USYD Architecture 2024 | MARC6000 -Temporary Power “A Commons, A Community”by Haitian
A Commons A Community
A Commons A Community
The University of Sydney
Temporary Powers| 2024
Brief Leader Melissa Liando Haitian Jin 490460878
Site Taman Fatahillah, Jakarta, Indonesia
Chapter 2 Commons and Current Challenges
Fig 0.1: Kota Tua Common spaces, drawing courtesy of Haitian Jin, 2024.
1 Kazuo Inamori, A Compass to Fulfillment: Passion and Spirituality in Life and Business (New York: McGraw-Hill, 2009).
Preface
4
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2 Gregory Vlastos, Socrates:
As I approach the end of my graduate studies in architecture, I often find myself pondering: What kind of architect will I become in the future? To answer this, I believe I can respond by exploring two fundamental questions: "Who am I?" and "For me what is architecture?"
"Who am I?"
If someone were to ask me what the meaning of life is, I would quote a line from Kazuo Inamori’s A Compass to Fulfillment: "When a person dies, their soul is purer than when they were born. That is the ultimate meaning of life." This represents a process of spiritual purification.¹ But to elaborate further on this meaning, I would turn to the thoughts of philosophers:
Press, 2009).
5 Albert Camus, The Myth of Sisyphus, trans. Justin O'Brien (New York: Vintage Books, 1991).
Socrates believed that the purpose of life is to pursue wisdom, truth, and virtue. Through philosophical dialogue and self-reflection, he emphasized the purification of the soul and the cultivation of inner moral character. Plato, on the other hand, believed the soul is eternal.² In The Republic, he discussed the importance of justice and virtue, arguing that by nurturing the mind, humans can elevate and purify their souls.³ Aristotle, in his concept of eudaimonia, claimed that the meaning of life lies in fulfilling one's potential and virtues, particularly through the practice of reason and moral excellence, leading to the ultimate good.⁴ Finally, Camus explored the search for meaning in an absurd world. He argued that while life may inherently lack meaning, individuals can still create meaning through their choices and actions.⁵
I believe that knowing oneself is the foundation of life. But how does one come to know oneself? Like looking into a mirror—without it, I may never know what I truly look like. In life, that "mirror" might be represented by a
person, an event, or an object. It is only through interaction and connection with the world that we can explore our own form and pursue self-improvement. The process of selfdiscovery can be painful, but pain and conflict are often the catalysts for progress. Through the act of "feeling" itself, we may uncover the essence of the world, which could be the governing principles or the order by which it operates.
"What is architecture?"
"Sustainability" is one of the defining terms in 21st-century architecture. As we face multiple crises— environmental, economic, and social—the concept of sustainable living and development has become central to modern society. But how can this idea be realized? In Between Silence and Light, architect Louis Kahn stated that "order" is the foundation of architecture, describing an internal law and organizational principle that buildings must follow.⁶ From a philosophical perspective, the world operates according to certain rules, or what we might call order. To achieve sustainable development, we should first find and follow this order.
In my view, human existence is akin to cells in the body of the Earth. Our actions, while seemingly insignificant on a material level, create invisible changes on the level of consciousness. Referencing quantum mechanics, quantum entanglement suggests that two or more particles can remain interconnected, and even when separated by great distances, they remain in sync.⁷ Human relationships work in much the same way. Furthermore, perhaps the world is like a coin, with both a heads and a tails. To ignore or exclude either side is to deny its true nature.
In this light, architecture is not just a physical structure but a manifestation of both the visible and the invisible—of material and consciousness. Just as the world operates with dualities that cannot be dismissed, architecture must also balance its tangible form with its societal, spiritual, and environmental impacts. To overlook any one of these elements is to lose the true essence of what architecture can and should be.
7
Ironist and Moral Philosopher (Ithaca: Cornell University Press, 1991).
Plato, The Republic, trans. Allan Bloom (New York: Basic Books, 1991).
Aristotle, Nicomachean Ethics, trans. W.D. Ross (Oxford: Oxford University
6 Between Silence and Light: Spirit in the Architecture of Louis I. Kahn, ed. John Lobell (Boulder, CO: Shambhala, 1979).
Brian Greene, The Elegant Universe: Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory (New York: W.W. Norton & Company, 1999).
8 Aldo Rossi, The Architecture of the City, trans. Diane Ghirardo and Joan Ockman (Cambridge, MA: MIT Press, 1984).
Introduction
9 Agus Supriyadi et al., "The Challenges of Spatial Planning in Indonesia under the Background of Local Autonomy," ResearchGate, last modified February 2021, https://www.researchgate. net/publication/349693443_ The_challenges_of_spatial_ planning_in_Indonesia_under_ the_background_of_local_ autonomy_defangzizhibeijingx iayindunixiyakongjianguihua_ mianlindetiaozhan.
The complex relationship between architecture, human society, and the environment is akin to an ongoing dialogue, with each continuously shaping and influencing the others. They are part of a larger system that constantly evolves and adapts with the passage of time and societal progress. In the context of rapid global urbanization, architecture is not only a core component of urban morphology but also a materialized reflection of cultural, social structures, and environmental relationships, they serve as repositories of collective memory and symbols of cultural identity. As Aldo Rossi points out in The Architecture of the City, the city is a repository of collective memory, and architecture, through its forms and functions, preserves the history and culture of the city, allowing them to endure in the collective memory of society.⁸ They record the historical progression of society while continuously adapting to the needs of modern life.
