Full Paper

Nur Husniah Thamrin
"Characteristics of Traditional Houses Roof Seen From The Sayyid Position In Cikoang
Community,
Takalar South Sulawesi"
Characteristics Roof of Traditional Houses Seen From The Sayyid

Position In Cikoang Community, Takalar
South Sulawesi
Nur Husniah Thamrin1), Mayyadah Syuaib 2), Shirly Wunas 3), Slamet Trisutomo 4),
Ria Wikantari 5)
1) Colleger of Master Program, Department of Architecture UNHAS Makassar, nhusniah87@yahoo.co.id
2) Colleger of Master Program, Department of Architecture UNHAS Makassar,
mayziadah00@yahoo.co.id
3) Lecturer Department of Architecture, UNHAS Makassar, shirly@indosat.net.id
4) Lecturer Department of Architecture, UNHAS Makassar, trisutomo@gmail.com
5) Lecturer Department of Architecture, UNHAS Makassar, wikantaria@yahoo.com
Abstract
After the arrival of Islam in the sub-village Cikoang Mangarabombang
Takalar district brought in 1632 by Sayyid Jalaluddin, the villagers have a
unique culture that is the celebration of the anniversary maudu lompoa
the Prophet Muhammad's birthday with one of the procession is to bring a
variety of foods in a small boat called fated to be unlucky-fated to be
unlucky, then washed away into the river will then be contested by
members of the community. At this village the houses are still dominated
by traditional houses Makassar shaped stage. The sayyid also affect the
social strata in the community system Cikoang which can be seen on the
roof of the house became one of the symbols that can show the position
and behavior of homeowners.
Naturalistic qualitative research methods using purposive sampling
technique for the determination of a sample of 40 houses in the Cikoang
village Mangarabombang sub-district Takalar district.
The results show the influence of the position of the sayyid against
characteristics of traditional roofs Cikoang community a little different
from a Makassar traditional home tribes in general. The influence of social
strata and cultural visible on the roof of the acquired form divided into 2
("makassar" models and safari models), uncover the roof structure
(sambulayang) and rooftop ornaments list (tappi) where the model will be
marker behavior can be seen in spatial patterns in the home.
Keywords: charactersitic, traditional house, Cikoang community, sosial
strata, culture
I. Introduction
Before the arrival of Islam in South Sulawesi at about the 17th century,
residents of South Sulawesi has embraced animism and dynamism ancestors
they inherited from generation to generation. Because of this tradition,
religious tradition that developed in the South Sulawesi people can be
divided into 2 types, namely: 1) the original tradition passed down since the
time of the ancestors, and 2) religious traditions derived from Islam. Besides
faith in the spirits of ancestors and other spirits, the Makassar also has
confidence in the deity called Patuntung (Saransi, 2003).
International Seminar on Architecture in Urbanized Maritime Culture: Chances and Challenges in Design and Planning for
Sustainable Future, and the 3rd CONVEEESH, Department of Architecture, Faculty of Engineering, Hasanuddin University,
Makassar, September 6-7, 2013
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The confidence levels for the everyday people in the village Cikoang. Some
people have converted to Islam despite still visit places that are considered
sacred and the organization is still maintained cultural lompoa maudu holy
bath (je'ne-je'ne sappara) to release all kinds of misfortune and bring food
and clothing sberbagai colorful on lompoa maudu feast that will be swept
away into the river Cikoang, finally diperbutkan by residents as a form of
togetherness and sharing. Here we can see the original acculturation with
religious traditions that characterizes Cikoang village.
Both of these have a genuine belief that the concept of nature to believe that
nature layers divided into 3, which is the world top, middle and bottom. This
is reflected in the form of traditional houses namely Makassar, the top is
called the loft (Pammakkang), the center is a home body (Kale Balla) and the
bottom
is
called
under
the
house
(Siring)
(Limpo,
1995).
Koentjaraningrat (1990) revealed that, the traditional home of Makassar is a
physical system which is the result of the integration of the cultural system
and social system prevailing and evolving in Makassar tribal life.
