Jonathan

Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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 societys demand. Argument to be delivered is
whether todays 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 countrys 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 countrys diverse culture as their
inspirations. Not only architects but also our most of our countrys publication

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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
countrys 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 ethnics
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 Indonesians. 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 countrys 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].

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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 buildings 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

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

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

22nd May, 2013

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)

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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
architects ego or both the architects and governors ego. It was all made of glass
and not really suitable for Indonesias 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 faade is suitable for European
countrys 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.

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

Louvre Pyramid, Paris

22nd May, 2013

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

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

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

22nd May, 2013

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 Budihardjos 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.

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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 Indonesias 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

10

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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 Uama 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.

11

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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

12

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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 Balis 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.

13

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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 users behavior and specific needs. Baskoro Tedjo

Other example of Indonesian architects who is trying to respect the local
context and climate is Baskoro Tedjo. Rifdans 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.

14

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

Rifdan house, Baskoro Tedjo, 2009.

22nd May, 2013

15

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

Typical Rumah Panggung

22nd May, 2013

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, Balis 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 Indonesias regional
architecture in the future. Thus, distinct characteristics of Indonesian
architecture and an identity will be born.

16

Jonathan Swift
1106071896
Architecture International Program 2011
History of Architecture II

22nd May, 2013

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.

zkan, Sha. 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.

17