thinbluelines - Kemendag

thinbluelinesThe architecture of Indonesia is rich incultural diversity and historical legacy, whichin turn result in a kaleidoscope of differentforms and technological traditionsTRADE RESEARCH AND DEVELOPMENT AGENCYMINISTRY OF TRADE REPUBLIC OF INDONESIAarchitecturearsitek rev 23 MARCH.indd 14/7/2009 6:18:39 PM

thin blue linesFOREWORDHEAD OF TREDATHE MINISTER OF TRADE Republic of IndonesiaSECTION 1APPOINTMENT WITH NATUREVernacular Architecture: Austronesia AncestryClassical HeritageInterlocking SystemSincretism and BlendSECTION 2WHEN THE FORCE TAKING SHAPEThe Architecture after the IndependenceIcons of the NationThe Flourishing of the Architectural FirmsThe Quests of Identity and Eco ResponsibilitiesSECTION 3CONTEMPORARY INDONESIAN ARCHITECTUREBENEFITTING FROM NATURENature GenerousitySECTION 4THE TESTIMONIESAWARDED ARCHITECTURESECTION 5GLOBAL EQUITY IN THE MAKINGIndonesia’s Architecture ProfessionalsInvolvements and Achievements in the Global WorldAdvancing Competitiveness“thinbluelines”Is aimed at providing insight into the history, current and the future of Indonesian architecture and establish avaluable source of knowledge, inspiration and reference on Indonesian architectural design a first-class inspirationfor global communities. The efforts are also aimed to illustrate the design architectural richness of the archipelago,with their diversities of cultural background in international market places.Published In Jakarta, INDONESIA, 2009PublisherTrade Research & Development AgencyMinistry of Trade Republic of Indonesia• 2thinbluelinesarsitek rev 23 MARCH.indd 24/7/2009 6:18:41 PM

Front Cover:The Facade of the Hasanuddin International Airport and abovethe tarmac tacade of the Makassar’s Hasanuddin International AirportDesigned by Atellier Enam, a national architectural company, the newly constructed airport of SouthSulawesi Province is a signature of Indonesia architectural capabilty in managing a complex-moderndesign and construction techniques paralel with the principles of sustainable development as well asengaging in the global competition.thinbluelines3 •arsitek rev 23 MARCH.indd 34/7/2009 6:18:44 PM

DEPARTEMEN PERDAGANGANREPUBLIK INDONESIAArchitectural design might be perceived as to create a place or a building in a physical termand experiences from the abstract idea or dream discerned before in the imagination ofhuman mind. The creation process involves the tangible and intangible elements of spacewhereas creativity enables the utter exploration of both elements. Tangible elements areuniversal in character and can be explored anywhere and by anybody because it is amanifestation of functional needs that are standard for basic human needs.This does not work for the intangible elements. The design process and its output is nota uniform product because it is very much influenced by the physical context and valuesystem where the design takes place. Particularly as the Indonesian architecture has itsown real value and charisma that cristalyzed for more than 1400 years.Today, Indonesian architecture has been considered as one of the 14 emerging CreativeIndustry that has been promoted for the growth of Indonesian economic in the comingyears. Nevertheless, it has never been thoroughly discussed and explored.This book is a reflection of the Government of Indonesia endeavors to explore and definethe characteristics of Indonesian architecture as a creative industry. The efforts are aimedto illustrate the design architectural richness of the archipelago, with their diversitiesof cultural background in international market places. These include architecturalworks developed by the local communities up to modern professionals architecture ofIndonesia.HEAD OF TRADE RESEARCH AND DEVELOPMENT AGENCY (TREDA)MUCHTAR• 4thinbluelinesarsitek rev 23 MARCH.indd 44/7/2009 6:18:44 PM

MINISTER OF TRADEREPUBLIC OF INDONESIAOne of the most striking results of Indonesia cultural diversity is the huge variety of architecturestyles. This is a legacy of which Indonesians are truly proud. Every region of Indonesia has itsown particular style of traditional architecture, which remains a strong part of local identity.Although today it is more common to use modern building techniques and materials, theancient traditions still prevail.Throughout much of the country, and particularly in Java and Sumatra, Dutch influence onIndonesian architecture is very clearly evident. But, among the innumerable Dutch-stylebuildings, there is no shortage of buildings that are very typically traditional Indonesian, andeven Chinese or Arabic in style. Away from the big cities, where today focus is often placedon expediency and efficiency rather than historic traditions, traditional regional styles stilldominate.Unlike in many countries, where architectural design is becoming more and more homogenised,Indonesians have been less inclined to standardise building designs, and this includes towerbuildings and airports, where traditional architectural elements are still incorporated into theaesthetic appearance of interiors and exteriors of different types of buildings. Drawing ontraditional architectural styles contributes considerably to maintaining our historic culturalvalues besides providing a rich source of ideas to add variety and character.This small book is aimed at providing some insight into the history and the future of Indonesianarchitecture and I hope that readers will find this a valuable source of knowledge and reference.I also sincerely hope that, above all, this book will become a source of inspiration, not onlyin being a record of Indonesian architectural design history, but as a source of informationand guidance on how we can use past knowledge and values to create a first-class livingenvironment for the future. Although our natural resources are not infinite and we must usethem wisely and sustainably, it is by no means impossible for us to build in an environmentallyfriendlymanner whilst incorporating beauty as well as function.MARI ELKA PANGESTUthinbluelines5 •arsitek rev 23 MARCH.indd 54/7/2009 6:18:45 PM

appointment with n» 01sectionVERNACULAR ARCHITECTURE: AUSTRONESIA ANCESTRYThe architecture of Indonesia is rich in cultural diversity and historical legacy, which in turnresult in a kaleidoscope of different forms and technological traditions based on the multipleelements that constitute the Indonesian architectural record based on the separate geographicalorigins of the different traditions that have contributed to Indonesia’s architectural heritage.These diverse influences can all be arranged in a rough chronology.The vernacular architecture of Indonesia—the traditional Indonesian house in all its manyregional forms—belongs to an ancient building tradition which can be found throughout mostof island Southeast Asia and parts of the mainland too. Although it encompasses a wide varietyof styles and technologies, a number of common themes and principles can be discerned. Thesecorrespondences, which include the widespread construction of pile dwellings with pitchedroofs and extended roof ridges, are the legacy of a shared Austronesia ancestry.• 6thinbluelinesarsitek rev 23 MARCH.indd 64/7/2009 6:18:46 PM

Indonesian Ethnic HouseMinangkabau, West SumateraAn Aristocratic Minangkabau Rumah Gadang (Great House)Minangkabau society is sub-divided into matrilineal clans, which fallinto two categories: the aristocratic (koto piliang), and the democratic(bodi chaniago). This distinction has an architectural register: theliving floor of aristocratic houses steps up towards the end, while thatof bodi chaniago remains level throughout.Being more or less constructed from wood and other perishable organic materials, the oldestvernacular buildings in Indonesia are no more than 150 years old. However, stone carvings on thewalls of 9th-century Hindu and Buddhist temples in central Java reveal close correspondencesbetween the domestic architecture of that time and contemporary vernacular forms which arestill being built today.The quintessential features of Indonesian vernacular architecture are exemplified by the Torajatongkonan of central Sulawesi (1). The main structural components consist of a timber, postand beam framework, supporting a pitched roof which is swept up at either end to create asaddle-back profile. The elevated living floor, which is raised on sturdy stilt foundation with avoluminous, well-ventilated roof cavity above, provides an excellent solution to the environmentalproblems posed by a hot, humid, tropical climate, with seasonal monsoon rains.Although Indonesian houses can be grouped together in families of general resemblances, formalcorrespondences often belie entirely different construction techniques and design solutions.natureIndonesian Ethnic HouseToraja house, South SulawesiIndonesian Ethnic HouseBatak house, North Sumaterathinbluelines7 •arsitek rev 23 MARCH.indd 74/7/2009 6:18:47 PM

Indonesian House TypesThe picture shows the house types in several regions in Indonesia: 1. Toraja, 2. South Nias,3. Karo Batak, 4. Toba Batak, 5. Minangkabau, 6. Mentawai, 7. Kenyah, 8. Jawa, 9. Sumba,10. Amarasi, 11. Atoni, 12. South Bali, 13. Bali Aga, 14. Sasak, 15. Dani. The main structuralcomponents consist of a timber, post and beam framework, supporting a pitched roof whichis swept up at either end to create a saddle-back profile. The elevated living floor, which israised on sturdy stilt foundation with a voluminous, well-ventilated roof cavity above, providesan excellent solution to the environmental problems posed by a hot, humid, tropical climate,with seasonal monsoon rains. Although Indonesian houses can be grouped together in familiesof general resemblances, formal correspondences often belie entirely different constructiontechniques and design solutions. (Picture is adapted from Indonesian Heritage Volume 6; Architecture.)(Picture is taken from Indonesian Heritage Volume 6; Architecture.)Construction TechniquesMost Indonesian built forms representvariations of a post and beam constructiontechnique, where walls (if they exist at all)are seldom load-bearing, and proportionally,the roof dominates. The illustrations heredemonstrate indigenous constructiontechniques from north central Sulawesi. Inthese examples, robust foundation postssupport the floor and provide a frameworkfor the walls, while the roof consists of alightweight frame which rests on top.• 8thinbluelinesarsitek rev 23 MARCH.indd 84/7/2009 6:18:47 PM

