TOWARDS DEFINING THE ARCHITECTURE OF BRUNEI

THE HISTORY OF BRUNEI Founder of Brunei

There is no exact source saying when and what year was Brunei first been formed, the only main

source that could be related on is from the version of " Sha'er Awang Semaun" (SAS) the early

manuscript ( in prose ) in the earliest history of Brunei. There are a few points that could be

focused on which gave the reasons for the formation of the Brunei. In accordance to this

particular source, Brunei is said as a city above water or also known as Kampong Ayer where

during the early years, sat a government ruling the society. According to the SAS, the city was

founded by the fourteen brothers who were searching for their father, until they found a place

where it was suitable to form a " kampong " or a village.

The Sha'er Awang Semaun ( SAS ) ;

Sampai ke kuala habis ditaggari * Banyak beroleh hiu dan pari

Setelah memandang kanan dan kiri * Terlalu bisai tempat benegri

Furthermore,

Awang Alak bersabda ke

Damang Sari * Serta Pateh kanan dan kiri

Jikalau suka adinda bistari * Kedalam Berunai kita bernegri

Bisainya tiada lagi terperi * Bukit mendinding kanan dan kiri

Tiadalah payah tempat mencari * Di bawah tangga duai tengiri

Bisainya itu tiada berbanding * Di darat rumah bukit menyinding

Beratur rumah sebarang tebing * Tiadalah jauh mengambil ayeng

Mengambil ayeng pun kanak-kanak * Bukannya ayeng di dalam semak

Tiada terkena angin dan ambak * Ayengnya hampir dapat berlumak

The location of the city which was determined by factors:

1) Protection, security and landmark; hills.

2) Ports, Transportation and communication; The River and the bay as the gateway for

Brunei (Kampong Ayer) and the outside world.

3) Economic activity.

4) Resources; clean water and food supply.

Almost every writer agreed that the earliest Kampong Ayer to be said in the SAS was located at

Kota Batu. This was supported by the foundation of a large amount wood preserved by virtue of

being below the water table, this included walls of upright squared hand ward posts and seventy-

fife identifiable object which were removed from the place (Harrison and Harrison . 1956 : 305-

309 ).

THE ARCHITECTURE OF BRUNEI AS RECORDED BY VOYAGERS

Stories recorded by Chinese traders.

Kampong Ayer was described as the Brunei port as early as in the ninth century. The description

of P'o-ni emphasized its poverty:

"The country of P'o-ni is hot and torrid with frequent storms. The town has no outer wall,

and its defense is affected by a fence of three poles. The residence of the king has upper

stories, the roofs of which are covered with Pei-to (probably referred to nipa palm) leaves. The

king ties his hair in a knot, wears a piece of coloured cloth round his waist, and goes barefooted.

He has no horse or sedan chair and goes about on foot. There are less than three thousand

households in the town and the people are mostly fishermen........ " (D. E. Brown. 1970 p.221).

While Brunei seems to be known as

P'o-ni to the Chinese, the name

changed slightly as the Chinese

empire changes took over from one

dynasty to another . Brunei was

also known as Polo, Puni and Bun-

lai as referred to the book of

Sallisilah raja-raja Brunei (Sweeney

, P. L. Amin . 1968 ).

Arabs record:

The Arabs apparently called Brunei as Muja . This

was taken from the Arabic writer Abu Abdullah Ibn

Muhammad , in his book of Delights for those who

desire to travel around the world . On the other

account an Arab sea Captain pictured a city which

called " Sribuza " which described as the old Brunei

city . Robert Nicholl thinks that it may have been ruled by the members of the Royal family of

Funan who were driven from Khmer during the seventh Century (David Leake, Jr. . 1950: 3 ) .

The Arab wrote,

"There is no bay larger in the whole island, the tide felt every twelve hours. Crocodiles are

found there , but those which are in the port which adjoin the houses do not harm, having been

witched, as we have said, whilst those parts situated away from the buildings are

unapproachable by reason of these creatures.