Within this context, public spaces emerge as microcosms of urban life. They act as stages for daily activities and as central carriers of social interaction and collective memory. The functions and meanings of public spaces vary across cities, shaped by differing cultural and historical contexts. However, with the acceleration of modernization and commercialization, many urban public spaces are gradually losing their original social functions, succumbing to privatization and commercial use.⁹ Cities worldwide face the challenge of balancing economic development with cultural preservation, posing new dilemmas for urban planning and architectural design. Jakarta, a Southeast Asian city rich in history and culture, is undergoing similar transformations. As Indonesia’s capital and largest city, Jakarta is not only the nation’s political, economic, and cultural center but also avibrant multicultural metropolis. Yet, rapid urbanization and economic growth have brought both prosperity and profound
impacts on Jakarta’s public spaces and social fabric. The disappearance of public spaces threatens residents’ quality of life and poses significant challenges to the city’s sustainable development. However, the challenges brought about by societal shifts also create opportunities for progress, driving deeper exploration and innovation in urban spaces.
This thesis explores the significance of the “public realm” in Jakarta, Indonesia, analyzing why public spaces are increasingly marginalized in modern society and examining their crucial role in shaping social dynamics. From a historical and temporal perspective, I investigate how these public spaces have evolved and transformed under environmental and social pressures. Once at the heart of community life, these spaces now face threats of privatization and segregation, yet they still hold immense potential to reconnect individuals with their communities. Through a planning proposal for Taman Fatahillah in Jakarta, I aim to explore how architecture can transcend its role as a mere physical shelter and instead act as a living organism that interacts with, breathes, evolves with its surroundings, and possesses the healing power to strengthen the bond between humanity and the world.
As Richard Sennett describes in Together: The Rituals, Pleasures and Politics of Cooperation, architecture becomes a vital medium for fostering social cooperation and harmony through thoughtful design and planning.¹⁰ Through its form and function, architecture contributes to restoring the social significance of public spaces and rekindling interaction and consensus among society’s members. Cooperation is not merely a tool but the foundation of collective societal operation.
10 Richard Sennett, Together: The Rituals, Pleasures, and Politics of Cooperation (New Haven, CT: Yale University Press, 2012).
Chapter 1 Commom and Human Relations
Cultural Identity
Public spaces are crucial for fostering social cohesion and cultural identity. The concept of the “commons” is more than just providing an open area; it is deeply embedded in the social and cultural lives of residents. In Indonesia, the Alun-alun (city square) serves as the "center of the world" for communities, integrating nature, culture, and society. It plays a vital role in shaping residents’ sense of identity and collective belonging.¹¹
Alun-alun squares are typically located at the heart of cities, surrounded by significant religious, political, and commercial buildings. They act as focal points for residents’ daily lives and collective activities. Figure 1.1 and 1.2 illustrate the typical layout of the northern and southern squares of Javanese palaces, emphasizing their central role in urban structure while highlighting the distinction between their symbolic and practical functions. As Prawoto Mahatmanto notes in Alun Alun, the alun-alun serves as a symbolic space that represents community unity and social cohesion, as well as a critical site for cultural expression and identity formation. This spatial essence originates from the traditional Indonesian village settlement patterns built around open fields, symbolizing the soul of the Indonesian village.¹²
In villages, houses are often constructed around a central field, which serves as a gathering place for villagers, as well as a venue for rituals and celebrations, embodying the village’s identity¹³. Over time, this spatial form evolved from rural areas to urban contexts, where the functions and meanings of the alun-alun have been sustained and transformed through modernization. Whether in rural or urban areas, these spaces activate the cultural threads of communities in unique ways, serving as stages for memory and history.
11 Geertz, Clifford, The Religion of Java (Chicago: University of Chicago Press, 1960).
12 Prawoto Mahatmanto, Alun Alun: The Symbolic and Practical Roles of Javanese Squares (Jakarta: Gramedia Pustaka Utama, 2010).
13 Nas, Peter J. M., ed., The Indonesian Town Revisited (Singapore: Institute of Southeast Asian Studies, 2002).
Fig 1.1: Site plan of Siti Hinggil and north alun-alun of Surakarta palace (source: Robson 2003)
Fig 1.2: Site plan of Siti Hinggil and south alun-alun of Surakarta palace (source: Robson 2003)
Continuity of Practices
In some Javanese villages, the annual Wayang Kulit (shadow puppet) performances are an indispensable activity held in the alun-alun. Accompanied by the rhythm of Gamelan music, puppeteers carve intricate shadow puppets from thin pieces of leather, bringing myths and historical tales to life on a white cloth through light and projection.¹⁴
This is not just a visual spectacle but a cultural resonance, where villagers gather to inherit the wisdom and beliefs of their ancestors through this poetic art form.
In urban contexts, the meaning of the alun-alun becomes more diverse. At Alun-Alun Kidul (the southern square) in Yogyakarta, the traditional challenge of Masangin draws many participants. Blindfolded, they attempt to walk in a straight line through the two banyan trees at the center of the square. It is said that those who pass through successfully have a pure heart and will receive blessings. This simple yet symbolic activity attracts countless residents and tourists, reinforcing the alun-alun's role as a cultural hub.¹⁵
By knowing activities in both rural and urban settings, it becomes evident that the alun-alun has consistently served as a bridge connecting people and culture. From rural fields to urban centers, the alun-alun has witnessed the growth of communities, the transmission of culture, and the cohesion of human hearts.