Elevation of a Toraja Origin-House, Showing the Extended Roof Ridge(Picture is taken from Indonesian Heritage Volume 6; Architecture.)Extended Roof RidgesThe most distinctive feature of SoutheastAsian vernacular architectural forms is theextended line of the roof, often with outwardslopinggables. This style is not only ancient,but is often carried over into modernizedforms, being made to stand as a visual symbolof local ethnic identities. The extended ridge,sometimes developing elegant curves, cannotbe explained in functional terms, nor is itintegral to a particular mode of construction.Its appeal is aesthetic, and it is achieved by avariety of different building techniques.A Niasan Solution for Seismic ActivityThe massive foundation posts of the chief’s house inBawomataluo village, south Nias, are braced by equallymassive diagonal struts. The latter are a distinctive featureof Niasan architecture and are probably an adaptiveresponse to earthquake stresses in this region of constantseismic activity.Structure Without NailsIndigenous Indonesian buildings are held together entirelywithout nails, relying instead on a variety of jointingtechniques, which are sometimes reinforced by pegging,wedging, or binding. In the case of foundation posts, thesemay either be buried in the ground or else placed on top offlat stones. In the latter instance, the rigidity of the structureis typically reinforced by cross beams mortised throughthe posts as in the case of Toba Batak or Toraja houses.The space under the house may then be used as a stall forbuffalo or pigs.thinbluelines9 •arsitek rev 23 MARCH.indd 94/7/2009 6:18:49 PM

CLASSICAL HERITAGEMost Indonesian built forms represent variations of a post and beam construction technique,where walls (if they exist at all) are seldom load-bearing, and proportionally, the roomdominates. Sometimes house posts run through the entire structure to support the roof, but inother instances, for example, Karo Batak granaries in north Sumatra, the foundation structureis topped off by two (or more) parallel tie-beams and the superstructure sits on top of this,rather like a box. In the case of traditional houses built by Manggarai or west Flores, the flooris supported by an entirely separate system of foundation posts to those which hold up theroof. The illustrations here demonstrate indigenous construction techniques from north centralSulawesi. In these examples, robust foundation posts support the floor and provide a frameworkfor the walls, while the roof consists of a lightweight frame which rests on top.Indonesia’s oldest stone structures were built in late prehistoric ties, approximately 2000years ago. Stone-faced terraces and associated landscape modifications for ritual purposeswere constructed on mountain slopes. These terraces continued to be used through the Classicperiod.Lara JonggrangThe main body of Candi Lara Jonggrang is divided into twosections, an upper and a lower, in which are set rows ofniches. The coping is composed of an entablature completewith architrave, frieze, and cornice, which projects slightlyfrom the main sanctuary wall.Indonesia’s Classic period began with the erection of stone and brick temples to shelter symbolsof Hindu and Buddhist deities. The oldest examples of these, dating from the beginning of the8th century, were designed by Indonesian architects who were already familiar with working inpermanent materials.Although the architecture of Indonesia’s Hindu-Buddhist past (the ninth to fifteenth centuries)drew its initial from Indian forms, the latter were from the outset subjected to strong localinfluences which in time led to the emergence of an entirely separate architectural tradition withits own distinctive temple typology, construction techniques, and decorative features. The greatmonuments of Indonesia’s Classic era, such as Borobudur and Candi Lara Jonggrang testify to astyle of architecture which is wholly Indonesian in its conception and execution.The quintessential feature of Indonesian Classical architecture is the candi—a tower-likestructure, built of stone, which is raised on a basement and surmounted by a stepped pyramidalroof, ornamented with antefixes and finials. In symbolic terms, the building was conceived as arepresentation of the legendary Mount Meru, which in Hindu-Buddhist mythology is identified• 10thinbluelinesarsitek rev 23 MARCH.indd 104/7/2009 6:18:50 PM

as the abode of the gods. The gods reside in caves set in the sides of this mythical mountain, andthese are replicated in architectural terms as chambers and niches containing statues of deitiesto whom the sanctuary is dedicated. Buddhist structures such as the famous ninth centuryCandi Borobudur in Central Java similarly invoked this idea of a cosmic mountain.INTERLOCKING SYSTEMFew examples of Classic period architectural forms other than temples exist. These includebathing places, and the enigmatic ruins of the Ratu Boko complex which probably servedseveral purposes: as a royal residence and site for public rituals, and as a site for Buddhist—andlater Hindu—religious activity. Remains from East Java indicate that some elite residential areasin the fourteenth century were built partly of brick and tile. Most architectural remains fromthe Classic period are concentrated in Java, but few sites from Sumatra, Bali, and Kalimantanprovide comparable data.During the Classic Period in Indonesia, approximately 800 years long, architecture evolved inresponse to changes in religion, politics, and the general tendency of humans to desire stylisticchange. Several of the buildings of this period are considered to be part of the world’s culturalheritage.Early Indian religious sanctuaries at Mahabalipuram and other sites were sculpted fromsolid rock as an iconographic representation of the sacred Mount Meru, which in mythologyis identified as the home of the gods. The subsequent tradition of Hindu architecture, bothin India and overseas in Southeast Asia, can be seen as a practical compromise between thedesire to reconstruct this legendary mountain and the physical limitations of working in stone.In Indonesia, there were no important attempts to imitate Indian buildings built entirely bycarving them from solid rock. Instead walls were constructed with stone courses placed one ontop of the other without any binding material. The following picture shows the methods usedin building with stone:Stone wedges driven between blocks toincrease the compactness of the joints,The double-leaf wall method with rubble infill, Interlocking stone courses at Borobudur, A method for pinning adjacent blockstogether,Using mortise and tenon joints,Mitre-joints for overlapping stone coursethinbluelines11 •arsitek rev 23 MARCH.indd 114/7/2009 6:18:51 PM

SINCRETISM AND BLENDAssimilatic ArchitectureThe waning influence of Majapahit in the late fifteenth century was balanced by the ascendancyof Islamic polities in Indonesia, most notably the powerful Muslim state of Demak which gainedcontrol over many ports along the northern coastline of Java. The new religion introduced anovel building type, namely the mosque, and with it, the cemetery. Islam expressly forbidscremation which had been the principal means of disposing its dead during the Classic era.No doubt there were other architectural innovations at this time—for example, in the design ofpalaces and the layout of cities—but the scanty remains from the Majapahit capital at Trowulanmakes it difficult to assess these changes.Islam spread through the Archipelago by assimilation and trade. Initially, the coastal areaswere the main centers of Islamic influence. Because of the nature of the spread, the advent ofIslam does not seem to have greatly affected the existing architectural forms. Muslim tradingports formed the principal focus of architectural innovation and urban development at thisperiod. Elsewhere, agrarian communities continued to conform to the mandala-type spatialarrangement of Hindu-Buddhist era. Even the traditional house types conforming to a basicAustronesia morphology continued to coexist alongside new architectural forms in much of theArchipelago.While the mosque replace the candi as the focal point of religious life, traditional constructiontechniques and design concepts continued to be employed. The location of the tomb of afounding father behind the mosque reveals the survival of an ancient Austronesia tradition ofreverence for one’s ancestors, as does the idea of placing a cemetery on top of a hill as at Imogiriin Java. The enclosure of the mosque within a walled precinct also stems from another period inthe past, namely, the Hindu-Buddhist period.Masjid KudusBeside and behind the Kudus mosque, which was largelyrebuilt in the twentieth century, is a series of walledcourtyards and gateways, remnants of an earlier set ofstructures which can only be partially reconstructed.The royal mosque on the west side of the alun-alun atYogyakarta exemplifies the character of the traditionalIndonesian mosque.thinbluelines13 •arsitek rev 23 MARCH.indd 134/7/2009 6:18:54 PM

influence of the westBogor Presidential Palace, West JavaOn August 10, 1744, Dutch Governor-General, G.W.Baron van Imhoff (1745 - 1750) ordered the building ofthis palatial residence. The construction sketch made bythe Baron was an example of the architecture of BleinhamPalace, the home of the Duke of Marlborough of England.In the time of Governor-General Willem Daendels (1808- 1811), extensions were added to the left and right sidesof the residence. The main building was made into atwo-storey building and the grounds were expanded andembellished with six pairs of spotted deer from the borderarea between India and Nepal.Early Dutch settlements in the seventeenth century were generally intra-muros, that is tosay, within walled defences to protect them from attack by other European trade rivals andnative revolt. The fort was both a military base and a centre of commerce and administration.It typically included a governor’s residence, officers’ quarters, barracks, warehouses, offices, achapel or church, and the houses of European merchants. The fort was usually located along thewaterfront of a coastal or riverine port that was the focus of mercantile activities and maritimetrade.As the Dutch became more securely established in the region, towns grew up beyond thewalls of the fort. In the eighteenth century, the most important urban centres were Batavia,Semarang, and Ujung Pandang. Over time, city centres became congested and wealthiermerchants and other men of influence began to build their residences on the outskirts of townand in the surrounding countryside. One of the few surviving examples of these country housesis the National Archives building in Jakarta. This was formerly the home of Reiner de Klerkbefore he became the Dutch Governor General. Completed in 1760, the house is perfectly• 14thinbluelinesarsitek rev 23 MARCH.indd 144/7/2009 6:18:56 PM

