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Training Reporton
Cultural Heritage Protection
Training Course for Researchers in Charge of Cultural Heritage Protectionin Asia and the Pacific 2012 - Indonesia 12 June-12 July, 2012, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)

2

Training Reporton
Cultural Heritage Protection
Training Course for Researchers in Charge of Cultural Heritage Protectionin Asia and the Pacific 2012 - Indonesia 12 June-12 July, 2012, Nara, Japan

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Nara Prefecture Nara Branch Office Ground Floor
757 Horen-cho, Nara 630-8113 Japan
Tel: +81(0)742-20-5001
Fax: +81(0)742-20-5701
e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp
Printed by MeishinsyaⒸ Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2013

The on-site lecture in Horyu-ji Area, Nara

Mr Kobayashi (right) explained how to prepare traditional wall clay at Himeji-jo Castle.

An explanation on how the fallen chimney by the Great Hanshin Earthquake was restored.

At the west pagoda in Yakushi-ji Temple

Adjusting a shutter speed and an aperture valuePractical training of photography at Gango-ji Temple

Scale drawing in Tanaka Family Residence

Practicing yari-ganna, a spear planeA lecture by Mr Hayashi at NNRICP

The closing ceremony at the ACCU Nara officePreface
The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU Nara) was established in August 1999 with the purpose of serving as a domestic centre forpromoting cooperation in cultural heritage protection in the Asia-Pacific region. Subsequent to its
establishment, our office has been implementing a variety of programmes to help promote cultural
heritage protection activities, in close cooperation with the Agency for Cultural Affairs, Japan(Bunkacho); National Institutes for Cultural Heritage, National Research Institute for Cultural
Properties, Tokyo and Nara; the Nara Prefectural Government; the Nara Municipal Government;
universities; and museums.
The ACCU Nara’s activities encompass training programmes for the human resources development;international conferences and seminars; the website for the dissemination of information relating tocultural heritage protection; and the world heritage lectures in local high schools. In addition to those,
ACCU Nara offers “Local Training Workshop” which dispatches a group of lecturers from Japan toone of Asia-Pacific countries and implements the practical training on cultural heritage protection onsites. Besides, we annually appoint “International Correspondent” from each country for the purposeof establishing closer ties with the countries in the Asia-Pacific region, who will periodically sendlatest reports on cultural heritage protection in their country.
Our office has been conducting two types of the training course in Nara: for the group and for theindividuals. The group training course offers the opportunity to sixteen experts from the Asia-Pacificregion for about one month with two themes in alternate years: “Preservation and Restoration of
Wooden Structures” and “Research, Analysis, and Preservation of Archaeological Sites and Remains”.
Meanwhile, the individual training course is organized for a few researchers from one country on thespecific theme according to their requests.
ACCU Nara has learned that one of the most urgent issues currently facing Indonesia is a shortage oftrained conservation architects who can conserve groups of traditional wooden buildings as historiclandscapes for better utilization of them, and therefore we have invited three researchers into theIndividual Training Course 2012 for providing them with basic and practical techniques onrecording/documentation of wooden structures for preservation of townscape and historic villages.
They belong to Ministry of Education and Culture, being engaged in cultural heritage protection inIndonesia. This programme was also organised so as to provide them with opportunities to be exposed
to as many preservation districts for groups of traditional buildings, townscapes in Nara, Kyoto andKobe as possible. They saw with their own eyes how heritage architecture or vernacular houses were
preserved and managed in Japan. It was our pleasure that they worked with us as assistants at theregional workshop held in October 2012 in Indonesia and we enjoyed the reunion.

Finally, we would like to express our sincere appreciation to Agency for Cultural Affairs, Japan(Bunkacho); Nara National Research Institute for Cultural Properties; Imperial Household Agency;
Nara National Museum; Todai-ji Temple; Gango-ji Temple; Nara Prefectural Board of Education;
Nara Municipal Board of Education; Kyoto City Board of Education; Kashihara City Board of
Education; Hyogo Prefectural Board of Education; Kobe City Board of Education; and Himeji
Municipality for their cooperation and support.

NISHIMURA Yasushi
Director
The Cultural Heritage Protection Cooperation Office, Asia-Pacific
Cultural Centre for UNESCO (ACCU)Contents
PrefaceI.

Introduction
1. General Information････････････････････････････････････････3
2. Programme Schedule･･･････････････････････････････････････5

II.

Summary of Lectures･･････････････････････････････････････9

III.

Country Reports by Participants･･･････････････････････････35

IV.

Final Reports by Participants･･･････････････････････････････75

V.

Appendix
1. List of Participants･･･････････････････････････････････････101
2. Lecturers and Interpreters･････････････････････････････････102
3. Staff Members, ACCU Nara･･･････････････････････････････105

Introduction

I.

Introduction
1. General Information
2. Programme Schedule12

1. General Information
1. Organisers
The course is jointly organised by Agency for Cultural Affairs, Japan (Bunkacho); Asia-Pacific
Cultural Centre for UNESCO (ACCU); and National Institutes for Cultural Heritage, Nara National
Research Institute for Cultural Properties.
2. Background
The Republic of Indonesia comprises numerous islands with a number of ethnic groups which haveproduced diverse cultural properties rooted in unique cultures of their own. There exist not only manystone structures including Borobudur Temple, but also abundant wooden architecture such as old
mosques and vernacular houses, which need research study for preservation.
Ministry of Education and Culture recently realized that it would be the matters of urgency toconserve groups of traditional wooden buildings as historic landscapes for better utilization of them.
In addition, Indonesia is regularly hit by natural disasters and they have to prepare for that to protect
cultural heritage. For that purpose, the capacity building of conservation architects becomes the urgent
issues, because there are not sufficient numbers of experts in Indonesia to conserve wooden heritage
except some areas.
Based on this current situation in Indonesia and in response to a request from Directorate ofCultural Heritage and Museum, ACCU Nara has decided to invite young officials who are to engage
in conservation work of wooden heritage in Indonesia into the individual training course.

3. Date and Venues
Date: 12 June (Tue.) to 12 July (Thur.) 2012. [31 days]
Venues: Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU Nara); Facilities and museums of cooperating organisations.

4. Objective of the Training Course
A sequence of the individual training course aims at mainly providing participants with the basic
knowledge and practical technique in Japan concerning to measures for survey and preservation of thehistoric buildings which make up significant parts of the townscape and villages, and methods forconservation management and utilization of the townscape and villages as a whole, which will
accordingly contribute to the protection of cultural heritage in Indonesia.

5. Training Curriculum- Introduction to Recording/Documentation of Wooden Structures- Introduction to Restoration Techniques of Historic Building- Introduction to Preservation of Townscape and Historic Villages- Practical Works of Recording/Documentation of Wooden Structures and Townscape- Restoration Plan for Wooden Structures- Practical Works of Restoration of Historic Building- Practical Works on Preservation of Townscape and Historic Villages- Risk Management of Cultural Heritage

13

6. Participants
Muhammad Tang (Mr)Conservation of Archaeological Heritage Office of Makassar
Date of Birth: 23 November 1975 (Age 36)
Prita Wikantyasning (Ms)
Directorate of Cultural Heritage and Museum, Ministry of Education and Culture
Date of Birth: 30 November 1976 (Age 35)
Azahar Purwanto (Mr)Conservation of Archaeological Heritage Office of Samarinda
Date of Birth: 10 August 1986 (Age 25)
7. Process of Invitation
Dr Surya Helmi, Director of Cultural Heritage and Museum, Ministry of Education and Culture,
recommended three applicants suitable for the above mentioned invitation programme as participants.
Then ACCU Nara Office has determined to invite three applicants as participants through close
examination.
8. Others (Past achievement to accept participants)
Since 2000 when the above-mentioned invitation programme started, 44 participants from 15
countries have been accepted.
9. Certificate
Each participant will be awarded a certificate upon the completion of the course.
10. Language
English and Indonesian are main working languages of the course.
11. Expenses
Expenses for the training course will be borne by ACCU and comprise the following:(1) Travel expenses:
Each participant will be provided an economy-class return air ticket between the international airport
nearest to their residence and Kansai International Airport (KIX), and domestic transportation costs
between KIX and their accommodations in Nara.
(2) Living expenses:
Participants will be provided daily subsistence allowances during the training course, beginning from11 June (Mon.) to 13 July (Fri.) 2012. Arrangements and payment for accommodations will be madeby ACCU Nara.
12. Secretariat
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU Nara)
Nara Pref. Nara Branch Office757 Horen-cho, Nara 630-8113 JAPAN
Tel: +81-742-20-5001 Fax: +81-742-20-5701
e-mail: nara@accu.or.jp
24

2. Programme ScheduleDate
12

9:30-12:30

Tue.

Opening Ceremony (11:00- )Venue

13:30-16:30

Guidance to the Programme

13 Wed. On-site Lecture: Historic Monuments of Ancient Nara, World Heritage Site I

ACCU Nara
Todai-ji Temple, Kasugataisha Shrine and Kofuku-ji
Temple, Nara City

14

Thu.

Japanese Wooden Structures

Policy Measures for Protecting
Architectural Heritage

NNRICP

15

Fri.

Preservation of Townscapes and Rural
Settlement

Protection System of Cultural Landscapes

NNRICP

16

Sat.

17

Sun.

18 Mon. Documentation and Restoration Plan of Wooden Structures
19

Tue.

ACCU Nara

Practical Training: Recording of Wooden Structures I

20 Wed. Practical Training: Recording of Wooden Structures II

Tanaka Family
Residence, Nara City

June

21

Thu.

Practical Training: Planning for Restoration and Management Policy

22

Fri.

On-site Lecture: Practical Works on Townscape Preservation I

Imai-cho, KashiharaCity

25 Mon.

Recording of Wooden Structures andTownscapes (Photography)

NNRICP

26

Practical Training: Recording of Wooden Structures (Photography)

23

Sat.

24

Sun.

Tue.

Photograph Data Management

27 Wed. Practical Training: Recording of Townscapes (Photography)

Tanaka Family
Residence, Nara City
Nara-machi, Nara City

28

Thu.

On-site Lecture: Himeji-jo, World
Heritage Site

On-site Lecture: Practical Works on
Restoration of Historic Buildings I

Himeji-jo Castle,
Himeji City

29

Fri.

Risk Management of Cultural Heritage I

On-site Lecture: Practical Works on
Townscape Preservation II

Kobe City

30

Sat.

On-site Lecture: Japanese CarpentaryTools

On-site Lecture: Risk Management ofCultural Heritage II

Kobe City

1

Sun.

2

Mon. On-site Lecture: Practical Works on Restoration of Historic Buildings II

3

Tue.

4

Wed.

July

5
6

Dendrochronology

Nature of Wood and its Deterioration

Yakushi-ji Temple andToshodai-ji Temple,
Nara City.
NNRICP

Risk Management of Cultural HeritageIII

Rescue Operations for Cultural Properties in
NNRICP
Practice
Asuka Historical
Identification of Unearthed Architectural On-site Lecture: Practical Works on
Thu.
Museum / Tanzan-jinja
Members
Restoration of Historic Buildings III
ShrineFri. On-site Lecture: Buddhist Monuments in the Horyu-ji Area, World Heritage Site
Horyu-ji Temple

7

Sat.

8

Sun.

9

Mon. On-site Lecture: Historic Monuments of Ancient Kyoto, World Heritage Site

Kiyomizu-dera Temple,
etc., Kyoto City.

10

Tue.

On-site Lecture: Historic Monuments ofPractical Works in Museum
Ancient Nara, World Heritage Site II

Shoso-in /Nara National Museum

11 Wed. Writing Final Report
12

Thu.

Submission of Final Report / Colsing Ceremony

ACCU Nara
ACCU Nara

ACCU Nara: Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCONNRICP: Nara National Research Institute for Cultural Properties5

6

Summary of
LecturesII. Summary of Lectures7

8

Summary of Lectures
12 June (Tue.) Opening Ceremony / Guidance to the Programme
The opening ceremony began with a welcome message by Mr Nishimura, Director of ACCU Nara. He
addressed that many cultural heritage sites of timber construction still remained standing in Nara andhe hoped that the participants would fully interact with people in the local community who have been
making efforts to conserve them, and learn how to conserve wooden structures. He concluded that hewould look forward to seeing all the participants doing their best for this coming month. At the selfintroduction session, Ms Prita Wikantyasning wished to see many world heritage sites and learn a lot
from them; Mr Muhammad Tang expressed his determination to work hard in Japan; and Mr Azahar
Purwanto said that he would like to study about world heritage sites in Japan as an architect.
At the orientation session, ACCU staff explained following topics:- Geographical explanation of Nara
- Explanation of the seminar outline and schedule- Confirmation of the meeting times and places for the first week

Opening Ceremony at the ACCU Nara office

Orientation

13 June (Wed.) On-site Lecture: Historic Monuments of AncientNara, World Heritage Site I <IMANISHI Yoshio / NaraCity>
At Kofuku-ji Temple, Mr Imanishi explained about the use of
concrete to reduce costs when the kidan (foundation platform)
for the kairo (corridor) and the chumon (middle gate) were
restored, with an explanation on the laws related to theconstruction of new structures at a site designated as a cultural
heritage. These topics attracted the Indonesian participants’interest; they were to establish laws regarding the conservationof structures in their country.
Subsequently, they visited the Kofuku-ji National Treasure
Museum, Kasuga Taisha Shrine, Todai-ji Temple (the Nandaimon [great south gate] and the Daibutsu-den [great Buddha
hall]).
- Daibutsu-den was originally much larger than it is today.

A lecture at Todai-ji Temple

95Moreover, although the hall’s pillars were originally simply
tree trunks, today the pillars are covered with wooden plates
and they are bound together with metal rings.
- In previous restoration work carried out on the Nandai-mon,H-bar steel rods were used for some parts that were lessvisible, but this would not be the case today. It was explainedthat the principle of repair works today was to avoid damage tothe original materials as much as possible.
14 June (Thur.) Japanese Wooden Structures / Policy Measures forProtecting Architectural Heritage <HAYASHI Yoshihiko/ NNRICP>
Legal system regarding the designation of cultural properties- An explanation regarding the classification of Japanese culturalproperties was given, and along with that, an outline waspresented concerning some systems for architectural and urban
heritages (important cultural properties, registered tangible
cultural properties, and groups of traditional buildings).
Changes in Japanese architecture by the period- Along with Buddhism, new architectural techniques wereintroduced into Japan (in the 6th century). Subsequently, after
the system of dispatching Japanese missions to Tang China
was abolished, a Japanese architectural style was establishedand then continued to flourish until the 12th century, whenanother new technique was introduced into the country.
- Daibutsu-you (great Buddha style): a new architectural
technique introduced from the southern part of China to Japan,
and used for the reconstruction of the Daibutsu-den after it wasdestroyed by fire (12th century and later).
Zenshu-you(Zen style): an architectural technique style
introduced from the northern part of China to Japan, withthis introduction being simultaneous with that of Zen doctrine(12th century and later).
- Castle construction began at the end of the 16th century and the
beginning of the 17th century.

A lecture by Mr Imanishi

At Heijo Palace Site

At Heijo Palace Site

Ancient architecture- Outline of Horyu-ji Temple, the Toto (east pagoda) of Yakushi-ji Temple, the Kondo (golden hall)of Toshodai-ji Temple, and the Ho-o-do (phoenix hall) of Byodoin- It was explained that the tiles were replaced every 100 to 150 years;- When repairing, a brand was put on a concealed part of each newly used component in order todistinguish new components from old ones; and- As for the roof of the Kondo at Toshodai-ji Temple, since the restoration to the original style would
require another restoration in a short period of time, a strong structure was employed for the roof.
Shrine architecture- A shrine is reconstructed every 20 to 30 years. In most cases, people who were engaged in the

106

previous reconstruction are still alive when the shrine requires another reconstruction, enabling therelevant architectural style to be passed down to the next generation in its original form.
- Outlines regarding residential architecture, private housing architecture (farmers’ houses andtradesmen’s houses), modern architecture, and modernization heritage (railway, dock, etc.).
Afterwards, they visited the restored first Daigoku-den Hall and received an explanation about three
types of seismic isolation structures employed under the foundation platforms of the hall. This wasfollowed by a visit to a museum, where they observed a reconstructed model of the Heijo Palace,unearthed articles from the Heijo Palace ruins, and other valuable items.
15 June (Fri.) Preservation of Townscapes and Rural Settlement <HAYASHI Yoshihiko / NNRICP>
Conserving streets and town landscapes:- An outline of the system of the designation of conservation areas featuring important traditional
structures, as well as an explanation of types of such conservation areas.
- An explanation on differences between buke-machi (samurai residential area), shoka-machi(merchant residential area), shukuba-machi (accommodation area), minato-machi (port area),
chaya-machi (entertainment area), and other areas.
How
to conserve the twonscape: an outline of how to designate a district as a conservation area
featuring important traditional structures. Although new structures are found in such a conservationarea, their designs are considered carefully in order to ensure harmony with the old streets.
- Designation as a conservation area featuring important traditional structures requires the consent oflocal residents. The designation is made by the relevant local government. Additionally, the local
government needs to establish regulations on the area.
- The participants asked many questions regarding subsidy and tax systems for a conservation area
featuring important traditional structures and also learned about measures to prevent the effects ofdisasters.
 Protection System of Cultural Landscapes <EDANI Hiroko / NNRICP>

Cultural landscape conservation and related system- Cultural landscapes in Japan: Landscapes which have evolved together with the living or the way oflife and geo-cultural features of a region, and which are indispensable for understanding the living
or the way of life of the Japanese people- Attitudes toward cultural landscapes in the world and Japan: “Cultural landscape” is considered
to exist in between cultural heritage and natural heritage and is regarded as a collaborative work
involving both nature and humans.

A lecture by Ms Edani

117

- How to promote research and conservation efforts, based on an example of the tea industry in Uji.
- An explanation on management problems and future challenges, based on the successful exampleof Ichinoseki-hondera Temple, which had gained popularity as a sightseeing destination.
- Additionally, following topics were examined: a consensus formation process among local residents
and other persons concerned; the development of a maintenance method; the transformation into anindependent-minded community; how to hand down the relevant landscape to the next generation;and other related problems.
- The participants said that such a cultural landscape was a new concept for them, and that it would
take some time for everyone to understand it properly.

18 June (Mon.) Documentation and Restoration Plan of Wooden Structures <NAKAMURA Nobuo /ACCU Nara>
Mr Nakamura lectured on following topics:- Outline of structures in Nara Prefecture
An explanation about temple architecture, shrine architecture, priests’ living quarters in Buddhist
temples, private housing architecture, farmers’ houses, modern architecture, and conservation areas
featuring important traditional structures, based on examples of each category.

A lecture by Mr Nakamura- Outline of designated cultural properties in Nara Prefecture
Some 27% of nationally designated structures are located in Nara Prefecture, and the percentage ofold structures is high in the prefecture. In addition, approximately three-fourths of such structures
are temples or shrines.
- Structure of Japanese wooden buildings
How to construct a foundation platform, how to make a pillar, how to build a private housing
structure, how to connect parts, and necessary techniques- Explanation on repair work of the roof of the Dai-Kodo (large hall) of Horyuji Temple
PPT presentations on the entire process of the restoration work: a cover building was constructed toprotect the existing structure when its tiles were removed and replaced with new ones.
- Repair project of Morimura residence in Kashihara City
An explanation about the eight-year project to repair the Morimura residence: how to repair the
residence’s pillars and other parts deteriorated by rain leakage.
The participants asked many questions regarding the subsidy system, maintenance system, and thecultural properties designation system.

128

19 June (Tue.) Practical Training: Recording of Wooden Structures I <YAMAGUCHI Isamu and
NAKAMURA Nobuo / Tanaka Family Residence, Nara City>
Outline of the former Tanaka residence
In 1982, this residence was designated as a cultural property by Nara City, and then the ownership wastransferred to the city. In 1990, the residence was relocated to where it stands now. This residence isunique in that it features characteristics of both farmers’ houses and tradesmen’s houses.
Two-dimensional sketch- Prior to beginning a two-dimensional sketching session, the lecturer provided the participants withsome advice, such as the importance of careful observation to ensure a correct record, and theimportance of locating the center of the object to be drawn at the center of the paper on which thetwo-dimensional sketch was to be drawn.
- The lecturer reviewed their works and commented as follows: although it was difficult to draw adoor pocket, the participants drew it well; they should have drawn a pillar in a wall; and they could
not draw thick pillars and slim pillars well enough to present their individual characteristics and it
was important to observe objects very carefully when drawing them.