14 James R. Brandon, On Thrones of Gold: The Performing Arts of Asia (Cambridge, MA: Harvard University Press, 1970).
Fig 1.3. Wayang Kulit Performance in Magelang Town Square (source: Siedoo 20022)
Fig 1.4: Masangin, Mitos dari Si Beringin Kembar Alun-alun Kidul (source: Rapsak 2012)
Spirit of Cooperation
Gotong Royong, as the core spirit of Indonesian socio-cultural life, signifies "mutual cooperation" or "collective work." This spirit not only drives the daily lives of communities but also plays a critical cultural role in enabling the functioning of public spaces. Gotong Royong manifests its unique significance within both rural and urban social structures, serving as an essential link that strengthens community cohesion and shapes cultural identity. As Daniel S. Lev noted in Social Movements and Political Power in Indonesia, the spirit of Gotong Royong is deeply rooted in Indonesia's communal systems, forming the basis for maintaining social order and shared values among residents.¹⁶ This communal system is prominently reflected in governance structures such as Rukun Tetangga (RT, neighborhood associations) and Rukun Warga (RW, community associations). These organizations center around Gotong Royong, encouraging community members to collaborate in daily life and public affairs. Whether in villages or cities, the RT/RW framework facilitates mutual support among residents in community governance, the maintenance of public spaces, emergency response, and the organization of traditional celebrations.¹⁷
Gotong Royong is also widely applied to community activities such as public projects, environmental clean-ups, and festival preparations. In traditional rural communities, villagers often gather spontaneously in the alun-alun square during harvest seasons or before major festivals to engage in collective labor, such as farming or building houses. This collective collaboration is not only a necessity for productivity but also a demonstration of mutual support and resource-sharing among community members.
16 Daniel S. Lev, Social Movements and Political Power in Indonesia (Ithaca, NY: Cornell University Press, 1990).
17 Clifford Geertz, The Religion of Java (Chicago: University of Chicago Press, 1960).
fig1.5. Rewang Tradition in Javanese Society, a Culture of Gotong Royong in Memasa (rctiplus, 2022)
fig1.6. Mapalus, Mutual Aid Tradition of Minahasa Tribe (Kompascom, 2023)
fig1.7. Ngayah Tradition in Bali (bali.kemenag.go.id, 2023)
In the traditional craft of batik-making, patterns often carry profound symbolic meanings that resonate with the spirit of Gotong Royong. For instance, as explored in Batik: Fabled Cloth of Java, the phoenix motif represents longevity and renewal, reflecting collective aspirations for community resilience and continuity.¹⁸ Such symbolic designs not only preserve cultural identity but also foster shared values within the community. These motifs become visual narratives of mutual cooperation and heritage
In addition, Figure 1.14, the cover of The Living House: An Anthropology of Architecture in South-East Asia by Roxana Waterson, illustrates the community of Bulu Kumba in South Sulawesi relocating houses to withstand severe earthquakes. These structures are designed with lightweight materials and flexible joints, avoiding the use of nails, making them easy to dismantle and reassemble elsewhere.¹ ⁹ Waterson also explores the close relationship between architecture and culture in Southeast Asian communities, emphasizing how the spirit of Gotong Royong is reflected in both building practices and lifestyles. She argues that Gotong Royong plays a critical role in community construction and maintenance, fostering emotional bonds and trust among residents through their shared efforts in building and repairing homes.
fig1.8. "A Cirebon tablecloth (?), ca. 1906. The inscription reads 'Long life and abundance of luck.' The various animals represent longevity and prosperity."(Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java, 2004, p. 26)
fig1.9. "A batik reminiscent of Art Nouveau,characterized by large animals, this kain panjang is calledbangungon. Representations of sea creatures, united here with other animals" (Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java, 2004, p. 26)
fig1.10. "by a spiraling vine, often found their way into northcoast batik. This tumpal semen design is typical of Cirebon as well as Pekalongan and Lasem."
(Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java, 2004, p. 26)
fig1.13. Batik Workshop at the Pendopo of the Textile Museum. (Source: Jakarta Textile Museum,2024)
fig1.11. This image depicts children engaged in drawing batik designs on paper, showcasing how the craft is taught at an early age to preserve traditional skills and creativity. (Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java, 2004, 50.)
fig1.12. In this traditional tulis batik workshop, several women share a pan of heated wax while working on their individual pieces, reflecting the collaborative yet individual nature of batik production. (Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java, 2004, 51.)
fig1.14. Roxana Waterson, The Living House: An Anthropology of Architecture in South-East Asia (London: Thames and Hudson, 1990).
Chapter 2 Commons and Current Challenges
20 National Geographic, "Jakarta Is Sinking: Here's How It Can Be Saved," accessed November 15, 2024, https:// www.nationalgeographic.com/ environment/article/jakarta-issinking-how-it-can-be-saved.
Environmental Pressures
Jakarta, the capital of Indonesia, faces severe environmental challenges, particularly related to water crises and land subsidence. Over the past few decades, Jakarta has undergone rapid urbanization, with highrise buildings, large-scale infrastructure, and upscale real estate projects continuously reshaping the urban landscape. However, this development model has also led to water shortages and frequent flooding. According to National Geographic, Jakarta's water crisis stems largely from a speculative urbanism-driven development model.²⁰ In its pursuit of modernization and progress, the city has neglected effective water resource management, resulting in excessive groundwater extraction and triggering land subsidence. This land subsidence has exacerbated flood risks, placing additional environmental pressures on the city.
21 The Jakarta Post, "Jakarta Park's Role in Flood Mitigation Under Pressure," last modified March 15, 2023, https:// www.thejakartapost.com/ environment/jakarta-parksflood-role.html.