symmetrical and once had a large formal garden laid out in the European manner. Doors,windows and ornamentation also follow Dutch designs, but Indonesian and tropical influencescan be discerned in the wide eaves and single hipped roof over the main part of the house.Some Dutch buildings in Indonesia are entirely European in their conception, the ProtestantChurch in the old city centre of Semarang being one such example. Built between 1778 and1814, the church is remarkable for its eclectic use of different classical elements. Especiallynoteworthy is the octagonal plan of the nave and surrounding arcade which are surmounted bya magnificent Byzantine dome or cupola; the main entrance is distinguished by a portico withpediment, flanked by a pair of Baroque bell towers.The City Hall (Stadhuis) of Batavia,Now Taman Fatahillah, was completed in 1710 andinaugurated by Governor-General Abraham van Riebeeckon 10 July of the same year. This building was built over thesite of the demolished second City Hall of Batavia. The planwas drawn by W.J. van der Velde and the structure was builtby chief carpenter J. Kemmer.Up until the last decades of the nineteenth century, the Netherlands Indies was organized alongthe lines of a traditional, hierarchical Indonesian society governed by a colonial administration,the Binnenlands Bestuur, or Civil Service. Almost every major building was owned, used, anddesigned by the government, as were the roads, railways, ports, and other public utilities. Therange of government buildings, included administrative offices, military barracks, warehouses,opium factories, pawnshops, and pasanggrahan (rest houses). The latter were situated inremote locations and used by travelling civil servants on tours of duty. These governmentbuildings are designed by the Civil Public Works Department, or Departement voor BurgerlijkeOpenbare Werken.thinbluelines15 •arsitek rev 23 MARCH.indd 154/7/2009 6:19:07 PM

where east m• 16thinbluelinesarsitek rev 23 MARCH.indd 164/7/2009 6:19:08 PM

The nineteenth century saw a growing appreciationof indigenous architectural forms. The magnificentTawang railway station in Semarang, which wasbuilt in 1864, provides an interesting example ofa harmonious assimilation of eastern and westernideas. Although European classicism is the prevailinginfluence, a traditional Javanese element appearsin the form of four columns supporting the domedcentral part of the hall. These draw their inspirationfrom the soko guru (principal posts) which support theupper, pyramidal roof (joglo) of a traditional Javanesependopo.Gedung Sate, Bandung West JavaPopularly known as the Gedung Sate, on account of the flanged pylon which crowns the apex of the rooflike a giant sate skewer, the Office of the Governor of West Java, Bandung, was designed by the Dutcharchitect, J. Gerber and Dr. Hendrik Petrus completed in 1920. The multi-tiered roof over the center of thebuilding echoes traditional mosque architecture, while the facades combine Art Deco orders with the motifsfrom Hindu-Buddhist period., It created the nuance of the Nusantara architectural style.Gedung Sate was a monumental building that was elegant and charming, and uniquely styled in the formof Indo-European architecture (Indo Europeeschen architectuur stijl)Dr. H. P. Berlage at the time of his visit to Gedung Sate on April 23, 1923, stated that “Gedung Sate was agreat masterpiece of architecture that achieved harmonic integration of Eastern and Western styles”.met westthinbluelines17 •arsitek rev 23 MARCH.indd 174/7/2009 6:19:09 PM

Compactly designed and solidly built, these two storey houses are almost exact replicas of theircounterparts in Holland. Typical characteristics include a hipped roof, closed façade, and highwindows arranged in a symmetrical order. The only concession to the tropical climate seemsto have been the adoption of a large roof overhang, which can be seen in the Reiner de Klerkhouse, now the National Archive building.The structure and form of this type of country house reveals a process of accumulation andgradual adaptation to the tropical climate on the part of the Dutch. This type of houses isstill a two-storey structure, but now the facades are protected from solar radiation by largeoverhanging roof which projects on all sides and is supported by Tuscan columns. The roof profilestrongly resembles the local joglo-style roof traditionally reserved for the houses of Javanesenoblemen while the walls of the upper storey consist of plaited bamboo panels. The upper flooris reached by an external staircase and the central portion was left open to encourage maximumventilation; tall windows with louvered shutters ensured the same for the closed-off portions.The end of the eighteenth century saw the emergence of a country house style which wasmore closely identified with indigenous forms of architecture than had hitherto been the case.While earlier hybrid styles sevince doubt and hesitation, the new style followed a clear concept,being almost entirely based on the houses of Javanese nobles. This consisted of a single storeywith front and rear verandahs—pringgitan and gadri respectively—covered by a high, pitchedroof which extended over the verandahs rather like a protective broad brimmed hat. Often theverandahs were connected to side galleries for full climatic protection on all sides.Dutch Style House (1730-1770) >>Transitional Dutch Indies Country House (1750-1800)The Departement voor Burgerlijke Openbare Werken, or Public Works Department, wasresponsible for the design of hospitals, schools, town halls, post offices, and other publicutilities. Many of these civic buildings followed standard designs which were introduced inthe last quarter of the nineteenth century to reduce construction costs. The Harbour Master’sOffice, Semarang is a typical early nineteenth century example.Indies Style Country Houses (1790-1820)The Advance of Modern Architecture and the First Indonesian Professional ArchitectThe final decades of the nineteenth century were years of profound change in the NetherlandsEast Indies. They saw the emergence of a new political awareness accompanied by increasingdemands for self-government and autonomy from Holland. This burgeoning nationalismmanifested itself architecturally in the quest for a new style of architecture—one that reflectedthe cultural identity of the region. The architects who responded to this call can be divided intotwo schools. The first, which included architects such as Albert Frederik Aalbers, based theirwork on strictly functionalist principles in line with the Modernist Movement in Europe. Thesecond, however, sought to temper the Modernist ethos by including indigenous architecturalelements, thereby creating a distinctively Indonesian style of modern architecture; MaclainePont and Karsten were the leading exponents here.Modernism was not the only European movement to influence architecture of the Dutch Indiesin the early years of the twentieth century. One also finds versions of Art Nouveau, Art Deco, andExpressionist style of architecture. At the same time, the New Indies Style itself was revolvingrapidly and subsequently gave way to what became known as the Dutch Indies Freestyle. Thelast of these European schools to reach the Indies was the Nieuwe Zakelijkheid Style.Construction TechniquesIn 1911, the Vereeniging voor Locale Belangen (the Union for Local Affairs) was formed. Thisbody functioned as a communication forum among the local officials as well as the builders• 18thinbluelinesarsitek rev 23 MARCH.indd 184/7/2009 6:19:11 PM

Cipanas Presidential Palace, West JavaCipanas Presidential Palace began with a privately-ownedbuilding constructed in 1740 during the Dutch Indiescolonial period by a Dutch land owner named Van Heots.During the tenure of Dutch Governor-General G.W. Baronvan Imhoff (1743),The palace building stands on an estate area of 26hectares, with the building having an area of 7.760 squaremeters. Indigenous values started to be dominant inthe architectural elements of the Cipanas Palace whilstmaximizing the the ground, view and landscape of thesurrounding.The grounds are divided into two areas, the palace gardensand the palace forest. In the palace forest area therewere 1,334 specimens, 171 species, 132 genus (with 14genus already having been identified and named), and 61families.and building supervisors of each locality concerned. The Locale Belangen, together with theVereeniging van Bouwkundigen, launched an initiative calling for an official examination to begiven to all those wishing to practice as architects. Before then, only the staffs of Departementvoor Burgerlijke Openbare Werken had had the opportunity to become professional architects,by taking the training conducted by the department. It was the Locale Belangen examinationthat led an autodidact practitioner, R. Abikoesno Tjokrosujoso, licensed as the first Indonesianprofessional architect. Later, after the independence, Tjokrosujoso was appointed Minister ofPublic Works in the first cabinet of the Republic of Indonesia.The Modernist MovementThe 1920s and 1930s saw the advent of Modernism in the Dutch Indies. Typical features includedflat roofs and cubic forms, though Art Deco ornamentation was also often incorporated intothe design. Albert Frederik Aalbers was one of the foremost representatives of the Modernmovement in Indonesia before the Second World War. His work has been favourably comparedwith that of the Dutch architect Jan Duiker and the Swiss Grand Master of Modernism, LeCorbusier. Aalbers arrived in Indonesia from Rotterdam in 1928 and started working for thearchitect-contractor J. Bennink. In 1930, he established his own atelier in Bandung. Aalbers’work is characterized by its clean-cut, functionalist elevations, which often feature curved lines,and the absence of external ornamentation and other purely decorative devices.The former office for the Netherlands Steam Navigation Company in Semarang is one ofKarsten’s best known works. The two-storeyed building, which later became the office for thenational shipping line, Djakarta Lloyd, was built in 1930. The symmetrical arrangement ofdoors and windows looks back to the archetypal Dutch landhuizen of the seventeenth century.thinbluelines19 •arsitek rev 23 MARCH.indd 194/7/2009 6:19:13 PM