Some houses are built on land, but the greater part float on water, sustained by pieces of

wood tied together to form raft, which last forever. They do this from fear of fire for their

houses being built of wood, are much subject to conflagration, and fire once having taken hold,

burns furiously. Placed on the water, the houses are better protected ........If fire breaks out at

one point, each householder can cut his moorings and make off going away to settle somewhere

else far from the blaze. If he is unhappy with some particular place, he can move to a different

quarter of the town.

These houses in the bay are arranged in such a manner as to form streets. The water

between the houses flows abundantly. It is fresh water which comes from the uplands to enter the

estuary and flows into the sea in the same manner as the Tigris ".

Europe voyagers:

Brunei glory was recorded clearly by the Portuguese voyager – July 1521 (The first voyager

around the world by Antanio Pigafetta ). He explained in great details about the architecture of

Brunei settlement and building.

“When we reach the city, …we mounted the elephants while those twelve men preceded us on

foot with the presents in the jars. In this way we went into the house of the governor, where we

were given a supper of many kinds of food. During the night we slept on cotton mattresses,

whose lining was of taffeta, and the sheet of Cambaia…Next day…we went to the King’s palace

upon elephants….We entered the courtyard of the palace mounted on the elephants. We went

up the staircase accompanied by the governor and other chiefs, and entered a large hall full of

many nobels, where we sat down on the carpet with the presents in jars near us. At the end of

the great hall is another hall higher but somewhat smaller. It was all adorned with silk

hangings, and two windows, through which light entered the hall, and hung with two brocade

curtains opened from it. There were three hundred foot-soldiers with naked rapiers at their

thighs in that hall to guard the king. At the end of the small hall was a large window from

which a brocade curtain was drawn a side, so that we could see within it the king seated at a

table with one of his young sons chewing betel….. if we wish anything, we should tell it to him,

so that he can communicate it to the higher rank. The latter would communicate it to a brother of

the governor, who is stationed in the smaller hall, and this man would communicate it by means

of a speaking tube through a hole in the wall to one who was inside with the king.” ,.. (Blair and

Robertson. Vol. XXXIII : 211 , Robert Nicholl . 1975 : 9 )

He added,

“That the city is entirely built in salt water, except the houses of the king and certain chiefs. It

contains twenty-five thousand hearts (families). The houses are all constructed of wood and

built up from the ground on tall pillars. When the tide is high, woman go in boats through the

settlement selling articles necessary to maintain life, there is a large brick wall in front of the

king's house with towers like a fort in which were mounted fifty-six bronze pieces and six of

iron.” ,.. (Blair and Robertson. Vol. XXXIII: 211, Robert Nicholl . 1975 : 10 )

Interesting fact,

In the same port is another city inhabited by heathens, which is larger than that of Moros, and

built like the latter in salt water. On the account the two peoples have daily contacts together in

the same harbor. The heathens king is as powerful as the Moro king, but not so haughty,.. ( Blair

and Robertson . Vol. XXXIII : 211 , Robert Nicholl . 1975 : 11 )

Maximilian of Transylvania wrote,

“Their houses are small, build of mud and earth, covered partly with rubble and partly with

palm leaves. It is ascertained that there are twenty thousand houses in the city of Porne.” ,.. (

Blair and Robertson . Vol. 1 : 328 , Robert Nicholl . 1975 : 17 )

A visit of Goncalo Pereira to Brunei in August 1530; “The city of Borneo is big, surrounded by a

brick wall, with many buildings where the kings live, and has magnificent palaces.”(Joáo de

Barros. Lisboa 1777;111, Robert Nicholl . 1975 : 24)

An account of Dr. De Sande's attacked on Brunei in 1578 (Blair and Robertson, Vol. XXXIV

p.381 from Robert Nicholl,1975 pp. 53-54) stated that the city was very large and rich and was

built over a very broad and deep river and had resembled Venice . He added that the building

were of wood, but the houses were excellently constructed, many of the them being constructed

of stone work and gilded especially the king‟s palaces, which were of huge size. That the city

contained a very sumptuous mosque, a very large and interesting building, quite covered

with half relief and gilded. Brunei indeed was famously known as the Venice of the East.

During the period of the first ruler to the sixth ruler, the city extended and the area was enlarged,

the traders reaped considerable wealth and Brunei became one of the most important ports

around the region which attracted the Europeans to focus in and to invade Brunei. From many

accounts, Brunei was widely known for her wealthiest.