Consequently, many alun-alun and parks located in low-lying areas are inundated during the rainy season, rendering these spaces unusable for community purposes. For instance, Taman Menteng, a central park in Jakarta, was designed as an open space for relaxation and gatherings. However, it often suffers damage to its facilities due to heavy rains. The reduced vegetation cover further exacerbates rainwater infiltration issues. According to a report by The Jakarta Post, the park has 44 infiltration wells to aid rainwater absorption, but challenges persist during heavy downpours.²¹
Additionally, air pollution further limits the usability of public spaces. The lack of healthy air and natural environments in these areas impacts the quality of public space usage and diminishes residents’ quality of life. To mitigate these environmental issues, Jakarta needs to explore green design and sustainable strategies to improve the adaptability of public spaces to environmental challenges.
fig2.1. A moped rides through flooded streets in Jakarta's northern district of Pluit. (National Geographic, 2015).
fig2.2. Goats roam near the remnants of a house that the government demolished in Pluit to clear the drainage channels. Many houses were illegally built on the banks and in the channels, reducing flow of water to the pumping station. (National Geographic, 2015).
22 Jakarta City Government, Analyzing Jakarta's Public Spaces: The Cost of Private Ownership and Management, last modified July 2023, https://www.researchgate. net/publication/384932211_ Analyzing_Jakarta%27s_ Public_Spaces_The_Cost_ of_Private_Ownership_and_ Management/fulltext/670ea0fd bc2e3f20668d996d/AnalyzingJakartas-Public-Spaces-TheCost-of-Private-Ownership-andManagement.pdf.
Public vs Private
Urban development in Jakarta has exacerbated the tension between public and private spaces. According to a report by the Jakarta City Government, the rapid expansion of the central real estate market, numerous shopping malls, office buildings, and upscale residential areas have replaced traditional public spaces.²² This transformation has made it increasingly difficult for residents to find free and open venues for social interaction. Many community gatherings are now forced into privatized spaces, such as malls like Plaza Indonesia. While malls may provide environments resembling public spaces, access to these areas often requires consumer behavior, lacking the unconditional inclusiveness of true public spaces.
In his 1977 book The Fall of Public Man, Richard Sennett delves deeply into the relationship between public and private spaces in modern society. He argues that with the rise of modernity, private spaces have gained increasing prominence, while the decline of public spaces has reduced opportunities for public life and social interaction.²³
This shift has led individuals to prioritize privacy and independence, but at the cost of diminishing public spaces as venues for social and cultural expression. Sennett warns that an overemphasis on private spaces may result in social isolation, while the absence of public spaces makes it challenging for people to find belonging and meaning within a broader societal framework. Maintaining a balance between private and public spaces is thus critical for the healthy functioning of society.
Moreover, this phenomenon has amplified social inequalities. For low-income communities, accessible public spaces are becoming increasingly scarce, while the expansion of private spaces excludes them from enjoying high-quality living environments. Community
activities organized through the Rukun Tetangga (RT) and Rukun Warga (RW) systems have also significantly lost outdoor venues for socializing and public affairs due to the encroachment of privatized spaces. As Aldo Rossi emphasized in The Architecture of the City, public spaces are vital for fostering collective memory and identity within communities. However, as these spaces are gradually eroded, the collective memory of communities is also fading.²⁴
23 Richard Sennett, The Fall of Public Man (New York: Knopf, 1977).
24 Aldo Rossi, The Architecture of the City (Cambridge, MA: MIT Press, 1982).
fig2.5. Commercial Space vs Green Open Space around Taman Fatahillah, drawing courtesy of Haitian Jin, 2024.
fig2.3. Green Open Spaces Plan 1965-1985 ("Policy Analysis of Urban Green Open Space Management in Jakarta City, Indonesia."Semantic Scholar, 2024).
fig2.4. Green Open Spaces Plan 1985-2005 ("Policy Analysis of Urban Green Open Space Management in Jakarta City, Indonesia."Semantic Scholar, 2024).
25 World Economic Forum, Augmented and Virtual Reality: Opportunities and Challenges During the Pandemic, last modified April 2021, https://fpf.org/wp-content/ uploads/2021/04/FPF-ARVRReport-4.16.21-Digital.pdf.
Virtual Spaces
In recent years, with the acceleration of digitalization due to the global pandemic, the rise of virtual spaces has added a new dimension to architecture and design. Virtual reality (VR) and augmented reality (AR) technologies have expanded the concept of personal space and provided opportunities for the development of virtual communities and public spaces. In these virtual spaces, individuals are no longer confined to physical boundaries but enter a broader virtual world. A report by the World Economic Forum highlights that, while virtual spaces offer more freedom and control, they also bring new challenges, such as issues related to privacy and mental health.²⁵ As people spend more time immersed in digital and virtual environments, they begin to seek renewed connections with nature, open spaces, and face-to-face social interaction.
26 Edward O. Wilson, Biophilia (Cambridge, MA: Harvard University Press, 1984).
Additionally, the "Biophilia Hypothesis" proposed by American biologist Edward O. Wilson suggests that humans have an innate connection to nature, rooted in our evolutionary history of close ties to the natural environment. ²⁶ With the rise of virtual spaces, the use of public spaces, social interactions, and public life has significantly decreased. This trend has widespread economic and cultural implications. Economically, virtual spaces drive the growth of the digital economy but also challenge traditional economic models and labor markets. Culturally, virtual spaces alter interpersonal relationships and the patterns of public life. While they offer convenience and innovation, they also lead to feelings of isolation, mental health issues, and weakened community bonds.