Albert Frederik Aalbers and the Modernist MovementThe 1920s and 1930s saw the advent of Modernism inthe Dutch Indies. Typical features included flat roofs andcubic forms, though Art Deco ornamentation was alsooften incorporated into the design. Albert Frederik Aalberswas one of the foremost representatives of the Modernmovement in Indonesia before the Second World War.His work has been favourably compared with that of theDutch architect Jan Duiker and the Swiss Grand Masterof Modernism, Le Corbusier. Aalbers arrived in Indonesiafrom Rotterdam in 1928 and started working for thearchitect-contractor J. Bennink. In 1930, he established hisown atelier in Bandung.But Karsten’s concern for the tropical climate can be seen in a number of special features, suchas the high windows and ventilation grills, which reach from floor to ceiling. The large andsteeply sloping, expanse roof provide good insulation from solar radiation and efficient run-offfor monsoon rains. Corridors at the front and sides, on the ground floor and first storey, alsoassist thermal insulation.The former office of the Dutch steam tram company is another fine example of Karsten’s work inSemarang. Built in the same year as the SMN office, the architectural style is very different andshows evidence of a more overt Indonesian influence. The ground plan of this single-storeyedbuilding is identical to that of a traditional Javanese joglo hous: tall colums support a hipped,two-tiered roof, which facilitates cross ventilation of the roof cavity.Karsten’s Joana Stoomtram Maatschapij, SemarangThe former office of the Dutch steam tram company isanother fine example of Karsten’s work in Semarang.Built in the same year as the SMN office, the architecturalstyle is very different and shows evidence of a moreovert Indonesian influence. The ground plan of thissingle-storeyed building is identical to that of a traditionalJavanese joglo hous: tall colums support a hipped, twotieredroof, which facilitates cross ventilation of the roofcavity.• 20thinbluelinesarsitek rev 23 MARCH.indd 204/7/2009 6:19:14 PM

Aalbers’ Savoy Homan Hotel, Bandung West JavaThe roof of the ceremonial halls of the Technische Hoogeschool te Bandung (later became theInstitut Teknologi Bandung) reveal an eclectic synthesis of various local forms, including thearchitecture of Lake Toba, the Mentawai islands, and Sunda. Maclaine Pont also employedhighly original construction techniques. The main structural elements, such as the columns, aremade up from layers of teak bound together by iron hoops.The building is an astounding example of innovative tropical architecture. With an elongatedelevation aligned on an east-west axis, the building is provided with perfect natural ventilation,alternately taking full advantage of a cool sea breeze in the morning, and a land breeze in theevening. This orientation also minimizes the effect of solar radiation in that the morning andafternoon sun only strikes the narrow end facades of the building. The external galleries of thebuilding create a double façade which shield the interior from the direct sunlight, while coolingtowers at either end ensure good ventilation.Henri Maclaine Pont’s Ceremonial Halls in TechnischeHoogeschool te Bandung West JavaThe roof of the ceremonial halls of the TechnischeHoogeschool te Bandung (later became the InstitutTeknologi Bandung) reveal an eclectic synthesis of variouslocal forms, including the architecture of Lake Toba,the Mentawai islands, and Sunda. Maclaine Pont alsoemployed highly original construction techniques. Themain structural elements, such as the columns, are madeup from layers of teak bound together by iron hoops.Figure 18 An Aalbers Residence in Bandungthinbluelines21 •arsitek rev 23 MARCH.indd 214/7/2009 6:19:14 PM

• 22 thinbluelineswhen» 02sectionthe force tarsitek rev 23 MARCH.indd 224/7/2009 6:19:16 PM

The Architecture after the IndependenceThe institutional basis of architectural discipline in Indonesia took form in theyears immediately after independence. It should be noted that architecturalsubjects in the Dutch East Indies had always been taught as part of theeducation of civil engineers. It was not until October 1950, when the firstarchitectural school in the Fakultas Teknik Universitas Indonesia (the Facultyof Engineering, University of Indonesia) in Bandung 1 was founded, thatarchitecture gained its status as a discrete discipline. The training programme,starting with 20 students and 3 Dutch lecturers, was basically modelled afterthe school where the first lecturers had graduated, Technische UniversiteitDelft (Delft University of Technology) in the Netherlands.1 Fakultas Teknik Universitas Indonesia was later officially chartered as Institut Teknologi Bandung (Bandung Institut ofTechnology), a separate academic entity, in March 2, 1959.Monumen Nasional, JakartaThis 110-meter high obelisk, crowned with a sculptedgolden flame was designed by the architect Soedarsonoto express the continuity of Indonesian culture of thepast, present, and future. Its formal style borrows fromthe conventions of European patriotic obelisks, while atthe same time evoking the lingga-yoni sculptures of theJavanese Hindu period.taking shapethinbluelines23 •arsitek rev 23 MARCH.indd 234/7/2009 6:19:17 PM

Due to the political conflicts over West Irian, in 1955 all Dutch lecturers were recalled to theirhomeland, except V.R. van Romondt who insisted on staying, and taking a low profile, led thearchitectural school until 1962. Under his direction, the training—that had focused only onlimited principal parameters such as function, climate, building construction, and materials—was gradually enriched by incorporating aesthetical, cultural, and historical aspects into designconsiderations. V.R. van Romondt had the ambition to create a new ‘Indonesian Architecture’,which is based on traditional principles but developed in a modern way to satisfy the needs ofcontemporary society. To put in other words, ‘Indonesian Architecture’ is the fulfilment of theideas of functionalism, rationalism, and simplicity of modern design, but deeply inspired bytraditional architectural principles.By 1956, the numbers of students at the architectural school in Bandung increased to 500, and12 graduates were produced. Several of these graduates were recruited to fill the positions oflecturers, and hence Indonesianization began. In September 1959, Ikatan Arsitek Indonesia (theIndonesian Institute of Architects) was established by the graduate, with the involvement ofthree senior architects: Freiderich Silaban, Mohammad Soesilo, and Liem Bwan Tjie. In 1961,the leadership of the architectural school was fully taken over by Indonesians, with Sujudi asits Head of the School. Sujudi and his colleagues soon established architectural schools in otheruniversities. 1Icons of the NationThe Period of President SukarnoDuring the period of President Sukarno, there is a widespread acceptance of modern architecturaltheories and concepts. Sukarno was able to influence profoundly the character of architecturalproduction. At the end of 1950, a massive modernization was begun in Jakarta; and duringthe following years about seventy major and minor projects of physical development wereplanned and completed. The most significant of them were: the Hotel Indonesia, the SarinahDepartment Store, the Gelora Bung Karno sports centre at Senayan, the six-lane highway of theJakarta By-pass, the Jembatan Semanggi clover leaf bridge crossing, the National Monumentand its Merdeka Square, the Istiqlal Mosque, the Wisma Nusantara office building, the AncolRecreation Centre, the Parliament Buildings, and a number of sculptural monuments. Severalprojects were also built outside Jakarta, such as the Ambarukmo Hotel in Yogyakarta and theBali Beach Hotel in Sanur.A prominent architect during that period was Freiderich Silaban. His architectural design wasbased on several basic principles: function, comfort, efficiency, and simplicity. He insisted thatarchitects should pay due attention to the functional requirements of the buildings and tropicalclimatic factors such as temperature, humidity, air movement, and heat radiation. Thesecrucial determinants should be attended seriously in site planning as well as in selection ofform, construction systems and building materials. His views of design found their expressionin unique architectural solutions such as cross-ventilation, wide roof overhang, and galleries.His major works in Jakarta included the Bank Indonesia 1946 building on Jalan Thamrin, theWisma Dirgantara (air force headquarter) on Jalan Gatot Subroto, the Gedung Pola, and theIstiqlal Mosque.Branch Central Bank of Indonesia, Bandung, West Java2 In 1962 in Universitas Gadjah Mada (Yogyakarta) and Universitas Diponegoro (Semarang); in 1963 in UniversitasHasanuddin (Makasar); in 1965 in Universitas Indonesia (Jakarta), Institut Teknologi Sepuluh November (Surabaya), andUniversitas Udayana (Denpasar)• 24thinbluelinesarsitek rev 23 MARCH.indd 244/7/2009 6:19:21 PM

Masjid Istiqlal, JakartaThis, the biggest mosque in Southeast Asia, was designedby Frederich Silaban to accomodae 75.000 worshippers.It is made of reinforced concrete and marble to last 1000years. It has five stories, a big cupola 45 meters in diameter,and a minaret 6666 cm high, representing the number ofverses in the Holy Quran. The construction began in August1961 and was completed at the end of 1984.The Parliament Buildings, JakartaThis complex, formerly designated by the President Sukarnoas the venue for the Conference of the New EmergingForces (CONEFO), was design by the architect SoejoediWirjoatmodjo to express the spiritual aspirations of modernIndonesia. One of the special features of the buildings is theinnovative structure of the dome, designed in cooperationwith Sutami.Hilton Executive Club: (below right) View from Courtyardto Entrance; (below center) Interior, Detail of FaçadeOpenings; (below Leftt) Interior View, Showing WoodenDoorDesign by Yuswadi Saliya for Atelier Enam, Hilton ExecutiveClub in Jakarta of 1973-1975 achieves the desire unity thatis necessary to bring old and new into harmony. By usingpyramidal units that meet in a central terraced core and byexpanding the complex by means of gardens and pools, thetradition of Indonesian old architecture here has found acontemporary equivalent.thinbluelines25 •arsitek rev 23 MARCH.indd 254/7/2009 6:19:24 PM