A lectured by Mr Yamaguchi in Tanaka Family Residence

Practical drawing

Scale drawing in Tanaka Family Residence

20 June (Wed.) Practical Training: Recording of Wooden Structures II <YAMAGUCHI Isamu and
NAKAMURA Nobuo / Tanaka Family Residence, Nara City>
Two-dimensional surveying measurement- Lecturers advised to make correct measurements without fail in the case that the measurements
would be used for drawing a sketch, and to make records clearly enough to ensure that anyone

139seeing the records could understand which parts were measured.
- The participants put their measurement figures in red on the best sketch that they had drawn theprevious day.
- Reviewing their works, the lecturer commented that their measurements were too detailed and it
would be better to make a rough measurement first, and that it would be also better to measure thewidth of the threshold; they had drawn the roof part very well but it was a pity that they had notdrawn the structural materials, and that it would be better to draw the entire object a little moreaccurately.
- As for the cross-sectional surveying measurement, the lecturer advised them to make more accurate
measurements of the thickness of the beam and the transverse members, using the kamoi (a narrowboard continuing around the entire room) as the standard.

21 June (Thur.)
Practical Training: Planning for Restoration and Management Policy <YAMAGUCHI
Isamu and NAKAMURA Nobuo / Tanaka Family Residence, Nara City>- Continuing of the previous day’s cross-sectional surveying measurement (the heights of the ceilingpart and the roof). They were advised to measure the heights with the transverse members as thehorizontal standard.
- Explanations about the heartwood (also called akami [red part]), often used as pillars, and thesapwood (also called shirata [white part]), as well as about the characteristics of Japanese cedars,
Japanese cypresses, pine trees, and other varieties of trees. The participants asked many questions
about the quality of such trees.
- One of the participants asked, if the original part had a bent shape, whether a material with a similar
shape should be selected at the time of the replacement. To this question, the lecturer replied that,
although, in principle, a material from the same tree variety and with a similar shape should beselected for replacement, it was difficult to find such materials in reality. The lecturer continued that
especially in Japan today, it was difficult to find high quality pine trees and the timber was not so
durable, sometimes leading to replacement with Japanese cedar.

A lecture by Mr Nakamura

Practical training of floor plan sketch

Practical training of suri-hon- At the quality research, the participants received an explanation about characteristics of Japanesecypresses, pine trees, and Japanese cedars.
- The participants learned about suri-hon, a technique used for examining tool marks. In conducting
suri-hon, very thin traditional Japanese paper is placed and fixed on the relevant object, and thenrubbed with carbon paper so that the tool marks on the object are clearly identified.
- According to the lecturer, although the participants did suri-hon well, some marks were not clear

14
10

enough, because the pressing was inadequate. Moreover, the lecturer advised them that when they
took a photograph of the result of their suri-hon, a ruler should be placed beside it so that the size ofthe relevant object would be clarified, and also advised them to provide information including thedate, the place, which part of the object had undergone suri-hon, and who had conducted the surihon on the original suri-hon result.
- The participants asked why old tools that had been used at the time of the original construction
were not used at the time of repair, whether it was necessary to examine all tool marks, and whether
chemical agents were used for the purposes of decay protection and reinforcement. The lecturer
replied that while it was not common to use such old tools because they were expensive, if it was
judged that it would be better to repair the relevant item in an old style, the old tools were sometimes
used and that there were cases where all tool marks had been examined and that there were also
cases where chemical agents had been used for the foundation part of the relevant object.
Restoration of the former Tanaka residence- Explanation with PPT about the situations before and after the repair work
- The participants asked why the rainwater pipes and the lighting featured different designs from those at
the time of the original construction and the lecturer answered that such items were not used, according
to a deliberate policy. If old-style equipment was installed, some people might think that it was actually
installed there even at the time of the original construction.

22 June (Fri.) On-site Lecture: Practical Works on TownscapePreservation I <HIURA Yasuo and NAKAGAWA
Tomoyuki / Imai-cho, Kashihara City>At Imai-cho, Mr Terada, Director of the preservation office,explained on Kashihara City’s historical background:“Kashihara City, where Fujiwara Palace was constructed,
was the center of ancient Japan. Additionally, this city isvery unique in Japan in that the street landscapes of theEdo period are conserved in very good condition. It is verysignificant to hold lectures here in Imai-machi. I hope that
all the participants will learn a lot here”.
Lectures by Mr Nakagawa:- Explanation on Imai-cho’s historical developments, andhow the community prospered as a commercial center,as well as an outline of the processes to the conservationof the community- Outline of traditional tradesmen’s houses in Imaicho. Featuring a floor-plan often found in traditional
Japanese merchants’ houses, the tradesmen’s houses
in Imai-cho are characterized by the fact that they are
one-story houses or have a mezzanine floor, which
they stand side by side, and their walls are flush witheach other. As a result, unity in appearance is observed
among the buildings.
- Explanation on a subsidy system for a repair project. In
1983, Kashihara City established its own subsidy system.

A lecture in Imai-cho

15
11

In 1993, the city began to receive subsidies provided by the national and prefectural governments
for a conservation area featuring important traditional structures. The burden rate among the national
government, the prefectural government, and the city is 50%, 10%, and 40%, respectively.
- Landscape conservation work: installing electric cables underground, and conducting landscaping
works for the appearance of the fronts of residences in the relevant area
- In the landscape conservation work, while the public sector is responsible for tangible elements,
such as infrastructures, the private sector is responsible for intangible elements (Imai-cho Disaster
Effects Prevention Association, Imai-cho Street Landscape Conservation Association, NPO Imaicho Street Landscape Restoration Network).

A lecture at HANAIRAKA

A lecture by Mr Hiura

At the end of the lecture, the participants asked about protection from insects, such as white ants. The
lecturer replied that chemical agents were used, parts damaged by white ants were removed and thenreinforced, and good ventilation was ensured to allow the wind to go under the floor smoothly in orderto protect structures from white ants.
Under the guidance of Mr MORIMOTO Ikuhiro, on the first floor of HANAIRAKA, the participants
observed a model of tradesmen’s houses, and learned about characteristics of tradesmen’s houses
in Imai. Afterwards, they visited the streets of the community: Kawai residence → Imai Townscape
Scenery Preservation Office → Kometani residence → Imanishi residence → Shonen-ji Temple →Minamiguchi (south gate) site.

25 June (Mon.) Recording of Wooden Structures and Townscapes (Photography) / Photograph DataManagement <SUGIMOTO Kazuki / NNRICP>The lecturer asked the participants about photography in Indonesia and how much knowledge theparticipants had regarding photography. In Indonesia, film is still used, produced by Fuji and Kodak.
However, the mainstream is digital cameras and photographs taken in earlier times are scanned to be
saved as data.
- Explanation on film varieties (35 mm, 4 x 5, 6 x 6, 6 x 7, 5 x 7 inches, 8 x 10 inches), as wellas on negatives and positives. Compared with small-format films, large-format films can record
more detailed information more accurately, making large-format films more suitable for taking
photographs of cultural properties. Concerning photographic records of cultural properties, it isnecessary to consider the best method to capture as much information as possible.
- As for digital cameras, it is important to note that such data can be saved only for one decade or
so. This is because the method used to read the data becomes antiquated and incompatible to new

16
12software. In this regard, when taking photographs
to record a cultural property, it is necessary to use amonochrome film, which does not lose its colors.
- Lens distortion correction method: Lens distortion canbe corrected by using a 4 x 5 camera with movements.
It is necessary to check an actual photograph ofthe relevant structure and identify the necessary
correction.
Shutter speed and diaphragm- Explanation on ISO and ASA, followed by practicaltraining on the use of Polaroid film and regarding thedepth of field- It was confirmed that background images become
clearer by closing the diaphragm. The participantslearned that, to this end, it was necessary to reduce the
shutter speed and how to calculate correct exposureand many other points.
- All three participants tried taking photographs.
Hues- It was confirmed that even if objects had the samecolor tone, a different light source imparted quite adifferent color tone to them.
- Since the color development of an object depends on
the light source, true color tone cannot be presented.
In this regard, when taking a photograph of an
object, it is necessary to place a gray scale beside theobject, making it possible to correct the color of thephotograph to give the true color.

26 June (Tue.) Practical Training: Recording of Wooden
Structures (Photography) <SUGIMOTO Kazuki/ Tanaka Family Residence, Nara City>
Review of the previous day’s lecture
The main points are as follows:
1) using the best technologies available today2) ensuring that images will never deteriorate semipermanently, and3) taking advantages of photography and taking
photographs of what cannot be recorded in a form of adrawing.
- An explanation about how to assemble a camera, how
to set parts and camera equipment, how to use an
exposure meter, and effects of using such a meter.
- As for shooting, it was important to select anappropriate angle, object, and shooting point.

Practical training of photography

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Practical photograph shooting training at Tanaka Family Residence

Practical photography training inside the former Tanaka residenceFirst, participants received an explanation about the typical floor plan and other characteristics of a
traditional Japanese house such as the former Tanaka residence. Next, they learned an appropriate
angle and a shooting point. It was explained that it was necessary to take a photograph that clearly
showed why the photograph was taken. It was also explained that a drawing indicated where therelevant object was located and that it was important for a photograph to present what could not be
depicted by such a drawing. Mr Sugimoto gave practical instructions on how to eliminate shadows,
how to use a strobe, and many other points, at different spots in the residence. The participants tried
taking photographs several times. They were instructed to set a camera in a straight position when
taking a photograph of a structure, in order to avoid the structure from being recorded at an angle.
Recognizing the benefit of these instructions, they began to enjoy the practical photography training.

27 June (Wed.) Practical Training: Recording of Townscapes (Photography) <SUGIMOTO Kazuki/
Nara-machi, Nara City>- At the practical photography training, the participants used a 4 x 5 camera and a digital camera.
- Using an exposure meter, they also learned the techniques necessary to take photographs outdoors.
- They adjusted shutter speed and diaphragm settings, and checked the finish with Polaroid film.
Although they could not adjust exposure appropriately at first, by following the lecturer’s instructions,they gradually became able to achieve correct exposures.
Practical photograph shooting training at Nara-machi area:
The participants learned appropriate photograph angles, how to use a strobe to ensure that dark parts
under house eaves were shown in photographs, how to adjust the diaphragm settings and shutter speed,
and many other points.
After the training, the lecturer asked the participants for comments regarding the training in order tocheck how well they understood what they had learned. Based on these comments, the lecturer and theparticipants reviewed the training as follows:- The lecturer first explained about the mechanism of a digital camera. Subsequently, using theimages that they had shot during the training, the participants reviewed what they had learned(camera movements, the use of artificial lighting, etc.).
- The lecturer explained how to save digital data and advised the participants to use a camera with18
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raw data and to save the data in TIFF (Tagged Image File Format), because JPEG is used forcompression and TIFF for non-compression.

Practical training of photography at Gango-ji Temple and Nara-machi

28 June (Thur.) On-site Lecture: Himeji-jo, World Heritage Site/ Practical Works on Restoration ofHistoric Buildings I <KOBAYASHI Masaharu / Himeji-jo Castle, Himeji City>
Himeji Castle, designated both as a World Heritage and a national treasure, is repaired in a 30-year
cycle. The current repair work includes plastering the outer walls, replacing the roof tiles with newones, and enhancing resistance to earthquakes. This repair work is scheduled to take five years. The
participants asked why the cultural property now under repair work remains open to the public. The
lecturer explained that the purpose was to provide opportunities for the general public to understandthe importance of the cultural property. The lecturer continued that comprehensive safety measures

A lecture by Mr Kobayashi

The on-site lecture at Himeji-jo Castle

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were taken for the opening of the castle to the public. The participants were happy to see the actual
repair work on site.
29 June (Fri.) Risk Management of Cultural Heritage I <MURAKAMI Yasumichi / Kobe City>
Cultural properties conservation system at the time of the occurrence of the Great Hanshin
Earthquake and the Great East Japan Earthquake
While watching a video of the Great Hanshin Earthquake in 1995, the participants received an
explanation about what would happen at the time of the occurrence of an earthquake.

A lecture by Mr Murakami

An explanation on how to examine the distortion ofthis building

In an emergency situation, a person in charge of a cultural property is forced to respond to the situation,even if the situation is not directly relevant to the cultural property. In this regard, it is necessary to
appoint in advance a multiple number of staff members to take care of the cultural property, and toestablish other necessary systems (including how to obtain support from other prefectures). Risk
management here involves considering what should be done if those responsible for the culturalproperty are not available. It is necessary to establish a cross-regional network and build up a scenario
describing what to do and how to do it at the time of a disaster.
The initial response is to take a record of what type of damage has been done and to identify thesituation. To do so, an appropriate law is necessary. At the time of the Great Hanshin Earthquake,
however, there was no such law in place. As a result, the national government was advised to ensurethat a disaster response system included aspects of what should be done for cultural properties, which
has resulted in the successful establishment of such a system. The participants said that, also inIndonesia, they were considering the establishment of an appropriate system concerning what to doabout cultural properties at the time of a disaster.
- It is important to imagine what an earthquake may be like and what types of damages may becaused by such a disaster (and to forecast impacts on traffic systems, logistics, and culturalproperties). Following the occurrence of an earthquake in Niigata Prefecture, 60 persons rushed tothe scene to provide support for the reconstruction of damaged objects, based on the experience of
the Great Hanshin Earthquake.
- When promoting structure reconstruction, it is necessary to place a priority on the mental impactthat the relevant damaged structure has on people, rather than on an economic impact. However,there is a problem that it is difficult to ensure availability of people who can judge mental impact
aspects at the time of a disaster.

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A lecture by Mr Murakami (left) and Ms Higashi (right) at Moegi House

A lecture at Weather CockHouse

- It is particularly important to cooperate with a region that is seldom hit by an earthquake. It isnecessary to practice preparing damage situation survey forms during normal times. If such apractice is often conducted even in a region that is seldom hit by a disaster, it means that experts
in any region will become capable of preparing the form. A seminar is held once a year to sharenecessary information.
 On-site Lecture: Practical Works on Townscape Preservation II <MAEDA Yoshihisa

and HIGASHI Kazue / Kobe City>
Weather Cock House and Moegi House (conservation area featuring important traditional
structures in Kitano)An explanation was given on repair work of the two important cultural properties seriously damagedby the Great Hanshin Earthquake.
- Since there were always sightseers visiting the properties, it was necessary to promote the repair
works with due consideration to safety; it was necessary to ensure that nobody would be injured in
the event of a disaster. (The properties are brick buildings and each of the walls is connected by wireto prevent them from collapsing and fragmenting.)- The policy of the repair works was decided by a review committee comprising architects,
academics,
and administrative staff members.
- It is necessary to make three drawings, comprising the current situation, the post-repair situation,and the repair plan. It is important to ensure that the drawings present their concepts clearly enougheven for a third party to understand them. If the details of past repairs are presented, the time andefforts required for a preliminary survey will be reduced.
- Different countries require different repair policies. It is necessary for Indonesia to establish amethod that is most suitable for local requirements.
30 June (Sat.) On-site Lecture: Japanese Carpentry Tools <NISHIYAMA Marcelo and KITAMURA
Tomonori / Kobe City>
Participants visited Takenaka Carpentry Tools Museum and watched a DVD showing carpentry
methods in Japan and a video of the reconstruction of a traditional ethnic house on Sumbawa
Island, Indonesia at the seminar room. They tried using yari-ganna, a spear plane and dai-gannna, asmoothing plane under the guidance of Mr Kitamura.
An explanation was given about items exhibited at Takenaka Carpentry Tools Museum.
- The museum has systematically collected wooden carpentry tools from all over the world, including

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Practicing yari-ganna, a spear plane

A lecture by Mr Nishiyama

Indonesia.
- It is now very difficult to obtain traditional tools from Indonesia; such tools are mostly unavailable.
- The museum features easy-to-understand explanations on how to assemble and connect Japanesearchitectural components, as well as a wide range of exhibitions from various types of trees toprocessing tools.
 On-site Lecture: Risk Management of Cultural Heritage II <MURAKAMI Yasumichi /Kobe City>
At Sawanotsuru Museum:- After observing a base-isolating device, theparticipants watched a video about sake brewing.
- Since a wooden structure is too light for a baseisolating device to demonstrate effective performance,
the brewery’s base is constructed of concrete toensure that the entire building has sufficient weight.
- The brewery is repaired every 60 years. In casethe person in charge of repair work cannot passdown what has been done in the work to the next
generation, a report on the repair work is made so thatanyone can understand what was done previously.

A lecture at Sawanotsuru Museum

2 July (Mon.) On-site Lecture: Practical Works on Restoration of Historic Buildings II<NAKAMURA Nobuo and YAMADA Hiroshi / Yakushi-ji Temple and Toshodai-ji Temple,
Nara Pref.>It was explained that at Yakushi-ji Temple, the Saito (west pagoda) burnt down in 1528 and wasreconstructed in 1981 based on the results of excavation research. The Toto (east pagoda) was
dismantled and repaired in 1900, although the handrails in the pagoda are damaged and the root of thecentral pillar is rotten. These parts need to be repaired.
It was also explained that a 3D image analysis was being conducted to simulate how the pagodas
would hake at the time of an earthquake and how the central pillars would move. After receiving
the lecture, the participants went up to the temporary roof to take a close look at the Toto. They also
observed the pagoda’s suien (a flame-shaped adornment at the top of a pagoda) and hoju (place to2218

enshrine ashes and bone fragments of Buddha), which had been removed from the pagoda for repair.
They asked why a base-isolating device was not installed in the base part. The lecturer replied thatwhile it was common to install such a device in a restored building, the first priority for old structures
was to maintain their originality. Although reinforcement work was conducted, a base-isolating device
was not installed.
Toshodai-ji Temple:
The Kondo (golden hall) was constructed in around 780, this structure is approximately 50 years more
recent than the Toto of Yakushiji Temple. The Great Repair Work in the Heisei Period was conducted
for 10 years from 2000. The participants asked about the differences between the past and the present
in terms of attitudes toward what should be done in repair work. In the past, new technologies available
at the time were used in repair works, while now the emphasis is placed on restoring the relevant
structure to its original condition.

A lecture by Mr Nakamura

3 July (Tue.) Dendrochronology <OKOCHI Takayuki / NNRICP>
Explanation of an outline of dendrochronology:- What is the position of dendrochronology in the entire academic field? Connecting with a wide
variety of fields, such as geology, meteorology, and forestry planning, dendrochronology is never
merely a sub-category of archaeology and architecture.
- What are the processes of dendrochronology? An outline was presented regarding the old-stylemeasurement of tree-rings using a microscope, today’s digital measurement, and the preparation of
the related pattern graph.
- How is dendrochronology applied to archaeological materials? An explanation was given regarding
kidori (the dividing of timber into various sizes needed for the construction of a structure). The
kidori produces the following three types of parts: 1) parts with bark attached, 2) parts that containsapwood, and 3) central parts. The first and second types are materials that can be used for dating.
- The lecturer presented examples where archaeological materials had been used for dating, such as
the wooden water wall of Saidai-ji Temple and Horyu-ji Temple.
- The lecturer concluded with an explanation about various devices.
 Nature of Wood and its Deterioration < KOHDZUMA Yohsei /NNRICP>The participants introduced themselves and presented information on Indonesia followed by the
explanation from the lecturer that Southeast Asia had some problems with the conservation of wooden
items and that if the conservation was conducted well in the region, it would help the conservation of
all the wooden items in the world.

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A lecture by Mr Okochi

A lecture by Mr Kohdzuma- An outline of trees was presented: the tree growth, the tree structure, cell walls, the substance calledfibril, the tree-ring development, and other topics.
- The participants asked whether there had been any case where the application of a chemical agent
to a wooden item at the time of conservation and repair work had resulted in a failure. The lecturer
replied that there had been a case where the adhesiveness of a chemical agent had been so strongthat the wooden item to be reconstructed had been broken, as well as a case where an adhesive
agent had become white and could not be removed. The lecturer explained that an agent to be used
for repairing a structure needed to have reversibility.

4 July (Wed.) Risk Management of Cultural Heritage III <WAKITA Yoshihisa / NNRICP>
Street landscape heritage management in historic Padang area
- It is important to discuss an area’s historical value and propose the establishment of detailed
systems and the creation of a community where residents can conserve it while continuing to live
there.
- It is also important to establish countermeasures to prevent effects of disasters and promote
voluntary activities. In this case, it is necessary to form a consensus in a local community (to ensurethat all the residents in the community recognize that it is necessary for them to take actions toconserve the community.)- Post-disaster survey: A survey was conducted to identify the damage inflicted by the earthquakeon each structure and the damage was mapped. The survey was carried out not just for culturalproperties but for the entire street landscape.
- It is necessary to consider important points to conserve the appearance of entire streets. It is
important to establish a legal system to prevent the construction of structures that will mar theappearance of the streets, and to raise residents’ awareness.
- The lecturer presented an outline of a street landscape conservation project in Padang, which had
been seriously damaged by a disaster, and then asked whether it was possible to conserve street
landscapes in Indonesia. The participants replied that since Indonesia was a multi-ethnic society,people in the same region had different ideas, and that without economic incentives, conservation
would be difficult; it might be possible to conserve street landscapes in a small unit at first, andsubsequently enlarge the scale; and if an economic effect on the sightseeing industry or othersectors was demonstrated in a model case, the awareness of the importance of conserving street
landscapes would be raised among people in the country.
- The participants explained that in Toraja (Sulawesi Island), the residents were highly aware of the24
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importance of conserving their community, enabling groups of traditional structures to remain
and also referred to examples of Sumbawa Island, Lombok Island, and Yogyakarta, places where
community creation to attract sightseers is promoted. However, they continued that there weresome cases where individual persons’ opinions had large influence, giving rise to harmful effects,
so the current situation in Indonesia is difficult.
- The lecturer presented a report on the current situation of Padang. It is desirable to promote a street
landscape conservation project in the affected area with local residents involved in the project.
Since there are no regulations, however, residents are building their homes one after another attheir own discretion. The lecturer underlined that one of the important things in conserving street
landscapes was to raise local residents’ awareness and to take necessary actions to do so and it was
desirable for Indonesia to establish its own legal system that would be most suitable for the country
to conserve its street landscapes.