Cikoang community initially has a system of social strata in accordance with
the system of strata that have been formed in the days of empire under the
reign of King Gowa Laikang, but the arrival and acceptance of the sayyid
provide adjustments to the system of social strata. Pros and cons will position
sayyid be something interesting because there are two opinions about the
strata system Cikoang community. The first opinion is religiously put the
Sayyid in the highest strata above the king and the nobles (Karaeng),
whereas a second opinion in the customs and culture of the sayyid was in
second after Karaeng strata and community title parallel to it in the strata
Daeng after the last (third) occupied by non-degree community called Ata or
Jawi.
Sayyid influx into strata as well as the position of their disagreements will
give color and character to traditional roofs Cikoang community. In the
community there are 3 things to consider in building traditional houses
namely: 1) roofs (high horses and uncover the composition roof /
sambulayang), 2) the number and location of the center pole (fort tangnga or
pocci balla) who always pair male men and women (the castle and fortress
tangnga tangnga bura'ne baine), and 3) the stairs. Roof as one part of the
house that can indicate the position of the owners directly at the level of the
social
strata
in
this
community.
The description above is a phenomenon of interest to researchers to examine
in more detail the relationship between the existence of the community
sayyid Cikoang the roofs of their traditional characteristics both in terms of
cultural and social strata. PenePembatasan more research will specifically
examine the roof in terms of the model of the roof (the original model and
safari), ornaments: uncover the roof structure (sambulayang), les plank
(tappi ') and the type of roof ridge (Anjong) which is associated with the
presence of additional space in the home in terms of position of the sayyid
that give effect to the socio-cultural. The purpose of this study is to analyze
the extent to which the influence of the position of the sayyid on Cikoang
community to form the roof of a traditional house in the village. Results are
expected to be a picture of the concept of a traditional house roof Cikoang
community in particular and Makassar tribes generally, and can be input for
local governments to preserve traditions Takalar traditional home
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construction Cikoang given that the village has now become a tourist
destination every year.
II. Literature Review
II.1. Overview The Sayyid Position In Cikoang Community
Advent the sayyid become part of social strata in the village Cikoang, make
an assumption on the position of the sayyid Cikoang be more noble than the
ox. This difference is then justified by the community that all people who do
not belong to the sayyid, then they called Jawi, regardless of whether he is
included in the strata of the nobility, or samara tau ata (Saransi, 2003: 50).
After leaving Cikoang Sayyid Jalaluddin, the teachings and the tradition
continues and is maintained by the descendants who became Anrong guru
(ulama, udztad, spreading the teachings of Islam). Karaeng sayyid existence
as a result of the mixing of blood between sayyids and hereditary nobility in
society Cikoang called Karaeng Ma'nguru '. While based on trust group
sayyid, sayyid position in society remained higher compared Karaeng non
sayyid. If you look at the above description, then heredity determines social
staratifikasi Cikoang. Sayyid Karaeng that have the highest degree, sayyid
next regular (non-Karaeng) and the last level is the jawi. The Jawi in Cikoang
divided into 2 layers, namely tau samara or ata (Saransi, 2003: 51). At the
Cikoang village level Daeng equated with the position of the ordinary sayyid
and last strata are jawi.
II.1.1. Traditional house roof concept of Makassar tribe
Pammakkang for storage of rice and sacred objects, material such as bamboo
or plank. Construction systems are flops and tie. Sambulayang is the
construction in the form of a triangle and laminated field. Construction
systems, main frame rests on rooftop beams at both ends of the bottom of
the beam panjakkala. Les plank (bumbungang / tappi '), a board mounted on
the tip of the front and back of the roof. Function as a windbreak which
adhered to the beam gording with pen and hole connection system, ends