The Purna Bhakti Museum, at the Taman Mini IndonesiaIndah (Beautiful Indonesia Miniature Park) Jakarta.Typical “Tumpeng” (cone) concrete roof style markingdistinctive with other coventional or cupolatif architectural.Keong Mas (Golden Snail) I-MAX Theater at the TamanMini Indonesia Indah (Beautiful Indonesia MiniaturePark) Jakarta., Constructed in the 1980s, its unique and“animagus” design constributes to the revolutionary designof Indonesia modern architecture.thinbluelines27 •arsitek rev 23 MARCH.indd 274/7/2009 6:19:32 PM

The Quests of Identity and Eco ResponsibilitiesSince the mid 1970s there has been an ongoing attempt to create a certain style, a form ofidentity. The most sensitive and remarkable achievements were made by Yuswadi Saliya in theHilton Executive Club, Soejoedi Wirjoatmodjo in the French Embassy, the Indonesian Embassyin Kuala Lumpur, and ASEAN Secretariat, Herman S. Sudjono in the BKKBN Headquarter, andHan Awal in Atmajaya University. Much later outstanding solutions had also been achievedby Adhi Moersid in Said Naum Mosque, and the Consortium of Indonesian Architects in theCampus of the Universitas Indonesia in Depok.Beside the challenge to produce a national architecture identity, there are also massiveproblems of housing, of raising the technical standards of building materials and construction,and to improve the quality of urban services. The work of barefoot socialist architect Y.B.Mangunwijaya at Kali Code is an example of the endeavours to alleviate living conditions of theurban poor. The Aga Khan Award in architecture received by Mangunwijaya in 1992 for theproject has succeeded to motivate architects in Indonesia to exercise their sense of social andcultural responsibility. Accordingly, grassroots architectural advocacies for the poor and for theenvironmental sustainability began to gain ground.The Main Administration Building, Universitas Indonesia,DepokThe architects, Consortium of Indonesian Architects, havesuccessfully incorporated characteristics of the Indonesianvernacular architecture into the modern building.Overview of the Architecture Education and Work Force in IndonesiaThe first higher education in architecture in Indonesia was started with the establishment of the architecture department in theUniversitas Indonesia’s Faculty of Engineering Science in Bandung (later chartered as Institut Teknologi Bandung), October 24, 1950.Higher education in architecture is now provided by 124 state and private universities across the country. The table below shows thenumber of universities providing higher education in architecture in each province.The architect’s task demands special abilities. John Shute, asixteenth century English architect, was the first to approacharchitecture from the theoretical point of view. In his book, TheFirst and Chief Grandeurs of Architecture (1563), he claimed thatthe architect is a universal man. Architects should not only beskilled in drawing, measuring, mathematics, and physics alone,but also be familiar with literature, history, philosophy, medicine,and astronomy. Consequently, a higher education in architecturalprogram is a requirement to be a professional architect.Formal education in architecture began in 1671 when Ecole desBeaux Arts (school of the fine arts) was established in France,comprising two fields of studies, painting and sculpture, andarchitecture. The school was run with the support from thegovernment at the golden era of the French monarchy. Sincethen, the architectural profession fixed standards to determinewhether a person is eligible to practice as an architect.The first in Indonesia was started with the establishment ofthe architecture department in the Universitas Indonesia’sFaculty of Engineering Science in Bandung (later charteredas Institut Teknologi Bandung), October 24, 1950. Highereducation in architecture is now provided by various stateor private universities with different accreditation status.Overview of higher education students in the field of studyof architecture and city planning in Indonesia from both stateand private universities is shown in the table.• 28thinbluelinesarsitek rev 23 MARCH.indd 284/7/2009 6:19:33 PM

The Bamboo StudioIn the project for their own office and studio, the architects—Jeffry Budiman and Budi Pradono—found a surprising newways of using bamboo. Due to its strength, flexibility, andversatility, bamboo is often used in Indonesian vernacularbuildings to support light structures. In this office building,the bamboo, a very economical material abundant inIndonesia, is arrayed to form the outer skin of the modernglass and steel box.Gallery 28, JakartaGallery 28, a recipient of the 2002 IAI Award and a nominee for the Aga Khan Award for Architecture houses various culturalartifacts from eastern Indonesia. Andra Matin, the architect, approaches the building’s design with great sensibility andawareness of budget limitations. Matin does not create various details that require specific treatment. To a certain level, thisapproach is reminiscent of the spirit in eastern Indonesian culture artifacts, such as from Papua, which tend to be sensible innature without any attempt for sophisticated finishing. As an architectural expression that represents the spirit of the culturalartifacts that it houses, the design of Gallery 28 does not get carried away in narrow ethnic cultural romanticism, but achievesa more sublime architectural quality.Academic Year Applicants New Students Student Enrollments Graduates2002/2003 19.251 6.296 29.306 4.8612003/2004 28.421 7.828 30.535 7.4922004/2005 20.828 4.547 22.530 3.4162005/2006 20.235 4.418 21.689 3.2402006/2007 13.104 6.149 20.993 1.603Overview of Higher Education Students in the Field ofStudy of Architecture and City Planning, in State andPrivate Universities in Indonesia (Source: Department ofNational Education of the Republic of Indonesia)600.000500.000400.000300.000200.000100.00004.861344.9977.4923.4163.240566.9011.603269.135252.487164.8492002/20032003/20042004/20052005/20062006/2007Academic YearArchitecture and City PlanningOther Fields of StudyHigher Education Graduates; Comparison betweenArchitecture and City Planning, and Other Fields ofStudy (Source: Department of National Education ofthe Republic of Indonesia)Entering the architecture work force, a certificationprocedure is needed as recognition of an individual’squalification allowing her or him to practice as anarchitect. By November 7, 2008, 2271 architects havebeen certified by IAI.The number of certified architects is only about 10% ofthe total number of IAI members. 90% of IAI membersare listed as non certified architects (“Arsitek Mitra”).Furthermore, there are stil many architects that havenot been member of IAI. In conclusion, the numberof certified architect in Indonesia is very potential tobe developed.thinbluelines29 •arsitek rev 23 MARCH.indd 294/7/2009 6:19:33 PM

» 03sectionContemporary Indonesian ArchitectureBenefitting from Nature• 30thinbluelinesarsitek rev 23 MARCH.indd 304/7/2009 6:19:35 PM

The early 1990s witnessed the increasing transnationalinfluence of Postmodernism on public andcommercial buildings in Jakarta and other big cities, andthe significant contributions of younger architects whotry to emphasis on distinctive and innovative designto enrich the contemporary Indonesian architecturalscenes. Contemporary architects in Indonesia, like theircounterparts in many other developing countries, arechallenged with a paradoxical situation: how best tomodernise while maintaining a core of cultural identity.They have to respond to the changing of lifestyles andthe challenges of globalization, while attempting toground their footing to the local context and milieu.Ministry of Trade Building, JakartaThe Ministry of Trade Building – the 1st Winner and recipient of the 2008 Indonesia Construction Work Award,Ministry of Public Works Republic of Indonesia for Architectural Technique category. Designed by PT Duta CermaMandiri a national architectural consultant company, this newly constructed MoT office building located in thecorner of Merdeka Square, the “heart area” of the national government activities at the adjacent of the UnitedStates Embassy and one minute drive to the Merdeka Palace.The office building complex consists of several mass buildings with plastically geometric and asymmetrical dynamicthat account the urban characteristic and element of the surrounding. The building modern esthetic is distinctivecompare to other common government office buildings. The design is successful in maintaining the spirit of unitybetween the buildings and the landscape, whilst optimizing the abundant sun light during the day for the humanhealth and energy saving. The utilization of local materials were optimized in the construction, design interiorsand furnishing.thinbluelines31 •arsitek rev 23 MARCH.indd 314/7/2009 6:19:36 PM

Segara Restaurant at Ancol, Jakarta• 32thinbluelinesarsitek rev 23 MARCH.indd 324/7/2009 6:19:39 PM

The Facade and Roof of the Hasanuddin InternationalAirport, Makassar, South Sulawesi.Right, maximum sun light exposurewithin the interior of the airport.Nature GenerousityMost of Indonesian Architects have now applying nature based approaches ofmaximizing the xposure of natural elements in their design.Open all the way, the multi-wide glass facades of the South Sulawesi newestairport “Hasanuddin” (Top and Right) allow maximum exposure of sun-lightinto the passenger waiting gallery and most interior parts of the airportbuilding. Beyond modern esthetic and economic reason of saving energy, thedirect sun light exposure increase the health condition inside the building,lowering the use of chemical sanitary components and improve security andsafety of this international gateway.The same approach also used in the design of “Segara Resto, Ancol, Jakarta(Left) . It allow the resto guests enyoing the beach beauty of the surroundingday and night.thinbluelines33 •arsitek rev 23 MARCH.indd 334/7/2009 6:19:42 PM