 Rescue Operations for Cultural Properties in Practice <MATSUI Akira /NNRICP>An outline was presented regarding the damaged cultural properties relief committee established by
the Agency for Cultural Affairs of Japan to provide support for cultural properties affected by tsunamis
following the Great East Japan Earthquake. It was explained that the National Institutes for Cultural
Heritage and some other organizations related to cultural properties and arts had played a major rolein the committee and that the headquarters had been established in the affected area and a rescue team
had been organized. To form a rescue system promptly at the time of a natural disaster or a humanmade disaster, it is necessary to establish a rescue structure for cultural properties at normal times.
There are problems regarding jurisdictional boundaries between movable cultural properties, buried

A lecture by Mr Wakita

With the lecturer

A lecture by Mr Matsui

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cultural properties, intangible traditional cultural properties, structures, nature histories, places ofscenic beauty, natural monuments, etc. It is necessary to consider how to overcome this verticallydivided administrative system for management of cultural properties and to organize an appropriate
rescue system.
5 July (Thur.) Identification of Unearthed Architectural Members <NARITA Satoshi / Asuka HistoricalMuseum>At Asuka Historical Museum, an outline regarding cultural properties in and around Asuka waspresented, followed by an explanation of the excavation of building components of Yamada Temple.
At the temple, a corridor from the 7th century was excavated in good condition. One of the main
reasons for this is that the temple was built on a damp ground. At Horyu-ji Temple, a corridor built in
the Nara period still exists. Compared with this corridor, the height of the corridor of Yamada Temple,
which is older than that of Horyu-ji Temple, is lower.
- Wooden parts treated for conservation gained some weight and that reinforcement was necessary tosupport such parts if they were to be exhibited in an assembled condition.
- The participants visited the museum’s storehouse and then Yamada Temple, while hearing an
explanation about the temple.

A lecture by Mr Narita On-site Lecture: Practical Works on Restoration of Historic Buildings III <TACHI

Toshihide / Tanzan-jinja Shrine >Tanzan-Jinja Shrine- An outline of the repair work was given on site.
- The participants were curious about the subsidy percentage for the repair work. The burden rate of
the owner is decided with consideration given to the shrine’s revenue and tax rate. In case of repair
work for a private residence, nearly 90% of the necessary cost is covered by subsidy.
- They were surprised to find that there were many analogue and manual drawings for thereconstruction work; they had thought that all the drawings would have been made using the latest
software26
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A lecture by Mr Tachi at Tanzan-jinja Shrine

An explanation on the restoration of a pillar

6 July (Fri.) On-site Lecture: Buddhist Monuments in the Horyu-ji Area, World Heritage Site
< MIKITA Hideo / Horyu-ji Temple>
The Sai-in Garan:- The temple’s Chumon (inner gate) is rare in that the length of its beam is five ken (one ken =approx. six feet), while the length of an ordinary beam is four ken. Although there is no establishedtheory explaining this length, some people think that the length might indicate that the Chumon acts
as the gate both to the Kondo (golden hall) and the Goju-no-to (five-story pagoda).
- Reinforcement was made in the Kamakura period. Also, repair work was conducted in the Meiji
period and wooden plugs and pillars were replaced.
The principle of today’s repair is to restore the relevant item to its original condition, although thisdoes not hold true of damaged items.
- An explanation about other structures in the precinct, such as the Higashi-muro, the Syoryo-in, theJiki-do, and the Hoso-dono; they also visited the Daihozo-in.
The Saien-do and the Yakushi-bo:- At the repair site of the Yakushi-bo, the participants received an explanation of hikiya, which is anarchitectural technique by which a structure is relocated without being dismantled. Removed parts
are repaired in a workshop built at a different site.
- The workshop’s scaffolds are built with wooden poles, not with steel pipes, largely for the purpose

A lecture by Mr Mikita in the Horyu-ji area27
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of the conservation of traditional working methods.
- Before conducting hikiya, all the tiles of the relevant structure are removed and the tiles are divided
into those which are usable and unusable.
The Rakan-do:- An explanation was presented about discolored (whitened) parts of the Rakan-do as an example offailure in using a synthetic resin for repair.
- The participants visited the wall repair site where barrel-shaped clay clods were piled up (a nekozumi method).
The Yume-dono:- The visit to Horyuji Temple concluded with an explanation about the E-dono, the Shari-den, theShoro, and the Denpo-do.
Hoki-ji Temple:- Visit to the Sanju-no-to (three-story pagoda)
9 July (Mon.) On-site Lecture: Historic Monuments of Ancient Kyoto, World Heritage Site
<OKAMOTAO Kimihide / Kiyomizu-dera Temple and the Asakura-do Hall, Kyoto City.>
Kiyomizu-dera Temple and the local repair office:- An explanation about repair of door fittings and an outline of the mechanisms of tools and door
fittings, as well as what had been done in the previous repair work conducted in the Showa period.
- Lectures on the replacement of tiles. At the Asakura-do Hall, doibuki, a shingle bed of clay tiles,
was laid. A sawara cypress plate was manually processed.
- By examining the trace of past repair works, those in charge of repair strived to restore the structure
to its original condition to the extent possible.
- The visit to the Asakura-do Hall was followed by a visit to the main hall of Kiyomizu-dera Temple.

A lecture by Mr Okamoto in Kiyomizu-dera Temple

 On-site Lecture: Historic Monuments of Ancient Kyoto, World Heritage Site

<Sugimoto Hiroshi / Uji City>
Byodo-in Ho-o-do:- Repair work is to begin in September and will include replacing the roof and repainting the pillars.
- Paint degradation experiments were begun about 10 years ago to select an appropriate paint.
- The visit to Byodo-in Ho-o-do was followed by a visit to the temple’s museum.

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A lecture by Mr Sugimoto at Byodo-in Ho-o-do

10 July (Tue.) On-site Lecture: Historic Monuments of Ancient Nara, World Heritage Site II<NARUSE Masakazu and KUME Mamoru / Shoso-in Shrine>
The Shoso-in Repository:- In 1962, a modern repository was newly erected, where treasures are stored with the humidity
maintained at 60%. The repository is opened twice a year, in October and November, in order tocheck for any problems.
- The purpose of the current repair work is to replace the roof tiles. The total number of the tiles
is 36,000. Almost no tiles from the Nara period remain. The oldest ones are from the Kamakura
period. Some 99 years ago, a full dismantling and repair process was conducted and the work
took 10 months. Large-scale repair work was also conducted in 1693. During this repair work,
reinforcement was added using metal materials.
- A photograph of one of the structure’s pillars was taken 99 years ago, and it shows a tree node on
the surface of the pillar. The comparison of the position of the node in the photograph with thatobserved today indicates that the pillar was cut by approximately 20 cm 99 years ago.

The scaffolding structure forrestoration

A lecture by Mr Naruse and Kume

 On-site Lecture: Practical Works in Museum <IWATO Akiko, TANIGUCHI Kosei and

MIYAZAKI Motoko / Nara National Museum>
Nara National Museum: the Hassoan (Eight Window Hermitage) Teahouse:

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-

-

Outline of the Hassoan: This teahouse was originallybuilt in the garden of the Daijoin sub-temple ofKofuku-ji Temple in the middle Edo period. The
teahouse is renowned for featuring the multiplewindow style favored by the Edo-period tea
connoisseur Furuta Oribe. The teahouse was relocatedto its current site in 1892.
While observing the inside of the teahouse, theyreceived a detailed explanation about its structure.

Visit to the Conservation Center:
Outline of the institute: This institute was founded in 2002
to restore and conserve national treasures and important
cultural properties as well as to conduct related researchand studies. The institute invites experts with experienceon the restoration of national treasures and important
cultural properties, such as sculptures, paintings, writtenmaterials, and lacquer ware. The participants visited an art
workshop, a cultural properties conservation facility, andthe Kitamura Workshop, all of which are located on thepremises of the institute.
Buddhist Art Library:
Building: Completed in 1902, the building was madeof wood and roofed with pantiles (a type of corrugatedroof tile) and used Western-style architecture techniques,
although the exterior was primarily of Japanese style. The
overall image of the building was modeled on the Byodoin
Ho-o-do in Uji, Kyoto. The building is highly regarded as
representative of modern Japanese architecture from the
mid-Meiji period. In 1983, the building was registered asa national important cultural property.
Seismic strengthening repair work:
An explanation was provided regarding the seismic
strengthening work conducted from October in 2009 to
March 2011 and concerning restoration work conductedat the time of the seismic strengthening work in orderto enhance the historical value of the inside of thestructure. The colors of newly reinforced parts weredeliberately changed from the original colors in orderto enable the new and original parts to be distinguishedclearly. Moreover, the restoration work was conductedwith consideration given to practicality, leading to theimprovement of the reading room and the seminar room,
as well as to the reinforcement of the floor construction of
the library room.
At Nara National Museum’s exhibition rooms, participants

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At the Conservation Center

A lecture by Ms Miyazaki at the Buddihist Art
Library

Buddihist Art Library

In front of Nara National Museum

observed the latest earthquake-proof exhibition cases. An explanation of the buildings of RitualBronzes Gallery and Nara Buddhist Sculpture Hall was given. The buildings themselves are designatedas important cultural properties.
11 July (Wed.)
 Writing Final Report
The participants prepared their reports of the training programme.
12 July (Thur.) Closing Ceremony
The participants submitted their reports and a closing ceremony was held. Mr Nishimura, Director of
ACCU Nara awarded a certificate of completion with a word of appreciation for their hard work andwished they would impart their knowledge and experience to their colleagues and friends in Indonesia.
He was pleased by the participants’ hard work during this seminar, held for a long period of time herein Japan. Although they visited many buildings, they were permitted to visit some of them as a special
exception. Actually, such buildings normally do not accept even Japanese visitors. Not all the things
that the participants observed during the seminar may be practically useful to them. Some ingenuity isnecessary and he hoped that after returning to Indonesia, they would demonstrate ingenuity to adapt
what they have learned for optimum suitability to their country. Additionally, he would like three ofthem to tell the people around them about what they have learned during this seminar and to speak to
many people about Japanese climate, food, and many other aspects. Although the seminar was now
over, he was sure to meet them again somewhere in the world. Then each participant addressed a shortspeech and expressed their gratitude toward lecturers and ACCU Nara and missed memorable days inJapan.

The closing ceremony at the ACCU Nara office

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Country Reports
by Participants

III. Country Reports by Participants

33

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Muhammad Tang
Conservation of Archaeological Heritage Office of Makassar
Ministry of Education and Culture

Building Modernity of Tongkonan1 and Alang2 in Toraja
The data in this paper is the result of a research report by the Conservation for
Archaeological Heritage Office of Makassar, North Toraja Regency, in March 2012

Introduction
Tana Toraja is divided into two regencies: Tana Toraja Regency, with Makale as the capital, andNorth Toraja Regency, with Rantepao as the capital. Tana Toraja is located about 217 miles from
Makassar, the capital city of South Sulawesi Province.
Generally, tongkonan can be found in traditional villages in Toraja. Some famous villages include
Pallawa, Bori Parinding, Kande Api, Nanggala, Buntu Pune, Pala’ Tokke, Londa, Kete’ Kesu, Lemo
and Tumakke. Besides these, there are still many other traditional villages which need more attention
in terms of tourism and cultural development.
The tongkonan housing concept is inseparable from their cosmological understanding of therelationship between humans and the natural environment. In tongkonan, cosmological manifestation
can be seen in the roof, or tongkonan (ulu banua), which is the upper world; the body, or tongkonan(kale banua) as the middle world; and the pillars, or tongkonan (sulluk banua) as the under world.
The existence of tongkonan is part of an inseparable chain, with alang functioning as rice storage,
rante simbuang or menhir as a ceremonial commemorative structure for death, caves as corpse storage,
farms as the source of life for the Toraja people, indigenous forest as the source of tongkonan andalang materials, and also fields for grazing buffalo. Those seven elements are common in the
traditional village of Toraja society.
The tongkonan for the Toraja people is the center of their lives from every aspect. The tongkonan is
the life of the Toraja people. This is the place where traditional rules are made. In terms of function,
the tongkonan is a place for living, a place for carrying out traditional ceremonies, and also a mark ofsocial status for the owner.
1

Tongkonan is the traditional house of the Toraja, with the use of wood and bamboo as its most characteristicfeature.
2

Alang is a traditional building which has same roof as the tongkonan and is used for rice storage.

1

35

A tongkonan is a unique traditional house, with features such as a curved roof. Tongkonan structures,with wood and bamboo as the basic materials, are masterpieces. Tongkonan and alang are always inthe same location, with the tongkonan to the south of the alang.
In the modern period, there have been some changes in that substitute materials are now increasingly
being used in some parts of the tongkonan and alang. The use of modern materials in tongkonan canbe seen in the form of metal roofs to replace roofs made of bamboo, which are disguised to resemble
bamboo boards on the tarampak. Similarly, in building alang, the bamboo roof has been converted
into a metal roof, and the spherical wooden pillars made from Banga (a type of palm tree called
Nibung) have been replaced with cast concrete.

Description of Objects
The structures from which data was collected are located in two regions in North Toraja Regency,
namely, Marimbunna Tikala and Pala 'Tokke Regions.
a. Marimbunna Tikala Region
In the Marimbunna region, three tongkonan complexes and one rante were recorded, namely, theTongkonan To' Kayu complex, Tongkonan Tangarante complex, Tongkonan Panaran complex andRante Tangarante. Administratively, the four sites are located in the Village District of Tikala, North
Toraja Regency.
1. Tongkonan To' Kayu
By using a Garmin GPSMap 60CSx, the geographic position is 02º 56'18.5"S and 119º 52' 53.1" E, ata height of 920 meters above sea level. In the Tongkonan To' Kayu complex there are two tongkonan
buildings—Nek' Kondo tongkonan and Kombong Lele tongkonan—and seven alang, two of whichwere built as temporary structures with concrete pillars.
- Nek Kondo tongkonan
This tongkonan was founded in 1916 and then renovated in 1996 by thefamily that owned the tongkonan. Now the roof is made of metal and thetarampak (bamboo structure consisting of 3-7 layers constituting part of
the roof structure is made of boards that are disguised to resemble bamboo.
The walls of the tongkonan are featured with carved Toraja. On the walls
to the left and right of each window there are two pieces, and at the front
and rear there is only one window. There is a ladder positioned at the frontof the tongkonan, on the right.
The spatial form of this tongkonan is called Banua Tallu Lanta', with three rooms which havedifferent functions, namely Sumbung as a bedroom located in the south; Sali as a room with a floor
that is lower by 40 cm and which used to serve as a bedroom, kitchen and dining room for2

36

servants/slaves, and where corpses were placed for burial purposes; and Tangdo as the main roomwith the height of the floor equal to that of the Sumbung—this space is usually used as a resting place
within a home.
The tongkonan has as many as 23 pillars. There are two Tulak Somba pillars located at the front andthe rear of the tongkonan. The pedestals of the Tulak Somba pillars are 150 cm tall and made of castconcrete, and these are connected to wooden pillars covered with carvings. The kabongo does nothave a visible buffalo head form mounted at the front of the tongkonan, however, the form of achicken's head is usually mounted on top of the kabongo.
- Kombong Lele tongkonan
This tongkonan building is located to the west of the Nek Kondo
tongkonan. Around the Nek Kondo and Kombeong Lele tongkonan there
are three houses and a large boulder. While to the west of the Kombong
Lele tongkonan there are two other structures that form part of theresidence.
Kombong Lele tongkonan was built in 1830 and underwent a renovation,around 1978. The roof was replaced with a metal roof, but the color isoutdated and the tarampak is still made of bamboo. The walls of thetongkonan are covered with Toraja carvings. Similarly, in the Tulak
Somba pillars there are also carvings. This tongkonan has as many as 16
pillars and two Tulak Somba pillars at the front and rear. The spatial
form comes under the category of Banua Sang Borong or Sang Lanta because it has no insulation andso all activities in the house are conducted in one room. Also, when viewed from the outside, the floor
is flat from front to back. At the front there is additional space in the form of terraces that have been
topped with metal, and above this terrace there is a statue of a buffalo head or kabongo. The ladder ispositioned at the front, on the left side. The type of damage mainly seen is in the form of cracks andbroken pillars due to weathering and termite infestation.
As for the alang buildings, there are seven buildings in the following order from east to west:- Alang No. 1 was built between 1997 and 1998. The roof is made of metal in place of the bamboo
roof. It has grass walls that are covered with carvings. The position of the door of this alang islocated on the front right side. It has eight pillars made of Banga wood.
- Alang No. 2 is currently being renovated with reconstruction of its pillars in cast concrete.
- Alang No. 3 was built in 1938, with the original construction still remaining. The roof still has abamboo structure and the ridge covered with bamboo slats, or tarampak, is also made from bamboo.
The roof is covered with moss and ferns. The barn boards are still intact, although it has experienced
weathering. No engravings can be seen. There are six pillars made from Banga wood. The floor seats
are made of split bamboo.

337

- Alang No. 4. The condition remains stable and it has a new look, as it was rebuilt in 1995. The roof
is made of a composition of metal; the body is filled with a fine grass. It has as many as six pillars
made of Banga wood. The floor is composed of a board seating.
- Alang No. 5 was originally built in 1885 but it had been totally replaced, and now the building looksnew.
- Alang No. 6 is now temporarily under construction with cast concrete pillars.
- Alang No. 7 was constructed in 1830 and is in pristine condition. The roofs still use bamboo
material that has been largely sealed with plastic sheeting. The wallboards are intact without any
engraving. There are as many as six pillars with a floor made of boards.

Alang

5

4

3

2

1

2. Tangarante tongkonan
Tangarante tongkonan is located at 02° 56' 16.68" S and 119° 52' 58.51"E, at a height of 904 meters
above sea level, approximately 100 meters to the east of the Rante Tangarante. There are two
tongkonan buildings—Tangarante tongkonan and Nek Pendang tongkonan—and five alang buildings.
- Tangarante tongkonan
Tangarante tongkonan already has a metal roof with a tarampak composed of bamboo. There arecarvings on the walls of the tongkonan but these are partially faded. Windows can be found on theside walls—eight in total. The spatial form is Banua Tallu Lanta', with Sumbung, Sali and Tangdo
rooms. The ladder is located on the left side of the front of the tongkonan. There are as many as 23
pillars, with two Tulak Somba pillars at the front and the rear of the tongkonan. A unique feature isthat the Tulak Somba pillars are round, and these are carved and covered with buffalo horns,
amounting to about 45 horns. Since it cannot accommodate the Tulak Somba buffalo horns, some
buffalo horns are mounted on the front of the tongkonan pillars. Building damage is already visible
in parts of the tongkonan. This type of weathering damage is primarily on the body of the building
and the pillars, with some pillars broken.

438

Nek Pendang
Tongkonan

Tangarante
Tongkonan- Nek Pendang Tongkonan
This tongkonan building is still relatively new, although it is not known exactly when it was updated.
A strong indication of its age is seen in the the use of a tarampak disguised to resemble a bamboo
structure. The roof is made of metal. The body of the tongkonan is full of carved Toraja. Shapespace has three rooms which are called Sumbung, Sali and Tangdo. At the front is a statue or abuffalo head, Kabongo. The tongkonan features 19 main pillars and eight pillars on the terrace, left
and right. There are Tulak Somba pillars located at the front and rear. There are also pedestals pillars
made of stone which form a rectangle.
There are five alang buildings in the Tangarante Tongkonan complex. The number sequence is fromwest to east.
- Alang No. 1, being in the same general condition of the old alang, still has the original roof of
bamboo, with moss and ferns beginning to cover it. The edge of the roof has been destroyed, and thetarampak is made of bamboo. Figures are decoratively carved on the alang, however, the color
engraving has begun to fade. The position of the ladder is at the front right side of the entrance.
There are six pillars made of banga wood and the floor seats are made of wooden boards.
- Alang No. 2 has a metal roof and a clapboard tarampak on which have been carved diagonal stripes.
The wall is also filled with a fine Toraja grass, although the color carvings have faded. There are six
pillars and floorboard seats.
- Alang No. 3 is in approximately the same condition as alang No. 2, wherein the metal roof andclapboard tarampak are disguised to resemble bamboo. The wall also has carved alang.
- Alang No. 4 seems to have been created more recently as a new metal roof is still visible and thetarampak made of boards still seems new. Similarly, the wall with fine grass and pillars are all new.
- Alang No. 5 is in the process of being renovated. It is currently still at the stage of making
engravings on the walls. The roof is made of metal, part of which resembles a tarampak bamboo
structure. This is the only alang in the compound of Tangarante Tongkonan that has cast concrete
pillars.
539

Alang

1

3

2

4

5

3. Panaran Tongkonan
The geographical position is 02° 56' 25.46" S and 119° 52' 59.48" E, at a height of 901 meters above
sea level. In the Panaran Tongkonan complex are three tongkonan buildings—Tandilino tongkonan,
Pongsanda tongkonan and Nek Pekko tongkonan—and four alang.

