Academic literature on the topic 'Batak Architecture'

The Batak are the majority in North Sumatra. The Batak tribe even has another sub-tribe, namely Toba  Batak, Karo Batak, Simalungun Batak, Mandailing Batak and Angkola Batak. Every Batak tribe has its own  distinctive culture and identity. Batak tribes have traditional buildings which are traditional Batak  architectural identities. The diversity of the Batak tribe caused the phenomenon of visual aspect equality in  traditional buildings because of the effects of secession and cultural integration. The Toba Batak  architecture has the concept of a stilt house and pointed gable construction in both directions and a peg and pen structure system is evidence of similarities with Angkola Batak architecture. Angkola Bataks are part of the Batak tribe. Angkola Batak is a tribe in the area of South Tapanuli. The Toba Batak is the center of the Batak culture. The Toba Batak has one of the traditional Sopo buildings, namely Sopo. Sopo functions as a barn, but also an art venue and meeting place. Angkola Batak has one traditional building that represents the traditional architecture of the Angkola Batak namely Sopo Godang. Serves as a meeting place for the king and the people. It is a place where tradition is based on Dalihan Na Tolu which produces consensus and mutual agreement (The King and People). Sopo Godang is a part of traditional Batak architecture that needs to be preserved. The benefit of this study is to collect data on traditional Angkola Batak architecture and data on structures that are characteristic of the Angkola Batak

Space and architecture are two interrelated and encompassing concepts. However, space has a broad meaning in terms of location, privacy, and function such that the relationship between two spaces creates a different atmosphere and impression. A lot of studies have been conducted on space but there is no much focus on the concept of 'in-between space'. This research was, therefore, aimed at exploring in-between space in order to create a clear understanding and identify its concept in Batak Toba vernacular architecture. A content analysis method was adopted and this involves analyzing texts and images related to in-between space and Batak Toba architecture. The results showed the concept as an overlap created by two spaces in order to feel the atmosphere of both simultaneously. It was also discovered not to be a definitive space but found in the Batak Toba architecture to create a relationship between privacy, function, and environment. This means it is a key feature of the architecture and also expected to be a fundamental element in the modern Toba Batak architecture. These results are expected to serve as the basis for further in-depth research and to be applied in other ethnic architectures.

Indonesia is a super cultural power country, rich in customs and culture line from Sabang to Merauke, from Nias to Rote Island. Cultural wealth breeds architectural diversity. The potential of original Indonesian architecture has begun to be left behind and eroded by foreign cultures. The postmodern era has raised Nusantara Architecture to the world stage. Researches on the wealth of Nusantara architecture begin to bloom like mushrooms in the rainy season. The phenomenon of the skills or expertise of the masters has made traditional houses an endless research material. The purpose of this research is to explore the treasures of the Indonesian nation's wealth, especially the craftsmanship skills of Indonesian ancestors. The phenomenon of tying, knitting, and stringing materials into architectural masterpieces is a uniqueness and uniqueness that other nations do not have. The method used in this study uses the phenomenological method. Where in the vernacular architectural phenomenology is divided into two branches; first: related to space, place, and atmosphere, second: related to tectonic or the art of construction more on the elements of craftsmanship. The results of this study reveal that simple and straightforward technology becomes effective when it comes to craftsmen who have special skills. The conclusions of this study indicate that the skill of the masons is more dominant than the tools used, on the other hand, currently tools are more dominant than the skills of the masons.

Title: Study of Toba and Toraja Batak Architectural Forms as a Result of Collective Austronesian Memory The archipelago (Indonesia) that we live in today is the distribution of the Austronesian people who lived in riverine areas in South China and North Vietnam in the mid-4th BC. Cultural development in an area results from a mixture of internal and external things. The mixing of culture and art by early settlers and new settlers resulted in diverse architectural forms, even though they share the same principles of traditional values (Austronesian collective memory). Toba and Toraja Batak architecture is hollow architecture with a similar roof shape that resembles the shape of a boat, a typology of houses and barns facing each other, and a housing complex oriented to form a particular axis. This research used an exploratory-qualitative approach, using literature sources combined with direct observations in the field. This research aims to find the level of closeness between Toba and Toraja Batak architecture based on the collective memory of the Austronesian people.

