Young Indonesian architects seek new ways of expression

By Carla Bianpoen

JAKARTA (JP): To commemorate their five-year exploration for alternative architectural design, a new generation of Indonesian architects launched the book Arsitek Muda Indonesia, Penjelajahan 1990-1995 (Young Indonesian Architects, Explorations between 1990 and 1995). Printed on good quality paper, the publication costs Rp 40,000 (US$17) and is available at the Twilite Cafe's bookstore on Jl. Kemang Raya 24A in South Jakarta.

The book demonstrates bold courage and a bursting energy, with its designs and numerous writings reflecting the dreams and aspirations of a new generation of architects in search of a personal trademark. Like generations before them, the young architects, who call themselves Arsitek Muda Indonesia (AMI), seek alternatives in concept, style and artistic accomplishment.

It is not a new. Indonesia architects have sought alternatives since national independence.

After colonial dominance had given way to national independence, Indonesian architects began thinking about national features in architecture. Defining national identity became a hot issue, and architects sought to reinterpret the principles and philosophical concepts in traditional architecture to comply with the modern needs of a people in a changing society. A thesis written by Mirah Miryatta in 1993, for her Master's degree in architecture singles out three contemporary Indonesian architects who have made serious efforts to adapt. Adhi Moersid's Said-Na'um mosque, Gunawan Tjahjono's rectorate building for the University of Indonesia campus, and Han Awal's design for the Atma Jaya University building, all in Jakarta, were taken as excellent examples of reinterpreting traditional principles and blending these with the values of present society.

Today, the ideals of young Indonesian architects appear to take another direction. The issue is untying the strings to established models, for which freedom seems to be the keyword. Freedom from ties, freedom in artistic expression and freedom to use individual features appear to be the ideals of the new generation. The architects, born between 1956 and 1969, began looking for new avenues of expression when they felt hampered by what they felt was a burden imposed by their professional education.

"In school (meaning university), we were told what was good or not good in architectural design," explains Yori Antar, the spokesman of the group.

"In the Institute of Indonesian Architects, our senior colleagues are more interested in emphasizing ethical codes than discussing alternative designs," he adds.

AMI members want something different.

That they are still in the realm of exploration is not very surprising. A five-year span is a relatively brief period, and the accelerated pace of change imposed by global networks is overwhelming. The book demonstrates in a convincing manner the uncertainties and the struggle in finding a solid concept. For the lay person, it is an interesting undertaking to find out which text belongs to which design, or whether the text is meant as a poetic explanation or should be read entirely separate.

It would definitely have helped provide a clearer perspective of their views if the pictures in the book had more information about the concept of the architect, the kind of materials used, and how an interaction was established with the user of the building.

As it is, the reader is left confused, probably similar to what the architects experience. Contradictions between conceptual statements and actual implementation are evident in many examples in the book. Comments of concerned people point out that failing consideration for living traditions in society, and for harmonious blends, as well as a lacking focus on the users of the building will affect the artist's perceived role in society, disrupting the architect's sensitivity to social and cultural issues living in the community. They explain that when development planners and practitioners have recognized the need for interdisciplinary thinking and putting human beings at the center of activities, young architects may have to expand their horizons beyond the external realm of form and esthetics. In this sense the works of Yori Antar (born 1962), a key person in AMI, offer solid prospects, and may well serve as a positive direction for the group.

Works

The Family Club designed by Andra Matin, has several interesting outdoor spaces, but the tower, which may be the entrance hall, might be more suited for ceremonial or ritual activities. A queer picture of Ranuwidjaya's School of Music draws attention for its esoteric shape, eliciting a sense of confusion and human alienation at the same time. Museum Toraja by Dicky Hendrasto shows traditional Toraja structures in a modified version. Against an impressive natural background, the drawing suggests a reinterpretation of traditional values. Ironically, the explanatory text suggest exactly the opposite, and one can only sigh in confusion.

Baskoro Tedjo has made notable efforts in his design of Galeri Sunaryo in Bandung. Trying to achieve a building that takes into account the specific climatic features, he also makes an effort to adjust his roofs to the rhythm of the surrounding hills. Gatot S. Surarjo, Armand H. Tanorie and Tony M. Hutapea have successfully grasped the need to develop children's imagination when designing Condor and Waterpark at the Ancol Fun Park.

Approach

The design made by Yori Antar for low-cost housing in Timor may well be the most contemporary in terms of approach. Rumah Timor was conceived through a participatory design. Yori Antar of Biro Han Awal & Partners won the contest set out by Plan International, a non-governmental organization concerned with development and health and sanitation. Earlier provision for housing had failed to attract the local people. Yori Antar, therefore, offered a design in line with local traditions, but with some modifications to improve sanitation.

Assisted by Marco Kusumawijaya, an architect who lives in Timor, Yori first familiarized himself with the local people, following a step-by-step procedure by which local people were consulted and were part of the design stage. Changes were made as they proceeded. The Rumah Timor, which are set up in the villages of Selu and Oebola, have one multipurpose room for the whole family with a fire place in the center, and one small room for the parents.

To minimize health hazards, windows were included in the design. Yori also accommodated the people's wishes for status in their houses by providing colored stripes similar to the design of the sarong they use. This symbol of identity was accepted by the local people to replace a previously used symbol of wealth: roofs using zinc, a material which makes life inside the house only hotter during the day. Yori's Rumah Timor uses the traditional palm leaves.

Austrian parallels

Evidently, the architectural debate occupies not only young Indonesian architects. It is also a phenomenon in the developed world where a long history of architectural design is in many ways an advantage in dealing with issues of change. In Austria, for example, the issue of national, regional and international architecture is an engaging topic, as is the issue of paternalism in design issues. The parallel with the Indonesian debate stops at the issues. A book on Innovative Austrian Architecture edited by Ramesh Kumar Biswas describes with excellent clarity how global trends do affect change; but, different from the Indonesian debate above, advocates of change are supported by solid conceptual thinking.

An equally interesting exhibition dealing with the same theme runs at the World Trade Center until May 4. Over twenty aluminum panels display over 40 pictures of outstanding Austrian design, and brief explanations and a simple layout facilitates the visitor's understanding. Information about the book, which is published by Springer-Verlag, Vienna/New York, may be obtained from the Austrian Embassy's First Secretary on Jl. Diponegoro 44.