In today's digital era, virtual spaces are increasingly becoming a part of public spaces, providing new platforms for socialization and communication. However, the rise of virtual spaces cannot fully replace the role of
physical spaces, especially in a city like Jakarta, wherepublic spaces are already scarce. While social media and online platforms provide residents with channels for expression and interaction, face-to-face engagement remains a vital part of Jakarta's community life.
A notable example is Jakarta's Taman Mini Indonesia Indah Park. In recent years, the park management has tried to attract more online users by live-streaming community activities and cultural festivals. However, these virtual activities cannot replace the sense of cultural participation achieved through physical presence.²⁷ As Roxana Waterson noted in The Living House, the core of a community is formed through face-to-face interactions, which are difficult to replicate in virtual spaces. Therefore, virtual spaces can only serve as a supplement to physical spaces rather than a replacement. Jakarta residents still require real public spaces to support their daily lives and cultural expressions.²⁸
27 Antara News, "Ministry, TMII to Hold Indonesian Harmony Festival," last modified August 2022, https://en.antaranews.com/ news/235669/ministry-tmiito-hold-indonesian-harmonyfestival.
28 Roxana Waterson, The Living House: An Anthropology of Architecture in South-East Asia (London: Thames and Hudson, 1990)
29 Yaoqi Zhang et al., "Evolution of Green Space under Rapid Urban Expansion in Southeast Asian Cities," Sustainability 13, no. 21 (2021): 12024, https://doi.org/10.3390/ su13211202
30 Ben Bland, Indonesia: Competing Modernization and Community Values in Urban Development, Southeast Asia Governance Dynamics Report, 2020.
Commons’ Rarity
Public spaces in Jakarta are not only impacted by environmental and privatization pressures but also face the reality of modern commons becoming increasingly rare. Studies show that Jakarta's green space coverage decreased from 45% in 1988 to 20% in 2014, a decline closely tied to urbanization and land use changes.²⁹ As Ben Bland highlighted in his analysis of governance dynamics in Southeast Asia, modernization often brings competing interests that may erode traditional community values. ³⁰ In Jakarta, commercialization and privatization have encroached upon public spaces, transforming community areas into profit-driven development projects. While this trend has stimulated economic growth, it has also disrupted social structures, limiting spaces for community interaction and reducing opportunities for collective experiences that foster social cohesion. Furthermore, Mahatmanto noted in his research that as commons gradually disappear, the social relationships and collective identity within communities also deteriorate.
31 UNESCO, Kota Tua: Challenges and Opportunities in Preserving Jakarta’s Old Town, World Heritage Report, 2021.
Jakarta’s old town, Kota Tua, often referred to as the "Old City," holds significant historical and cultural importance. However, compared to its illustrious past, the current state of public green spaces in Kota Tua is starkly different. According to a UNESCO report, the area faces issues such as insufficient infrastructure maintenance, poor accessibility, and environmental degradation. Currently, green spaces in Kota Tua account for only 6.3% of total land use, which falls far short of Jakarta's urban needs.³¹ Many traditional buildings have been repurposed into restaurants, cafes, or shops, while some areas have been abandoned and left poorly maintained. Fatahillah Square, the central area of Kota Tua, remains a hub for tourists and artistic activities, but many surrounding buildings are in
disrepair. Additionally, the lack of planning and modern facilities makes Kota Tua less attractive for Jakarta residents’ daily activities, reducing it to a symbolic presence rather than a truly functional public space.
Many traditional Alun-Alun have been repurposed or neglected, losing their original social and cultural functions. This shift reflects the broader challenges faced by rapidly modernizing cities: how to balance economic growth with the preservation of cultural identity. In Jakarta, the replacement of public spaces by commercial projects has weakened the city’s sense of community, reducing opportunities for Gotong Royong (mutual cooperation) and community engagement, which are essential elements of Jakarta’s identity.
fig2.7. Taman Fatahillah in 1990, photo Yori Anwar (Java Books Jakarta, 1990)
fig2.8. Aerial photo shows Fatahillah Square in Jakarta (Alamy, 2018)
Fig 2.6. Batavia Town Hall and square (J. Rach,1770)
fig2.9. Common spaces around Taman Fatahillah, drawing courtesy of Haitian Jin, 2024.
How Can we Rekindle the Spirit of Commons?
In 1982, Aldo Rossi, in his seminal work The Architecture of the City, proposed that public spaces in cities are essential containers of collective memory. Public spaces such as squares, markets, and monuments, through their history and functions, preserve the shared memory and emotional connections of communities. Rather than pursuing rootless formal innovation, Rossi urged architects and urban planners to reconsider the relationship between form, history, and function. He argued that respecting historical and cultural contexts does not inhibit creativity but instead creates opportunities to balance tradition and innovation. By integrating typological research into design practices, Rossi championed an approach that honors the enduring value of history while allowing for contemporary interpretation, fostering designs that are both rooted in context and adaptable to modern needs.
In 2012, Richard Sennett, in his book Together: The Rituals, Pleasures and Politics of Co-operation, delved deeper into the meaning and complexities of cooperation, exploring how to achieve effective collaboration in modern society.¹⁰ Unlike his 1977 work
The Fall of Public Man, which focused on the decline of public life, Together proposed solutions to this social issue by emphasizing the role of cooperation in restoring interpersonal interactions and public engagement.³² In his earlier works, Sennett expressed concerns about the erosion of public life, but in Together, he highlighted the importance of cooperation and positioned it as a key to rebuilding social relationships. He argued that cooperation is not merely a work strategy but a fundamental way in which human society operates. Through cooperation, individuals can reconnect with others, strengthen social trust, and overcome divisions between people.