- Tandilino Tongkonan
Historically tongkonan was built in 1810 with the building being
renewed in 1980. The roof is made of metal and has a bamboo
tarampak structure. The walls are covered with carved tongkonan
Toraja. The tongkonan building layout is Banua Sang Lanta or Sang
Borong because it has no insulation and so it consists of one room
only—in other words, there is a flat floor from front to rear. At thefront there is a statue of a buffalo head or kabongo. There is a porch at
the front with the addition of a metal roof. There are 22 pillars in total.
The Tulak Somba pillar at the front is covered with buffalo horns.

- Pongsanda Tongkonan
Pongsanda Tongkonan was built in 1840, and it is now being
replaced with a totally new building.

640

- Nek Pekko Tongkonan
This tongkonan was built in 1920 and renovations were done in
1976. The building has tongkonan additions on all sides and eventhe right side, which is the usual residence, has been made into
the body of the tongkonan. So this has been covered withtongkonan residence. The roof is made of metal while thetarampak still has its original bamboo structure. The tongkonan
also has body carvings, but these are already degraded so that thecolors appear dull. The Tulak Somba pillar carvings are also faded.
There is a crack in the middle of the Tulak Somba pillar. There isalso a statue of a deer head mounted on the top of this pillar.
There are four alang buildings, described as follows in order from east to west:- Alang No. 1 has a metal roof with a tarampak that
resembles bamboo. The coarse body is composed ofboards and looked to have dull and faded carvings,
which are barely perceptible. There are six pillars there,with floor seats made of boards.
- Alangs Nos. 2, 3 and 4 have the same construction asalang No. 1, and they appeared to be in the same
condition as new buildings. The roof is composed of

1
4

3

2

metal and the tarampak composed of board resembles bamboo. The body of the structure is filledwith reeds, with a carved Toraja. There are as many as six pillars made from wood from the bangatree.

4. Rante Tangarante
The Rante Tangarante complex is located at 02° 56' 16.79 "S and 119° 52'
56.81" E, at a height of 909 meters above sea level. The menhir are locatedapproximately 100 meters west of the Tongkonan Tangarante complex. Thismenhir stone site has been cleaved out of a road that leads to the Tongkonan To'
Kayu complex. The rante, which is a place for ceremonies, is on a flat site witha number of menhir stones—as many as 17 pieces—either standing upright or
having fallen over. Menhir stone structures are semicircular with the tallest
being 360 cm high, with a diameter of 70 cm.

Besides the three tongkonan complexes and rante above, there are also two locations where patane
are placed. A patane is a burial container that is used instead of a cave, and is usually made by Toraja
people who are well off financially. The patane site is located on the roadside between the Tongkonan
741

Tangarnate complex and the Tongkonan Panaran complex. Generally a patane resembles atongkonan, or the model of a modern house is used.

b. Pala’ Tokke Region
The Pala’ Tokke region is about 6 km to the southeast of the city of Rantepao. This area can bereached by two-wheelers and four-wheel drive vehicles, because the road conditions are poor to reachthe location of menhir stones and the cave Pala' Tokke. In the region of Pala' Tokke there are threeobjects, namely the Tongkonan Pala' Tokke complex, the Rante Bamba Mengkepe complex and theLiang or Cave of Pala' Tokke. Administratively, the third location is located in the Mengkepe Village
North Toraja Regency.
A detailed description of cultural heritage in Pala'tokke is as follows:
1. Tongkonan Pala'tokke complex is located at 03° 00' 35.03" S and 119° 54' 47.55" E, at an altitudeof 802 meters above sea level. There are two tongkonan houses, namely Tongkonan Sura' andTongkonan Garu'ga. There are five alang buildings.
- Tongkonan Sura 'The condition of the building is relatively intact and stable. It has a metalroof and a tarampak made of bamboo. The tongkonan body is still
original. Engraving on the body/walls of the tongkonan is present only inthe front and on the Tulak Somba pillar. There are no engravings on theleft, right and rear walls. The tongkonan spatial form is Banua Tallu
Lanta', and the rooms are Sumbung, Sali and Tangdo. The ladder islocated at the front left.
There are as many as 37 tongkonan pillars, with 27 main pillars, eightterrace pillars, and two Tulak Somba pillars. The pillar pedestals have castconcrete foundations. Visible damage is the type of damage that occurs
mainly in the weathering of tongkonan boards and color fading on tongkonan carvings.

- Tongkonan Garu'ga
Tongkonan Garu'ga is located to the west of tongkonan
Sura'. The general condition of the building is new. The
roof is made of metal, and the tarampak is a bamboo
structure. The walls of the tongkonan are covered withcarvings. Similarly, there are carvings on the Somba
Tulak pillars. The spatial form is Banua Tallu Lanta', withthe rooms Sumbung, Sali and Tangdo. There are as manyas 41 pillars, with 31 main pillars, eight terrace pillars and842two Somba Tulak pillars. The pillar pedestals have cast concrete foundation. There is a tongkonan
front porch, and the terrace walls are carved though the color has faded.
- Alang
There are five alang buildings arranged in the following
sequence (east to west from the entrance):-Alang No. 1: with metal roofing and a tarampak madeof bamboo. The front wall is made of coarse carved
board which is uncolored. The left and right walls andthe back are plain with no engravings. There are as manyas six pillars with the pedestals having cast concrete
foundations.
-Alang No. 2: a new structure. It has a cast concrete floor
covered with tiles, as well as eight pillars, cast with alayer of concrete and ceramic.
-Alang Nos. 3, 4, and 5: These are new buildings but they also feature the use of traditional materials
on the roof, unless the roof is metal. The tarampak are made of bamboo. The body of each structure iscovered with carved alang. Each structure has as many as six pillars.
2. Rante Bamba Mengkepe is located at 03° 00' 36.16" S and 119° 54' 44.96" E, at an altitude of 800
meters above sea level. Located about 50 meters to the westof Tongkonan Pala 'tokke. Located on land that is likely toramps, with the lower surface of tongkonan location. Thereas many as 26 menhir stones. The tallest menhir is 220 cm
high, 105 cm wide and 17 cm thick, and is flat-shaped andslopes at an angle. The smallest is 36 cm high, 25 cm wideand 25 cm thick, and is square shaped and upright. South of
the Rante there are roads and paddy fields. The road heads
toward the Cave of Pala' Tokke.
3. Cave (liang) of Pala 'Tokke is located at 03° 00' 42.29" S and 119° 54' 34.47" E, 837 meters above
sea level. Moving to westward along the road leads to the the
Pala' Tokke cave. It’s about 500 meters from the rante to thecave. At the end of the rice field and the hills there is anatural stone path leading to a neat cave. At the location of
the Cave of Pala' Tokke one can see skulls and human bones.
In these karst cliffs hanging graves, there are three wooden
structures acting as a buffer which are attached to the rockcliff.

943

Early Condition of Tongkonan and Alang
Tongkonan have been adapted to suit the cool and fresh environment in Toraja. Indigenous forests as
the source of tongkonan materials, providing various types of wood and bamboo for tongkonan andalang construction. The roof of a tongkonan, which is curve-shaped, is formed from bamboo andusually has nine layers of bamboo. The rooftop is covered with fragments of bamboo. This is called aulu banua or roof top.
The body of a tongkonan called Kalle Banua is a piled of boards. These boards usually have a special
carving of Toraja with red, black, white and yellow paint on it. The division of rooms depends on thetype of tongkonan. Pillars made from aru wood are orderly piled. There is a center pillar which shores
up the front and the back of the roof called Tulak Sumba. The front Tulak Sumba pillar is the place fora buffalo horn when a ceremony is being held.

Tongkonan which still uses traditional materials

The alang, better known as the barn, complements the tongkonan building. The main function of thealang is to store rice grass, and the storage area is located upstairs, while downstairs (sali) is aworkplace, a place to sit during celebration ceremonies. The alang is always located on the northernside of the tongkonan, and a separate courtyard houses the tongkonan building facing north with asouth-facing grassland called Ulu Baba.
The buildings generally have a single room with limited walls, floors, and roofs like the bamboo-likeroofs of the tongkonan. The arch-shaped roof composed of bamboo is well laid out. The alang walls
are made of boards. In the front wall, there is an alang door, but it does not have a fixed ladder,
however one can be installed if required.
The building consists of alang pillars made of wood from Banga trees, and which are placed on stonepedestals. Banga is selected for the pillars because this type of wood is slippery when the skin isremoved, so as not to allow animals such as rats climbing above the grass, which serves as the foodbasket of the Toraja.

1044

Alang using traditional materials and metal

Changes Occurring
At some locations in North Toraja, there has been a change of use of building materials for tongkonan.
This can also be seen in the Marimbunna Tikala and Pala' Tokke areas.
In both areas, tongkonan buildings that use bamboo for the roof no longer exist; this traditional
material has been replaced with metal.
Similarly, in the tarampak, some boards have been disguised to resemble bamboo. The use of suchboards as a substitute for bamboo can be seen at Tongkonan Nek Nek Pendang and Tongkonan Nek
Kondo in the Marimbunna region.
In general, both regions have experienced a change in replacement materials over time. This can beseen in the metal roofs and the two tongkonan that use imitation bamboo board. There are several
reasons for replacement of the material:
1. The use of metal roofing is more practical than using a bamboo roof. Similarly, the practice ofdisguising the tarampak board is considered easier, although a more complicated processing
technology must be used at the time of installation.
2. In terms of cost, metal roofing is cheaper than using a bamboo roof. This is due to longer processnecessary for the formation and installation of a bamboo roof.
There has also been a change in the type of construction materials for the alang. In the alang building
within the Tongkonan Pala 'Tokke complex, it is obvious that cast concrete has been used at thebottom of the pillar and floor. Likewise on the roof, the grass has been replaced with metal roofing
materials.

11

45

The same was seen in the Tongkonan To' Kayu complex, where there are two alang that have castconcrete pillars, while at the Tongkonan Tangarante complex there is one alang with cast concrete
pillar construction.
The use of imitation bamboo boards for the tarampak structure is also seen with some alang, forexample, four alang in the Tongkonan Tangarante complex and also four alang in the Tongkonan
Panaran complex.

Alang in Pala’ Tokke

Although there has been no change in terms of functionality, the replacement of traditional material
with modern materials has changed the traditional values inherent in the culture of Toraja. The
tendency to use these replacement materials for traditional buildings in Toraja today is due to several
factors, including:
1. Indigenous forests as a source of raw materials for traditional buildings in Toraja are no longer
able to provide the necessary raw materials. There is a conflict between the sustainability of tree
planting and the need for building materials. The Banga tree (palm), which is used for alang pillars,
although it is rarely cultivated in some places, can still be found.
2. Toraja society at present prefers materials that are practical, as it is easier and involves a shorter
process. The materials are more easily obtained and at lower cost. This is one of the increasingly
important considerations today.
In addition to the above factors, the main factor is actually the “commercialization” of Toraja tosupport the interests of the tourism program. Toraja society sees greater economic opportunities in thearrival of tourists, so they beautify themselves and their environment. A misperception that must be
clarified again is that tourists do not want to visit modern buildings. The traditional values of Toraja
society is the main attraction that must be preserved.
1246

Proposed solutions to overcome this are:
1. Conducting environmental conservation to restore the function of the indigenous forest, byplanting trees and thus providing building materials for tongkonan as well as sustainablegrasslands. Tree planting can be done on a regular basis within a period of 5 or 10 years, according
to the estimates of the expected age of the building and expected damage, and the need to replace itin 5 or 10 years. Thus, there is a balance between demand and the availability of materials.
2. Provide advocacy to Toraja society, by conducting an open dialogue among local governments,
related agencies, traditional leaders and communities with the aim of providing an understandingof the importance of the traditional Toraja values that need to be preserved. In general, we want toachieve an increased awareness of Toraja society through broad participation in order to preserve
the traditional values of Toraja.

1347

Prita Wikantyasning
National and World Heritage Division
Directorate of Internalization of Value and Cultural Diplomacy,
Ministry of Education and Culture

PURAS1 in BALI
Bali is a region in Indonesia which has a unique culture that cannot be found elsewhere in the world.
The Balinese philosophical principle Tri Hita Karana (“three causes of goodness”), promotes aharmonious relationship between the individual and the realms of the spirit (parahyangan), the humanworld (pawongan) and nature (palemahan). This abstract idea is given concrete realization in the livesof the Balinese through traditional buildings and also their worship buildings. Although the majority
of Balinese have adopted modern culture in their lives, the habit of worshiping in traditional buildings
still exists. The buildings or places for worshiping gods or spirits in Bali are called Puras.
Ancient Guidelines for Building Puras (Temples) in Bali
For building temples, the Balinese people strictly adhere to the guidelines which they have inheritedfrom the ancients. The guidelines are Tri Hita Karana, Tri Mandala, Tri Angga, Sanga Mandala,
Axis of Religion and Axis of the Earth.
The Tri Hita Karana principle for Balinese traditional buildings symbolize Atma (Soul), Angga(Physical), and Khaya (Power).
Tri Mandala (setting values) is divided between Utama Mandala, Madya Mandala, and Nista
Mandala. Utama Mandala direction is to the mountains. Madya Mandala is the middle area between
Utama and Nista, whereas Nista Mandala is seawards. Utama Mandala areas have magical value, soa Utama Mandala area is always selected for the location and layout of a Pura, providing a peacefulatmosphere that is so quiet and suitable for praying.
Tri Angga is a spatial division of values in traditional Balinese buildings, which are divided into a footsection, a body section, and a head section. It also called the three strata of humans.

1

48

Puras are also called temples. It is a local name for a Balinese temple.

Sanga Mandala is used for determining the spatial
position of the building in the layout. It can be
configured as a chessboard with nine squares. Sanga
Mandala is based on Nawa Sanga, which is theembodiment of eight gods for the wind directions
and one god in the center.

Fig. 1. Stratum divisions in the concept of Tri Angga (Source: Internet)

SUNSETMEN

SUNRISEAXIS OF RELIGION

Mountains

SWAH
KAJA

Men
Sea

KAUH

KELOD

BWAH

KANGINSWAH

Sanga MandalaFig. 2. Sanga Mandala, which is extracted from the Axis of the Earth and Axis of Religion (Source: Gelebet, I Nyoman,et.al., 1981/1982)

Fig. 3. Nawa Sanga wheel of Wind Direction Gods (Source: Internet)

49

The Axis of Religion and Axis of the Earth are subdivisions of the Sanga Mandala (see Fig. 2). The
Axis of Religion is Kangin - Kauh, and the Axis of the Earth is Kaja - Kelod. In Balinese conception,
there is a belief that the highest point of the mountain is the holiest place, and we know thatmountains in Bali lie in the center of the island. So, in the northern part of Bali, Kaja direction is tothe south (mountain area) and Kelod direction is to the north (seaward). Whereas in the southern partof Bali, Kaja direction is to the north (mountain area) and Kelod direction is to the south (seaward).
Types of Puras and Space Divisions of Puras
Based on their function, Puras are divided into four types, namely: Puras for family, Puras for people
in the same village, Puras for community groups with the same job, and Puras for people from entire
territory. Puras for family located in a particular area of the house are also called Sanggah or
Pamerajan. The size of the Sanggah or Pamerajan depends on the number of family members. Puras
for people in the same village are called Pura Kahyangan Tiga. This kind of Pura is divided again
into three types of Pura: Pura Desa, Pura Puseh, and Pura Dalem, which can be used for people
from all castes in the same village. The three kinds of Pura Kahyangan Tiga are larger compared withPuras for family. Puras for community groups with the same job are also called Pura Pengulu. The
last is Puras for people in the same territory. Puras of this type are larger and wider. They havedivision of space accordingt to function. Usually, they are divided into three zones or spaces asfollows:
1. Front Zone, namely, Jabaan / Jaba sisi. This is the transition from the outside to the inside of thetemple. The purpose of the Jabaan is to prepare for ceremonies.
2. Middle Zone, namely, Jaba tengah. This is the place for preparation and accompaniment of
ceremonies.
3. Main Zone, namely, Jeroan. This is the place forworshiping Gods.

KAJA
JEROANThe more Jeroan its position, the more sacred a place it
becomes. Smaller Puras sometimes contains only the
Jeroan zone and the Jabaan zone. The position of

JABA

Jeroan always head for Kaja, while the Jabaan always

TENGAHhead for Kelod.
JABAAN /JABA SISI

Fig. 4. Most common Pura site plan and its zone50

Fig. 5. Site plan of Pura Taman Ayun (Source: BP3 Bali document)51

As we can see in Fig. 5, there are many kinds of buildings and structures inside a Pura complex. But
there are a strict regulations for placing the buildings and structures inside Pura complex zones,
depending on its function. For example, Wantilan 2 structures and Candi Bentar gates are always
placed in the Jabaan zone. Pelinggih3 structures, Persimpangan4 structures and Kori Agung gates arealways placed in the Jeroan zone.
Sometimes the regulations are not too strict for some structures. For example, Bale Gong5 and Bale
Kulkul6 can be placed in the Jabaan zone or Jaba Tengah zone depending on how vast the Purabuilding complex is. If the Pura is large and divided into three zones, then Bale Gong and Bale Kulkul
can be placed in the Jaba Tengah. However, if the Pura building complex is narrower and consists of
only two zones, then Bale Gong and Bale Kulkul are placed in the Jabaan.

Fig. 6. Other complementary buildings and structures inside Pura Taman Ayun

In the information above, there are various types of Puras according to their function. But the mainelement of the Pura is the Pelinggih structure, because it embodies the spirit that is worshiped.
Besides the Pelinggih, there are complementary buildings and structures in the Pura for completing
preparations for the religious ceremonies. These are Bale Pawedan, Bale Piyasan, Bale Gong, andBale Pengambuhan. For completing the Pura complex as a complete group of worship buildings andstructures, there are the Candi Bentar gate, Kori Agung gate, Bale Kulkul, Pewaregan, Wantilan
2

Wantilan is a place for public meetings. It is a structure with colonades and a roof, but without walls.

3

Pelinggih is a permanent outdoor Balinese Shrine. For indoor purposes, they use Plangkiran. Those shrines

embody the spirit that is worshiped.
4

Persimpangan is also called Penyawangan. It is something (like mountains or sacred places) which has to be

worshipped by the people at the Pura
5

Bale Gong is the place for striking the Gong. A Gong is a traditional music instrument.

6

Bale Kulkul is the place for striking the Kulkul or Kentongan (a drum made from bamboo or wood which is

struck to sound an alarm.

52structure, Penyengker walls and other structures built inside the complex. In general, buildings andstructures inside the Pura have similar forms to the traditional Balinese house. However, because of
its function for worshipping spirits, the forms of the buildings and structures are designed for thisspecial purpose.
Forms of Worship Buildings and Structures inside the Pura
There are different names for the various worship buildings and structures. These buildings andstructures are divided into five different forms, based on the purpose for making it and placing it
inside the Pura complex. They are:
1. Tugu Form
The Tugu has a square base which is approximately 0.60 x 0.60 metres, with a height of about 2
metres. It consists of three parts: head, body, and foot, tapering from the bottom toward the top
with decorations. The head part has a niche to place the offerings. Tugus are made from
commonly found natural rocks (such as padas rocks or coral stones) or brick or other artificial
stone, depending on the materials that surround the location of the Pura.
This structure functions as a Pelinggih.

Fig. 7. A few examples of Tugu structures (Source: Internet)

2. Candi Form
This type is generally similar to the Tugu with a square crown coil terraced in the head part. The
crown head part decreases in diameter towards the top to form a conical shape. It also has asquare base with sides. The monument has a form generally similar to the crown of the head coilusing a rectangular or square, much smaller terraced upward. Building sketch a square-form,
rectangular, or square, with sides approximately 1 fathom alit, 1 fathom madya or 1 fathom

53

agung. The building height ranges from 2 metres (as tall as Tugu) to 10 metres or even higher
considering its aesthetic proportions.
The materials used for a Candi are natural rocks (such as padas rocks or coral stones), or bricks
or other artificial stone with a few modifications in the interest of aesthetics. The construction
method uses smooth adhesive and without coloured paint to coat the building. Based on its
function, the Candi form is divided into two functions, namely:
a. Worship function
Its form is like Candi Rengat. Because of its function for worshipping, the Candi form isplaced at the Jeroan. However, because Bali is vulnerable to earthquakes, this form is rarely
used and instead the Meru form is used.
b. Gate entrance function
There are two types: Candi Bentar type (split-gate) and Kori agung type. The Candi Bentar
type is used for the entrance from the outside into the Jaba sisi zone, and also into the Jaba
tengah zone. For the entrance into the Jeroan zone from the Jaba sisi, the Kori agung type(arch-roofed) is used.