sometime in the given decoration (Anjong). Roof made of nipa, thatch, reed
or palm leaves. Saddle shape with an angle between 30 and 40 (Tato,
2009: 14-15).
According to Wahid (2010: 89), the front and rear at the height of the house
adjacent to the wall is triangular in call sambuyalang. From this sambulayang
it can be seen degrees (nobility) owners. Sambulayang types consist of: not
composite (plain), two-tiered, three-tiered, four double decker, double decker
and double decker five seven. Sambulayang a three-layered upward indicates
manor house (ana Karaeng), whereas a composite of five and seven is the
manor house positions called Karaeng pamarintah.
Radja Research (2000), found in the diversity of the roof Makassar tribes of
the model in terms of the roof there are 2 types, continuous saddle (original
model) with a tilt angle of 30 and a saddle that has an additional fracture
with an angle of 45 and 30 are caused by differences in the function the
attic (pammakkang) and the addition of space at the side of the house.
Sambulayang arrangement at all three study sites also diverse, namely: 2
flats for ordinary folk group, 3 set up to class Daeng and 4 flats for Karaeng.
In addition it was found that the circulation space in the house (whiskers) are
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generally used as a prayer room is also taken into account as well as the
westward direction of Qibla.
In his book Mardanas (1985), express that the home decorative traditional
Bugis-Makassar on the roof there are three kinds, namely: motifs of flora,
fauna and natural and has a philosophical meaning and symbols represent
the position of livelihood is also the owner of the house.
III. Method
The research will use a type of qualitative research. According Sugiyono
(2011), qualitative research is often called naturalistic research because
research is done in natural conditions (natural setting), where the researcher
as the key instrument, the data collection techniques of triangulation
(combined), data analysis is inductive / qualitative and qualitative research
further emphasize the significance of the generalization. The research was
conducted descriptive and exploratory that describes the characteristics of
traditional roofs in the Cikoang village of Cikaong community Takalar.
III.1. Population and Sampling Techniques
According Sugiyono (2011: 80), not only the population, but also objects and
natural objects to another. Population rather than the number that existed at
the object / subject studied, but covers all the characteristics / properties
owned by the subject or the object. In this study population are all the
traditional house-shaped stage. In addition to the home, and homeowners
Panrita Balla also be in this study population.
The samples in qualitative research is not based on statistical calculations.
Samples were selected function to obtain maximum information, not to
generalize (Sugiyono, 2011: 219). Sampling technique is a technique that
samples purvosive direct appointment by the author. This study uses a case
study to determine which houses the research object. The Panrita Balla will
deliver an initial overview of the rules of construction, the types of roofs by
level of strata and provide translation to supplement the information
obtained from interviews with homeowners. The total sample of 40 houses on
stilts that represent each of the three social strata Cikoang community.
III.2. Data Collection Techniques
In this study, using primary data and secondary data. The primary data of
direct observation of the field photos of the house (roof model, the shape of
the roof frame / shape structure, floor plans and roof ornaments) as well as
interviews with Panrita balla and homeowners. Other necessary data
obtained from oral testimony traditional leaders (Anrong guru/ sayyid) and
village leaders about the village's history, the condition of the village, the
community background and social stratification system of society Cikoang
community. Secondary data in the form of documents, namely: lontara and
the oral narrative Panrita balla and a written record of the traditional houses
in the Cikoang village especially Makassar. Data collection with library
research, interviews and direct observations at the Cikoang village.
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III.3. Data Analysis Techniques

