39 The Evolution of Shape and Meaning in Vernacular Architecture: A Case Study of Gorga Woodcarving Motifs in Toba Batak Houses Yulianto 1 Department of Architecture, Santo Thomas Catholic University of North Sumatera Abstract: Gorga is ornamental woodcarvings in the traditional Batak Toba house. It is used as a symbol to show the status of the homeowners as well as the protection of the inhabitants of the house. Each motif of the Gorga has a symbolic meaning based on the belief system of the Batak Toba. The making of Gorga before the house construction must follow the rules that have been mutually agreed upon in traditional customs of Batak Toba society and should not be violated. In the development, the Gorga undergo physical transformation and meaning with the addition of values from outside the traditional Batak Toba community system. This paper aims to examine the transformation. The data was collected by field survey focused on Batak Toba houses in Samosir Island, interview with the house owner and visual data compilation. The analysis was done using visual analysis method with the interpretive-historical research. Four motifs of gorgas have been analyzed, and the evolution from Hindu influences was found in some motifs which led to an elaboration of the shape motifs before they decreased into more simplified ornamental shape. Keywords: Gorga, woodcarving, Batak Toba, evolution of shape, motifs —————————————————————————————— 1 Lecturer, Department of Architecture, Santo Thomas Catholic University of North Sumatera, Medan, Indonesia; Email: yulibean97@gmail.com 1. INTRODUCTION Gorga is an ornamental carving on the outer walls and sometimes also on the inner walls of the traditional Batak Toba houses. Traditionally the skill of engraving the ornamental gorga is passed down orally from one of the experts to their descendants or apprentices. Geometrically the ornamental gorga supposedly take inspiration from the various geometric shapes of plants, humans, natural objects, celestial objects and animals. According to Panggabean (1997), gorga is a marker of a house considered as a sacred dwelling. It contains symbolic meaning based on the belief system in Batak Toba society. Waterson (1998: 120) and Niessen (1985: 210) notes that the ornaments of gorga engraved in Batak Toba houses have a symbolic meaning of divine power to protect the inhabitants. In the absence of gorga, the house construction process is considered imperfect. The engraving of gorga must follow the strict rules such as the lines should not be broken. If the gorga engraving flow line is cut off, it is believed that it will bring bad luck and havoc to the inhabitants of the house. Gorga has an essential role in the architectural practice in Batak Toba society. As noted by Anggeler (2016: 311) in the legend of world creation based on Batak Toba belief, Nang Gorga di Portibi. In the myth, the goddess Nang Gorga di Portibi was the daughter of Batara Guru and creator of the earth, who was known as Boru Deak or Dayang Parujar. The word gorga in her name denoted wood-carving, but it also meant ‘Woman who is a skilled speaker in the world'. This means the house with gorga carving is the house protected with goddess words. According to another legend recorded by Simanjuntak (2012: 147), after Si Boru Dayang Parujar forged the earth with words and conquered the devil, Naga Padoha, She asked his father to send her fiancée down from heaven to earth. The name of her fiancée was called Si Tuan Ruma Uhir Si Tuan Ruma Gorga which means the owner of the carved house. In the development, the gorga underwent physical transformation and symbolic meaning with the addition of values from outside the traditional Batak Toba community system. According to Azmi (2004) and Sitinjak (2011), there were some modifications and deformation of appearance and symbolic values in gorga carving on some of the new vernacular houses and other buildings on Samosir island. 2. RESEARCH METHODS The methodology of this research is based on an analytical review of visual comparability and interpretive-historical research. The visual comparability will be analyzed data from the visual documentation that is collected from several field visits by recording a variety of gorga found in several vernacular houses and buildings. The visual documentation then converted into the visual matrix using Computer Aided Design software. The interpretive-historical research was based on investigation system of interpretation, using data or empirical evidence from archives, documents, data from the field visits and interviews with the house owners. 3. THEORETICAL PERSPECTIVE The visual, linguistic properties of architecture have long been noted in a generalized metaphorical way. It can also be applied to the decoration of a house. Each shape in decoration or any insignia on the wall or structure of a house can be seen as an occasion for the development or evolution of some new vocabulary of forms. Tipple (1992) described transformation as a form of change, which was commonly termed incremental, development, subtraction, or attrition (reduction in size) and total alteration or rebuilding. It is synonyms with the term of evolution. Each development of the shape of house decoration sometimes also applied a new meaning to the symbol. The definition of symbolism according to Merriam-Webster is “The art or practice of using symbol especially by investing things with a symbolic meaning or by expressing the invisible or intangible by means of visible or sensuous representations: as artistic imitation or invention that is a method of revealing or suggesting immaterial, ideal or otherwise intangible truth or states. According to Waterson (1998: 17), the architecture was not only about the existence of shelter against the weather but also the involvement of social and symbolic space which reflected the values of its creator and occupants. It is also applied to the decoration or insignia of the house.