» 04sectionThe TestimoniesAwarded ArchitectureThe Economical Steel HouseArchitectAward: Ahmad Djuhara: 2002 IAI AwardThe Economical Steel House, BekasiArchitect Ahmad Djuhara has designed this project ina controversial yet commendable manner given his useof steel as the primary building material for a house.Interesting qualities of this project include Djuhara’s abilityto keep the building price economical with faster buildingtime, by recycling salvaged steel and other materials suchas exposed cast concrete. The decision to utilize salvagedsteel stems from the need to build expeditiously yet withlimited funds.Another design problem was to maintain indoor thermalcomfort levels with the use of steel as the main material. Ona relatively limited site, Djuhara maintains open spaces atthe front, back, and sides of the house. These efforts makeoptimum cross-ventilation and natural lighting possible.The Maya UbudArchitect : Budiman Hendropurnomo for DCM JakartaAward : 2002 IAI Award, 2002 Travel Trade Gazette (TTG) Award, 2002 TTG Asia Award, 2002 TTG China Award.The Maya Ubud, BaliConceptually the design of Maya Ubud is successfulin blending the idea of an abstract form based onCartesian geometry with the specific condition of thesite. Architecturally, the design of Maya Ubud attemptsto interpret the spirit of local architecture without beinglimited to a rigid romanticized understanding of traditionalarchitecture.• 34thinbluelinesarsitek rev 23 MARCH.indd 344/7/2009 6:19:48 PM

The Bina Nusantara SchoolArchitect : PT. Grahacipta HadipranaAward : 2006 IAI AwardThe Bina Nusantara School, South JakartaFrom its roots as a small computer training school, Bina Nusantara hasdeveloped into a full-fledged academic institution spanning kindergartento university. To accommodate such an expansion, Bina Nusantaracommissioned this architectural firm to design a new building on an8.000 square meter land.Since the land area is limited, the only option is to build vertically and ina single mass. To articulate the shape of the building and to separate thedifferent age groups, the building is divided into three smaller sectionswith a thin connecting bridge on every floor. The interior is designed withclean lines and easily maintained surfaces.thinbluelines35 •arsitek rev 23 MARCH.indd 354/7/2009 6:19:53 PM

Said Naum Mosque, JakartaThe mosque, a recipient of the 1984-1986 Aga Khan Award for Architecture (HonorableMention), was designed by Adhi Moersid for Atelier Enam in the Indonesian Hindu-Javanesearchitectural tradition, yet is well adapted to the Muslim form of worship. The mosque is squarein plan, and symmetrical on both axes with deep verandas on all four sides. The upper tier ofthe two-tiered roof forms a lantern that filters daylight through patterned painted glass alongits ridges. The space between the two tiers has been left open for ventilating the prayer hall. Ifthe design conformed strictly to tradition, four interior wood columns would support the higherof the two roofs. To achieve an uninterrupted column-free space for worship, and clear view ofthe mihrab, these columns were eliminated. The wide spans thus produced required that thedouble roof be steel framed. This use of contemporary technology is carefully concealed on theinterior by wood strips and sheathing, and on the exterior by clay tiles. The roof is well designedfor heavy rain and the deep verandas protect the interior from rain and excessive glare. In thismosque, traditional Javanese idioms have been skilfully re-interpreted to produce a modernregional architecture compatible with the best indigenous work.Nurul Huda Mosque, JakartaThis mosque, a recipient of the 2002 IAI Award and Nominated for the Aga Khan Award forArchitecture, becomes a very interesting design project in understanding how the architect,Reza Martunus breaks away from the ‘traditional-roof or dome’ dichotomy by offering moreabstract form of expression. Although some elements in the design of this mosque still evokeconcepts of Middle-Eastern forms, Martunus is successful in abstracting them in such way as tocreate a different formal expression. Martunus attempts to reestablish formal considerations indesigning a mosque based on its most fundamental values. As a result, this mosque is successfulin incorporating Islamic values within its design and enriching the choices of architectural formsof mosques. Moreover, this design also exemplifies the architect’s ability to work together withlocal residents in building a religious facility that provides strong identity and generates greatsense of ownership within the community.Nurul Huda Mosque(Picture is taken from The Long Road Towards Recognition.)Salman Mosque, BandungCompleted in 1972, Salman Mosque was strikingly different with its contemporary. AchmadNoe’man, the architect, boldly showed the influenced of the modern architecture, such as in theuse of the concrete slab roof structure.• 36thinbluelinesarsitek rev 23 MARCH.indd 364/7/2009 6:19:54 PM

Natura Hotel, UbudIn this project, Popo Danes is successful in overcoming the problems of an extreme topography.Most of the land has a slope of more than 45 degrees. One interesting quality is Danes’splacement of the facilities on the cliff’s edge, so that the entire building layout becomes anoptimal design outcome in negotiating the steep site.Aerial View (Picture is taken from The Long Road TowardsRecognition.)The bedroom is visually extended through theterrace to the landscape.(Picture is taken from The Long Road TowardsRecognition.)To negotiate the steepness of the topography, pedestrianwalkway meanders among trees and can be on the groundor elevated as a timber structure.(Picture is taken from The Long Road TowardsRecognition.)thinbluelines37 •arsitek rev 23 MARCH.indd 374/7/2009 6:19:54 PM

Natura Hotel, UbudThis hotel was developed with muchinvolvement of the local community. Thelocal people were involved at every stage ofthe process, from the land procurement, tothe employment of local workforce duringthe hotel’s construction and in its operation.Natura Hotel is a recipient of the 2002 IAIAward and a nominee for Aga Khan Awardfor Architecture.• 38thinbluelineslivingarsitek rev 23 MARCH.indd 384/7/2009 6:19:56 PM

The Bale, Nusa DuaThe Bale, a recipient of the 2002 IAI Award,is an example in which the architect’sinterpretation of local values is developedmore fluidly and openly. This design approachcannot be separated from the role ofAnthony Liu and Ferry Ridwan, two youngarchitects who are part of a new generationof Indonesian architects that are more opento various influences of the media. The Balebecomes more of an intensive response toits site through the use of abstract geometriccompositions. The use of abstract forms andminimum materials create a sculptural effectnot only of each building but also of the entirehotel complex. (Picture is taken from TheLong Road Towards Recognition.)naturallythinbluelines39 •arsitek rev 23 MARCH.indd 394/7/2009 6:19:58 PM

» 05section• 40thinbluelinesarsitek rev 23 MARCH.indd 404/7/2009 6:19:59 PM

global equityin the makingE.X. (Entertainment X’enter), Plaza Indonesia, JakartaThe complex is especially eye catching amid the moreconservative office buildings in the area. The boxes aretilted as an image of the instability; while the bright colorsexpress the youth spirit.(Picture is taken from Indonesian Architecture Now.)The Kota Baru Bandar Kemayoran, by PSUDPSUD - Pusat Studi Urban Design (PSUD), founded in1994, is a research center in the field of urban planningand design. PSUD has accomplished many research,educative, and community services projects in cooperationwith other laboratories and research centers in Indonesia.Indonesia’s Architecture ProfessionalsThe wave of globalization uncovers new threats for Indonesian architecturalpractitioners. The free trade values allow architects to seek practice in countriesother than their own. This is enforced by the standards of professionalismissued by Union Internationale des Architectes (UIA, International Union ofArchitects). As a result, Indonesian architects and architecture firms havetheir fellow practitioners from other countries as their new rivals at home. Butopportunies are opened up at the same time because Indonesian architectshave just the same right to seek practice in other countries. To protect theIndonesian architects and architecture firms, and to ensure that they have thesame opportunity to compete in the global world, an architecture professionalinstitute and strong government regulations are needed.thinbluelines41 •arsitek rev 23 MARCH.indd 414/7/2009 6:20:02 PM

