in purely functional or in purely cosmological terms. (Rapoport, 1969). Daniel Coulard states “we find in the house the intersection of the ‘visible and the invisible worlds’. (Coulard, 1988). These “rules about the uses of space oblige people to act out their relationships to each other in particularly immediate and personal way, and they provide one of the most important means by which the built environment is imbued with meaning.” (Coulard, 1988).

Waterson believes it is necessary to understand the house as a microcosm of meaning where its layout, structural principles and ornamentation actively contribute to “the concept of an ideal natural and social order. (Waterson, 2013). Scholar, Snouck Hurgronje in the following ways explained these ideas of the Acehnese house

…the main frame of the house is erected with the aid of communal labour, supervised by the village elders, religious leaders, and a master builder. To begin with, the site must be prepared and blessed and a favourable time appointed. First to be erected, again, are the two main house posts with their cross-beams, while prayers are recited form the Koran. These two posts are called the raja and putroe, or ‘prince’ and ‘princess’. In the finished house, these posts stand in the main bedroom, regarded as the most important room in the house. … These posts (as well as some others) are further personified in having red, white, and black cloth tied around their tops like a turban. Between each layer of cloth is placed a written verse from the Koran. Evil spirits, … are thought as most likely to enter the building through openings, especially near the roof, and this clothing of the tops of the posts designed to protect inmates of the house from harm. (Hurgronje, 1906).

Significantly Waterson has shown how land and sea and its resources are strongly integrated into their daily requirements beyond the physical. Waterson and Dall highlight the house structure reflects the divisions of the cosmos into three layers. The three layers consist of: “…the sacred upper world, abode of 13

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

the gods, the middle world inhabited by humans, and the nether world, abode of animals and lower deities.” (Dall, 1980) (Waterson, 2013). In pragmatic terms these levels consist of the area directly beneath the house, being the most unclean part catering for the rubbish, animals and faeces. The next level is the human habitation space raised on piles as per the stage-house design. Finally, the upper most realm is the attic space, the most sacred space as it symbolically represents the closest ascension to the next world and the heirloom storage. The ornately carved skirting board between the underfloor and habitable floor area is symbolic of this profane separation. (Waterson, 2013). Ideas around both tangible and non-tangible Acehnese concepts of existence have been elaborated upon in the previous discussion separated into theoretical considerations of ‘unseen’ and ‘seen’.

CONCLUSION The ‘Aceh Method’ involves theoretical underpinnings of ‘seen’ and ‘seen’ influences together with drawn research outcomes will ultimately inform and interact with digital records. The production of the archive will be disseminated using online platforms to maximise ongoing research opportunities and safeguard data against future loss. By acting as mnemonics or ‘memory texts’, these documents may help preserve Aceh’s historical narrative thus validating and facilitating the resilience of Acehnese communities. It is vital then that any archival production engages processes that are interactive, reactive and subject driven particularly as data is extrapolated to re-envision the past. The adoption of software models and virtual reality (VR) spatialities place the researcher ‘closer’ to the subject/environment under study. The premise being, that one draws different motivations, inspiration and ‘ways of seeing’ or connecting their research ideas than through linera keyword searches. Spatial engagement within a VR interface prompts alternative readings of vernacular knowledge. As Rapoport has stated that “inhabited spaces are never neutral: they are all cultural constructions of one kind or another. Any building in any culture must carry some kind of symbolic load….” (Rapoport, 1969). The intention of this preliminary study has been to analyse the Acehnese house from two main theoretical concepts that of the ‘seen’ and perceived conditions of the physical environment as prompting types of architectural conditions situated between the land and the sea and possibly the typical mode of reviewing vernacular architecture as connected to place. In addition, to reflect on the dynamic conditions which have prompted the ‘unseen’ and non-tangible relationships amidst interior and exterior spaces as well as ancient links to the cosmological realms of the Acehnese house. The convergence of these two main theoretical ideas as overlapping in the production of Acehnese space to take more seriously the ideas around structuring urban space, society and the domestic conditions through ordering principles designed for resilient and communities. The ‘Aceh Method’ demonstrates how the conceptual analysis with the onsite recording may ‘open up’ debate and reveal new understandings of origins of the Acehnese house; the viability of the design for future redevelopment of communities; the applicability of the design and its materiality to suit future needs. The ability of vernacular Acehnese forms to accommodate this diversity of meanings and to demonstrate an historical trajectory also reveals the opportunities for social cohesion and meaning in domestic space to endure. This form of dwelling has responded as a living and transformative tradition and if the community and its benefactors remain open to the 14

Proceedings of International Conference on Architecture 2017 (ICRP-AVAN), Unsyiah (Banda Aceh) and UiTM (Perak), October 18-19, 2017, Banda Aceh, Indonesia

significance of dynamic cultural factors and the house a repository of memories in architectural design it may continue as a valued dynamic cultural form and have a role in Acehnese everyday life in the future. The ‘Aceh Method’ of recording built cultural heritage provides ways of seeing for Acehnese people to debate their history and vernacular knowledge and at the same time realise their future modern aspirations in building upon their historically socially cohesive roots.

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