jonathan swift history of architecture ii final essay

Jonathan Swift 22nd May, 2013 1106071896 Architecture International Program 2011 History of Architecture II

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Seeking an Identity: Regionalism in Indonesian

Architecture

This essay seeks to discuss the issue in regionalism with its development in Indonesian architecture. Looking backwards to the development of industrial revolution until modernism will help to identify some issues in the International Style or the phenomenon of universalization, which trigger the emergence of post-‐modernism, regionalism, etc.

Based on the emergence of the international style, this writing will focuses on the issue of regionalism in Indonesia. Selected Indonesia traditional architecture and some works by Contemporary Indonesian Architects such as Popo Danes will be discussed as precedent study in Regionalism. Past architecture is important to the understanding of socio-‐cultural aspects in Indonesia and to seek the answer to today society’s demand. Argument to be delivered is whether today’s modern architecture works is able to respond to Indonesian climate and context without leaving modernity and Indonesian traditional architecture heritage.

Ever since the beginning of industrial revolution in the 18th and 19th century, mass production materials such as steel, iron, and glass have been used in many aspects, including the world of architecture. Shortly after, modernism arose in the 20th century and master builders such as Le Corbusier, Walter Gropius, Ludwig Mies van der Rohe, etc. seek to utilize the modern materials. Modernism is strongly characterized with the simplification of form and is purely functional. The term “Form Follows Function” by Louis Sullivan became a very popular principle later. Besides Louis Sullivan, Mies can der Rohe shares a similar principle with his “Less is More”, in which ornament is a crime. In 1932, American architect Philip Johnson and Henry-‐Russel Hitchcock organized the International Exhibition of Modern Architecture at the Museum of Modern Art. Many modern architects gathered and shared their thinking. Realizing their common purpose, the International Style was born. This style not only grew very rapidly but also it influences architecture throughout the world, including Indonesia. Although this had marked the advancement of mankind, modern architecture was more concerned of the political aspects rather than the local socio-‐cultural aspects. “Just as traditionalism is a reaction against loss of continuity, so regionalism is a restorative philosophy in favor of supposed rural harmony between people, their

artifacts and nature.”

Architecture plays important roles in shaping a country’s identity. It helps to create the impression of a place and country and shows the diversity of the local culture, people, and character. Our country has rich traditional architecture heritage and cultural diversity. But ever since globalization, technology and architecture from other countries has influenced the development of our Indonesian architecture, especially from the international style. Indonesian architects may have created many amazing and good architecture works ranging from small to large-‐scale projects. Sadly, our diverse culture seems to have been forgotten and left abandoned in the small villages. It is quite a shame that most Indonesian architects is not trying to use our country’s diverse culture as their inspirations. Not only architects but also our most of our country’s publication


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media that has left our tradition. Nowadays, they only publish architecture trend and emphasize the physical appearance of a building, which seems to have poisoned the citizens. Media is also supposed to contain critics from professional architects or even the citizens to help develop Indonesian architecture. Despite our progress in many aspects, the influence of International style has caused deculturalization and Indonesian architecture will be further from finding its ‘identity’. Why is an identity is so important? “Architecture can represent socio-‐cultural” socio-‐economy, and even political message”[1] of a country. It basically means that architecture does not only define our country but it also affects our country’s economy and society. Currently Indonesia does not seem to have its own ‘Indonesian architecture’.

A country without an identity would be meaningless. From analogy perspective, if we compare the generation of our parent (20th century) with the current generation (21th century), we may see huge gaps in the way they behave. Old generation tend to hold strong to their family or ethnic’s tradition/belief from where they came from. Behind those traditions lies many values, whether it is togetherness, friendship, etc., all of which created certain principles. It is these principles that have helped to develop Indonesia and the diversity of culture/tradition that differentiate Indonesia from other country. However, due to globalization, technology has blinded the current generation and all those traditions are starting to fade away. Eventually, there might be no more traditions, beliefs, and culture. If we only rely on technology, then what would be the difference of Indonesia with other country? Where would this country go?

The same thing also happened in Indonesian architecture. If Indonesian architects only copying the physical appearance of famous architects’ works, our country would go nowhere. Indonesia has its own unique resources, meaning that we have different context from other country. The context of Indonesia means that we have our own approach to architecture too. To find how we approach Indonesian architecture, we have to try to find its identity.