Qualitative data analysis has a core that is located on three processes,
namely: to describe the phenomenon, mengkalasifikasikannya and see how
the concepts that appear related to one another (Moleong, 2005). In this
study data was collected in the form of photographs, sketches and described
in order to provide a consistent explanation of observations, classified in the
form of tabulations and then analyze why it happened.
IV. Result and Discussion
The experiment was conducted in the Village District Cikoang
Mangarabombang Takalar South Sulawesi, with the consideration that the
largest Cikoang community is at the center of the village and the early
appearance of the teachings of Al-Aidid congregation or commonly known as
Cikoang community. Cikoang selected villages with several considerations,
among others:
1. Located in areas that are spread Makassar tribal society.
2. In the village Cikoang found homes that are still dominated by the stage as
the hallmark of traditional houses Makassar.
3. Balla Panrita propping ability as an architect of traditional houses that may
explain the traditional rules of construction of houses in the Cikoang village.
Specifically in the case study research in four hamlets scattered on Cikoang
villages, namely: hamlet Cikoang, Jonggoa hamlets, villages and hamlets
bilaya When-New Bonto. Location map of the study can be seen in the
Cikoang village maps (Figure 1).
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Figure 1. Cikoang village maps

Source: Thamrin (2013)
IV.1. Rules Roof On Home Traditional Cikoang

Based on interviews of 4 Panrita balla drawn a conclusion that the roof on a
traditional house in Cikoang, namely:
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1. Using the saddle with the model form an isosceles triangle or models
called "makassar", with the addition of the roof on the side due to space
menambahan called whiskers. Height of horses is measured by the formula:
width divided by two plus the excess size (using a hand size Panrita balla or
homeowner appropriate social strata.
2. Unleash the roof or called sambulayang different in each strata, formed by
the composition of wood or thatch without carving / decoration. At the
beginning of the rule that:
a. sambulayang king / Karaeng = 7 flats
b. sambulayang Daeng = 3-5 stacking
c. sambulayang jawi = 2 stacking
d. exclusively for the good of the group Panrita balla Daeng or Jawi can use
the same number with Karaeng sambulayang because it is considered of the
learned
and
respected
e. some are plain sambulayang not have a supported, if the custom should
be used by the kings / Karaeng and his descendants as a sign that they are
the people who always be humble and does not flaunt wealth / power. The
fact that only a small field to apply it and now more dominated by the sayyid.
3. Ridge of the roof (tappi ') cross or also called beam shape does not use
carving / decoration. Cross on tappi system 'is also different from both the
model
and
its
meaning,
namely:
a. List plan front left - right behind the plan list, the left is considered
something odd which means life and the right means death. Regarded as the
left and right of the owner of the house as a guest, so homeowners should be
able
to
control
the
conversation
than
his.
b. List the right plan - plan list describing the position of the rear left hands in
prayer, so that other people who see the plan list form (tappi ') roof can know
that the availability of a special room for prayer in the home.
4. The slope of the roof is not determined by measuring the angle only by the
width and height of the easel.
IV.2. Roof house model
There are 2 models of the roof on a traditional house in the village Cikoang
community, according to the observations and interviews with several
sources, the model is called a model of the roof "makassar" to gable with an
isosceles triangle that constantly and roof safari or model "Bugis" to form
gable that has a fault with a different angle (Figure 2). Appendix 1 shows the
results of observations of 40 samples found 14 homes using the original
model / "makassar" (5 Karaeng, 5 sayyid / Daeng and 4 ox) and 16 model
homes safari (3 Karaeng, 11 sayyid / Daeng and 12 ox). The mention of the
term model "bugis" because people think that model is not the original form
of the model of traditional roofs Makassar tribes. Livelihoods of residents in
this village, some of which have or are working in the field of shipping and
have visited several other areas to diversify the roof models appear, but
there is no document or other research that says that safari is the influence
of the shape of the Bugis. However, based on the analysis of changes in
shape of the roof at first due to the increase in space on the right, the left or
on both sides. However, the current model selection found in many safari roof
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construction of stilt houses in Cikoang, in addition to the terms of the visual

beauty of it is also back on the taste and ability of homeowners economy.
Figure 2. Models and forms the roof of the structure: a) original model /
"makassar" and
b) the safari model/ variation
Sources: Survey results and analysis of primary data at Cikoang village (2012)
IV. 3. Unleash composition roof (Sambulayang)

In ancient times the people in the village Cikoang Makassar tribes do not
recognize and use ornaments in their homes both in terms of color, shape and
style. According to their belief in the existence of decoration does not have a
specific meaning, but now many homes have used decorative. Specifically for
the current roof is usually used on tappi 'and sambulayang with carving /
sculpture and flora or fauna pattern but still do not have a special meaning only
as decoration. The survey suggests that there are 4 types of arrangement
sambulayang (Table 1), namely: 1 Bunk (Plain) by 5 houses (2 and 3 Karaeng
sayyid), 2 stacking as many as 16 homes (3 sayyid / Daeng and 13 ox), 3
stacking as many as 16 house (4 Karaeng, 9 sayyid / daeng and 3 ox) and 5
flats only be used by as many as 3 Karaeng home (see Appendix 1). This shows
that the composite sambulayang still a symbol of the highest social standing
than sambulayang plain, although this time has undergone many changes in
the composition of that number being less than they deserve. Based on the
analysis of the changes due to the influence of Islam which provides an insight
into the concept of humility, respect others and observed effect is obtained as
the height of the roof which does not allow the large number of roof uncover.
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Table 1. Uncover the composition roof (Sambulayang)

