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.