Regionalism first emerged as an opposing reaction against the universality of International Style. Its purposes are to pay more attention to local values and to try to reconnect past tradition and architecture with the current one. Before World War II, Indonesia had actually become a ‘laboratory of experimenting architecture’. Dutch architects had tried to combine their local architecture with Indonesian’s. Henry Maclaine Pont suggested that “the only successful synthesis of local and modern traditions lay in various combinations of vernacular roof forms, and construction principles, with modern building techniques.” Later on, spirit of regionalism in Indonesia reemerged during the 1970s to improve the country’s infrastructure as a result of economic development. Indonesia was also said to be the ‘summit of local cultures’ from the construction of Taman Mini Indonesia Indah as an attempt to promote local culture diversity and find national identity[2].


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TMII. “The vernacular architecture of Indonesia is distinguished by the prominence of different roof form”.

However, Indonesian architecture identity is not easy to define. Based on IAI National Congress in 1982, Yogyakarta, that had the theme of “Menuju Arsitektur Indonesia”, Indonesian architecture can be represented by the diverse traditional architecture across the country. Some also said that all architecture works built after the Independence can be categorized as Indonesian architecture. According to the proposal by Prof. Ir. Sidharta, he proposed four principles to help discovering Indonesian architecture which are; 1) Indonesian humid tropical climate and its location on the equator line, resulting in relatively hot temperature, which should reduce the use of glasses. 2) The use of local materials such as bricks, wood, bamboo, etc., should be maximized as long as they are useful and economics. 3). Traditional artworks such as painting, sculptures, weaving, etc. should be used as traditional ornamentation for increasing a building’s aesthetic value. 4). The diversity of modern Indonesian architecture should be developed accordingly with diversity of our culture [1].

Decision makers and the government also have crucial role in finding Indonesian architecture as they relate to political, economical, and cultural development. Depending on architectural aspects alone to find identity is not enough, especially in this ever-‐changing world. In developed countries such as England and France, their governors are known to be active in the architecture development. Prince Charles likes to give critics in modern buildings for disrupting the physical appearance of local architecture. Previous 20th century president in France, George Pompidou, also paid a lot of attention to his countries’ built projects [1]. It is clear until today how those countries are very distinct from other countries. The efforts to revitalize old buildings in European


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countries also mark the importance of collaboration between architects and decision makers. Old buildings have become one of their identities.

London Skyline (http://loveoflondon.tumblr.com/)

http://www.telfordhomes.plc.uk/

Paris Skyline


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Paris (http://depositphotos.com/5272781/stock-‐illustration-‐Skyline-‐Paris.html)

Jakarta (http://commons.wikimedia.org/wiki/File:Jakarta_skyline.jpg)

Bangkok. Unlike London and Paris, Jakarta and Bangkok share similar visual experience and urban grain. (http://www.asienreisender.de/bangkok.html)


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Jakarta and other cities in Indonesia, on the other hand, are lacking the collaboration between the architects, client, and user. If we take a look at Rumah Kaca in Taman Menteng, it seems that the building was built either only from the architect’s ego or both the architects and governor’s ego. It was all made of glass and not really suitable for Indonesia’s climate. Moreover, most public activities occur not at the inside of the house, but outside, at the park. It is a shame that this park is situated in central Jakarta area and what is supposed to be a good public space is wasted with some glasses and unnecessary heating.

Rumah Kaca Menteng http://agitavioly.blogspot.com/2012/12/enjoyjakarta-‐taman-‐menteng-‐famous-‐park.html

There is also an architecture work in Department of Agriculture at Simatupang that is very similar with the Louvre Pyramid in Paris, which is an example of copying architecture works without considering the local context. The glass pyramid in Paris may be a grand architecture works that has become one of Paris’ landmarks. Moreover, the glass façade is suitable for European country’s climate, which is to collect heat in the winter. On the contrary, Indonesia is a tropical country with the sun at ninety degrees all afternoon. Imagine how hot it is to be inside covered with glass and how it heats the surrounding environment. Ironically, the pyramid is situated within the agricultural department area, which should be an exemplary of good agriculture environment.


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Louvre Pyramid, Paris

Rows of high-‐rise buildings in Sudirman Road. Their respond to Indonesian climate and context have to be questioned.


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Glass pyramid within the Department of Agriculture area in TB,.Simpatupang.

Although our current Governor, Jokowi, has issued that architects have to bring out the character of Jakarta as Indonesia cultural center, it is still not enough without the collaboration between the citizens too. User involvement is very important because they will the one who uses it later. What Jokowi has issued is the right thing in search for Indonesian architecture identity. However, the search for identity is not merely creating physical appearance that represent Indonesian culture. Placing Jawa house roof into a house will only look like a decoration and will not go anywhere. The philosophical aspects behind the traditions have to be studied too. For example, the construction and layout of Rumah Jawa contain certain methods and philosophy that rooted from Javanese belief and traditions.