Fig. 8. Candi form as an entrance gate (Candi Bentartype) at Pura Ulun Danu Batur

Fig.9.9.Another
AnotherCandi
Candiform
form(Kori(KoriAgung
Agungtype)type)asFig.
as an entrance gate at Pura Taman Ayun
an entrance gate at Pura Taman Ayun

3. Meru Form
The Meru has a square base with sides of about 5 metres and a height that can reach 10 metres. It
is divided into three parts: the head, formed by tiered (overlapping) roofs called a Meru, body,and foot. A Meru always has an odd number of roofs. The body section is used for placing
worship offerings. Merus are made from natural stone or artificial stone in the foot. The bodyconsists of walls that form a board room. The Meru-roof head tapers upwards. Meru roof
construction is strengthened with pegs without nails or rope ties. Because of its construction,
Meru form is more resistant to earthquakes than the Candi form. The Meru functions mainly as a
Pelinggih. It also placed in the Jeroan zone54

Fig.10. Left: Meru structures at Pura Batukaru (Source: Internet); Right: Meru
structures at Pura Taman Ayun

4. Padmasana Form
The Padmasana form is more like the Candi form, with square base tapered towards the top. The
sides are about 3 metres and the height is about 5 metres. It is divided into two parts: head andfoot. However, the head part has no roof. Padmasana form includes elaborate design features
such as Bedawang nala, Garuda and the Swan, which are based on Hindu mythological symbols.
Bedawang nala is a figure of a giant tortoise entwined by one or two dragons. Garuda and theSwan are positioned at the back of the Padmasana with their wings outstretched (flying position).
The Padmasana is made from natural stone or can be made from bricks or artificial stone boundtogether with smooth adhesive bonding, and reinforced with wedges.
The Padmasana also serves as a Pelinggih.

Fig. 11. Padmasana (source: internet)

55

5. Gedong
Gedong form is similar to Tugu form. It consists of three parts: head, body and foot. But the headpart is of wooden construction with a roof of reeds, palm or other covering materials. It has asquare base with sides of about 1 metre and a height of about 3 metres. Varieties of Gedong form
are Gedong form with twin cabin, Gedong form with tiered roofs (overlapping roofs), and otherGedong forms which are adapted to the purpose for which they are made and depend on thecreativity of the craftsman.
It also serves as a Pelinggih.

Figure 12. Examples of Gedong form (Source: internet)

Ornamentation of the Pura
The carved decorations on the Pura can serve as mere ornaments (decorative function), but also havetheir own meaning. The placement of decorative carvings on a portion of the building can be rated
and thus identify the functionality and usability of the building. The color of the structures can also
give its own meaning.
The types of ornaments on a Pura:
1. Flora Ornamentation
There are several kinds of floral decoration and ornamentation that show symbolic values.
Generally, a floral decorative ornament placed on a building displays an aesthetic element. But
some are used as decorative fillers in paintings or sculptures depicting a puppet story, or legend,or even belief / religion. Floral ornaments generally use the original color of building materials,
or use gold coloring on wood pole structures in the Pura building complex and also in the56decorative fabrics of the Pura. Placement is at the bottom of the structures and also depends on
the type of floral decoration used and the width of the medium to be decorated.
2. Fauna Ornamentation
This type of decoration is inspired from the story of legend and folklore puppet Tantri7 of theanimal world. In addition to functioning as mere ornaments, decorative fauna also serves as ritual
symbols displayed in the form of statues, called Pratima. Decorative fauna like Bedawang nala in
Padmasana form is categorized as Pratima. Fauna decorative ornaments are usually placed on
baseboard joints in the form of the Garuda, Winged Lion, and other forms. This type ofornamentation usually uses the original color of the carved of sculpted material, or uses artificial
colors that are nearly similar to the original color of the fauna. Decorative fauna on Pura isplaced at the front gate entrance, on Padmasana, and also on some of the ceremony equipment.
3. Nature Ornamentation
Decorative nature ornamentation is displayed in abstract form approaching the actual form. The
kinds of nature elements (Panca Mahabhuta) that are used as decorative ornamentation are apah(liquid), teja (light), bhayu (wind), akhasa (air), and bumi (ground). Just like other ornamentation,
decorations of this type also serve as a mere ornaments, and may also have a symbolic emphasis
or more sense in a given field of the decorative. This type of ornament uses the original color of
the materials that are used as media carvings or sculptures or paintings, and artificial colors very
close to the original. Nature ornamentation is placed on top panels of the buildings or structures
and also on decorative fabrics that are used in traditional ceremonies.
4. Religion and Belief Ornamentation
This type of ornamentation is more symbolic and profoundly emphasizes the part of the building
which has been given the decoration. Therefore, the use and placement of decorations onbuildings or structures should follow the rules of certain ceremonies. This kind of ornament uses
the original color of the materials that are used as media carvings or sculptures or paintings, andalso certain colors to give a certain symbolic significance according to the rules of the religion or
belief. Religion and Belief ornamention is placed on the main part of the building and other parts
that deal with religion and belief according to their particular status and function.

7

Tantri is a type of fable which teaches us about good and bad karma

57

Problems in Preserving the Pura as Cultural Heritage
There is no complete record or body of literature which reviews Pura specifically. Some of theexisting literature regarding buildings in Pura complexes is based on information of the people who
lived near the Puras.
The role of the Pura as a living heritage and a place forfulfilling the worship needs of the community, encourages thecommunity to do any needed repairs. For example: Badung
Regent reconstructed the damaged Wantilan structure in thePura Taman Ayun temple complex in 2011. To prevent futherdamage in other parts of the Pura, Badung Regent had to first
Fig. 13. Conservation activities insidea Puraconsult BP3 Bali8 as a technical consultant.
The majority of Balinese people realize the status of Puras aspart of their cultural heritage. Therefore, before they repair9 orbuild any building or structure inside a Pura area, first they
will consult with BP3 Bali, so that the restoration does not
violate any cultural heritage preservation laws or regulations10.

Fig. 14. Offerings ceremonies inside a
Pura complex before and after
conservation or restoration activity.

However, for Stupa Pegulingan temple, Pura Mengening,
Pura Gunung Kawi and any other puras that have been
restored by Suaka Peninggalan Sejarah dan Purbakala Bali

(now named BP3 Bali), BP3 Bali still monitors the condition of the buildings and also conserves
movable heritage objects (such as the arca in Puras). As with the new construction of any new Puraby the people, they must arrange the relevant ceremonies and give offerings to God before and after
the Pura restoration and arca conservation.
8

BP3 Bali is an abbreviation of Balai Pelestarian Peninggalan Purbakala Bali. It is a branch of the conservation

office of cultural heritage in Gianyar, Bali. The working areas of BP3 Bali are Bali, Nusa Tenggara Barat andNusa Tenggara Timur.
9

Structures that are made from wood sometimes have to be replaced periodically depending on theircondition. If the structure is made from good quality wood, it will remain for 30 – 40 years. Ceremonies andofferings have to take place, before and after the replacement.
10

The principle of restoration is to pay attention to authenticity of the forms, materials, worksmanship, layout,

and its historical value. This is listed in the Government Regulation of Republic of Indonesia Number 10 Year
1993 on the implementation of Law Number 5 Year 1992 regarding Cultural Heritage Properties.

58

BIBLIOGRAPHY
Gelebet, I Nyoman, et. al., Arsitektur Tradisional Daerah Bali. Jakarta: Departemen Pendidikan dan
Kebudayaan, Proyek Inventarisasi dan Dokumentasi Kebudayaan Daerah, 1981/1982.
Kastawan, I Wayan. “Perencanaan Tata Ruang Kawasan di Bali: Tradisi dan Hukum Tertulis, Studi
Kasus: Kawasan Subak di Desa Jatiluwih”, delivered in Workshop Zonasi Lanskap Budaya Balivenue at Hotel Bumi Asih, Denpasar, 17 – 21 Desember 2009.
Government Regulation of Republic of Indonesia Number 10 Year 1993 on the implementation of
Law Number 5 Year 1992 regarding Cultural Properties Objects.
Sources from the internet

59

Azahar Purwanto
Centre for Preservation of Cultural Heritage Samarinda
Ministry of Education and Culture

Country Report: Bubungan Tinggi House in Martapura

I. Introduction
I.1

Background

The Bubungan Tinggi House is one of eleven types of traditional houses in South Borneo. In thehierarchy of traditional houses in South Borneo, the Bubungan Tinggi House is at the highest level,and served as the residence of the Kings in the Kesultanan Banjar period. This type of house was built
by wealthy merchants after the end of the Kesultanan Banjar era because of their prestige value.
The Bubungan Tinggi House cannot be separated from the influence of the South Borneo
geographical context, which features many rivers. Such houses are growing in number and are built
at the edge of the river, causing rapid growth and exerting a strong influence on the structure of thehouse. However, such influence can exist in harmony, without affecting the main elements, such as
the main form and the supporting elements. This influence is only evident in decorative chisel artworkand the contents of the house.
The Bubungan Tinggi House is entirely built using natural resources that exist in the South
Kalimantan region itself. As is well known, the island of Borneo has abundant natural wealth,especially timber and forest products. The construction of a Bubungan Tinggi House is usually donewith Ulin wood. It is used, for example, on the roof, for the shingles, beams, and other structural parts.
One example of this is the Bubungan Tinggi House located in Teluk Selong Ulu Village in Martapura
Regency.
I.2

History of the Traditional House

Movement of the sultanate to Martapura after the attack by Dutch colonizers, started a new chapter inthe history of Kesultanan Banjar, and those who had knowledge of architecture from Kesultanan
Banjar adopted the design because of its prestige value.
The Bubungan Tinggi House located in Teluk Selong Ulu Village in Martapura is said to havebeen built in 1867 by H. Muhammad Arif. He is known to have been a rich merchant of his time. As aresult of the struggle against Dutch colonizers there are no other remaining heritage properties of thistype in the region of Kesultanan Banjar. The Bubungan Tinggi House has a completeness of form
and ornamentation, which is one of the reasons why this traditional house in Teluk Selong Ulu Village
is always cited as a representative example.

60

Bubungan Tinggi House in Teluk Selong Ulu Village, Martapura Regency
Dokumentasi Balai Pelesatarian Peninggalan Purbakala Samarinda

In the years during the struggle for independence, the Bubungan Tinggi House in Teluk
Selong Ulu Village in Martapura Regency was used by soldiers or TKR freedom fighters as aheadquarters and training place. After the struggle ended, the house was abandoned by theoccupants because the damage was getting worse and there were no funds for maintenance.
Moreover, the majority of heirs to the property did not live in Martapura.
In 1989, the Department of Education and Culture through the Directorate of Heritage andMuseums concluded that it was feasible to make this Bubungan Tinggi House eligible forrestoration. This restoration included reconstruction under the rehabilitation category.

II. Contents
II. 1. Philosophical Aspect
The philosophy of the Bubungan Tinggi House cannot be separated from the origin of the Banjar.
There are three ethnic groups, namely Banjar Kuala, Banjar Batang Banyu, and Banjar Pahuluan. The
three ethnic groups actually originated from the native tribes who had converted to Islam and who
were influenced by Malay culture through trade along the river.
In Ngaju Religion: The Conception of God among a South Borneo People, Dr. H Scharer in1946 described the concept of divinity and belief. The Bubungan Tinggi House is associated with theculture of the Ngaju Kaharingan tribe, where nature is the macro, while the house is the microcosmic,
and the centre is totemic. The roof of the Bubungan Tinggi House, majestically towering into the sky,
is identified with sacred mountains in the world of the primeval mountain based on the Kaharingan
religion. The ruler of this upperworld is the god Mahatala, depicted as a hornbill.
From the other side of the house, the Bubungan Tinggi House looks like an umbrella, whichcomes from a tribal ceremony of the native Ngaju tribe. Umbrellas also symbolize life and Mahatala61

as the head god (Mahatala is the head god in the Kaharingan religion). The bottom part of the housesymbolizes the underworld and is ruled by Djata/Tambun. Djata/Tambun is the wife of Mahatala.
To begin construction of a Bubungan Tinggi House there are several steps that must becompleted, ranging from determining the location, and determining the exact day for beginning thedevelopment. If construction begins in the month of Safar (one of the months in the Hijra calendar),which is considered as a poor month, usually only the foundation is completed. The foundation will
later be doused in chicken blood as part of the Banjar Tradition.
II. 2. Spatial Pattern
As a traditional house, the Bubungan Tinggi House has the same characteristics as others such as the
Betang House or the Lamin House. Some of the important characteristics are:
1. Symbolic
2. An emphasis on the roof
3. Ornamental
4. Decorative
5. Symmetrical

Differences in the spatial pattern can occur, as Bubungan
Tinggi House has three types of space, that is, open space,half open space, and inside space.
- The open space consists of a yard or porch, which is
divided again into surambimuka, and surambisambutan.
- The half-open space, surrounded by a constellation fence,called the Field Pamedangan.
- The inside space is divided into Pacira and Panurunan(Panampik Kacil), Paluaran (Panampik Basar), Paledangan(Panampik Panangah) consisting of Palidangan Dalam,
Anjung Kanan and Anjung Kiwa, and Panampik Padu

Spatial Pattern of the BubunganTinggi House:(kitchen).

http://id.wikipedia.org/wiki/Berkas:Denah_Rumah_Bubungan_Tinggi.JPG

62

The rooms consist of a number of tiered floors:‐ Palatar (pavilion or patio), the front room, which is the first room after the entrance stairs. Thisroom is a higher floor, surrounded by a constellation fence. Usually in this space there is a pair oflong chairs. The Palatar is also called a Pamedangan.
‐ Panampik Kacil is a rather small room after entering through the front door of the Lawang
Hadapan. The floor is higher than that of the Palatar. The threshold here is called Watun Sambutan.
‐ Panampik Basar or Ambin Sayup, the room facing the middle wall (Banjar: Tawing Halat). The
floor surface is also higher than the previous floor. The floor used to be called Watun Jajakan,equal to the threshold of the floor for the Panampik Tangah. The room is big enough to use for avariety of family and community activities. If still short of space, that separates the Tawing Halatwith the Palidangan can be opened. In the Palidangan, or sling, the space inside the house isadjacent to the Panampik Basar. The Palidangan floor level is equal to the level of the Panampik
Basar. In the room the Palidangan has tall pillars supporting a high ridge (number 8 bars). Pole iscalled Tihang Pitugur or Tihang Guru. This room consists of a Paledangan Dalam and an Anjung
Kiwa Anjung Kanan. The function of this space is similar to the Paluaran, but it is usually reserved
for women. Here there are large cabinet fittings, a cabinet blind, kanap, and pitcher. The floor was
given Hambal as a cushion.
‐ Panampik Dalam or Panampik Bawah, which is in a fairly large room with a floor surface is lower
than the Palidangan floor and the same height as the Panampik floor surface. The floor threshold isalso called Watun Jajakan.
‐ Anjung Kanan–Anjung Kiwa. The Anjung Kanan room is also equipped as a break room withmakeup and accessories of worship. While Anjung Kiwa is a place to give birth and a place of carefor the body. it also contains cabinets, beds, tables and other items.
‐ Padapuran or Padu, which is the last room at the rear of the building. The surface of the floor isalso lower than the Panampi. The threshold floor is called a Watun cascade. Sometimes the Watun
cascade is quite high in places that were given for ascending and descending stairs. The room isdivided into sections: Padapurana tangan (a place for cooking) and grate (where dry wood fire),
Pajijiban, and Pagaduran (a place to wash dishes or clothes).
II. 3. Material and Structure
Material
With all the natural resources in South Borneo, the material used for a Bubungan Tinggi House can befound in nature. Traditionally, there are six types of wood used for Bubungan Tinggi Houses, but63now this wood is very rare to found. The various wood species are classified according to theirfunction. Among them are the following:
1. Galam wood and Kapur Naga wood. These two kinds of wood are usually used for the housefoundation. The foundation is a vital part of a Bubungan Tinggi House. Bubungan Tinggi Houses
are usually built in marshy and muddy areas, so the foundation must be strong and sturdy to avoid
becoming rotten when it is buried in a marsh or in mud. Therefore, Galam or Kapur Naga wood isused. These two kinds of wood are unique. They can last for 70 years if buried in a marshy area,and 60 years in a dry area.
2. Ulin wood. This wood is known to be durable, water resistant, and heat resistant. Ulin wood isusually used for pillars, sticks, gelagar (bamboo split used as the base of a chair), pegs, floors,
watun barasuk, doors and window frames, and roof rafters.
3. Lanan wood. This wood is usually used to build walls.
4. White resin wood. This wood is usually used for gelagar, turustawing, balabat, titian tikus,
bujuran sampaian, and riing.
5. Metroxylonsagus leaves. They are used for the roof.
6. Paring (bamboo). This is used to build palupuh halayung walls and hanau. Paring is also used tobuild floors on padus or pambayuans.

Structure
The structure of a Bubungan Tinggi House consists entirely of wood. The geographical conditions
lead to the adaptation to the swampy environment. Construction starts from the foundation and board
installation, then up to the rafters. This forms a framework structure that is stable and rigid bothvertically and laterally. The Bubungan Tinggi House is also a traditional and long-span building. A
Bubungan Tinggi House should be able to remain stable on weak ground, with a different load on thefront, middle and back of the house.
The high degree of difficulty and a good completion, utilizing the wisdom of local culture thatis friendly to nature must have evolved long before the existence of the claim that the Bubungan
Tinggi House was the residence of the Sultan. However, adaptation to the environment was carriedout by local people with the presence of this Bubungan Tinggi House.
Foundation
The condition of wetlands or swamps in the coastal rivers caused a problem that required a solution:
to make buildings stand up straight and rigid so that they can withstand the heavy loads imposed onbuildings in wetlands, construction of the foundation is very important.
To distribute the weight of the building evenly, the foundation system used rods (logs). This
foundation system using logs from a type of lime wood is placed as a cushion. The durability of thewood is certainly a consideration, naturally present in the preservation process of wood sunk into mud
or a swamp. It has been proven that wood preserved in this way can last for hundreds of years.
Kacapuri foundation was used to make the burden lighter in weight. This foundation system uses

64smaller wood, generally Ulinwood or Galam wood, by doing preparation lengthwise and crossed theline of columns that will be installed.

Foundation system of a BubunganTinggi House
Anatomi Rumah Bubungan Tinggi

A Kacapuri foundation is also a foundation for building poles and sticks standing on it. Poles andsticks are installed to a depth of about 50 cm to increase the surface area of the poles resting on thefoundation. Horizontal lateral rigidity has been created.
Poles and Stick
After installation of the foundation has been completed, the next process is the installation of poles
and sticks. Poles and sticks are vertical structures that distribute the load from the roof to thefoundation. The material usually used is Ulin wood, with a length of about 12 meters, a width of 20
cm, and a thickness of 20 cm. To build a Bubungan Tinggi House requires 60 poles. As for the sticks,
the length of Ulin wood is about 5 meters with a thickness of 20 cm and a width of 20 cm. A
Bubungan Tinggi house needs about 120 to 150 sticks.
Framework of a Bubungan Tinggi House
After installation of the poles and sticks has been completed, the next step is the framework of the
Bubungan Tinggi House. The framework of a Banjar traditional house is quite unique because inaddition to having a fairly elevated architecture, to measure the length and width, they use depa andfeet lengths that fall on an odd number. The use of odd numbers is believed to have spiritual andsacred value. The parts of the framework are:
 Implant material, made of Ulin wood.
 Girders, made of Ulin wood, Belangiran, Resin White.
 Floorboards, made of Ulin 3 cm thick.
 Turus Tawing, made of wood resin.
 Watun Barasuk balokan, made of Ulin.
 Door and window frames, made of Ulin boards and beams.

65 Bujuran Sampiran and curtains, made of Ulin or white damar wood.
 Balabad, made of white damar wood.
 Titian Tikus, made of white damar wood.
 Riing, made of wooden planks and white amber.
 Pole Orong-orong and noisy and Bones. The ridge is made of Ulin wood, lanan wood, andwhite damar wood.
 Rafters, made of Ulin wood or Resin White.

