A celebration of Indonesia's new architecture

A celebration of Indonesia's new architecture

By Reita I. Malaon

JAKARTA (JP): To feast your eyes on an object d'art is an
enriching experience, particularly when what one sees is not
customarily presented in this country as an art form. This time,
the creative energy was aspirated through the hands of
architects.

The enchanting realm of Indonesian architecture is currently
being exhibited at Erasmus Huis. The exhibition, which was opened
on Dec. 7, is staged by the Young Indonesian Architects (AMI).

In April, AMI had the opportunity to exhibit 21 panels of
architectural work and urban design at the Staat Heuse in The
Hague. The presentation was held through the cooperation of the
Indonesian Architect Association and the Royal Dutch Architect
Association.

The current exhibition is also in conjunction with The Hague
show but with an extended format. Dozens more works are now
included in the display, which will run through Jan. 4, 2000.

AMI is an informal discussion group formed in 1989 by a number
of young architects who shared the same anxiety as they watched
the trends that were happening in the Indonesian architectural
world. Architecture as a profession was deemed as elitist and
exclusive. Moreover, the architects were not known by the general
public and their works mostly were just an interpretation of
common commercial demands.

A 10-year journey has brought AMI to this exhibition and a new
resolution: "... Architecture for the new Indonesia will not bow
to be a commodity for the oppressive economic market. We will be
on the side of sociocultural values, humanity and environmental
conservation ..."

The result of this resolution is works of art with respectful
regard to function. Pathways, the angle of the roof, the
structural beam, open spaces, they all became something similar
to what words mean to poets.

The Paramadina Mosque, Bogor, is an exquisite example of the
ingenuity in utilizing a light-and-shadow concept. In this
mosque, the calligraphy is embossed on the walls without
differentiating paint color. So, the calligraphy can only really
be seen when nature's light infiltrates through the clefts on the
walls.

The building, which was designed by architects Andra Martin
and Avianti Armand, is nothing like a traditional mosque. For
this project, the architects tried to reassess the essence of a
mosque back to the value of prayer, which in the end manifested a
very simple form. A horizontal mass, pure box, depicting the
humbleness of men. It is just an impression, contemplation
without decorative adornment.

The three-story building was designed to deal with the humid
tropical climate, while simultaneously creating a feeling of
"nothingness" for the people within. The area of the main
building is not too spacious, just right for the efficiency of
daily usage. However, on Fridays, and big religious gatherings,
Muslims can expand the space to the exterior, which has various
different expressions. So, people can go through different space
experiences. From inside the main building, to under the striped
shadows of the pergola, to the plaza, to the ground floor,
upstairs, downstairs, it is an endless exploration. The mosque
even has a ramp to accommodate the old and the disabled.

Then there is the Architects Studio by Ranuwijaya, which is
truly a celebration of form. The building is designed as an
informal gathering place or a padepokan, where the
architect/owner and his educator wife can interact with local
villagers in the stimulating process of learning and creating
while contributing to the social life of the village. The site's
setting is calm and natural, with a large lake and thick forest
nearby.

The architect's experience of living in a crowded urban
neighborhood -- characterized by informality and community --
gives a strong orientation to this design. Open spaces and
pathways become extensions of the living room, which provides a
place for chatting, visiting and informal encounters. The house
is practically always open to passersby.

The upper level is the architect's work area with a small
library. The south wing contains a bedroom and bath, and a void
spatially links this level with the level below. The top floor
contains only a design studio devoid of any furniture.

The building form is a metaphoric juxtaposition inspired by
hiking adventures through the forest and dealing with social
situations in an urban context. The building facade is a
composition of large planes, which give shade to the inner areas.
Gaps between these planes let in the sunlight as an imprint of
the time of day. Shadows from the window fall on the floor and
walls, providing an artistic painting to the interior.

In principle, the design is a process of exploration in
presenting nature in a building and sharing the spirit of human
activity with its environment.

However, the works of these idealistic young minds are not
just about art and beauty. They contain social responsibility as
high up on their agenda.

Aaron Purbo's Shelter from Recycled Material is one example.
His creation is a proposed solution to the problem of the urban
homeless, who usually live in shanty dwellings.

Recycled materials are used for the shelter, which provide
accommodation for sleeping, bathing and cooking. Flexibility is
the main concept of the shelter's design. To achieve this, the
construction has been designed as modules of main trusses and
columns, enabling it to expand easily. The main trusses use
recycled bamboo supports from used building frame supports, with
foundation blocks made of used paint cans filled with cement. The
roof is covered with plastic sheeting.

Nonetheless, it is the near-future project with Surakarta's
residents that is AMI's current main challenge. Paguyuban Wong
Solo is a socially aware group of Surakartans with renowned
dancer Sardono W. Kusumo as spokesman. The group has invited AMI
to discuss and explore the possibility of rebuilding Surakarta
after most of the city was affected by fires.

Yori Antar from AMI said they had made a proposal to the
people of Surakarta; to awaken the conciseness that architects
and the people could be master planners of their own city -- that
now is the time to deconstruct the prevailing standard that city
development was only a government project, and the people have no
say about their own dwellings.

So far, AMI had proposed several design projects such as the
Surakarta Master Plan, the rebuilding of Pasar Beteng and several
more.

With its exhibition, AMI has been successful in translating
the ideal balance between creativity and responsibility as
professional architects. Furthermore, it has brought an evocation
to Indonesia's architecture world that is long overdue.