Ikatan Arsitek Indonesia (IAI, Indonesian Institute of Architects)Professions are generally controlled by a governing body that sets standards (e.g. of education,ethical rules, and professional standards to be observed). The rules and standards are designedfor the benefit of the public and not the private advantage of the members. IAI is the professionalinstitute for Indonesian architects.Establishment of IAI is the first step in governing the architect profession in Indonesia. IAI hasbeen established for the advancement of architecture, promotion of knowledge and protectionof the public interest. IAI seek to ensure that the members contribute to the development ofarchitectural culture and knowledge as well as the society they serve. IAI develops the architectureand architect profession related regulation system; not only the IAI internal regulations, butalso—in cooperation with the government—a national regulation system. Members of IAI areexpected to maintain the ratified standards. This is achieved by adhering to codes of conductpromulgated by the professional institutes, and fulfilling other requirements of membership.IAI ensures good relation not only between the architects, but also between architects andthe public at large. IAI also seek to improve the public architectural appreciation. A journal—IAI Journal—is published by Badan Sistem Informasi Arsitektur IAI (Badan Sinfar IAI, IAI’sArchitectural Information System) as a communication media. A tradition of holding theWeek Exhibition of Architecture Works was begun in the 1982-1984 period of IAI board. IAIalso confers the IAI Award to architects and architecture community of interest. ArchitecturalSelasar Sunaryo Art Space, BandungSelasar Sunaryo Art Space is the outcome of a productivecollaboration between architect Baskoro Tedjo and artistSunaryo. Situated on a land with a steep topographytowards the back of its site, this building representsan abstraction in architectural form as well as a highlysensitive response to its topography and program. Thespaces between buildings create unique places for diverseartistic activities. The project is a recipient of the 2002IAI Award and a nominee for the Aga Khan Award forArchitectureaward is a tradition among professional institutes of architects and other institutes aroundthe world that have architecture as their interest. An award would inspire greater creativitywithin the architectural profession, promote excellence in design for the improvement of thebuilt environment, and stimulate a greater public awareness of the value of good design and ofthe role of architecture and architects in the community.IAI also seek to maintain good relationships with other professional institutes, for instanceby its membership in Lembaga Pegembangan Jasa Konstruksi dan Forum Asosiasi Profesi JasaKonstruksi. Outside the country, IAI is a member in AAPH (Asean Association Planning andHousing)—in wich IAI was a co-founder, in ARCASIA (Architects Regional Council of Asia) since1972, and also in UIA (Union Internationale des Architectes) since 1974.The IAI organization has now covered all Indonesian regions, with its 27 regional offices, andtwo branch offices. The list of IAI central, regional, and branch offices, along with the addresses,is attached in the appendix.• 42thinbluelinesarsitek rev 23 MARCH.indd 424/7/2009 6:20:02 PM

Involvements and Achievements in the Global WorldArchitects Regional Council Asia (ARCASIA)On the twelfth and thirteenth of September 1970, Ir. Suhartono Soesilo represented the IAI asan observer at the first Architects Regional Council Asia (ARCASIA) Council Conference, whichwas held in Singapore. Since then, Indonesia has been a member of ARCASIA. On the fifthARCASIA Congress in Lahore, India, Ir. Syahrul Syarif was was honored to be appointed DeputyChairman of ARCASIA, and Ir. Adhi Moersid a board member of the ARCASIA Award jury.Union Internationale des Architectes (UIA, International Union ofArchitects)Beside its membership in the Asia’s regional professional body of architects, IAI is also amember of Union Internationale des Architectes (UIA, International Union of Architects). Thismembership was initiated by the correspondence between Indian architect Jai Rattan Bhalla—by the time the chair of UIA Asian Region—and Ir. Suhartono Soesilo. In his letters, Bhallaasked for Indonesia’s membership in the UIA. Indonesia became a member of the UIA in 1974.During the July 1981 UIA Congress in Krakau, Poland, Indonesia-represented by Ir. Hindro T.Soemardjan—and Japan were elected to represent Asia in the UIA executive board on the periodof 1961-1984.Cemeti Art House, YogyakartaCemeti Art House is a synthesis between Javanesearchitecture and modern architecture, designed byEko Prawoto. This old-new duality is a principle thatis consistently developed in the design of this building,elaborated to the level of architectural detail where thatstruggle is conveyed in the tectonic quality of its buildingelementsAga Khan Award for ArchitectureIn 1979, The Aga Khan Award for Architecture (AKAA) looked towards Indonesia as a countrywith the largest Islamic population in the world. The AKAA dispatched a mission consisting ofDR. Ranata Holod and Hassan Vdin Khan with two photographers, and the IAI as the host,to accompany and survey several regions during the first round of the AKAA 1977-1980. Theobjective was to introduce the AKAA and try to identify works of architectural projects worthedto be listed for nomination.In 1980, Indonesia was honored to host the AKAA’s first seminar, In Search for the IslamIdentity. The Aga Khan Architecture Award in that year was also won by Indonesia, and therecipients were Amin Arraihana and Fanani for the Pabelan Pesantren in Magelang, and themunicipality of DKI Jakarta for the M. H.Thamrin Kampong Improvement Project in DKI Jakarta.Since 1980, prominent Indonesian architects were requested by the candidates for nominationAKAA to be candidates for nomination.thinbluelines43 •arsitek rev 23 MARCH.indd 434/7/2009 6:20:02 PM

During the AKAA 1986 ceremonies held in Marakesh, Maroco, Indonesia received two awardswhich constituted the second time the AKAA was awarded to Indonesia. The recipients were Ir.Adhi Moersid for the Said Naum Mosque, Tanah Abang, Jakarta, and the Surabaya municipalityfor the Kampung Kebalen improvement project. Indonesia was also the recipient of AKAA1989, awarded to Ir. Antono Ismael for Citra Niaga Urban Development in Samarinda, EastKalimantan. During this occasion, Indonesia was appointed to host the 1990 AKAA seminar,which was officially opened later by President Soeharto.On the 1992 AKAA in Uzbekistan, Ir. Adhi Moersid from Indonesia was honored to be a boardmember of jury. On this occasion, Y. B. Mangunwidjaja Dipl. Ing. received an award for hisworks on Kali Code, Yogyakarta.In 1994, Ir. Adhi Moersid as the chair of IAI was requestd by the AKAA to propose an alternativesuitable for the award ceremony for the AKAA 1995. The Surakarta Sunan’s palace was selectedas the place for the AKAA function. And on November 25-26, 1995, it was executed at theKraton Kasunanan Surakarta and Kraton Kasultanan Yogyakarta.Kampung Kebalen; After ImprovementsKampung Kebalen, Surabaya, East Java, has an averagedensity of 800 people per hectare living in densely packedsingle-storey wooden houses within networks of narrowalleys. Potable water, electricity and sanitation werelacking. Flooding occurred during the rainy season. Thecity upgraded Kampung Kebalen by adding footpaths,drainage, water and sanitation, efficiently constructedwithin a six-month period. This program is a recipientof the 1984-1986 Aga Khan Award for Architecture,Honorable Mention.In the period of 1980-1982 IAI board, Indonesia was honored to host the International Seminaron Urban Villages at the Hotel Indonesia, Jakarta, and, in cooperation with the UNESCO, heldthe international seminar on Bare Foot Architecture. During the same period, IAI in cooperationwith Directorate General Cipta Karya held an inter-professional forum and established a nationalhousing secretariat. This is a part of the preparation of the founding of the Asean Association ofPlanning and Housing (AAPH), where IAI was a founder-member. On July 24-26, Indonesia gotthe honor to host the meeting of AAPH in Bali.IAI actively participated in the formation of the South East Asian Study Group (SEASG). InSeptember 1987, IAI also made an agreement with the Bond Nederlandse Architecten (BNA)to study and register architectural works that are heritage of the Dutch period in Indonesia. Theseminar ‘Change and Heritage’ was held in Jakarta, 28-29 September 1988 in cooperation withthe BNA and UNESCO. In Semarang and Solo, October 31 – November 3, 1989, a RegionalSeminar ‘Integrating Traditional Values into Contemporary Architecture and Planning of HumanSettlements in Developing Countries’ was held by the cooperation between IAI, UniversitasDiponegoro, and UNESCO.• 44thinbluelinesarsitek rev 23 MARCH.indd 444/7/2009 6:20:02 PM

Citra Niaga Urban Development, Samarinda, EastKalimantanBefore its transformation, this site was inhabited by alow-income migrant population working as street peddlers.Then pedestrian precincts are landscaped and automobilesare restricted to the periphery of the site. The complex isunified by the use of traditional roof forms. This social,economic and design accomplishment has been achievedthrough private and community involvement, withoutfinancial or technical assistance from the government orforeign donors. The jury notes that “the whole process hasbeen a democratic one, culminating in the establishmentof a management board representing the stakeholders ofthe site through a co-operative. The project—planned anddesign by Antonio Ismael, PT. Triaco, and PT. GriyantaraArchitects—won 1989 Aga Khan Award for Architectureand 1991 IAI Award for Outstanding Architecture.Advancing CompetitivenessFirm government regulations, that are equals to the regulations in other countries, are neededfor Indonesian architects and firms to be able to survive in the global competition. But not onlyfor the architectural practitioners, government regulations also provide legal protection for theclients that use the service, and for the society that lives in the built environment.Some of the governmrnt regulations related to the architectural profession are listed below:• Construction Services Legislation (Legislation No.18/1999), on the procedure of cooperationbetween parties involved in construction works.• Building Construction Legislation (Legislation No.28/2002), on the building constructionand the built environment.• Technical Manual on the Government Building Construction Works, issued by the Ministryof Public Works in 2002, and was revised in 2007.• Decree of the President of the Republic of Indonesia No.18/2000 on the procurement ofproducts and services to the government. This regulation was later revised in the Decreeof the President of the Republic of Indonesia No.80/2003.• Indonesian Architect Act Draft Bill. Indonesian legislative assembly is in the process ofcodifying the Indonesia’s architect act draft bill, which was proposed by Indonesian Instituteof Architects.Application the International Standards of Professionalism in Architectural PracticeArchitects have been practicing their art and science since antiquity. The profession as we knowtoday has undergone extensive growth and change. The profile of architects’ work has becomemore demanding, clients’ requirements and technological advances have become more complexand social and ecological imperatives have grown more pressing. Architects have to deal withan increasingly wide range of urban, aesthetic, technical, and legal considerations. Accordingly,UIA sets high standards to be professional architects.thinbluelines45 •arsitek rev 23 MARCH.indd 454/7/2009 6:20:02 PM