The occupation of the

city on 16th

April 1578

(Blair and Robertson .

Vol. 1V : 166 , Robert

Nicholl . 1975: 40)

highlighted “….below

the said river, said to be

the house of the son of

the said king of Borney.

This house contained

large and well finished

piece of artillery, and a

number of culverins,

frecones, and other

offensive arms.

Advancing towards the

houses where it was

reported that the old

king of Borney lived

near the said house, they saw a large galley with more than twenty-four benches on each

side……Then the said governor went to the mosque located in the said town, where he found a

large chair, upon which, the say, sat the preacher who expounded the doctrine of Mahoma to

the said Borneans. Near this chair was a block of marble containing painted and gilded

pictures of idols. This and the said chair the governor ordered taken from the said mosque..”

The account made by Admiral Oliver Van Noort (the first Dutch man to visit Brunei) at the end

of 1600, stated the decline of Brunei in trading and population. The main reason of the decline

was due to the war between Brunei and Spain. The population decreased dramatically as the

Spanish succeeded in invading the city. Further, Oliver Van Noort sent Hollander to enter the

water city and he later stated that the town of Borneo is in a "swamp and consists of only some

three hundred houses surrounded by a good stone wall" (Historische Beschrijving der Reizen,

1975 p.33, Robert Nicoll, 1975 p.83).

It was believed that during this period, the population moved to the inner part of the Brunei

River, which is known today as “Kampong Ayer” and from there, the sultanate took counter

attack the Spaniard army from land which was led by “Bandahara Sakam”.

THE ORIGIN OF BRUNEI ARCHITECTURE STATED IN BATU

TARSILAH

The historical tomb stone which was situated in

Kubah Makam Diraja gave a strong definition

about where the arts and tradition of Brunei

came from. This interesting record was carved

by Khatib Haji Abdul Latif in 1807 A.D. He

stated:

“Inilah salasilah Raja-Raja yang kerajaan di

Negeri Brunei dinyatakan oleh Datu Imam

Yaakub, ia mendengar daripada Marhum

Bungsu yang bernama Sultan Muhyiddin dan

Paduka Maulana Sultan

Kamaluddin……menyuratkan salasilah ini

diketahui oleh segala anak cucunya Raja yang

mempunyai takhta Mahkota Kerajaan dalam

kandang Daerah Negeri Brunei Darussalam

yang turun-menurun yang mengambil pusaka

Nobat Nakara dan Genta Alamat dari Negeri

Johor kamalul Makam dan mengambil lagi

pusaka Nobat Nakara, Genta Alamat dari

Minangkabau iaitu Negeri Andalas. Adalah

yang pertama kerajaan di negeri dan membawa

agama Islam dan mengikut syariat Nabi kita Muhammad Sallallahu „Alaihi wa Sallam iaitu

Paduka Seri Sultan Muhammad dan saudaranya Sultan Ahmad. Maka beranak seorang

perempuan dengan isterinya saudara Raja China yang diambil oleh Sharif Ali yang turun dari

Taif. Maka Sharif Ali itulah kerajaan dinamakan ia Paduka Seri Sultan Berkat yang

mengeraskan syariat Rasulullah Sallallahu ‘Alaihi wa Sallam dan berbuat masjid dan segala

rakyat Cina berbuat Kota Batu….

By referring to this tomb stone, the ethnic tradition, arts, culture and „adat‟ was inherited from

Negeri Johor Kamalul Makam (Old Singapore or Tumasik) and Minangkabau of Negeri

Andalas.

Pehin Orang Kaya Amar Diraja Dato Seri Utama (Dr.) Haji Awang Muhammad Jamil Al-Sufri

mentioned in his book; Tarsilah Brunei referred Negeri Johor as “Singapura Tua” because of the

existence of ” Kesultanan Melayu” or Malay Sultanate and the tradition which was set by Sang

Nila Utama or Sri Tri Buana. This evidence was again supported by the marriage of Awang Alak

Betatar or Sultan Muhammad Shah, the first Sultan of Brunei with Puteri Johor, the daughter of

Raja Muda Seri Rana Wikerma.