Regionalism in architecture means to appreciate and bring back cultural aspects that have rooted in our ancestor while still being functional. It does not mean copying architecture traditional elements and just put it in modern architecture works. To achieve Indonesian architecture identity, there has to be a meeting point where the thinking of regionalism is in harmony with modern architecture.

According to Eko Budihardjo’s Taxonomy of Regionalism, most Indonesian architects are on the derivative pattern (vernacular). Vernacular architecture means to adapt/copy the traditional architecture form and make it functional [1]. Typology and Interpretive are similar because they are trying to reinterpret or rebuilt vernacular buildings to meet current society demands.


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Conservative means to sustain existing old vernacular buildings, for example is the museums in Kota Tua.

Taxonomy of Regionalism [1]

On the other hand, transformative pattern is trying to create an

innovation of form that is a combination of vernacular and modern architecture. The most dominant element of a traditional architecture is taken and combined with the construction method and materials of modern architecture. The resulting works can either be ‘monstrous/weird’ or in total harmony. Example of good transformative pattern is the Rector building of University of Indonesia.

University of Indonesia, Rector Building


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Other architecture approach to respond to local context, culture and climate is ‘Form Follows Culture” [1] proposed by Prof. Henrik Skolimowski. During Vitruvius’ times, architecture is basically composed of man, religion, and art. During the modernism era, architecture shifted to economics, technology, and man. In Form Follows Culture, religion, art, economics, technology with the addition of society along with nature, while man is in the center, becomes the main foundation of architecture. However, this concept may not be applicable to all building types, especially the religion aspects. But architects should still bear in mind society and nature aspects as they strongly relate to Indonesia climate and cultural aspects.

Form Follows Culture [1] There is also two concept of regionalism; concrete and abstract

regionalism, by Dr. Suha Ozkan. Concrete regionalism is similar with the taxonomy of regionalism by Eko Budiharjdo, which is more focused on the physical manifestation and function. On the other hand, abstract regionalism is trying to capture the essence of a traditional architecture in terms of void, sense of space, proportion, lighting, and structure, etc. In Indonesia’s cultural context, I think abstract regionalism should also be included in the design process because it relates to how people will use and feel the space, it relates to their way of life. There is a potential that Indonesian architecture can be created from hybrids of many cultural differences in Indonesia regional area not only from the physical appearance but also the sense of space of a building.

Bali is an island that is worldwide famous mainly for its nature and culture. The strong feeling of cultural aspect can be felt from the architecture of Bali, not only from the physical appearance but also from the philosophy and way of life Bali people. Many traditional buildings can still be found there, but ever since the rapid development of Indonesia, modern architecture has also penetrates Bali without reducing the traditional culture of Bali, resulting in ‘modern regionalism’.

Indonesian architects Popo Danes, is one of the few who includes regionalism spirits in most of his works. Rumah Renon in Bali is one of his works that adapt Balinese traditional space layout concept and philosophy, which are Tri Mandala and Sangan Mandala. Tri Mandala is consisted of three spaces; sacred space, activity space, and service space. Besides Tri Mandala, Bali also has


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a local culture that derives the space orientation of Balinese tradition architecture based on the nature; sky-‐earth, mountain-‐sea, and sunrise/sunset. Higher places are also believed to contain more cultural values than lower places and might also suggest status difference between God and Men. Based on this cosmology, Tri Mandala concept of sacred space (Utama Mandala) is oriented towards the mountain, activity space (Madya Mandala) to the land, and service space (Nista Mandala) to the sea. The existence of this philosophy is because Balinese architecture has very strong connections with God, Man, and Nature, which relate to their daily life.

[3]

On the above image[4], the dark area is Nista Mandala, the grey is Madya Mandala, and last is U†ama Mandala. The diagram shows a combination of Tri Mandala concept that follows the mountain, land, sea orientation and sun orientation into Sanga Mandala, which can be divided into a grid of nine squares.


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Rumah Renon, Popo Danes (Credit: Vincent, UPH) [5] In the above floor plan of Rumah Renon, the space for doing spiritual activities is on the top right side of the house, while the service area (maids’ rooms) is on the lowermost left. The activities for the family occur within the central area of the house. Based on this zoning, we can see a relationship of the orientation with the occupants’ activities. Service area that is located on the west side of the house do not require much light, so it is covered with walls. While for


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the main activities, the space is oriented towards the east and is mostly open to allow air and light. The master bedroom is towards the mountain (indicates the highest status within the family), while the other bedroom towards the sea. As for the building technology, wooden materials are mostly used here, followed by concrete, stone, which shows modern architecture. While wood and big openings (windows and skylight) indicates tropical climate of Indonesia. From Popo Danes’ work example, we can see a harmony between Balinese and modern architecture. The spatial organization can be said as Bali’s identity of architecture without leaving the functional and aesthetical aspects of modern architecture.