Architectural design is the process to create a building that aims for the comfort and beauty of the building itself. An architect in creating or designing a building cannot be separated from the use of design principles in his design, in order to create aesthetics in his architectural works. This study aims to show that design elements and principles which are a European mindset can show that Indonesian architecture also has design principles such as modern, classic, and contemporary architecture. With this awareness in mind, research on Archipelago architecture should be carried out critically so that the European knowledge taken is the knowledge that has been able to conform with the Archipelago mindset, not with the European mindset. This research can be useful for providing knowledge or insight into proving a European design principle (mindset) that can also be applied to objects of archipelago architecture. Explorative research method with a qualitative approach. European-minded design principles to recognize the existence of Batak Karo architecture. The analysis is carried out by ensuring that Kurt Dietrich's principles are based on the European mindset of the Karo Batak, which results in non-European design principles. The test was carried out to discuss whether there were design principles that applied to the Karo Batak, it was found that exclusive design principles were a unified archipelago design principle, and had the peculiarities of each architecture as well as diversity in archipelago architecture.

This research explores the concept of geometry in the architectural symmetry of Toba Batak traditional houses. The main focus is on the symmetry patterns that exist in the layout, decoration and structural elements of this traditional house. This research aims to investigate the concept of geometric symmetry in Toba Batak traditional houses, with a focus on cultural values, philosophy and visual harmony reflected in architectural design. Data was obtained through literature studies which included scientific journals, books, articles and previous research. The results of this research not only provide a deeper understanding of Indonesia's rich culture, but also have the potential to contribute to the preservation of Toba Batak traditional houses and cultural heritage as a whole. By understanding the role of geometric symmetry in this traditional house, this article opens insight into how this element is an integral part of the architectural heritage of the Toba Batak tribe, explores deeper cultural values, and introduces new literature in the context of traditional Indonesian architecture.

Dalihan Na Tolu is a philosophical meaning for Batak ethnic group which means ‘tungku tiga kaki’ in Indonesian. Dalihan Na Tolu has become the dwelling of the Batak people which is a three-inseparable unity (respect, help, and appriciate) in the life of the Batak people and is implemented into the concept of the traditional Batak house architecture. This project will expose the life of the ethnic group to the outside community, in order to other people understand the way of living, eating, socilizing, and understanding the history of Batak ethnicity. The project will eliminate any negative stigma about the group. In addition, this will give Batak people different perspective about outsiders. As a result, the value of the area in Cililitan which has been exclusive will increase. Moreover, the design solution offers re-creating interactive programs that elevate the essence of the Batak people. This can be done by adapting architectural details from traditional Batak housesandornaments. For example, the use of windveil with Batak Gorga motifs, wooden blinds with geometric shapes of Ulos cloth motifs, and solar panels to produce and save energy. In conclusion, the building that is designed becomes music through air, light, and sound Keywords: Batak; Cililitan; Dalihan Na Tolu; Dwelling; Windveil AbstrakDalihan Na Tolu berarti mengembalikan esensi seluruh etnis Batak yang artinya tungku tiga kaki. Dalihan Na Tolu ini menjadi cara hidup orang Batak yang merupakan tiga kesatuan (menghormati, menghargai, dan menolong) yang tidak dapat dipisahkan dalam kehidupan orang Batak dan juga implementasi ke dalam konsep rumah adat Batak. Proyek ini bertujuan untuk mengeskpos kehidupan etnis Batak kepada masyarakat luar, sehingga masyarakat luar dapat merasakan cara berhuni orang Batak mulai dari berhuni, makan, besosialisasi, berinteraksi, dan sejarah tentang orang Batak, sehingga tidak muncul lagi stigma-stigma negatif tentang orang Batak. Selain dari itu, dari kalangan orang-orang Batak sendiri dapat melihat ke arah luar, di mana banyak masyarakat luar yang tertarik dan ingin tahu tentang cara hidup dan berhuni orang Batak sehingga dapat meningkatkan nilai kawasan di Cililitan yang selama ini bersifat eksklusif. Solusi yang ditawarkan ke dalam perancangan adalah mengangkat kembali program-program interaktif yang mengangkat esensi orang Batak menjadi program-program pada perancangan, begitu pun detail-detail arsitektur yang mengadaptasi dari rumah adat Batak, dan ornamen-ornamen Batak seperti penggunaan windveil dengan motif gorga Batak, penggunaan krepyak kayu dari bentuk geometris motif kain ulos, maupun solar panel untuk menghemat energi yang menghasilkan pengudaraan, dan pencahayaan alami. Jadi bangunan yang di desain menjadi bermusik lewat udara, cahaya, dan suara.