In 2015, the architectural project “Do We Dream Under the Same Sky”, a collaboration between artist Rirkrit Tiravanija and architect Niklaus Graber, debuted at Art Basel. This project employed simple bamboo structures and open layouts to create a communal space for gathering, dining, and sharing, directly inspired by Indonesia's pendopo (open hall).³³ The project not only showcased how architecture can promote environmental sustainability through materials and forms but also highlighted the role of public spaces in enhancing interpersonal interactions. Participants shared food and ideas within this space, embodying the social value of public spaces: they are not merely physical sites but platforms that carry emotional connections between individuals.
Yvonne Farrell
and Shelley McNamara
In 2018, the Venice Architecture Biennale, curated by Yvonne Farrell and Shelley McNamara, adopted the theme Freespace, calling on architects to reconsider the traditional boundaries between private and public spaces. ³⁴ The exhibition emphasized creating open and inclusive places through design to improve social interaction and quality of life. As the curators described, "Freespace describes a generosity of spirit and a sense of humanity at the core of architecture's agenda, focusing on the quality of space itself." This concept of "spatial generosity" sought to transform architecture into a medium for fostering social cooperation and cultural expression, providing more equitable and shared public spaces for modern society.
In 2019, Pier Vittorio Aureli and Martino Tattara, in their paper Commons as Public Order: Reimagining the Public Space, further developed the idea of public spaces as a form of social practice. ³⁵ They defined commons as a type of public order that transcends individual property rights, symbolizing the community’s freedom and equality. Commons, through the sharing of resources and collaborative actions, disrupt the privatization and commercialization of spaces inherent in modern urbanization, offering a cultural and emotional space beyond economic-driven functionalities. Their perspective emphasized that interventions in architecture and urban planning can reshape the social functions of public spaces, providing equal opportunities for participation and fostering collective identity for urban residents.
The Jakarta-based art collective ruangrupa
In 2022, during Documenta 15, the Jakartabased art collective ruangrupa expanded the practices of cooperation and sharing through the concept of lumbung (communal rice barn).³⁶ In Indonesian culture, lumbung symbolizes resource sharing and community collaboration, with its core idea being the equitable distribution of knowledge and materials through collective action. During the exhibition, they organized workshops, discussions, and community activities to demonstrate how arts education could enhance collaboration among community members, using cultural production to foster social interaction and resource sharing. This model shifted art from static display to a dynamic, community-centered process of learning and creation, further reflecting the connection between cooperation and public spaces.
8 Aldo Rossi, The Architecture of the City (Cambridge: MIT Press, 1982), 21-40.
10 Richard Sennett, Together: The Rituals, Pleasures and Politics of Co-operation (New Haven: Yale University Press, 2012), 45.
32 Richard Sennett, The Fall of Public Man (New York: Alfred A. Knopf, 1977), 120.
33 Art Basel, "Do We Dream Under the Same Sky," 2015, accessed November 9, 2024, https://www.artbasel.com.
35 Pier Vittorio
and
"Commons as Public Order: Reimagining the Public Space," Essay, 2019, accessed November 9, 2024, https://www.researchgate.net.
This chapter delves into a temporary architectural proposal for Jakarta's Taman Fatahillah, aspires to redefine the boundaries between tradition and urban development, individual and community, and private and shared spaces. Creating a communal growth and cultural resilience through co-created.
Collective Architecture
8 Aldo Rossi, The Architecture of the City (Cambridge: MIT Press, 1982), 21-40.
Through studying and analyzing Jakarta’s traditional architectural forms, I aim to demonstrate that architecture should not pursue rootless formal innovation. As Aldo Rossi urged, architects and urban planners must reconsider the relationship between form, history, and function. ⁸ This approach fosters identity and strengthens the deeper connection between architecture and people.
37 Universes in Universe, "Lumbung: Collective Practices in Contemporary Art and Architecture," accessed November 16, 2024, https://universes.art/en/ documenta/2022/lumbung.
Structures like the lumbung, pendopo, pasar, and masjid exemplify how traditional designs balance practicality and cultural meaning. The lumbung, with its lightweight, elevated design, symbolizes collective care and resilience, while the pendopo creates open, multifunctional spaces that enhance community interaction. The organic vibrancy of pasar and the unifying spatial arrangements of masjid emphasize inclusivity and shared purpose. These typologies inherently carry collective significance—spaces where individuals come together to share resources, exchange ideas, and strengthen social bonds.³⁷
By learning from these forms, we can create architecture that not only responds to contemporary needs but also preserves tradition, enabling meaningful connections between spaces and their users.
Balai Desa (Village Hall) Pendopo (Pavilion/Open Hall)
Poskamling (Security Post)
Langgar/Suruh or Mushola (Small Prayer Room) Gereja Kampung (Village Church)
Langgar/Suruh or Mushola (Small Prayer Room) Gereja Kampung (Village Church)
Pasar Desa (Village Market) Pawon (Traditional Kitchen)
corridor workshop
fig3.1. Culture identify about traditional Collective architecture, drawing courtesy of Haitian Jin, 2024.
Pendopo (Pavilion/Open Hall)
Balai Desa (Village Hall)
Langgar/Suruh or Mushola (Small Prayer Room) Gereja Kampung (Village Church)
Poskamling (Security Post)
(Traditional
Lumbung Padi (Rice Barn)
Pasar Desa (Village Market)
fig3.2. The proposal Design Approach, drawing courtesy of Haitian Jin, 2024.