Ruman Renon

Other modern architecture works by Popo Danes. Local materiality, modern and Balinese architecture are still promoted.


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“ It is very important for architects not to be overwhelmed by his or her ambition of personal design preferences, but instead to create a design based on a rationalize requirements based on the user’s behavior and specific needs.“ –Baskoro Tedjo

Other example of Indonesian architects who is trying to respect the local

context and climate is Baskoro Tedjo. Rifdan’s House in Bandung, West Java, responds well to the sloppy site after careful studies of Rumah Panggung Typology[6]. The architect is trying to expose several elements of Rumah Panggung characteristics such as the exaggerated scale of the roof ridge, variations of column sizes, and the combination of modern and local materials.


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Rifdan house, Baskoro Tedjo, 2009.


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Typical Rumah Panggung

In conclusion, many Architecture works in Indonesia are still infected with the International disease, especially in Jakarta. The rows of high offices in Thamrin-‐Sudirman road are examples to be questioned whether they respond to Indonesian climate and context, including the glass pyramid in TB. Simatupang and Rumah Kaca in Menteng. It is very important for Indonesia and Jakarta, as capital city, to have their ‘identity’ because architecture serves to represent the development of a country. Even though it is hard to define Indonesian architecture, architects can try to adapt the method of Popo Danes, Baskoro Tedjo, four principles by Prof. Ir. Sidharta, and others that have the similar method. We have seen one of modern buildings in Bali that respects Indonesian climate, Bali’s context and climate while still being functional and aesthetically pleasing. It has been proven in Bali that regionalism can strongly promotes a place to the world and attract many foreigners, suggesting that there is still potential for Indonesia architecture development. However, Jakarta and other cities should be differed with Bali for its context and regional culture because Bali is a place for travelling while Jakarta has different purpose. The role of media, as information distributor, and government also needs to be involved more. After learning from European countries we have seen that the cities have certain distinct characters that promotes their identity. Meanwhile, medias have to publish architecture works not only their ‘skin and bones but also the story anxd cultural influences. Critics are also important for the development of Indonesian architecture.

With the hope that architects responding to cultural diversity in Indonesia, hopefully, there will be a hybrid between Indonesia’s regional architecture in the future. Thus, distinct characteristics of Indonesian architecture and an identity will be born.


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References:

1. [1]Budihardjo, Eko. 1997. “Kepekaan Sosio-‐Kultural Arsitek” in “Perkembangan Arsitektur

dan Pendidikan Arsitektur di Indonesia”. Eko Budihardjo (ed), Gajah Mada University

Press, Yogyakarta.

2. http://www.poskotanews.com/2012/04/24/rumah-‐kaca-‐di-‐taman-‐menteng-‐dinilai-‐

tidak-‐cocok/

3. http://www.itoday.co.id/politik/jakarta-‐berkarakter-‐jokowi-‐arsitek-‐jangan-‐cuma-‐

berpikir-‐proyek

4. Özkan, Süha. 1985. "Introduction -‐ Regionalism within Modernism". In “Regionalism in

Architecture”. Pp 278-‐282. Robert Powell, ed. Singapore

5. [2]Miksic, John. 1999. Indonesian heritage: Architecture. Didier Millet.

6. [3] http://summeravisya.blogspot.com/2010/12/hello-‐world.html

7. [4] Mugi Raharja, Gede. “Falsafah dan Konsep Ruang Tradisional Bali”. ISI, Denpasar

8. [5]http://dspace.library.uph.edu:8080/handle/123456789/991?mode=full&submit_sim

ple=Show+full+item+record

9. [6] Tedjo, Baskoro. 2012. “Baskoro Tedjo, Extending Sensibilities Through Design

(Architectural Works 1997-‐2012)”. PT Imaji Media Pustaka, Jakarta.

10. http://visualheritageblog.blogspot.com/2011/04/masalah-‐regionalisme-‐dalam-‐

desain.html

11. http://baskorotedjo.com/index.php/work/31/rifdan-‐s-‐house.html

12. Curtis, William J. R. 1986. "Towards an Authentic Regionalism.". In “MIMAR 19:

Architecture in Development”. pp24-‐31. Singapore: Concept Media Ltd.

13. Martokusumo, Widjaja. “Arsitektur Kontemporer Indonesia, Perjalanan Menuju

Pencerahan”. ITB, Bandung.

14. Frampton, Kenneth. 1980.”Critical Regionalism: Modern architecture and cultural

identity” in Modern Architecture: A Critical History. Thames and Hudson Ltd, London.

jonathan swift history of architecture ii final essay

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