I extend my sincere gratitude to my tutor, Laszlo, for his invaluable guidance throughout the semester.
I also wish to acknowledge my family and friends, whose encouragement and understanding have been a constant source of strength.
Additionally, I express my deepest appreciation to Oscar, for his enduring support.
INTRODUCTION
unfolding the Third Space
BACKGROUND
Indo-Dutch History of Colonisation and Post-Colonisation
Colonial Exploitation
Post-Independence Diplomatic Relations
THEORETICAL FRAMEWORK
objective, diplomatic intent + theoretical strategy underpin Homi Bhabha’s Third Space Jakarta: An Existing Third Space
CONCEPTUAL MEDIUM
Alun-alun
Critically reflecting on the theory of the Third Space Alun-alun, adapted
STRATEGY
Polder model
Openness
Openness, in an architectural sense
The High-Tech Farmhouse: A Gesture of Cooperation
DESIGN PROPOSAL
CONCLUSION
architectural drawings render images physical model a critical reflection on the proposal
REFERENCES
00
INTRODUCTION
The Third Space presents the conceptual interrogation and design of the Dutch embassy in Nusantara, Indonesia’s new capital, set within a broader examination of DutchIndonesian historical and diplomatic ties. Drawing on the legacy of Dutch colonial rule, which spanned from the 1600s until Indonesia’s independence in 1949 1 , the project reflects on the complex layers of economic exploitation, cultural imposition, and enduring impacts left on Indonesian society. The embassy aims to navigate these legacies by acknowledging the atrocities of colonialism while developing a contemporary, respectful diplomatic relationship.
The proposal adopts Homi Bhabha’s theory of the Third Space 2 , a framework that transcends binary power structures, creating an architectural narrative rooted in hybridity and mutual respect. By portraying the embassy design as a ‘third space’, this project symbolises a cultural synthesis between Dutch and Indonesian influences, engaging both countries in a shared space that respects and honours each identity. Central to this ideal is the reintroduction of the alun-alun 3 , a traditional Javanese public square, that signifies reconciliation with local cultural heritage and rejecting past colonial disregard for indigenous spaces, guiding the overall design.
The embassy’s architectural language alludes to Dutch principles of openness, transparency, and the consensus-based polder model 4 , with the aim of creating a setting that balances inclusivity and security. Integrating functional and symbolic elements such as an openplan public area, transparent facades, and a high-tech farmhouse, the project embodies sustainable cooperation, knowledge exchange, and trust—aligning with the principles of both the new capital and the embassy. Ultimately, the embassy is to be established as a location of diplomatic innovation—a site where historical narratives are critically readdressed through architecture, cultivating a forward-looking relationship between Indonesia and the Netherlands.
BACKGROUND
INDO-DUTCH HISTORY OF COLONISATION AND POST-COLONISATION
1. Dutch supervisors oversaw the local coolies in tobacco warehouse, Deli Medan North Sumatra, 1897 source: nationaalarchief
2. Indonesian prisoners being escorted by Dutch ‘marines’ to the island of Woendi, 1926 source: AFP
3. Europeans and Eurasians in Sumatra, early 20th c source: Collectie Wereldmuseum
4. Dutch soldiers shopping at a Javanese market, 1947 source: CIGH Exeter
1 602
Formation of the Dutch East India Company (VOC). Batavia (now Jakarta) becomes the VOC's Asian trading hub.
1 595
First Dutch expedition to the East Indies, aiming to access spices directly from Asia after disruption in Dutch access.
1 670
VOC begins unifying governance in what is now Indonesia, establishing the Dutch East Indies.
1 800
Following VOC bankruptcy, Indonesia is nationalised under the Dutch Republic as the Dutch East Indies. The Dutch engage in multiple wars against indigenous rulers, leading to widespread deaths and subsequent imposition of forced labour and indentured servitude.
1 945-49
1 966-92
The Netherlands provides development assistance to Indonesia through the Inter-Governmental Group on Indonesia (IGGI).
Indonesians fight for independence from the Netherlands. Indonesia gains independence after over 400 years of colonization by multiple countries.
1 942
Japan invades Indonesia. On March 8, the Dutch East Indies surrender on Java.
1 960
Indonesia, under Sukarno, cuts o diplomatic ties with the Netherlands.
1 945
Japanese surrender, ending WWII.
1 900s
Ongoing guerilla war against the Dutch.
1 901
Dutch Ethical Policy and Indonesian National Revival initiated, involving modest investments in indigenous education and political reforms.
P RESENT
The Netherlands is one of Indonesia's key European trade partners. Between Jan-Sep 2012, trade reached US$3.314 billion, with Dutch companies viewing Indonesia as a gateway to the ASEAN market.