The link between Brunei ethnic tradition and culture with Minangkabau went back to the blood

line of the fourteen brothers. As stated in history, the word “Demang” and “Pateh” were

normally used by Nobel of Minangkabau. And by referring to Awang Alak Betatar brothers,

their names were of “Demang” and “Pateh”: Pateh Berbai, Patih Mambang, Pateh Tuba, Pateh

Sengkuna, Pateh Mengarrun, Pateh Malangkai, Pateh Pahit, Pateh Sindayoung, Pateh Laila

Langgong, Demang Sari, Demang Lebar Daun, Awang Semaun and Hapu Awang.

Nevertheless, the blood line from Puteri Johor has also linked to the King of Minangkabau. In

the journal written by Haji Muhammad Abdul Latif stated that:

“…Puteri Johor yang berasal daripada Raja Minangkabau yang dikatakan turun dari Bukit

Siguntang, ataupun Raja Geroyong yang disebutkan itu ada kaitannya dengan Kerajaan

Pelambang Sriwijaya…”(Jurnal Darussalam. Bil.2, 1995:86)

From these statements, it was found out that there were also similarities in term of cultures,

tradition, adat, the way these people lives, cloths the people wear, foods they eat and motives of

decorations between Brunei, Minangkabau and Johor (Melayu Singipura Tua).

As a conclusion, Brunei architecture evolves from the combination of these three elements of

culture and tradition. The strong influence of Minangkabau architecture somehow had changed

through generations and added up with the influence of strong Islamic religion, culture and

tradition by Sultan Sharif Ali.

Sharif Ali influences was very strong, during his era, the administration systems were improved,

and the teaching of Islam which was led by him had brought Brunei to become the hub of

Islamic education centre. As stated, he built a magnificent mosque in Kota Batu. With his

experiences and educations, Hudud law was implemented in Brunei. This brought Brunei to

wealth through good governance, good economic atmosphere and a safer distention. As part of

the defence system, he instructed the Chinese to build the strong wall against any intruders as

what had stated in Batu Tersilah.

THE ACHITECTURE THE TRADITION

The tradition which came from the Palace is very

rich of her culture and adat. Adat Istiadat Diraja

which was written by Pehin Jawatan Dalam Seri

Maharaja Dato Seri Utama Dr. Haji Awang

Mohamad Jamil Al-Sufri has lay out the Adat of

Brunei, the palace and the people. Thus this

reflects the architecture and arts of Brunei.

What was interesting with Adat Istana is that the

Adat was very strong, it sustained throughout

generations until present day today. If we

compared the account which was recorded by

Antanio Pigafetta with today‟s orientation of

“Balairong” or “Lapau”, the layout and the design

didn‟t change very much. This means that the

culture and tradition of Adat in the palace is very

solid.

The form of architecture which has the similarity

with the picture recorded during the era of Sultan

Bolkiah, 5th

Sultan of Brunei was the magnificent

mosque to “Patarana” and “Singgahsana”. Such

as:

1. The corner eaves.

2. Staggered roof called leleher.

3. Roof shape, not a hip roof nor a dome.

4. Motifs.

Patarana

Picture drawn by European voyager

Mahligai in Omar Ali Saifuddin Mosque lagoon

According to the source, the public building such as “Istana” (Palace) or Mosque can be

identified by those factors. These buildings normally have corner roof eaves consists of „Patra‟

with „Buah Buntun‟ and on the top installed with „Nanglong‟.

THE ARCHITECTURE OF UNTOLD

Adat ; customary law of the indigenous peoples. It was the unwritten, traditional code governing

all aspects of personal conduct from birth to death. Two kinds of Malay adat law developed prior

to the 15th century: Adat Perpateh developed in a matrilineal kinship structure in areas occupied

by the Minangkabau people in Sumatra and Negeri Sembilan; Adat Temenggong originated in

bilaterally based territorial social units. Both adat forms were markedly transformed by Islamic

and later European legal systems.

Adat Perpateh emphasized law based on group responsibility. Criminal or civil offenses were not

differentiated. Punishment stressed compensation rather than retribution. A crime was absolved

by payment in kind, for example, or by a reconciliation feast given to the aggrieved person.