Pole Construction of a Bubungan Tinggi House
Anatomi Rumah Bubungan Tinggi

Construction of the center of a Bubungan Tinggi House can be classified into two activities:
installation of the floor and installation of the walls. The floor usually rests on the main pillars,
including floor beams into the holes in the main mast. Before the floor boards are installed, girder
beams are mounted on the first floor beams. This is in addition to binding the main mast, and also
ensuring a minimum width for the floor beams so that the floor does not flex. Once the floor beams
and girder beams are installed, the next step is installation of the floor.
Boards used for flooring are made from Ulin wood, with a thickness of 2-3 cm. The installation
includes two techniques, and the floor is fitted tightly and mounted between 0.25 cm and 0.50 cm.
Most floors in the rooms in the Bubungan Tinggi House tightly fitted, except Surambi Muka, Anjung
Jurai Kiri, Pedapuran, and pelatar belakang.
Building CoverOnce the floor is installed, we then proceed with installation of the building cover or walls of the
Bubungan Tinggi House. The walls consist of boards that are placed in a standing position, so in
addition to the pole, Turus Tawing and Balabad are necessary to assemble the boards. The material
used in the wall is Ulinboard and palupuh. The side and rear, and the wall of the Tawing Ḩalat use

66

Ulinwood. In the Anjung Kiwa, Anjung Kanan, Anjung Jurai and Ruang Padu, palupuh is sometimes
used as the walls of buildings.
Roof
After the floor and walls are installed, the next step is installation of the hatap (roof). The roof of a
Bubungan Tinggi House actually consists of a number of different kinds of roofs. They areatapbubungan (this is the special character of the Bubungan Tinggi House), atapsindanglangit (theroof that extends from the foot of the atapbubungan to the courtyard), ataphambinawan (the roof that
extends from the foot of the atapbubungan to the rear), and atapanjung (the roof that covers the ajungpart).

R1. Bubungan beam

R8. Gording beam

R2. Orongorong pole

R9. Pedestal poleR3. Barrier beam of Peran beamR10. Rafter

R4. Poles barries of Peran beamR11. Rafter of Anjung

R5. Easel of rafterR12. Rafter of Anjung

R6. Peran beamR13. Easel wood of room

R7. Kolang beamR14. Pedestal beam of Padapuran room

The atapbubungan form rises up high with a slant of 60°. This roof type is one of the differences
between the Bubungan Tinggi House and other kinds of traditional houses in other areas. The material
used to build the roof is Metroxylon Sagus leaves.
1. The first step in the process is construction of the roof frame.
2. Next is installation of the kasau and usuk.

67

3. Then, the Metroxylon Sagus leaves, which will be used as the roof, are arranged in layers and the
midribs of the leaves are squeezed using a thumb-sized piece of bamboo.
4. Next, it is attached with rope, which is made from Banban.
5. After that, it is assembled. The assembly process starts from the bottom to the top, with the upper
part of the leaves weighing down the lower part of the leaves underneath. Then it is tied together
with Banban rope. This method ensures that the Metroxylon Sagus leaves will not be blown awayeasily by the wind and that the roof will not leak when the rain falls.
6. The next step is to place a weighted wooden assembly on the top of the Metroxylon Sagus leaves.
On the top part (the peak), the weighted wood is made in the form of intersecting layers (layanglayang).
In the further development, use of Metroxylon Sagus leaves for house roofs is gradually decreasing.
This is because Metroxylon Sagus roofs can very easily be blown away by the wind and Banjar
society has become more aware that the environment where they live provides abundant Ulin wood,
which has become the mainstay of Bubungan Tinggi House construction.

Easel Construction of a Bubungan Tinggi House
Anatomi Rumah Bubungan Tinggi

In addition, the changes are supported by an awareness to take advantage of the rest of thedevelopment of a Bubungan Tinggi House. The remaining Ulin wood is split into thin pieces so that it
can function as a substitute for Metroxylon Sagus leaves. In other words, the creation of a Bubungan
Tinggi House roof from Ulin wood is one of the proofs of Banjar society’s wisdom. The process is:
1. The remaining Ulin wood from the house construction is collected and split into small parts.
2. Then, those parts are tied onto the roof frame with rope. The rope is then changed with nails.
3. After all parts are installed, the wood is placed on top of the roof and the peak in the form ofintersecting layers (layang-layang). After Banjar society gained knowledge of nails, the wood
was not used anymore for this purpose and the layang-layang form became just a decoration.

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Parts of a BubunganTinggi House roof
Anatomi Rumah Bubungan Tinggi

Ornamental Patterns
At first, architecture was only for the basic necessities of life, and then architecture developed basedon the philosophy of a community and differences with other communities. Differences can be present
in the form of a building, carved patterns, and the status of a building. Embodiment of the present in
the form of utilization of natural resources and, of course, symbols was presented in the form ofbuildings and the ornaments found on the Bubungan Tinggi House. As a traditional building, theBubungan Tinggi House was built by exploiting natural resources, adaptation to the environment andbecoming a symbol of natural forms. This was done as manifestation of gratitude to nature, with theform of the building or patterns in the building.
The ornamental patterns of a Bubungan Tinggi House are made by using the chisel method.
There are three kinds of chisel methods used, tatahsurut (carvings in relief form), tatahbabuku(carvings in three dimensional form), and tatahbaluangor bakurawang (carvings which pierce througha wooden sheet). The ornamental patterns on a Bubungan Tinggi House can be generally classified
into three types: plant, animal, and calligraphy. At the present time, carvings on a Bubungan Tinggi
House are colored, and that reduces the authenticity of the cultural heritage.

Plant patterns

Chisel Plant Pattern combined with Calligraphy
Pattern69

The plant patterns used are considered not only for esthetic reasons but also in terms of utility. There
are four forms of flora that are generally used, namely sulur-suluran, kambangbarapun,
kambangdalamjambangan, and kambangmalayap. There are three forms of plants that are commonly
used: fruits, flowers, and other special plants.
The fruit patterns feature fruits that are very important for society. They are starfruits, mango
steen, Morinda Citrifolia (mengkudu/pacekap), and pineapple. The flower patterns used feature
flowers that are available in the local environment, are beautiful, and also used in most customary
ceremonies. They are gardenia, Canangium Odoratum, fern, rose, jasmine, lotus, and Spomoca
Pescprae. The other special plants are various plants which grow in the local environment, can beprocessed into food, and can be used as medicines. Those special plants are Ipornoea Reptans, fungus,
cloves, Parkia Roxburghii, bamboo bud/Pucuk Rabung, Jaruju, and betel vine.
Animal patterns
Animal patterns used in the architecture of a Banjar
traditional house are the rooster (Babulungan Hayam Jago),
Cacak bird, Ophiocephalus Striatus, centipede (halilipan),beetle (Kumbang Begantung), fowl (I-itikan), beehive(wanyi), hornbill, and dragon. In these patterns the animals
that are featured in the carvings are not shown completely;
just some particular parts of the animals. This relates to thesociety’s belief that rendering of the form of complete
animals is forbidden for religious reasons. Therefore, theanimal patterns feature a complicated carving process ofsome small parts, so that the animals are only consideredand seen symbolically.
Calligraphy patterns

Chisel Animal Pattern

These patterns started to be used since Islam became moreestablished in Banjar society.
III. Values
A Bubungan Tinggi House is not only aplace to shelter from the sun, rain, and wind,
but it is also a masterpiece of humancivilization, which is based on human
wisdom. A Bubungan Tinggi House reflects
the ability of humans to adapt to theirenvironment, the local social system formed,
and the beliefs and art expression of Banjar
Chisel Plant Pattern combined with Calligraphy Pattern70society, South Kalimantan.
a. Adaptation pattern
The Bubungan Tinggi House is the adaptation of local society toward the swampy environmental
conditions. The Kalang Pandal and Dua Lapis foundations that use Galam and Kapur Naga woodshow clearly the local wisdom and knowledge of Banjar society in facing these natural conditions.
Although the ground upon which a Bubungan Tinggi House is built is weak, the house can be built tobe sturdy and durable by using appropriate architecture and choosing appropriate materials.
The ability of local society to adapt to the climate can be seen in the building of the front yard.
The existence of the front yard is Banjar society’s way to solve the problem of insufficient land to
conduct social activities. The use of Ulin wood as the frame, floor, and wall of the house is also
another indication of Banjar society’s ability to adapt. By using Ulin wood, Bubungan Tinggi House
construction can last for 60 years. The society’s ability to adapt can also be seen in the roof form
which rises up to an extreme 60° slant. By doing this, although they just use Metroxylon Sagus leaves
or Ulin wood slices as the roof, a Bubungan Tinggi House will not leak in the rainy season.
b. Social system
The Bubungan Tinggi House is a portrait of Banjarmasin society’s social system. When the Banjar
Kingdom still existed, the Bubungan Tinggi House was the residence of Kings and aristocrats, andafter the destruction of the Banjar Kingdom, Bubungan Tinggi Houses were possessed only by people
who were fairly wealthy. This means the Bubungan Tinggi House is a reflection of social
stratification in society. This social stratification is also shown by the variety seen inside a Bubungan
Tinggi House. A Bubungan Tinggi House also shows social ethnics. It can be seen in the division ofrooms, which created the concept of public and private rooms. The social system in a Bubungan
Tinggi House can actually also be seen from the beginning of the construction of the house, that is, inthe discussion stage. This stage is not only to formally ask society’s opinion about matters that areconnected to the house construction but also relates to customs and politeness. People who build ahouse without having a discussion are considered to be bad-mannered and impolite.
c. Expression of belief and hope
The Bubungan Tinggi House is also the expression of the belief and hopes of Banjarmasin society.
The use of depa to construct houses, and animals to determine the width of the building shows that thebuilding of a Bubungan Tinggi House has a sacred element. The use of expert labor, not only for thetechnical construction work but also non-technical work, proves that a Bubungan Tinggi House exists
in both a profound and sacred dimension.
The Bubungan Tinggi House also acts as society’s expression of hope. This hope can be seen in
the use and the placement of decorations, which are in the form of plants, animals, and calligraphy.
The use of mangosteen in Sungkul Tangga is aimed at making the people who live inside a Bubungan
Tinggi House become hard workers, as there is a need to work hard to eat the mangosteen.

71

The use of Arabic calligraphy decorations is not only for esthetic reasons but also related to thehope of having the house avoid dangers and disasters. If the research continues, we will certainly
obtain more knowledge. In this way, society will have an abundance of wisdom to face the conditionsof the place where they live. What is needed now is to explore those values and apply them to thepresent.

IV.

Conclusions and recommendations

IV.1. Conclusions
The Banjar traditional house at first symbolized the social status of the people who lived in it. An old
proverb says that a high ridge house is a place of kings. This shows that the Bubungan Tinggi House
was actually meant for the upper class at that time. After the fall of the Kesultanan Banjar in 1860,
there was a great social shift in people’s lives. The position of the tribal kings was taken by merchants
who experienced economic progress. They were the merchants who traded goods within the country
and even abroad. They then made the Bubungan Tinggi House a symbol of their success. Motifs
which originally featured the Hindu Buddha were then replaced by carved motifs of plants that had astrong influence in Islamic teachings.
The context of the many rivers and swampy areas were addressed by the wisdom of thecommunity in finding suitable building materials and the capability to respond to environmental
influences. In addition, its relationship with time in the present context is related to the disappearanceof the traditional Bubungan Tinggi house, because it is now considered irrelevant to social
development in society. In addition, in terms of the social self, the community already knows nosocial stratification so there is no need to make the house a means of attaining high status or as asymbol of success.
IV.2. Recommendations
The Bubungan Tinggi House at Teluk Selong is now 143 years old and the culture has developed inthat time. Surely it would be the addition of a decorative ornament, such as adding coloring toornaments. In the not-too-distant future, people will recognize that these ornaments are already like
that, and finally the authenticity of cultural heritage will slowly disappear.
Giving explanations to the local community is absolutely necessary, and explaining the originof cultural heritage values is very important for the future of cultural heritage. The next step is toconduct a complete drawing of the Bubungan Tinggi House. The images were not just two
dimensional images, but included three dimensional images with close attention to detail. The resultsfrom this description is recorded in visual and audiovisual form, and presented to the public as a formof learning about local wisdom at the time.
Traditional architecture places a high value on local wisdom, and this, of course, is required tobe considered in conservation. Today it is very difficult to find high quality timber, and it remains apossibility that cultural heritage will become extinct if there is no conservation of wood. Conservationof wood can be achieved by providing dedicated land for conservation that can be used in the future.

72

Final Reports
by Participants

IV. Final Reports by Participants

73

74

Muhammad Tang

Final Report: Training Course on Cultural Heritage Protection in Asia
Pacific Region 2012 (Individual Course)

Overview
The training program was conducted by the Cultural Heritage Protection Cooperation Office, AsiaPacific Cultural Centre for UNESCO (ACCU Nara Office) and is a regular activity in order todevelop knowledge on the protection of cultural heritage in the Asia-Pacific region, especially inIndonesia. ACCU Nara Office was established in 1998 to promote the interests of the protection ofcultural heritage in the Asia-Pacific region.

The individual course lasted for 31 days, from June 12, 2012 to July 12, 2012. The main theme was
the preservation of wooden buildings, because, as is well known, Japan is a country that preserves oldwooden buildings for hundreds of years. In addition to the main wooden buildings of a site,surrounding buildings also play an integral role, as it is important to maintain the harmony of nature,people and buildings.
The types of activities undertaken during the individual course included on-site lectures at a numberof sites that have received local, national and World Heritage protection. Locations visited, among
others, were Historic Monuments of Ancient Nara World Heritage Site, Imai-cho Kashihara City
townscape preservation, Himeji Castle, Tanaka Family Residence, Yakushi-ji and Toshodai-ji Temple,
Asuka Historical Museum and Tanzan-jinja Shrine, the Japanese Carpentry Tools Museum, Horyu-ji
Temple, and the Historic Monuments of Ancient Kyoto. Lecture topics included “Risk Managementof Cultural Heritage in Hyogo Prefecture.”175

In addition to the on-site lectures, some of class lectures presented were: Japanese Heritage Buildings,
System of Preservation Districts for Groups of Traditional Buildings, Conservation and Managementof Cultural Landscapes, Documentation and Restoration Plans of Wooden Structures, Photograph
Data Management, Disaster Risk Management of Cultural Heritage - Based on the Experience of theGreat Hanshin Earthquake, Kobe, Dendrochronology, Deterioration of Wood Characteristics,
Management of Historic Heritage Townscapes and How Archaeology Survived the Tsunami.

Nara as a Cultural Properties City
The presence of wooden buildings in Japan that can last a long time, even hundreds of years, should
be a model for preservation. The Horyu-ji Temple, for example, is the world’s oldest wooden building,originally built in the 7th century AD, in the Suiko period (606 CE). Although it once burned down, in
the Tenchi period (670), and the only structure left standing was the five-story pagoda, it was rebuilt
in the Nara-Heian-Kamakura period. Nara was the capital of Japan from 710 to 784, after which thecapital moved to Kyoto. Although its time as the capital of Japan did not last long, Nara left behind
many temples and shrines.
Not surprisingly, Nara can be called the cultural heritage city of Japan. Various temple buildings andshrines can be found there. These buildings are mainly made from wood, except for the foundations(stone) and roof tiles (kawara). Some buildings still exist that use different materials for the roof, suchas bark (hiwadabuki), small boards (itabuki), and a type of grass (kusabuki and kayabuki).
Various historical buildings can be found in Nara. For example, Todai-ji Temple, the Great Buddha
Hall, is the largest wooden building in the world, and contains a huge statue of Buddha. There areother notable buildings as well, such as Kofuku-ji Temple, Gango-ji Temple, and Kasuga Taisha
Shrine. Then in several separate places can also be found Yakushi-ji Temple, Toshodai-ji Temple,
Horyu-ji Temple, Hoki-ji Temple, and Nara Palace Site which is the former palace of the Nara period.

Protection system for cultural heritage buildings in Japan
In Japan there are various types of cultural properties, namely:-

Tangible cultural properties-

Intangible cultural properties-

Folk cultural properties-

Monument cultural properties-

Cultural landscapes-Groups of traditional buildings

The protection of cultural properties is divided into several categories:-

UNESCO World Heritage-

National Treasure-

Province or Prefecture
2

76

-

City or Municipality

The historical development of Japanese architecture can be traced as follows:-

6th century, marked by the entry of Buddhism into Japan and the introduction of new building
techniques.

-

7-8th centuries, many villages are built with a surrounding moat.

-

9th century, discontinued Chinese building techniques.

-

12th century, adoption of new techniques such as as Daibutsu-yo and Zenshu-yo. Daibutsu-yo
was a construction technique for large statues, adopted from southern China. Zen is one of thestreams of Buddhism in Japan with influence from northern China. Zenshu-yo was atechnique used for Zen temples. This 12th century architectural revival showed Japan’s
momentum as a nation, evidenced by the large number of buildings that appeared in thisperiod.

-17th century, Japan shuts itself off from the outside world.

-

18th century, the emergence of new techniques adopted from the West. This century also
marked the death of Tokugawa and the start of the Meiji period. The Meiji period was Japan’s“golden age.”

Building Restoration in JapanThe restoration of wooden buildings in Japan actually begins at the time of construction, because theold buildings are usually designed to be maintained even after entering the next historical period. Thisis a major feature of ji (Buddhist temples), in contrast to the building style used for jinja (Shinto
shrines), which are always renewed every 20 years.
There are two types of restoration undertaken in Japan, namely:
a. Total restoration. With total restoration, the aim is to totally dismantle the building to examine
the parts that are damaged and need replacing. Examples of this method can be seen at Himeji
Castle, Yakushi-ji Temple and Kiyomizu-dera Temple.
Refurbishment of the main building at Himeji Castle began in 2009 and is planned forcompletion by 2015. The main target is actually replacement of an earthen wall, but parts that
contain damaged wood are also being replaced. The roof tiles are also undergoing retrofittingwith glue mixed with a paint that will eventually blend in with the color of the tiles. One of theinteresting things with the refurbishment of the main building is that visitors to Himeji Castle cansee the restoration work being carried out up close. Thus, this restoration work is an attraction in
its own right.

377

Himeji-jo Castle and Yakushi-ji Temple

At Yakushi-ji Temple, there is a temporary building in the process of being restored that is, theEast Pagoda. The East Pagoda was founded in 730 and is the only original building that remains
today. Restoration of the East Pagoda began in July 2009, and is planned for completion in
December 2018.
While at Kiyomizu-dera Temple complex, Asakura-do buildings are in the process of being
restored, planned for completion in about four years. Asakura-do was built between 1504 and
1520 and burned down in 1629. Restoration work was undertaken from 1939 to 1941, but only
for a small part of the complex. The building has now been totally demolished except for a poleand the floor beams. Only one pole has been replaced because there is a big hole in the center
about two meters from the foundation.
b.

Partial restoration. The intention with partial restoration is to dismantle the building without
replacing parts that are considered damaged. The case here is one of the buildings in the Horyu-ji
Temple complex. The restored building was moved intact to one side because the floor will bestrengthened with concrete and stone. The concrete floor of the building is located on a hill slope
and there is the fear that restoration work may affect the structure of the soil under the building.
Once the building is moved, a check is done to see which parts are damaged, which are thenremoved and taken to the office for measuring and subsequent replacement in the same size as
the originals.
Another example of this is the restoration of some buildings at Shōsō-in, which is a storage
warehouse property from the Nara period. Shōsō-in is located behind Todai-ji Temple in Nara,
and was built in 761 AD. The last known restoration was in 1913, about 99 years ago, when atotal renovation was done, including the provision of reinforcement measures in the form of aring of iron poles and concrete floors. The refurbishment in 1913 lasted only nine months. Thistime, restoration is being undertaken for the replacement of the roof only and is planned for three
years starting in September 2011.

478

Awareness

of

the

importanceofmaintaining wooden buildings in Japan canbe seen in the way temple pillars andshrines are still able to survive until thepresent. Almost every building mentioned
above still maintains the original poles,
which have been improved. At the bottomof poles in direct contact with pedestals,
for example, the original pole can usually
be seen, along with sections replaced by
new wood (left photograph). The pole
replacement process also demonstrates the rules for restoration today, that is, still use the samematerial, the same size and similar technology. Although in ancient times there were changes in thegoverning authority buildings that were abandoned were not necessarily destroyed, but rather
maintained. Although nothing in the building has changed, there is usually only addition to thebuilding to show the characteristics of the rulers at the time.
In other cases, such as the reconstruction of a building that had burned down at Kofuku-ji Temple, asearch for information about the building was done. The old documents still in existence were used asa reference, and the buildings around it were also used as a comparison. Wood samples that may havebeen used in the building were found during excavations. Sample timber was used as a reference tocompare it with the surrounding buildings. The old documents also clarified the size, image and formof the building.
At the start of the reconstruction work, the building foundation of chukondo, was in pristine position.
This development will take about eight years and is scheduled for completion in October 2018. The
foundation around the building is also visible in some of the foundations that have been cast in
concrete and may not be rebuilt unless there are available funds for it. Retrofitting of the concrete
foundation stones did not follow their initial form. In the past, the foundation stone was surrounded bysoil or rock, only to keep the foundation stone in place. However, the land could then be eroded in therainy season. If stone is used, it costs more than using concrete. Thus, the construction of thisfoundation is very flexible in terms of materials used, though it is preferable to use the original
materials, such as poles made of Hinoki wood.
It is interesting, actually, that the construction or restoration of a building in Japan takes such a longtime. The question is, why should refurbishment always take place, although in some parts theoriginal wood material can still be used (in some places, jinja buildings should be restored every 20
years)? Each restoration is usually done by a few people to dozens of people, ranging from the mostskilled artisans to people entirely new to the field of restoration, especially wood working. It turns outthat during the refurbishment, a transfer of knowledge occurs from the skilled to the new craftsman.