Modular Systems
Inspired by the cover of The Living House: An Anthropology of Architecture in South-East Asia, the image of a community relocating homes in Bulu Kumba highlights the adaptability of traditional modular structures.¹⁹ Modular design offers significant potential for enhancing community cohesion by providing flexible and adaptive spaces that can be easily reconfigured to meet the evolving needs of a community. In the context of Jakarta, modular design aligns well with traditional Indonesian architectural styles, which often utilize lightweight, movable structures. This approach is not only practical but also sustainable, minimizing material waste and enabling spaces to adapt to environmental challenges such as flooding.
Furthermore, modular structures can be widely implemented across Jakarta's communities during future development or relocation phases. These modular units can create diverse commons of varying sizes, offering flexible functionality tailored to specific community needs. Each modular unit is equipped with four Polyethylene Floats, making it resilient to floods and standing water, thus ensuring adaptability to Jakarta's frequent environmental challenges. This approach not only supports sustainable urban development but also reinforces the sense of community by providing accessible and versatile public spaces.
fig3.3. Exploded axonometric view of platform structure & joint details, drawing courtesy of Haitian Jin, 2024.
The modular design logic is equally effective when extended to furniture systems. This diagram illustrates a modular furniture system designed for various spatial scenarios.
Each furniture module shares a consistent material logic, allowing users to assemble and adapt configurations based on specific needs. The modular design adheres to the standard dimensions of 1220 x 2440 mm, derived from polywood panels, ensuring efficient material use and compatibility. This approach not only promotes flexibility and creativity in furniture assembly but also supports sustainable practices by minimizing material waste.
Drawing inspiration from Jakarta's traditional collective architecture, I have proposed a series of adaptable spaces, each designed with a primary function alongside a flexible component. These spaces aim to foster traditional cultural practices while creating opportunities for face-to-face interaction among community members, providing a tangible platform for the spirit of Gotong Royong to thrive. For instance, "Work shop for big stuff" is dedicated to crafting and assembling large-scale objects. Beyond supporting the proposal itself, this space serves the surrounding community by offering a place where residents can repair everyday items, such as broken chairs, or engage in collaborative projects. By encouraging active participation in traditional crafts, these spaces not only help preserve cultural heritage but also strengthen social bonds through shared experiences and cooperative activities.
fig3.5. Work Shop for big stuff, drawing courtesy of Haitian Jin, 2024.
fig3.6. View at Workshop, drawing courtesy of Haitian Jin, 2024.
Lokakarya Workshopforbigstuff
The "Food place" is dedicated to celebrating and preserving Jakarta's rich culinary heritage, offering a unique experience where visitors can access traditional ingredients and learn the art of preparing iconic local dishes.
This communal kitchen and marketplace invites people to either purchase freshly made Jakarta delicacies or gather the necessary raw materials to create them on-site. Traditional foods such as kerak telor (a savory Betawi-style omelet made with glutinous rice, eggs, and coconut), nasi uduk (aromatic coconut rice served with a variety of side dishes), and soto Betawi (a rich, coconut milk-based soup with beef or chicken) highlight the city’s diverse and vibrant culinary traditions. ³⁸ By fostering hands-on engagement with food preparation, this space not only supports cultural preservation but also strengthens social ties, encouraging community members to share meals, stories, and skills in a warm, collaborative environment.
fig3.5. Food Place, drawing courtesy of Haitian Jin, 2024.
fig3.6. View at Food place, drawing courtesy of Haitian Jin, 2024.
38 Chee-Beng Tan, Routledge Handbook of Food in Asia (London: Routledge, 2019), 212.
Lumbung Food place
The "Worksop for small stuff" invites the community to engage in hands-on craftsmanship, offering a vibrant platform for creating traditional recipes, working with raw materials, and even experimenting with their own creations. Designed to accommodate a diverse range of activities, the craft hub hosts workshops on batik-making, pottery, rattan weaving, and textile courses. These craft activities are an integral part of Indonesian culture. They not only represent Indonesia's rich artisanal heritage but also reflect the diverse lifestyles, spiritual beliefs, and cultural practices of various ethnic groups and regions across the archipelago.²⁸
Beyond serving as a space for artistic exploration, it provides valuable economic opportunities for local residents, empowering artisans to share their skills while fostering a sense of pride in their cultural heritage. At the intersection of cultural education and community engagement, this space becomes a dual-purpose venue, strengthening social bonds, encouraging creativity, and ensuring the transmission of traditional crafts to future generations.
LokakaryaWorkshopforsmallstuff
fig3.6. View at Workshop, drawing courtesy of Haitian Jin, 2024.
fig3.5. Workshop for small stuff, drawing courtesy of Haitian Jin, 2024.
28 Roxana Waterson, The Living House: An Anthropology of Architecture in South-East Asia (London: Thames and Hudson, 1990)
This plan illustrates the arrangement of key spaces, including the "Information Center," "Workshop for Big Stuff," "Food Place," "Workshop for Small Stuff," "HallPerformance Forum | Film Workshop," and seating areas encircling the fountain and trees. These spaces are thoughtfully distributed along the four edges of the square, creating a welcoming gesture that embraces and invites every passerby. Each unit operates independently, forming enclosed spaces while maintaining the plaza’s inherent openness.