Visual image
Appropriation At Level Strata
Stackable Sambulayang 4-5
used by the king and his
descendants
(Karaeng).
Stackable 3
used by sayyid
Panrita
balla
arrangement
second strata,
Panrita
balla
sambulayang
number.
Sambulayang
and Daeng.
follow
the
sambulayang
but the rules
can
follow
Karaeng
For
class-3
(jawi)
using
sambulayang 2 stacking.
Sambulayang se're stone

(plain) is used by some
hereditary nobility (Karaeng)
and some sayyids.
Sources: Survey results and analysis of primary data at Cikoang village (2012)
IV. 4. Les plank (tappi ')

Les plank based on the observation that there are 2 types of composition:
right behind the front-left and front-right-left behind (Figure 2). Composition
of 40 samples was found right-left as many as 16 homes (3 Karaeng, 8 sayyid
/ Daeng and 5 jawi) and left-right as much as 14 homes (4 Karaeng, 2 sayyid
/ Daeng and 8 jawi) (see Appendix 1). The results showed that the dominant
Islamic teachings applied to the tutoring arrangement that gives the symbol
during prayer movement that by hugging the left hand in his right hand on it,
while pemahanan will be left as a symbol of life remained as evidence of two
cultural harmony .
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Figure 2. Arrangement of rooftops list (Tappi): a) left-right arrangement and b) rightleft arrangement
Sources: Researchers at the village Cikoang (2012)
IV. 5. Ridge of the roof (Anjong)

Cikoang traditional home construction was not familiar with the rules of
ornamental motifs on the roof, but the field observations found various forms
of roof ridge called Anjong much as 3 forms, namely: cross, horns and
straight (Figure 3). 21 of 40 samples were observed using a form of the cross,
using the 5 and 9 houses horn shape using straight form (Appendix 1). It is
shown that the cross still dominate and retain the original shape Anjong, ie
cross / bar which means the defense, while the other forms do not have any
meaning.
Figure 3. The variety of roof ridge (Anjong): a) cross / bar, b) horn and
c) straight
Source: Field observations on Cikoang village (2012)
IV. 6. Prayer Spaces in terms of the existence of social-cultural