Payment was enforced by community pressure. Mutilation and death penalties rarely were

invoked. Acceptance of circumstantial evidence was a prominent feature of Adat Perpateh.

Prior to Islāmic influence Adat Temenggong consisted of a mixture of Hindu law and native

custom. It encompassed civil, criminal, constitutional, and maritime law and invoked torture,

amputation, or even death as punishment for offenses.

Both adat systems continued into the 20th century, until formalized European jurisprudence

largely displaced them.

In this case we will be referring to Adat Brunei which may be taken from both Adat or could be

structured in areas which linked to Minangkabau.

Adat Brunei has four categories:

1) Adat of Law of Islam

2) Adat of custom

3) Adat of any tradition as according to the ethnic group

4) “Adat resam” as social habits

In term of relationship of Adat to architecture, all categories are related. Some has “Pantang

larang” (prohibition) especially during the designing process and during the erection of any

building structure. We experienced that Adat lost though the modernization. The belief was

against the technology nowadays. It seems to diminish from the Malay culture, WHY? This was

due to the influence of intellectual engineering which has changed the construction industry in

the Malay world, awareness in the knowledge of religion and the acceptance of new technology.

This believes include:

1. Selecting the month, the date and the best time of starting the construction.

2. Orientation of the main door.

3. Selecting the right time to move to the new house.

In Malay world, the use of “depa” or “dapa”, „Sirang” and “hasta” are the tradition and the

standard measurement. Those have been forgotten since imperial and metric system was

introduced and indorsed.

The standard measurement in the adat:

For example; before constructing any building, the measurement of human “dapa” is measured to

determine the suitability of the occupants with the new building that will be erected. It is

measured from one end to the other end (wall to wall). Normally the measurement should end

with the ODD counts, such as 17, 19, 21….It was believed that odd number will cool the house.

But to rationalize that, it could relates to the Islamic believes that the Prophets like the odd

numbers. It goes the same to Doors. The adat prohibits having even number in door openings to

the house. Normally the Malays will prefer to have odd doors opening instead of even. Three

doors will be acceptable rather than two. The count will start with “hidup” and “mati”, by having

three doors it ends with “hidup” or live.

Another example is the main entrance door which should be facing to the sun rise, which means

door located to the East. In adat, the main door open to morning light which is translated as

“rezeki” (to receive wealth every morning). In modern thinking, the main door toward the east is

better rather than the west because heat received in the morning will be minimal if to compare to

the afternoon heat, whereas north and south are the area for windows and for better air

circulation into the building.

ISLAMIC INFLUENCES IN BRUNEI ARCHITECTURE

In the Malay Kingdom, religion and culture are formed as part of the daily belief, custom and

tradition. There are attached and related to each other. The Malays are very strong of Adat, ever

since the coming of Islam, the adat melayu which was merely came from Hinduism is still

widely used and accepted. The strong arts were then added with religion to abolish the belief of

Hinduism. At present Adat has changed its definition from law and belief into arts and culture.

Same to Malay architecture, the adoption of good practice in Islam was taken and brought in

together as part of the concept in the design process.

In today setting, design of needs and location become priority. For example, designing between

bedrooms to living room and toilets; toilets should be located at the rear direction of Qiblat

(direction of mecca). WCs direction should be facing sideway (north or south direction) which

means not facing to the west (a symbol of respect).

Function leads to requirement and requirement follow function.

BASIC ELEMENTS IN THE BRUNEIAN HOUSE

The Malay houses in Peninsular Malaysia, Singapore, Indonesia, Borneo and the Philippine

Island are quite similar in terms of their functions and the way of construction as to Bruneian

houses. This could be the result of the continuing process of learning from one generation to

another and the introduction of similar expertise throughout the Malay community. However

some small differences in styles can be detected which helps to identify the authenticity of their

architecture.