579Thus, the regeneration of restoration expertise is never interrupted. There is therefore a hereditary
legacy of expertise in the field of carpentry and the use of tools.
The outboard or camouflage with sawdust on the wood is damaged, and is now no longer made inJapan. Instead, the damaged parts were replaced with similar wooden slabs. Camouflage techniqueswith wood powder have a weakness in terms of color. Although at the beginning it is the same color,the color fades over time and is not artistic.

Camouflage techniques using sawdust and wood

Practical Training
In the individual course, participants practiced the photographic recording of wood. This practice wasdone at the Tanaka Family Residence, estimated to be the oldest house in Japan, dating from the 18th19th centuries AD. The Tanaka Family Residence was originally located in Horen-cho, Nara City,
about 700 meters from Nara station. The house was dismantled in 1982 and stored in warehouses, andin 1990 moved to its current location. Restoration of this house has been done several times but only
certain parts have been repaired. In 1996, the roofs made of kayabuki were replaced. Later, in 2009,
the replacement of certain parts was carried out. In 2009 and 2010, parts of thatched roofs were
replaced and the framework was partially repaired. In March 2012, improvements of roofs and partial
repair were made to maintain this traditional home.
Practice in recording measurements of the details of the building and the wood craftsmanship tookprecedence, in order to make the floor plan and cross-section. In addition, identification of the type oftechnology used for construction of the timber was carried out. The most practical way is to use
tracing paper. This paper was stuck to the block of wood and then polished using carbon paper. When
finished it detected traces of the woodwork to indicate which type of instrument was used, bothtraditional tools and modern equipment. By knowing the kind of tools that have been used, any
replacement work will have to also use the same such tools. Another practice was to identify the typeof wood found in the Tanaka house.

80In general, the types of wood used as building materials in the Tanaka Family Residence are as
follows:
a. Hinoki (cypress) with the following characteristics: the surface is harder and slippery, andtree-rings are not visible or very subtle. Hinoki is a common high quality, durable wood inJapan, so it is used mostly used for poles. It can last up to hundreds of years.
b. Matsu (pine) has the following characteristics: tree-rings clearer, and the wood is usuallystraight and not as hard as hinoki. Matsu is the type of wood usually used as the main beam or
cantilever. Another characteristic is that it has the most eyes (knots).
c. Sugi (cedar) characteristics include more subtle tree-rings than matsu and softer surfaces.
Tree-rings are almost the same size.
d. Tsuga, of which only a few examples were found in the Tanaka house. A tsuga wood pole islocated near the doma.
Another practice that was done at Tanaka house was photography. The purpose of this practice wasto obtain cultural heritage data in the form of photography, especially where the data may not lastlong. The three main aspects of capturing images of a particular object of cultural heritage are:a. Aperture (represented by an f-number) or the diaphragm is the aperture through which thecamera receives light. The standard f-number scale on a camera is 2.8 - 4 - 5.6 - 8 - 11 - 16 22 - 32 - 45 - 64. The smaller the f-number (e.g. 5.6), the greater the exposure to light, and theeffect is that the focus gets smaller as well. Conversely, if the f-number is a larger number(e.g. 64), then the less the incoming light and the effect is a greater or broader focus.
b. Shutter speed (s) or exposure time is the length of time a camera’s shutter is open. The scale
typically is: 1 - 2 - 4 - 8 - 15 - 30 - 60 - 125 - 250. In other words, 1 indicates that the shutter
is open for 1 second, 2 for ½ second, 4 for ¼ second, 8 for ⅛ second, and so on. The smaller
the number (e.g. 1, or 1 second), the more light that is allowed into the camera when taking a
picture. Conversely, the greater the number (250 or 1/250 of a second), the less light isallowed into the camera.
Basic principles:-

In the case of moving objects such as trains, the shutter speed (s) is determined inadvance, then we need to determine the aperture (f).

-In the case of immobile objects, f is determined first, then s.

c. ISO (ASA) is a film speed system that indicates a film’s sensitivity to light. The scale used istypically: 25 - 50 - 100 - 200 - 400 - 800 - 1600 - 3200 - 6400. The bigger the number, thegreater the film’s sensitivity to light.
Case in point:
From the measurement taken by an exposure meter we have obtained the numbers f/11, 2 s
and ISO 100. But 2 seconds is too long, in case the object moves, and should be changed to ½
second by raising the ISO to 400.

781

Disaster Risk Management
The Hanshin-Awaji earthquake in Kobe on January 17, 1995 is one of many natural disasters thathave taken human lives. In addition to human casualties, many public facilities and a large amount of
housing were also destroyed. This includes a number of the historic buildings that can be found in
Kobe City. With wide experience of the natural disasters that frequently hit Japan, the Japanese
government anticipates the possibility of similar damage in the future.
A form of retrofitting of the historic buildings that can be seen in Kobe is the installation of a steel
frame in the Weathercock House. A steel frame is mounted under the roof to protect the wooden posts
using the brick structure. And because it uses a brick structure, wire is attached to the wooden posts
and bricks. The function of this wire is to bind the bricks together. So the bricks are tied to the bars
one by one wire.
In other cases, there is a wooden building in Kobe where the manufacture of Japanese sake takes
place. The building was destroyed during the earthquake. At the time of reconstruction, anti-seismic
equipment was installed, located at the bottom of the building. The equipment has undergone trial
simulations to measure its strength and resilience during an earthquake. At the Nara Palace site, which
has been rebuilt, there is also a system like this. The Nara Palace site was rebuilt to withstand theintensity of a maximum-sized earthquake. At the bottom of this building can be seen anti-seismic
devices so that if an earthquake hits, the building may move in the direction of the motion of theearthquake and then return to its original position.
What to do in the case of a fire? It is well known that Japanese cultural heritage buildings, especiallyin Nara, are mostly wooden structures. To anticipate the case of a fire, in certain places around thewooden building are installed fire hydrants. Of course, portable fire extinguishers are also provided,and are usually placed at the corners of buildings. The fire hydrants are very visible in terms of both
position and color, and some are disguised so as not to indicate that they are fire-fighting equipment.
Examples of such cases are Horyu-ji Temple, Imai-cho in Kashihara City and Todai-ji Temple. The
firefighting equipment at Horyu-ji temple is installed near buildings in a rectangular box-shaped stand,and is indicated by a colored white and red strip. Although white is used as the color of the walls of
nearby buildings, the equipment is visible when seen from afar. Likewise, at Imai-cho and Todai-ji,
the fire-fighting equipment is camouflaged or harmonized with the surrounding buildings so that it
does not stand out. In the traditional village, Imai-cho, portable extinguishers are colored red with alid with wooden bars of dark brown so they blend in and harmonize with the color of the houses. At
Todai-ji temple, on the other hand, fire-fighting equipment, such as the square-shaped hydrants at
Horyu-ji, is placed in the ground in a transverse position and covered with iron plates.

882

Fire extinguishers in Horyu-ji and Todai-ji Temple

The difference in the appearance of the fire extinguishers at both Horyu-ji and Todai-ji is aninteresting case. Should the location of such devices be disclosed to the public so that in case of fire,the people who are around a device can directly see it and use it without waiting for an official in thebuilding? Or should the devices be camouflaged and aligned with the ancient buildings around them,and if there is a fire then only an official in the building who knows the position of such fire-fighting
equipment can use it?

Dendrochronology
Dendrochronology is the study of the age of wood, both newly harvested wood and wood that haslong been buried in the ground. The science of dendrochronology itself is divided again into
dendroarchaeology, dendroclimatology, dendrohydrology, dendrogeomorphology, dendroecology anddendrochemistry. Knowledge of the science does not seem to exist in Indonesia.
This science was first developed by Andrew Elliot Douglass (1867 - 1962), and promoted by the
University of Arizona, USA, in the LTRR laboratory. Andrew E. Douglass at that time used a tool
called an increment borer to tell the age of a tree by drilling it in a certain way. He was actually an
astronomer who studied sunspot activity, which is associated with the growth of timber.
At present, with more modern technology, the equipment used is also more modern. Only withanalysis and a computerized system can data can be seen on the growth of trees. Calculation of theage of wood can be determined by looking at the tree rings that grow each year. The growing cycle ofwood in Japan begins in April in the spring and stops in the winter. Already, there are patterns oftimber growth in Japan that are used as the index of tree-ring if you want to know the age of wood.

83

Prita Wikantyasning

An Overview of Preservation Activities within World Heritage Sites,
National Treasures, and Important Cultural Properties in Nara, Kyoto,
and Kobe City
Cultural heritage is our legacy from the past, what we live with today, and what we pass on to future
generations. It consists of irreplaceable sources of life and inspiration. Places as unique and diverse as
Borobudur in Indonesia, and the Historic Monuments of Ancient Nara1 in Japan, make up our world’s
heritage. World Heritage sites, possessing universal values, belong to all the peoples of the world,
irrespective of the territory in which they are located.
Cultural properties are part of a country’s cultural heritage. In Japan, only Important Cultural
Properties that have been registered can become National Treasures if they have unique value, nurture
Japanese pride and represent an important part of the history of the Japanese people.
As a country which has several UNESCO World Heritage Sites, Japan takes measures to ensure theprotection, conservation, and presentation of its National Treasures. These measures are:
1. To adopt a general policy which aims to give the cultural heritage a function in the life of thecommunity and to integrate the protection of that heritage into comprehensive planning.
2. To set up services within Japan’s territories for the protection, conservation, and presentation ofcultural heritage with appropriate staff
3. To undertake scientific and technical studies and research and to develop operating methods inorder to make the State capable of counteracting any dangers that threaten its cultural heritage.
4. To take the appropriate legal, scientific, technical, administrative and financial measuresnecessary for the identification, protection, conservation, presentation and rehabilitation of thisheritage.

1“Historic Monuments of Ancient Nara” consists of the eight properties that represent the historic city of Nara

and which are included in the the List as a single property of cultural heritage, not as an individual entity.
‐ Properties that have buildings designated as National Treasures, the surrounding areas of which aredesignated as Historic Sites (Todai‐ji Temple, Kofuku‐ji Temple, Kasuga‐Taisha Shrine, Gango‐ji Temple,
Yakushi‐ji Temple, and Toshodai‐ji Temple)‐ Properties designated as Special Historic Sites or Special Natural Monuments (the Nara Palace Site andthe Kasugayama Primeval Forest)
The Outstanding Universal Value criteria are (ii), (iii), (iv), and (vi)184

5. To foster the establishment or development of national or regional centres for training in theprotection, conservation, and preservation of the cultural heritage and to encourage scientificresearch in this field 2.
Apart from World Heritage sites, National Treasures, and Important Cultural Properties, Japan also
has Cultural Landscapes (where tangible and intangible cultural properties merge), and also Groups of
Traditional Buildings, which have to be preserved. The preservation steps are adopted from the
UNESCO convention and many other conventions that Japan has ratified. Every country is unique,and so Japan develops rules or regulations3 that are more suited to its environment, geographicallocation and communities.
Japan has developed a protection system for built heritage in the country. The main principles are:
1. To ensure permanent protection through rigid control and full official support  for Important
Cultural Properties. It started from the Meiji Era.
2. To ensure the “conservation in use” of many and various cultural properties by more relaxed
control, and by promoting the population’s involvement  for Registered Tangible Cultural
Properties
3. To ensure the conservation of various types of historic human settlements (e.g. villages, towns)
and related landscapes, while respecting the municipality’s autonomy, and in close cooperation
with urban planning principles.  for Groups of Traditional Buildings
For many Cultural Properties in Japan, wooden structures play a major role, often as the mainbuilding. To preserve wooden structures, Japan has to develop various techniques to maintain theircondition. The techniques are:
1. Placing equipment or devices within the structure to prevent damage from disasters, such as: fire
prevention equipment (fire alarms, fire hydrants, etc), earthquake isolation devices.
2. Restoration activity, such as: full or half replacement of materials, and also exchanging materials
with materials in other places in the structure (depending on the value of the materials and therestoration budget).

2

Quote from the UNESCO Convention Concerning the Protection of the World Cultural and Natural Heritage,

Paris, 1972, with several alterations.
3

Quote from a brochure on World Heritage Historic Monuments of Ancient Nara:‐ In 1897, the Ancient Shrines and Temples Preservation Law‐ In 1919, Law for Preservation of Historic Sites, Places of Scenic Beauty and Natural Monuments‐ In 1929, the National Treasures Preservations Law‐ In 1950, Law for the Protection of Cultural Properties‐ In 1950, Law Concerning the Development of Nara as an Internationally Oriented Cultural Tourism City
‐ In 1966, the Ancient Capitals Preservation Law

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In many cases, restoration activities involve several measures that include the input of experts andalso large budgets for repairing structures or whole buildings. But the most important thing that has tobe done is to draw up a fixed restoration plan for calculating budgets and creating time schedules. By
participating in this Training Course with ACCU Nara, we learned how to create good plans forrestoration and how the Japanese preserve their cultural properties.
Before we created a restoration plan, the first thing that had to be done is to make a detailed drawing
and measurements, and also identify the material of the structures or building. The aim of thisactivities was to learn how to make a detailed plan for restoration. For practice, we drew a small
traditional Japanese farmhouse, the Tanaka Farmhouse. We didn’t just create a drawing; we also
learned how to identify the material the building was made of and what tools had been used toconstruct the building by observing and rubbing the surface of the material.

Figure 1. Left: Learning how to identify what tools had been used by rubbing the surface of the material
with thin paper; Right: The result of rubbing on a wooden surface

Even the best drawing cannot be perfect without clear and detailed photographs. There are manytechniques in cultural heritage or archaeological photography. The important thing to remember is wehave to make our photos understandable and look real. So it is not recommend to use a compact
camera for taking photos of cultural heritage objects, because of the inadequacies of this kind ofcamera. When using a view camera or a Digital Single Lens Reflex (D-SLR) camera, it isrecommended to use a tripod. We also need an extra flash if we are taking photographs indoors.
In the preservation of a landscape or townscape, we have to consider the community’s opinions, inorder to create a good plan for goverment development programs. In Imai-cho in Kashihara City, thelocal government suggests that the local inhabitants use traditional architecture for building theirhouses. The local government also contributes with a restoration budget for traditional houses. Any
modern devices (such as fireextinguishers , air conditioners, etc.) have to be camouflaged to hamonize
with the surrounding areas, or hidden from view. To promote tourism and to raise awereness of theimportance of cultural heritage preservation within Imai-cho, the local goverment encourages andsupports a local community movement (NPO) to create programs such as homestays, light candles,
etc.
3
86

Figure 2. Fire extinguisher hidden from view in Imai-cho village

In a larger building preservation (restoration), we also have to consider the following:-

Width of the protected area.

-

Which parts of the structures or buildings are going to be restored? And how large?

-

What kind of structures or buildings are going to be restored? Is it a public area or not?

-Materials in the old buildings and research to find substitute material if necessary.

-

Presence of visitors.
We can turn the presence visitors into a benefit for the restoration process as they are doing at
Himeji Castle. At Himeji-jo Castle, visitors can see through the glass covered walls and observe
the actual restoration work taking place.

-

Safety of the workers.
Workers should wear helmets, overalls, safety goggles, string and body straps, and gloves toprevent accidents.

-

Safety of the structures or buildings.
The manager of the restoration should prepare the lighting equipment, adjustment rings, fire
hydrants, fire extinguishers, etc.

Then, we can start to plan a structure or building renovation.

Figure 3. Left: Himeji-jo Castle restoration; Right: Research to find suitable roof plaster4
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Cultural heritage properties are also susceptible to decay and destruction because of aging anddisasters. For that reasons we have to consider conservation techniques that are suitable for theparticular cultural heritage and review what kind of disaster might usually strike the cultural heritage
in that particular area. To protect the integrity of the cultural heritage, we have to create a rescue plan
to save the cultural heritage, which must involve experts from outside the area of the disaster, local
government, and also persons in charge from the disaster area (if any). The rescue team must work
fast to save the cultural property from decaying. But we must remember that human life is more
important. So we have to rebuild the cultural heritage building with extra protection and special
consideration for human safety.

Figure 4 Left. Chimney bracket to prevent it from falling in a European style house;
Right: An earthquake prevention device under the Heijo Palace building

The Japanese realize that all cultural heritage properties in Japan are made from wood. Therefore,
besides engineers (architects), master carpenters also play an important role in Japanese cultural
heritage restoration. The master carpenter’s main job is to organize the entire restoration process, suchas analyzing the degree of damage, calculating the budget, acting as head of all the workers, andjudging which tools he wants to use for the restoration. Even though machine tools are widely used
today for cutting and processing the wood, in some cases, the master carpenter (or restoration
manager) only wants to use the traditional way to restore the building (such as with Tanzan-jinja
Shrine). The main difficulty in all restorations in Japan is to obtain the same materials as in theoriginal structure.
The replacement cycle of wood is also important. The master carpenter also has to consider what kindof trees and wood should be used, its place or position in the structures or buildings, and also the typeof roof and roofing materials required. Sometimes they have to put old materials, which are often stillin good condition, in other places in the building to maintain its value. Remember, all the temples thathave to be restored are UNESCO World Heritage Sites. So they have to follow the World Heritage
Convention.

5
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Because wood is the main material of cultural heritage buildings in Japan, dendrochronology is an
important science for preservation of cultural properties. We can deduce the age of the wood andidentify the degree of damage to the wooden structure or building by using dendrochronology science.
Unfortunately, in Indonesia, dendrochronology is difficult to be utilize because this kind of science
only can indentify wood from countries with four seasons. So, for a tropical country like Indonesia,
we have to use carbon dating (C14) to identify the age of the wood. It is also expensive (around 17.000
yen for one wood sample).
Comparison with Indonesia
As country with a number of UNESCO World Cultural Heritage and Cultural Heritage properties,
Indonesia also has to follow the World Heritage Convention regarding its world heritage and Law
Number 11 Year 2010 regarding its cultural heritage. Although the main material of UNESCO World
Cultural Heritage properties in Indonesia is not wood, wooden structures or buildings do play animportant role in the traditional life of the Indonesian people. Most traditional houses in Indonesia aremade from wood. But not many buildings survive, due to damage from fire, climate and humidity, as
well as termites. So we have to develop cultural heritage wooden material research to preserve all of
the buildings.
One thing we have to remember is that Indonesia has proposed six properties on a UNESCO World
Heritage Tentative List, which includes the Toraja Traditional Settlements, and Bawomataluo
Traditional Settlements. This tentative list comprises traditional houses which are made from wood,and other objects, so we have to pay attention to wooden material science research for culturalproperties.
Sharing knowledge and information about wooden material technology is also useful for attaining ourgoal of preservation of cultural heritage. Therefore, further cooperation with other countries such as
Japan, which has wood technology and expertise in specific sciences for cultural properties
preservation, may come to benefit both countries.
Sources:
Brochures
Information from Training Course lecturers
Law of the Republic of Indonesia Number 11 Year 2010 regarding Cultural Heritage (Undang-undang
Republik Indonesia Nomor 11 Tahun 2010 tentang Cagar Budaya)
Lecturer workbooks
UNESCO Convention Concerning the Protection of the World Cultural and Natural Heritage,
Adopted by the General Conference at its 17th session, Paris, 16 November 1972.

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Azahar Purwanto

Learning about Cultural Heritage Preservation in Nara, Japan
Training Course on Cultural Heritage Protection in the Asia-Pacific Region(Individual Course) 12 June – 12 July 2012

The Individual Training Course has been held 25 times, from 2000 to the present. Last year, a numberof trainees came from Indonesia and the subject of the training was Wooden Structures. This year,
from 12 June until 12 July 2012, the Indonesian government, through the Ministry of Education andCulture has sent representatives based on invitations from ACCU Nara about Individual Training
Course. The training will be held in Nara City, which is the oldest city in Japan. As an ancientcity,
Nara City has so much cultural heritage, with cultural heritage buildings and structures being
maintained until today. From that, we can learn many ideas and concepts on the restoration of cultural
heritage in Japan, especially in Nara City.
In around 30 days the participants study seven topics including practice in the field. They are as
follows:

90-Japanese Wooden Cultural Heritage-

The Japanese Cultural Landscape-Introduction to Recording of Wooden Structures-

Practical Training on How to Record Japanese Wooden Structures-

Introduction to Cultural Heritage Documentation – Photography-

Introduction to Disaster Risk Management-

Dendrochronology and Wooden Conservation

Japanese Wooden Cultural Heritage
Japan’s cultural heritage has a long history, with buildings made from wood by master carpenters. The
architecture of Japanese temples was influenced by China at the beginning, but over time thisinfluence from China slowly disappeared from Japanese temples.
Japan is rich in natural resources, and there is so much wood that can be used for their buildings.
Along with these resources, Japan needed master carpenters and master blacksmiths to complete thejob. However, the original master carpenters and master blacksmiths could not maintain their own
buildings, and so the first generation often left an image and information on the construction process
for the temple . With the respect to their own cultural heritage, many cultural heritages can survive tothe present.