In the northeast corner, where a lawn softens the urban landscape, the relatively larger "Hall" is strategically placed to avoid overcrowding the visual composition of the square. This arrangement ensures a harmonious balance, blending the dynamic activities of the new interventions with the serene openness of the original plaza.
fig3.9. North and East elevations, drawing courtesy of Haitian Jin, 2024.
fig3.8. Model, photograph courtesy of Haitian Jin, 2024.
fig3.11. Axonometric, drawing courtesy of Haitian Jin, 2024.
fig3.10. Model, photograph courtesy of Haitian Jin, 2024.
Conclusion
This thesis has explored the intricate relationship between public spaces, community identity, and cultural resilience in the rapidly urbanizing city of Jakarta. By examining the historical evolution, current challenges, and potential futures of commons, the study underscores the critical role that architecture plays in preserving collective memory, fostering social cohesion, and addressing environmental and urban pressures.
The proposal for Taman Fatahillah reimagines this historic square as a space that harmonizes tradition with contemporary needs. Drawing inspiration from Jakarta’s cultural heritage, including its traditional architectural forms like the lumbung and pendopo, the project emphasizes the importance of fostering community interaction through modular and adaptable spaces. These spaces not only cater to practical needs but also celebrate Jakarta’s artisanal traditions, from batik-making and rattan weaving to its vibrant culinary heritage, creating opportunities for cultural exchange and economic empowerment.
Amid challenges like environmental degradation, privatization, and the rise of digital spaces, this proposal highlights the enduring value of physical public spaces as arenas for face-to-face interaction and collective activity. Public spaces, as Aldo Rossi suggests, are containers of collective memory and identity, and their thoughtful design ensures that they remain relevant, inclusive, and resilient in the face of societal shifts.
In essence, this thesis advocates for architecture that transcends the purely functional and engages deeply with cultural, social, and environmental contexts. By integrating principles of cooperation, sustainability, and cultural preservation, the proposal offers a vision for commons that can act as platforms for collaboration, innovation, and shared growth—redefining the role of public spaces for future generations.
2006).
Epilogue
I remember my freshman year, when one of our classes involved designing a simple shelter in the forest. While sketching, I outlined a wall with just a thin line, neglecting to give it any thickness. When my tutor pointed out that “a wall needs thickness,” I was suddenly struck. It was in that moment that I realized, in my 19 years of life moving through countless buildings, I had never truly noticed their details. The spaces that had surrounded me throughout my life had remained vague, like blurred outlines.
From then on, I have begun to intentionally observe those previously overlooked details: the thickness of walls, the junctions between windows and walls, and the transitions from floor to ceiling. Peter Zumthor mentions in Atmospheres that light, shadow, and details in architecture can create a unique atmosphere that resonates emotionally with people.³⁹ This focus on detail has led me to re-evaluate the interaction of light and space, even how light and shadow move across each wall. Sunlight streams through the windows, casting warm shadows on the walls that shift subtly over time, as if each sliver of light and shadow were the “breath” of the wall itself, bringing it to life.
Those details, previously unnoticed, began to awaken within me. A wall was no longer just a boundary; it was a medium for light and shadow, a record keeper of time. Each ray of light, each shadow, seemed to embody the poetic essence of design. As I quietly observed, it felt as though I was witnessing a conversation between nature and space.
Plus, I am grateful that I chose the topic “Temporary Power” this semester, as it allowed me to explore Indonesia, a country beyond China, where I grew up, and Australia, where I studied. Richard Sennett explores the significance of
public space for cultural identity in The Conscience of the Eye noting that design is not only a technical expression but also a response to society and culture. Throughout the process of writing this paper, I primarily relied on the references, books, and personal experiences shared by my mentor, Mrs. Melissa Liando, as well as other resources I found online. Yet, during her first class, when she introduced us to Jakarta, I felt a powerful sense of cultural identity. This strength seemed to flow through her, reaching us, and empowering us to pass it on to others. I believe that this spirit inspires us to approach the world with more compassion and to create spaces that capture and celebrate the beauty of nature.
In the end, I want to say that the answers have always been there, quietly waiting to be discovered. The beauty of life is not fleeting but endures in the mind as a small, planted seed, inspiring us to ponder the relationship between space and nature. Architecture, to me, is more than just a container of matter; it is a silent poem, a whisper of life’s for the future. It is a means of exploring and embodying a philosophy of living, inspiring us to observe, to ponder, and to cherish. I hope that each space may, through the passage of time, speak to the warmth of life. The world will be better!
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Figure 1.8, pag.11: "A Cirebon tablecloth (?), ca. 1906. The inscription reads 'Long life and abundance of luck.' The various animals represent longevity and prosperity."
Source: Inger
McCabe Elliott, Batik: Fabled Cloth of Java, 2004, p. 26
Figure 1.9, pag.11: "A batik reminiscent of Art Nouveau,characterized by large animals, this kain panjang is calledbangungon. Representations of sea creatures, united here with other animals"
Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java,2004, p. 26
Figure 1.10, pag.11: "by a spiraling vine, often found their way into northcoast batik. This tumpal semen design is typical of Cirebon as well as Pekalongan and Lasem."
Source: Inger McCabe Elliott, Batik: Fabled Cloth of Java, 2004, p. 26
Figure 1.11, pag.12: This image depicts children engaged in drawing batik designs on paper, showcasing how the craft is taught at an early age to preserve traditional skills and creativity.
Figure 1.12, pag.12: In this traditional tulis batik workshop, several women share a pan of heated wax while working on their individual pieces, reflecting the collaborative yet individual nature of batik production.
Figure 2.2, pag.15: Goats roam near the remnants of a house that the government demolished in Pluit to clear the drainage channels. Many houses were illegally built on the banks and in the channels, reducing flow of water to the pumping station.