The original architecture of the Brunei Malay house can be identified through some features:-

1) Pemantung tinggi

It is an unmovable piece of board about 300mm to 450mm in height or could be higher, located

above the floor finished level at the main door entrance. The door panel is raised above the

pemantung level to be placed. People have to step over the pemantung in order to enter the

house. The idea is to classify the barrier of the outer and the inner part of the house (the public

and the private). It is a custom that the guest and the member of the family to take off their shoes

before entering the house, by having pemantung, it indicates the boundary line of the interior and

the exterior space. Another function could be to prevent small children from going out to the

outer part of the house such as lorong and pantaran area (safety hazard). This also identified

zone of male and female area.

2) Pantaran

For Kampong Ayer, it is a platform made up of timber located in front compound of the house

and considered as a foyer or informal sitting area. Any visitor will pass through the pantaran

area in order to get in the house. Pantaran is used as a working area for the male family

members to do their simple work, such as hanging up the "pukat" and fixing the broken net.

Nowadays the pantaran is normally wider and used as a small play area for the kids. A small

access staircase made up of timber is also fixed in most pantaran for access to the water-taxi or

perahu. Pantaran is also useful for conducting ceremonies, like wedding and family gathering.

Some pantaran is lower than the house level (about 100 mm to 150 mm drop). The difference

between Brunei Pantaran and Malaysian „Serambi‟ is that Brunei pantaran is linked to the rear

part of the house (Kitchen) by an open corridor.

3) Sampaian and titian tikus

Sampaian is a ceiling joist made up of timber which runs through the upper wall all around the

house. Titian Tikus supports the Sampaian and is also made up of timber. The Sampaian is used

to hold the ceiling finish whereas the Titian Tikus can serve as ventilation. There were introduced

by the Rumah Belah Bubong and later present in other house types. Because of the introduction

of bricks and concrete structure, Sampaian and titian tikus lost its place in the building industry.

In 1950, the system of fixed louvers was introduced to replace the titian tikus. It has the same

function and is fixed on top of the window frames and sometimes in doors.

4) Tangga pemandian (bathing staircase)

Tangga pemandian is situated at the rear back of the house. It consists of several platforms for

washing and bath taking. The platforms are made up of bamboo or nibung, sometimes timber

depending on the high and low tide. The width of the platform varies but the normal length is

about a meter. Normally Tangga pemandian is covered by walls all around for privacy. Since

proper piping system and proper sanitation has been introduced, the tangga pemandian is no

longer required and therefore has been distinguished.

CHALLENGE IN THE NEW ARCHITECTURE FORM

We have seen the traditional architecture diminished and changed. This was due to the

introduction of new and faster technology in construction, the introduction of new materials and

also the influence of new thinking (copied architecture from famous architects).

How can we sustain our architecture identity? How do we approach the identity in the modern

architectural thinking?

The conclusion, the Architecture of Brunei is not only identify or define by its forms and motif

but also through other disciplines of Adat. In today‟s world, Architects are challenged to produce

new forms concept with new look which is away from the traditional style.

Although the shapes of the new forms are transformed to somewhat away beyond the traditional

look, it is believed that with the strong understanding of adat and the arts, the messages and the

elements of local architecture can be brought together and read in a different way. And this will

bring any building into a beautiful piece of architecture.

Example of two different approaches of the adat and arts in the contemporary architecture;

1. Al Falaah school

The design was produced the combination of three components, which was translated as

the MIB design concept.

i) The location on the hill which represent the high icy status of „Raja‟.

ii) The span of arm as „Dapa‟ and „Sirang‟ which represent the Malay.

iii) The Islamic design which represent Islam.

2. Work project – Balai Seni

The arts and performance theatre where the design was taken from the concept of the

malay dance. Malay dance portrays the custom or „adat resam‟ and culture or „Budaya‟ of

the Malays. Malay dance which was used is called „Zapin‟.

i) The interaction between male and female: relationship between public space and

private space.

ii) The movement of the dance: the movement through the space and time.

iii) Music: the feeling, emotion and the harmony of ambiance in a space.

iv) Dress: fabrics

v) The three parts of the chapter:

a) Taqsim (act of respect) act as welcome and respect,

b) Tinkah (rhythm) act as excitement and exploring the culture,

c) Tahtim (ending and excuse with respect) act as ending up with happy memory.

vi) Relation of audiences and performers.

Al Falaah School

Balai Seni

\

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