Medan City is a city that has a variety of cultures and traditions. This diversity can give color to the world of tourism, especially in the city of Medan. One of the customs and cultures in the city of Medan is the Batak Toba, a native of the North Sumatera province. Tourism with high cultural value will make a positive impact on visitors who come to study and recreate in the tourism area, especially this museum. The design involves two different aspects where the design must be able to unite the Vernacular aspects that exist in the existing site as well as the modern touch of Neovernacular Architecture. The diversity of the arts and culture of Batak Toba Culture increasingly supports the achievement of space inside and outside the museum. It attracts visitors to calm the mind, relax, and learn many things about Batak Toba Arts and Culture. The existence of the Batak Toba Arts and Culture Museum is expected to increase the number of local and foreign tourists visiting the area to find out and perverse the Batak Toba culture

Idealizado como uma \"cidade industrial ideal\", o antigo núcleo industrial de Batatuba, situado no município de Piracaia (SP, Brasil), é praticamente invisível na historiografia das realizações urbanísticas no Brasil, embora em seu projeto sobressaiam seu caráter social e sua filiação ao pensamento moderno. Batatuba integrara um programa internacional de cidades destinado a concretizar, arquitetônica e urbanisticamente, a expansão mundial da Companhia calçadista Bata, que se iniciara e florescera no entreguerras. Ainda que emissárias dos princípios da racionalidade e eficiência de Taylor e Ford, as ações dos dirigentes da Companhia - inicialmente as de seu fundador, Tomas Bata (1876-1932, chamado de Henry Ford da Europa Central) e depois as de Jan Antonin Bata (1898-1965) - contribuíram para inaugurar novas referências nos campos do planejamento urbano e territorial, da organização industrial e das relações de trabalho naquelas décadas. O núcleo industrial de Batatuba fora iniciado por Jan Antonin Bata por volta de 1940, sendo possível notar a permanência, tanto no desenho de sua planta urbana, quanto nos remanescentes atuais, do \"vocabulário\" urbanístico replicado nas \"cidades-em-série\" da Companhia. Assim, não seria gratuita a flagrante semelhança do plano de Batatuba com outros planos para uma cidade industrial ideal, como Batovany-Partizanske (atual Eslováquia). Durante a expansão internacional da empresa nos anos 1930 este vocabulário desenvolvera-se gradualmente em Zlín (atual República Tcheca), então a cidade-sede da Companhia Bata, e por meio de seu escritório de arquitetos, sendo a base desta linguagem a racionalidade no uso de materiais e técnicas construtivos e a padronização e reprodutibilidade. Esta orientação se expressou nos planos urbanos, onde os bairros residenciais revelavam a preferência pelo modelo da cidade-jardim e o lema de Tomas Bata \"Trabalhar coletivamente e viver individualmente\". Aspecto fundamental desta evolução foi a aproximação da empresa com os arquitetos dos CIAM (Congressos Internacionais de Arquitetura Moderna) e alguns de seus expoentes, como Le Corbusier, atraídos pelo ideário social, arquitetônico e urbanístico da Companhia e pelas possibilidades projetuais proporcionadas pelo porte global desta. Elemento de ruptura desta evolução, a Segunda Guerra Mundial representou uma inflexão no modus operandi da Companhia. Por volta de 1940, Jan Antonin Bata iniciou nova etapa nos negócios, adquirindo no Brasil, onde passou a residir definitivamente, as empresas Companhia de Viação São Paulo - Mato Grosso e Companhia Comercial Alto-Paraná. Nesta fase as ações de Jan Bata adquiriram nova tonalidade. Com suas empresas, participa do desbravamento do oeste paulista e do sul do então Mato Grosso, planejando e fundando cidades e núcleos de caráter agroindustrial: Vila CIMA (Companhia Industrial, Mercantil e Agrícola), Mariápolis, Bataguassu, Batayporã, Kennedyba - intentando, afinal, contribuir para incorporar os \"espaços vazios\" de Vargas à economia brasileira. No que se refere às realizações arquitetônicas e urbanísticas, a fase brasileira de Jan Bata, por sua quase total ausência na historiografia, ainda carece de melhor conhecimento e análise. Este trabalho pretende distinguir esta fase - situada entre os anos de 1940 e 1965 - e relacioná-la com as cidades da Companhia Bata criadas durante os anos do entreguerras (1918-1940). Busca analisar, preliminarmente e à luz do Movimento Moderno e das questões locais, em que medida aquela constância programática exercida pela Companhia, no planejamento da vida coletiva, do trabalho e da produção industrial, de expressão urbanística e de cunho econômico, foi seguida no ambiente brasileiro sendo preservada ou reinventada.
Idealized as an \"ideal industrial city\", the old industrial core of Batatuba, located in Piracaia (SP, Brazil) is virtually invisible in historiography of urban achievements in Brazil - although its project manifests a social character and an ascendancy of modernist thinking. Batatuba had integrated an international cities\' program aimed to materialize in architectonic and urban ways the global expansion of Bata footwears company, which began and flourished during the 1920-1930 decades. Although reiterating Taylor\'s and Ford\'s rationality and efficiency principles, the actions of Bata Company\'s directors (the first, Tomas Bata, 1876-1932, so-called \"Henry Ford of Central Europe\", and afterwards, Jan Antonin Bata, 1898-1965) added to inaugurate new references on urban and territorial planning, industrial organization and labor relations in those decades. The industrial core of Batatuba had been launched by Jan Antonin Bata by 1940, and its possible to notice the persistence of urban vocabulary replicated in the companys serial-cities, even in its urban plan and in its remaining buildings. In this sense, it wouldn\'t be a coincidence the clear similarity between Batatuba\'s plan and others Bata\'s \"ideal industrial city\", such as Batovant-Partizanske (Slovakia). During the company\'s international expansion during the 1930s that vocabulary had been gradually developed by Bata\'s architects in Zlín (Czech Republic nowadays, then the host city of the Company). Rationality in material\'s use and construction techniques, standardization and reproducibility turned into the basis of that language. Those orientations were expressed in urban plans, where residential neighborhoods revealed the preference for a garden-city model and for Tomas Batas motto: \"Working collectively and living individually.\" An important feature of that development was the company\'s approach to CIAM\'s (International Congresses of Modern Architecture) and some of its exponents - such as Le Corbusier, attracted by Bata\'s social, urban and architectonic ideas and by the possibilities offered by company\'s global extents. Second World War represented a collapse on that evolution and a shift in Bata\'s modus operandi. By 1940, Jan Antonin Bata started a new stage in his business, buying in Brazil - where he would live definitively the Road Company Sao Paulo-Mato Grosso and the Alto Paraná Commercial Company. At this stage, Bata\'s actions acquired new hues. With his companies, he participates in the profiteering of the West of São Paulo and Southern of the old Mato Grosso States, planning and founding cities and urban cores marked by an agro-industrial character: Vila CIMA (Industrial, Commercial and Agricultural Company Town), Mariápolis, Bataguassu, Batayporã, Kennedyba searching for, at least, contribute to incorporate the Brazilian empty spaces to national economy during Vargas years. In relation to urban and architectural achievements, the Brazilian phase of Jan Bata - by its almost complete absence in historiography - still needs better understanding and analysis. This paper aims to distinguish this stage - located between the years 1940 and 1965 - and relate it to Bata\'s cities created during the interwar years (1918-1940). Besides, this paper searches for analyze - preliminarily and under local issues and Modern Movements focus in which terms that programmatic constancy featured by Bata\'s (on planning collective life, work, industrial production in urban and economic ways) would been maintained or reinvented in Brazil.