Todai-ji and Kofuku-ji temples as World Heritage sites (photos by Azahar)

What if they do not have a record of the building? As secondary information, Japanese carpenters ask
the owner of the building, but the primary information comes from the building itself. The evidencesof construction process are left on the building and Japanese carpenters try to make it as close to theoriginal as possible. Of course, they leave detailed information for the future.
Temples in Japan have a long life, mostly due to restoration according to its age or by tradition.
To maintain the authenticity of the materials, they keep using the original materials as much as
possible. Most of the damaged materials will be stored or put on display at a museum. The damaged
section will be repaired with new material, of course with no visible connection to previous
restoration, and also the detail of the restoration is depicted through photographs and other means..

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Weather Cock House and Tanzan Shrine as Important National Heritage (photos by Azahar)

Japan has not only old temples that have survived until today, but Japan also retains a traditional
urban area which existed hundreds of years earlier, for example, Imai Cho. To maintain the old town,
a special law was needed that requires the community to help maintain the old town in its originalform. Restoration is made easier through tax reductions, sharing the cost with the city and central
government, access to assistance from public servants who have bachelor's degrees in architecture,
and also the help of the rest of the community, which shares information with tourists.
With access to assistance from public servants who are architects, the community gains
information about their own buildings and creates good designs for the façades of their own houses.
With good façades, the face of the city will be beautiful, attracting tourists who are of benefit to thecity. At the beginning, it is so difficult to start on such projects, and the community needs advice fromuniversities. After that, discussions are held with relevant parties. The relevant parties come from thecommunity, university, and public servants who have an interest in tourism development. This iscertainly a more effective way to achieve results than just relying on government regulation. So theoutcome of the discussions will be adhered to and implemented for the benefit of the city.

Imai-Cho as Area of Cultural Heritage (photos by Azahar)

The Japanese Cultural LandscapeJapan’s cultural landscape consists of the country’s traditional culture. It is very important to keep andprotect the cultural landscape because it is a part of the history of Japan. The cultural landscapes inJapan have recently developed and are also attracting the government's attention.

92

It is very important to know the unique characteristics of the cultural landscape, its background,
how to conserve it, the concepts involved, how to survey the cultural landscape, the most effective useof the cultural landscape for development, and systems to protect the cultural landscape. But the point
here is that society and local communities should be an important part of how to maintain the culturallandscape, and discussions with experts can enable the community to have a favourable opinion of theconservation efforts. As in the area of cultural heritage, the outcome of discussions will be adhered toby everyone and implemented for the benefit of the city.

Introduction to Recording of Wooden Structures
The recording of wooden structures is a very
important thing to do, and one reason why Japan’scultural heritage has survived until this time is thegood information recorded in the past for the future.
It is very important to pass on information to thenext era, so that the building can survive for future
generations. The recording itself did not only start in
the modern era; for many generations the recording
Lecture from Nakamura Sensei on the Recordingof Wooden Structures (photos by Azahar)

has started from the establishment of the temple orhouse.
Japanese traditional architecture is unique,with temples or old houses built in a knockdown style. In the case where a building can bedisassembled or assembled again, with this style it is easy to create a recording for the next
generations. The recording of wooden structures is done using manual tools. To make it a working
drawing, first of all the Japanese carpenter uses freehand style; after that, the drawing is transferred toanother paper using rulers to make a more accurate drawing.
During the drawing process, the carpenter not only makes the drawings but also thinks about any
damage that has occurred, what caused the damage, how to overcome the problem, and how toprevent the same damage from occurring again. All of this must be illustrated in detail on thedrawings of the building.

Practical Training on How to Record Japanese Wooden Structures
Practical training is given at the Tanaka Family Old House, and at the beginning participants must
know the characteristics of the building. It’s very important to know the structure of the house itself.
Even if the structure of the house is simple the participants must know the unique features of thebuilding. First knowing the culture of the local society is very important, so we can know and give
respect to the owner and their society.
To make good drawings, participants must know how to make freehand drawings in the field,
because it would take more time if rulers were used in the field. Having sufficient detail on the93drawing paper is very important, and the drawings themselves to the millimeter scale. The drawings
should not only show an overall view, but also the the building up close. Therefore, the drawings
should be detailed and a good draftsman’s drawings will clearly show the building itself, the material
used, any damage, solutions to such damage, how to construct it and how to maintain it. Details arevery important here, because they will provide good information for the next era and ensure that thebuilding can survive for many years.

Practical Training on how to record wooden structures (photos by Azahar)

Introduction to Cultural Heritage Documentation – Photography
Photography in cultural heritage has an important role—with photography the condition of thecultural heritage before and after can be known clearly and in detail. For example, the details of theroof, the plafond, the walls, the structure and style, etc. The photograph must show the object in thesame way as the original as far as possible. It means the colors, condition, and position should look
the same as the object. This, of course, requires a complete set of equipment, to support good work forthe best result.

Documentation training of photography with Sugimoto-sensei (photos by Azahar)

For photographing cultural heritage it is very important to use a good camera with the ability tocapture pictures that produce a similar image as the object. There are currently two types available:manual and digital. Manual cameras are still used in Japan, but the camera does not look like other94manual cameras on market. Manual cameras for photographing cultural heritage are called view
cameras. This type of camera can use positive and negative film, with the two kinds of film
themselves having different functions depending on the occasion. With a view camera, the size of thefilm can be selected depending on the need.
Digital cameras look like manual cameras and the differences come from the film. If a manual
camera uses film for the result, the digital camera uses a memory card known as a CF card or SD cardfor storing images of objects. It is very important to use a full frame camera for cultural heritages withzoom and a sharp lens to get the best quality picture with no distortion.
The result from the camera itself is very important, as not only color pictures are necessary;
black and white pictures are important too. With color pictures, the result will disappear slowly overtime, but with black and white, the image can survive for decades.
With digital cameras, images can be processed on high end computers and the files can besaved in every format. Usually photographers use only JPEG format on their camera, but for cultural
heritage we must use RAW files for the images. RAW data can be processed using imaging software
readily found on the market. Generally, this is Photoshop software. The photographer should beskilled in using imaging software that can handle the particular requirements for the documentation ofcultural heritage.

Restoration cultural heritages with education
The documentation and drawings of cultural heritage in Japan are complete and very detailed, andthey start from the beginning of the construction of the temple or shrine. It is therefore easy to build
and know how to restore it. Although the documentation and drawings are complete, carpenters arestill needed. To start with, workers on cultural heritage properties are not only aged 60 and above but
they also work with workers in their 20’s. This is an important legacy for future generations due to thedecreasing availability of skilled craftsmen with traditional techniques for wooden buildings. In
addition to the knowledge of the senior workers, the younger workers are previously trained andcertified in dealing with cultural heritage.
The Japanese government is not only concerned with their carpenters, but also interested in
educating the public. At Himeji-jo, we can see a large scaffolding structure which protects thiscultural heritage as it is being restored. The scaffolding is not only to protect Himeji-jo, but also aplace for tourists to observe the carpenters at work. The advantage with scaffolding which can bevisited by tourists of course is to provide knowledge about the restoration process and to see how the
carpenters work when handling cultural heritage.

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Himeji-jo, the World Heritage site, with scaffolding covering the building to educate visitors on restoration(photos by Azahar)

Introduction to Disaster Risk Management
Japan has a long history of earthquakes but there is no specific legislation for cultural heritage in theevent of an earthquake. The Kobe earthquake, which occurred in 1995, made experts more aware
about cultural heritage, and what they must to do after an earthquake and how to prepare a programfor cultural heritage.

Introduction to Disaster Risk Management and modern technology at a foundation for cultural heritage(photos by Azahar)

96

There are eleven steps we must take after a disaster. They are as follows:
1. Research the seriousness of damage
2. Prioritize the seriousness of damage; a temple is different to a traditional house
3. Check for adopted techniques from Europe for cultural heritage buildings which are different
from traditional Japanese buildings
4. Return damaged objects of cultural note to their original condition, and decide how to protect
them from natural disasters in the future
5. Traditional techniques are sophisticated, but some techniques may have been forgotten. It isvery important to keep using these for cultural heritage and pass on a legacy to future
generations.
6. Train volunteers to deal with damage to cultural heritage. This means networking within thecommunity, universities and having links with other departments such as the military.
7. Secure funding for the restoration of cultural heritage
8. Use modern techniques for restoring cultural heritage buildings. Modern techniques areneeded in order to protect buildings from natural disasters and minimize the damage. But withmodern techniques, there must be discussion with other experts.
9. Provide psychological counseling for those who experienced the natural disaster.
10. Classify damage to the cultural heritage as major, secondary, or minor damage.
11. Pass special regulations on cultural heritage after a natural disasterWith the above points, the Japanese government expects the Agency for Cultural Affairs to accelerate
the recovery of cultural heritage as soon as possible. Many cultural heritage experts in Japan also havemeetings for sharing information on technology and cultural heritage, and it is necessary toaccumulate knowledge and information in relation to the prevention of damage to cultural heritageand how to overcome natural disasters.

Dendrochronology and Wooden Conservation
Dendrochronology, or tree-ring dating, is the scientific method of dating based on the analysis oftree-ring patterns. Dendrochronology can date when tree rings were formed, in many types of wood,to the exact calendar year. With the use of dendrochronology to determine the age of wood, there arefurther considerations for the archaeologist. Dendrochronology is now growing rapidly. At first justan increment borer was used; the modern tree-ring measurement machine is now combined with atable, microscope and computer.
Digital cameras are also used in dendrochronology. Use of a full frame camera is very
important and a digital scanner with x-ray radioscopy as well as x-ray CT function is needed for thehighest accuracy in dendrochronology.

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Tree-ring measurement machine and lecture from Kohdzuma Sensei (photos by Azahar)

Wooden Conservation involves knowing how to distinguish between the development andcharacteristics of various kinds of wood or wood cells, and then classify the type of wood used,
whether hard or soft. The development of timber species in Japan and Indonesia is very different; inJapan, soft wood is mainly used, whereas the wood in Indonesia is hard wood. It is important to findout who the experts in wood conservation in Indonesia are, and to cooperate in dealing with cultural
heritage.

The Advantages of This Training
For participants, there are many lessons to be learned from the training conducted by ACCU Nara,and this training adds to the knowledge and wider perception for the participants. The training during
this month is expected to be put to practical use in the conservation of wooden cultural heritage inIndonesia, especially in the areas which are the responsibility ere the task of the participants.
Moreover, participants can share knowledge with colleagues at work and help each other in theconservation of cultural heritage. The sharing of knowledge is not limited to places where theparticipants are on duty, but also for anyone working in the area of conservation of cultural heritage.

Suggestion
Training provides added value for the participants, and sharing knowledge can benefit make to ourcoworkers in the office. All of the material provided is informative and insightful for the participants.
However, participants do not get a soft copy of the material presented in the classroom. Participants
will have difficulty in explaining the contents if there is no soft copy of the presentations. It will help
the next participant if they could receive soft copy files, which will help with knowledge sharing.
Finally, I would like to express my sincere gratitude to ACCU Nara, who provided training on
the conservation of wooden cultural heritage.

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V. Appendix
1. List of Participants
2. List of Lecturers and Interpreters

Appendix

3. Staff Members, ACCU Nara

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1. List of Participants
Muhammad Tang
Province Office of Cultural Heritage Conservation in Makassar
Directorate of Cultural Heritage and Museum
Ministry of Education and Culture, Republic of Indonesia
Kompleks Benteng Ujung Pandang Jl.Ujung Pandang No.1
Makassar Sulawesi Selatan, Indonesia
Tel: (+62) 411 321701/331117
e-mail: muhammadtang@archaeologist.com

Prita Wikantyasning
Directorate of Internalization of Value and Cultural Diplomacy
National and World Heritage Division
Ministry of Education and Culture, Republic of Indonesia
Kompleks Kemendikbud Gedung E Lantai X,
Jalan Jenderal Sudirman, Senayan, Jakarta 10270 Indonesia
Tel: (+62) 21 572 5564
e-mail: p_wikantyasning@yahoo.com

Azahar Purwanto
Province Office of Cultural Heritage Conservation in Samarinda
Directorate of Cultural Heritage and Museum
Ministry of Education and Culture, Republic of Indonesia
Jl. Kadrie Oening No.99 Samarinda, Indonesia
Tel: (+62) 541 733982
e-mail: azahar_purwanto@yahoo.com

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2. Lecturers and Interpreter■ Nara National Research Institute for Cultural Properties
2-9-1 Nijo-cho, Nara 630-8577 Japan
http://www.nabunken.go.jp<Department of Cultural Heritage>

HAYASHI Yoshihiko, Head, Architectural History Section
Tel: (+81) 742 30 6832 Fax: (+81) 742 30 6830 e-mail: hayashiy@nabunken.go.jp
EDANI Hiroko, Researcher, Cultural Landscape Section
Tel: (+81) 742 30 6816 Fax: (+81) 742 30 6815 e-mail: edani@nabunken.go.jp<Center for Archaeological Operations>

MATSUI Akira, Director, Center for Archaeological Operations
Tel: (+81) 742 30 6842 Fax: (+81) 742 30 6841 e-mail: herald@nabunken.go.jp
OKOCHI Takayuki, Head, Dendrochronology Laboratory
Tel: (+81) 742 30 6845 Fax: (+81) 742 30 6856 e-mail: okochi@nabunken.go.jp
KOHDZUMA Yohsei, Head, Conservation Science Laboratory
Tel: (+81) 742 30 6847 Fax: (+81) 742 30 6846 e-mail: kouzumay@nabunken.go.jp<Asuka Historical Museum>
NARITA Satoshi, Researcher
601 Okuyama Takaichigun Asukamura, Nara 634-0102 Japan
Tel: (+81) 744 54 3561 Fax: (+81) 744 54 3590 e-mail: narita@nabunken.go.jp■ Todai-ji Temple
IMANISHI Yoshio, Technical Superintendent406-1 Zoshicho, Nara 630-8587 Japan
Tel: (+81) 742 22 5511 Fax: (+81) 742 22 0808 e-mail: imanishi@todaiji.or.jp■ SAIDAIJI PHOTO
SUGIMOTO Kazuki, Photographer
4-28 Saidaiji Honmachi, Nara 631-0816 Japan
Tel & Fax: (+81) 742 33 0267 e-mail: higeji@nabunken.go.jp■ Nara Prefectural Board of Education, Cultural Assets Preservation Division
30 Noborioji-cho, Nara 630-8502 Japan
Tel: (+81) 742 27 9865 Fax: (+81) 742 27 5386
NAKAMURA Nobuo, Head, Yakushiji Field OfficeTel: (+81) 742 34 9275 Fax: (+81) 742 34 9276
e-mail: nakamura-nobuo@office.pref.nara.lg.jp
TACHI Toshihide, Head, Tanzanjinjya Field OfficeTel& Fax: (+81) 744 49 0133
HORINOUCHI Hiroaki, Technical Staff, Tanzanjinjya Field Office
MIKITA Hideo, Head, Horyuji Field OfficeTel& Fax: (+81) 745 75 2337

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■ Nara Municipal Board of Education, Cultural Properties Division
1-1-1 Nijo-oji-minami, Nara 630-8580 Japan
Tel & Fax: (+81) 742 34 4859
YAMAGUCHI Isamu, Researcher
yamaguchi-isamu@city.nara.lg.jp■ Kyoto Prefectural Board of Education, Cultural Properties Division

Yabunouchi-cho, Shinmachi-nishi-iru, Itachi-dori, Kamigyo-ku, Kyoto 602-8570 Japan
Tel: (+81) 75 414 5900 Fax: (+81) 75 414 5897
OKAMOTO Kimihide, Restoration Architectk-okamoto32@pref.kyoto.lg.jp■ Kashihara Municipal Board of Education, Imai Townscape Scenery Preservation

Office1-10-9 Imai-cho, Kashihara 634-0812 Japan
Tel: (+81) 74 42 97815 Fax: (+81) 744 24 9712 e-mail: imaimachi@city.kashihara.nara.jp
TERADA Kazumasa, Director
HIURA Yasuo, Assistant Director
NAKAGAWA Tomoyuki, Chief■ HANAIRAKA

2-3-5 Imai-cho, Kashihara 634-0812 Japan
Tel: (+81) 74 42 48719
MORIMOTO Ikuhiro■ Himeji Municipal Government, Department of Commerce, Industry and Tourism
68 Honmachi, Himeji 670-0012 Japan
Tel: (+81) 79 287 3681 Fax: (+81) 287 3661
KOBAYASHI Masaharu, Assistant Manager
Castle Environment Development Office■

Hyogo Prefectural Board of Education, Cultural Assets Division
5-10-1 Shimoyamatedori, Chuo-ku, Kobe 650-8567 Japan
Tel: (+81) 78 362 9443 Fax: (+81) 78 362 3927
MURAKAMI Yasumichi, Heade-mail: yasumichi_murakami@pref.hyogo.lg.jp■ Kobe Municipal Board of Education, Cultural Assets Division
6-5-1 Kano-cho, Chuo-ku, Kobe 650-8570 Japan
Tel: (+81) 78 322 5798 Fax: (+81) 78 322 6148
HIGASHI Kazue, Chiefkazue-higashi@office.city.kobe.lg.jp
MAEDA Yoshihisa, Chiefyoshihisa_maeda@office.city.kobe.lg.jp■ Takenaka Carpentry Tools Museum

4-18-25, Nakayamate-dori, Chuo-ku, Kobe 650-0004 Japan
Tel: (+81) 78 242 0216 Fax: (+81) 78 241 4713

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NISHIYAMA Marcelo, Associate General Manager and Chief Researcher
e-mail: nishiyama.marcelo@dougukan.jp
KITAMURA Tomonori, Master Carpentere-mail: kitamura.tomonori@dougukan.jp■ Kinki University

Kowakae 3-4-1, Higashi-Osaka 577-8502 Japan
Tel: (+81) 6-6721 2332 Fax: (+ 81) 6-6730 1320
WAKITA Yoshihisa, Professor
e-mail: wakita@arch.kindai.ac.jp■ Uji Municipal Government, Department of Urban Development, Division ofHistorical Town Planning

33 Uji-Biwa, Uji, Kyoto 611-8501 Japan
Tel: (+81) 774 21 1602 Fax: (+81) 774 21 0400
SUGIMOTO Hiroshi, Chief, Section of Cultural Properties Protection
e-mail: 01825sugimoto@city.uji.kyoto.jp■ The Imperial Household Agency, Office of the Shosoin Treasure House
129 Zoshicho, Nara 630-8211 Japan
Tel: (+81) 742 26 2811 Fax: (+81) 742 24 0132
NARUSE Masakazu, Manager, Conservation Divisione-mail: masakazu.naruse@kunaicho.go.jp
KUME Mamoru, Kyoto Office■ Nara National Museum, Curatorial Division
50 Noborioji-cho, Nara 630-8213 Japan<Department of Information and Archives>

Tel: (+81) 742 22 4465 Fax: (+81) 742 22 7221
MIYAZAKI Motoko, Chair and Senior Curator
e-mail: miyazaki@narahaku.go.jp<Conservation Office of Cultural Properties>

Tel: (+81) 742 22 7008 Fax: (+81) 742 22 7221
TANIGUCHI Kosei, Chair and Curator of Painting
e-mail: taniguchi@narahaku.go.jp<Office of Craftworks/ Artefacts and Display>
Tel: (+81) 742 22 4465 Fax: (+81) 742 22 7221
IWATO Akiko, Curator of Archaeology
e-mail: iwato@narahaku.go.jp

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■ Interpreters

Syafwina, PhD Candidate
Ecology & Environment Division
Graduate School of Asian & African Areas Studies, Kyoto University
SUZUKI Haruka, Mission Research Fellow
Rresearch Institute for Sustainable Humanosphere, Kyoto University
KOSUGI Niama, Freelance Interpreter■ Assisted Organization and Collaborators

TASHIRO Akiko, Researcher (Associate Fellow), NNRICPAKIYAMA Narihito, Nara Municipal Archaeological Research Center
IMANISHI Family Residence Preservation Society
KAWAI Family Residence
Sawanotsuru Museum
Todai-ji Temple
Yakushi-ji Temple
Toshodai-ji Temple
Tanzan-Jinjya Shrine
Horyu-ji Temple
Gango-ji Temple

3. Staff Members, ACCU NaraNISHIMURA Yasushi, Director
nishimura@accu.or.jp
TAKAHASHI Wataru, Deputy Director
takahashi@accu.or.jp
KOBAYASHI Ken’ichi, Director, Programme Operation Department
kobayashi@accu.or.jp
WAKIYA Kayoko, Director, International Cooperation Division
wakiya@accu.or.jp
HORIKAWA Kazuko, Chief, Planning & Coordination Divisionhorikawa@accu.or.jp
OTANI Yasuko, Chief, International Cooperation Divisionotani@accu.or.jp
NISHIDA Michiko, Staff, Planning & Coordination Divisionnishida@accu.or.jp
SHIMOMURA Nobuhito, Staff, International Cooperation Division
shimomura@accu.or.jp

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: (+81) 742 20 5001 Fax: (+81) 742 20 5701
e-mail: nara@accu.or.jp
http: //www.nara.accu.or.jp/

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