IAI Central and Regional OfficesSekretariat Pengurus NasionalJakarta Design Center Lt. 7Jl. Jend. Gatot Subroto Kav. 53Jakarta 10260 - IndonesiaTelepon : +62 21 5304715Fax : +62 (021) 5304722Email : iai@iai.or.idSekretariat Pengurus Daerah NanggroeAceh DarussalamJln. Tengku Daud Beureuh No. 132, Lantai 2Jambotape - Banda AcehNanggroe Aceh Darussalam - IndonesiaTelepon : +62 651 33367, 21463Fax : +62 651 33267Email : nad@iai.or.idSekretariat Pengurus Daerah SumateraUtaraJln. Kapt. Pattimura No. 76Medan 20153 Sumatera Utara - IndonesiaTelepon : +62 61 7781441, 4567832Fax : +62 61 8218558Email : sumut@iai.or.idSekretariat Pengurus Daerah SumateraBaratJln. Denpasar D/18Asratek, Ulak Karang TimurPadang, Sumatera Barat - IndonesiaTelepon : +62 751 7819798, 7052425Fax : +62 751 7052425Email : sumbar@iai.or.idSekretariat Pengurus Daerah RiauJln. Lembaga Pemasyarakatan No. 24KTangkerang SelatanPekanbaru 28282 Riau - IndonesiaTelepon : +62 761 7054414Fax : +62 761 26762, 33141Email : riau@iai.or.idSekretariat Pengurus Daerah KepulauanRiauGraha Kadin No. 3A, Batam CenterBatam 29432Kepulauan Riau - IndonesiaTelepon : +62 778 477520Fax : +62 778 477526Email : kepri@iai.or.idSekretariat Pengurus Daerah JambiJln. Urip Sumoharjo No. 28/31 SipinJambi 36129 - IndonesiaTelepon :Fax : +62 741 65598Email : jambi@iai.or.idSekretariat Pengurus Daerah BengkuluJln. Raflesia II No. 3 Bengkulu 38224IndonesiaTelepon : +62 736 22641, 24877Fax : +62 736 341223, 347785,345654Email : bengkulu@iai.or.idSekretariat Pengurus Daerah SumateraSelatanJln. Beliton No. 26 (belakang Gd. PT PertaniBukit Besar), Palembang 30136Sumatera Selatan - IndonesiaTelepon : +62 711 7014077Fax : +62 711 351770Email : sumsel@iai.or.idSekretariat Pengurus Daerah LampungJln. Hayam Wuruk 198 E - KedamaianBandar Lampung, Lampung - IndonesiaTelepon : +62 721 7494811, 7622325Fax : +62 721 240939Email : lampung@iai.or.idSekretariat Pengurus Daerah BantenKomp. Ruko BSD PlazaJl. Gunung Rinjani Blok RF/28Bumi Serpong DamaiTangerang 15310, Banten - IndonesiaTelepon : +62 721 7494811, 7622325Fax : +62 721 240939Email : banten@iai.or.idhttp://www.iai-banten.orgSekretariat Pengurus Daerah Khusus IbuKota JakartaJakarta Design Center Lt. 7Jl. Jend. Gatot Subroto Kav. 53,Jakarta 10260 - IndonesiaTelepon : +62 21 5304719Fax : +62 21 5304711Email : dki@iai.or.idhttp:// www.iai-jakarta.orgSekretariat Pengurus Daerah Jawa BaratIstana Building Commodities Center (IBCC)Jln. Jend. Achmad Yani No. 296 Blok E1- 3Bandung, Jawa Barat - IndonesiaTelepon : +62 22 91149022Fax : +62 22 7238437, 7513406Email : jabar@iai.or.idhttp://www.iai-jabar.orgSekretariat Pengurus Daerah Jawa TengahKomp. Van Dorp, Jln. Branjangan 1,Kota Lama, Semarang - IndonesiaTelepon : +62 24 3584841Fax : +62 24 3584841Email : jateng@iai.or.idSekretariat Pengurus Daerah IstimewaYogyakartaJln. Kemetiran Kidul 54DI Yogyakarya 55272 - IndonesiaTelepon : +62 274 515036, 519658, 895330Fax : +62 274 515036, 895330Email : diy@iai.or.id• 46thinbluelinesarsitek rev 23 MARCH.indd 464/7/2009 6:20:03 PM

Sekretariat Pengurus Daerah Jawa TimurJl. Raya Margorejo Indah A-509S u r a b a y a, Jawa Timur - IndonesiaTelepon : +62 31 8432505, 8437998Fax : +62 31 8437342Email : jatim@iai.or.idSekretariat Pengurus Daerah BaliJln. Gatot Subroto 236Denpasar 80239Bali - IndonesiaTelepon : +62 361 433131Fax : +62 361 433131Email : bali@iai.or.idSekretariat Pengurus Daerah Nusa TenggaraBaratJln. Pelikan No. 15- Pajang TimurMataram 83121Lombok - Nusa Tenggara Barat - IndonesiaTelepon : +62 370 633498Fax : +62 370 633498Email : ntb@iai.or.idSekretariat Pengurus Daerah Nusa TenggaraTimurJln. Sam Ratulangi Raya No. 7Kupang 85228Nusa Tenggara Timur - IndonesiaTelepon : +62 380 8011217Fax : +62 380 823127Email : ntt@iai.or.idSekretariat Pengurus Daerah KalimantanBaratJln. S. Parman Dalam No. 7Pontianak 78121Kalimantan Barat - IndonesiaTelepon : +62 561 7088365, 738401Fax : +62 561 738401Email : kalbar@iai.or.idhttp://iaikalbar.multiply.comSekretariat Pengurus Daerah KalimantanTengahJln. Podang 145 Perumnas BaruPalangkaraya 73112Kalimantan Tengah - IndonesiaTelepon : +62 536 3224412Fax : +62 536 3225599, 3222481Email : kalteng@iai.or.idSekretariat Pengurus Daerah KalimantanSelatanJln. RK Ilir No.31/559 Rt.09 RW.03BanjarmasinKalimantan Selatan - IndonesiaTelepon : +62 511 7711944Fax : +62 511 3271286Email : kalsel@iai.or.idSekretariat Pengurus Daerah KalimantanTimurJln. K. H. Wahid HasyimPerum Sempaja Mutiara Indah No.24Samarinda, Kalimantan Timur - IndonesiaTelepon : +62 541 250654, 7012277Fax : +62 541 250654Email : kaltim@iai.or.idSekretariat Pengurus Daerah SulawesiSelatanJln. Sunu Komp. Unhas Baraya AX–16Makasar, Sulawesi Selatan - IndonesiaTelepon : +62 411 421919Fax : +62 411 421919Email : sulsel@iai.or.idSekretariat Pengurus Daerah SulawesiTenggaraJln. Saranani No. 187/229Blk STM Wartel TakdirKendari 93117, Sulawesi TenggaraIndonesiaTelepon : +62 401 322636Fax : +62 401 392052Email : sultra@iai.or.idSekretariat Pengurus Daerah SulawesiUtaraJln. Kembang Sario No. 9Manado, Sulawesi Utara - IndonesiaTelepon : +62 431 823231, 854718Fax : +62 431 850634Email : sulut@iai.or.idSekretariat Pengurus Daerah Maluku UtaraBlok Ruku 88 No. 3Jln. Raya Ubo-UboTernate, Maluku Utara - IndonesiaTelepon : +62 921 23990Fax : +62 921 23990Email : malut@iai.or.idSekretariat Pengurus Daerah PapuaJln. Pradjamukti I No. 12, AngkasaJayapura, Irian Jaya - IndonesiaTelepon : +62 967 534010, 535227Fax : +62 967 534010Email : papua@iai.or.idSekretariat Pengurus Cabang Surakartad/a Kampus Induk UTPJln. Balekambang Lor No. 1,Surakarta - IndonesiaTelepon : +62 271 726278, 739048Email : surakarta@iai.or.idSekretariat Pengurus Cabang MalangJln. Papa Ungu No. 4Malang 65141, IndonesiaTelepon : +62 341 497436, 484049Fax : +62 341 497436Email : malang@iai.or.idthinbluelines47 •arsitek rev 23 MARCH.indd 474/7/2009 6:20:03 PM

www.depdag.go.idemail: treda@depdag.go.idsesbalitbang@depdag.go.idMinistry of Trade Republic of IndonesiaJl. M.I. Ridwan Rais No. 5 Main Building - 4th FloorJakarta 10110 INDONESIATelp. : [62-21] 2352 8691Fax. : [62-21] 2352 8691thinbluelinesarsitek rev 23 MARCH.indd 484/7/2009 6:20:04 PM