The content of this diploma thesis is an urban study with the architectural details of the former Bata Industrial Park in Partizánske, and a particular conversion program for the building. My goal was to find a suitable concept for converting building no. 61 with respect to the city, to the people living in it, and to reintegrate into the life of a building that is empty today, unused and dilapidated. The goal was not to forcefully fill the functions of the building, but in successive steps and phases to find a solution how to reuse the building and to point to the factory as a element of the city's foundation and also to highlight the unique architecture of the Baťa period.

The aim is to examine the possibility of increasing surface standard with varying intensity interventions and proposals for improvement of the technical condition of the building. Suggest three basic variants of reconstruction A, B, C according to the type, shape and position of the staircase. For a detailed elaboration select one variant - C2. Designing the two approaches to improve the technical condition of the building and internal microclimate - internal and external insulation. Both approaches are compared and evaluated their pros and cons.

Thesis evaluated the proportion of functionalist architecture and urbanism of the city Sezimovo Ústí. Based on the review of the literature, questionnaire surveys and their own particular field survey work, the author tried to understand the influence of functionalist architecture and Bata planning concepts and ideas to present of the city Sezimovo Ústí 2 and also tried to find links from this time in the life of city and incorporating them into the project of the trail and approximate these problems to today's generation.

This chapter discusses the historic areas that are living habitats that grew before the science of architecture and urban design happened in a formal way. In the case of the Kampung Kauman neighbourhood area, the area is a result of an agglomeration of residents with similar job types as Batik makers. However, the district was designed by an indigenous Javanese planner or Kalang who has a responsibility to design and build the area. The method used a combination of computational climate simulation to investigate outdoor spaces, surface radiation. Further, this chapter conducted an ethnographic study qualitatively through field surveys. The results captured people's activities at different times during the day. The results also indicated that most of the Javanese buildings can consider climate as responding to buildings and public spaces. The concluding remarks identified the relation of the urban morphology from indigenous Javanese culture with people activities through spatial investigation.