Based on data villagers Cikoang, 100% of the population converted to Islam so
in effect these teachings will also be reflected in their homes, one of which is
the existence of space dedicated exclusively to practice their religion. Based on
attachment 1 can be seen 40 houses were observed, it was found that 23
houses (5 Karaeng, 10 sayyid /Daeng and 8 jawi) has a prayer hall and 17
houses (4 Karaeng, 5 sayyid /Daeng and 5 Jawi) does not have a prayer room,
while based models, 26 models safari (15 homes have a prayer room and 11
houses do not have a prayer room) and 14 original models (8 and 6 have a
prayer room does not have a prayer room). This analysis shows that the prayer
room to be one area that has been considered by homeowners in new
construction and additional space on the right / left of the house, forming a
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safari roof models. at home with safari roof model layout prayer room is to the
left / right and in front of the plot (paddaserang ridallekang) while the original
model to be located in the middle of the plot (paddaserang ritangnga) and hide
behind (paddaserang ridallekang) it is adapted to the area of the house and
also Qibla direction (Figure 4).
Figure 4. Prayer room layout: a) safari roof model and b) the original roof
model / "makassar"
Source: Field observations on Cikoang village (2012)
V. CONCLUSION
Based on the above discussion it can be concluded that the presence and
position of the sayyid on Cikoang community gives its own color for the roof
of a traditional house in the village Cikoang. The sayyid well as Karaeng
(sayyid Karaeng) or sayyids who spread Islam usual set an example to other
strata of Islamic concepts in the form of behavioral, symbolic and spatial
patterns in the home. Sayyid existence in the social strata sambulayang
influential position which marked the beginning of the homeowner so that the
number is reduced and sambulayang plain sambulayang used by sayyid
Karaeng and no longer as a marker of the Jawi home. Existence of cultural
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aspects sayyid meaning arrangement will change the view of the eaves
which means left-right-left-right to life which symbolizes the prayer
movement and provide a marker for the existence of a prayer room in the
house. This study found that the sayyids form characteristic of traditional
roofs Cikoang community that makes it different from a traditional home rule
Makassar tribes generally.
ACKNOWLEDGEMENTS
Thank you very much authors say to Prof. Dr.Ir. Shirly Wunas, DEA., Prof. Dr. Ir. Slamet Trisutomo,
M.S., Dr.Ir .Ria Wikantari, M.Arch., Which has provided guidance to the researcher. Thank you also
to the government investigators Takalar district, Mangarabombang sub-district government, officials
village and all the people who have received Cikoang village and helped researchers while in the
village.
REFERENCES
(1)Koertjaningrat.(1990). Manusia dan Kebudayaan di Indonesia. Yogyakarta:
Djambatan.
(2)Limpo, Syahrul Yasin., Culla, Adi Suryadi., Tika, Zainuddin. (1995). Profil Sejarah
Budaya Dan Pariwisata Gowa. Gowa: Pemerintah Daerah Tingkat II Gowa.
(3)Mardanas, Izarwisma.(1990). Arsitektur Tradisional Sulawesi Selatan. Proyek
Inventaris dan Dokumentasi Kebudayaan Daerah. Ujung Pandang: Departemen
Pendidikan dan Kebudayaan.
(3)Moleong, Lexy. J.(2005). Metode Penelitian Kualitatif. Bandung: PT. Remaja
Rosdakarya.
(4)Radja, A. Mufti., Soewarno, Nindyo., Adhisakti, Laretna T.(2000). Keragaman
Rumah Tradisional Makassar Di Kabupaten Gowa dan kabupaten Takalar Sulawesi
Selatan. Jurnal Media Teknik No.3 Tahun XXII edisi Agustus
2000, (Online),
(www.thedigilib.com, kata kunci: The Traditional Houses. Diakses 30 Januari 2012).
(5)Saransi, Ahmad. (2003). Tradisi Masyarakat Islam Di Sulawesi Selatan. Makassar:
Lamacca Press.
(6)Sugiyono.(2011). Metode Penelitian Kuantitatif, Kualitatif dan R&D. Bandung:
Alfabeta.
(7)Tato, Syahrial. 2009. Arsitektur Tradisional Sulawesi Selatan Pusaka Warisan
Budaya Indonesia. Makassar: El Shaddai.
(8)Thamrin, N. Husniah. (2013). Keragaman Arsitektur Rumah Tradisional
Komunitas Cikoang Kabupaten Takalar Sulawesi Selatan. Tesis tidak diterbitkan.
Makassar: Program Pasca Sarjana UNHAS.
(9)Wahid, Sugira. 2010. Manusia Makassar. Makassar: Pustaka Refleksi.
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Community,
APPENDIX
Appendix 1. Table typology characteristics of the roof of the prayer room availability
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Keterangan:
Krg
=
PB
=
Dg/Syd
=
Ka-Ki
=
Ki-Ka
=
Karaeng
Panrita balla
Daeng/Sayyid
right-left structure
left-right structure
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Nur Husniah Thamrin

Characteristics Roof of Traditional Houses Seen From The Sayyid

Nur Husniah Thamrin

Nur Husniah Thamrin

Nur Husniah Thamrin

Nur Husniah Thamrin

III.3. Data Analysis Techniques

Nur Husniah Thamrin

Figure 1. Cikoang village maps

IV.1. Rules Roof On Home Traditional Cikoang

Nur Husniah Thamrin

Nur Husniah Thamrin

construction of stilt houses in Cikoang, in addition to the terms of the visual

IV. 3. Unleash composition roof (Sambulayang)

Nur Husniah Thamrin

Table 1. Uncover the composition roof (Sambulayang)

Sambulayang se're stone

IV. 4. Les plank (tappi ')

Nur Husniah Thamrin

IV. 5. Ridge of the roof (Anjong)

IV. 6. Prayer Spaces in terms of the existence of social-cultural

Nur Husniah Thamrin

Nur Husniah Thamrin

Nur Husniah Thamrin

Nur Husniah Thamrin

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