Young Indonesian architects seek new ways of expression

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.