01.1 COLONIAL EXPLOITATION
The Dutch colonisation of Indonesia, initiated by the Dutch East India Company (VOC) in the early 1600s, was primarily driven by economic interests. The VOC’s dominance in the region enabled the Netherlands to exploit Indonesia’s natural resources, particularly through the spice trade, and establish a mercantilist system that prioritised profit over the welfare of local populations. By 1796, the Dutch government formally assumed control of the archipelago, renaming it the Netherlands East Indies. This colonial regime, which lasted until Indonesia’s independence in 1949, was characterised by exploitation and brutality, often disguised under the pretext of a “civilising mission. 5 ”
As connoted in the Dutch’s attempt to assimilate, the so called “civilising mission” indicates that locals were primitive and backwards and that the colonisers were superior and hence would “civilise” them. Conversely, during cultuurstelsel (the cultivation system, also called “the forced cultivation system”) 6 , Dutch forces committed extensive atrocities, including the torture, rape, and execution of Indonesian civilians. Even in the final years of colonialism, thousands of independence supporters were imprisoned. Dutch colonial leaders responsible for these acts have often been celebrated in the Netherlands. For example, during the 1621 Dutch conquest of the Banda Islands led by VOC officer Jan Pieterszoon Coen, most of the local population was killed, and some survivors
were enslaved and sent to Batavia. Despite this brutality, Coen was celebrated in the 19th century for expanding Dutch imperial influence. His hometown, Hoorn, erected a statue in his honour in 1893, unveiled by Baron van Dedem, the Dutch minister of the colonies 5
The subject of colonisation is ambivalent. Most Indonesians today do not hold an extremely negative view of the Dutch 7 , despite being aware of the exploitation and resource extraction that occurred during centuries of colonial rule, which are topics covered in school curricula. Instead of encouraging animosity, these historical lessons stress the importance of education and national unity to prevent future colonisation.
The narrative also recognises that Dutch colonisation inadvertently triggered the formation of modern Indonesia 7 . Before colonial rule, the archipelago was divided into various fiefdoms, and it was the struggle against a common colonial adversary that led to cooperation among these previously separate entities, laying the basis for the modern Indonesian state.
01.2 POST-INDEPENDENCE DIPLOMATIC RELATIONS
A portion of the local population today recognises the complex effects of colonial rule in Indonesia. For instance, a 2020 study by MIT found that in villages near former Dutch sugarprocessing factories built between the 1830s and 1870s have greater economic activity, more extensive manufacturing, and higher education levels, including more schools 8 . These observations suggest that Dutch colonisation may have contributed to the economic growth of the archipelago. During the colonial period, the Dutch invested in infrastructure, irrigation, housing, education, and healthcare, alongside the expansion of plantations and factories –which may have benefited the development of Indonesia even post colonisation 8 . However, it is crucial to note that this economic growth was never the primary aim of colonisation but rather a byproduct of the colonisers’ own economic interests.
This more “forgiving” outlook among modern Indonesians has helped develop diplomatic relations between Indonesia and the Netherlands, hence the significance of this embassy. Although contemporary Indonesians may not hold a uniformly negative view of the colonial past, the embassy’s design is approached from the perspective of the Dutch government. To build a relationship founded on mutual trust, and from an ethical standpoint, it is necessary to address historical injustices and express regret.
Indonesia gained independence in 1949 after a protracted and violent struggle against Dutch colonial forces. In the years that followed, the Netherlands recognised the need for a more equitable and cooperative relationship with its former colony. Diplomatic efforts, such as the Inter-Governmental Group on Indonesia (IGGI), which operated from 1966 to 1992, aimed to support Indonesia’s development 9 Today, the relationship is defined by economic partnerships and mutual interests, particularly in trade and sustainable development 9 . The design of the new embassy in Nusantara aligns with this ongoing diplomatic evolution, representing a shift from colonial dominance to a respectful partnership. The embassy’s design consciously responds to these changing dynamics, addressing both historical grievances and contemporary diplomatic needs.
THEORETICAL FRAMEWORK
02 THEORETICAL FRAMEWORK: HYBRIDITY, THIRD SPACE
+ OBJECTIVE
The embassy is to address the enduring legacy of colonialism and express acknowledgment and remorse for historical injustices
+ DIPLOMATIC INTENT
The embassy symbolises reconciliation between the Netherlands and Indonesia.
+ THEORETICAL STRATEGY
Drawing on Homi Bhabha’s theory of the “ Third Space ,” the embassy design explores the hybridity of Dutch and Indonesian cultures to create a space that forms mutual respect and dialogue
book: The Location of Culture by Homi K. Bhabha image source: Biblio
02.1 HOMI BHABHA’S THIRD SPACE
In The Location of Culture 2 , Homi Bhabha introduces the concept of the ‘Third Space’; he defines it as a theoretical realm where cultures and identities interact, producing hybrid meanings. This space exists neither entirely within the realm of the coloniser nor the colonised, but instead functions as an in-between area where cultural identity is constantly renegotiated and redefined. The Third Space is crucial because it facilitates the emergence of new cultural practices that disrupt traditional binaries such as coloniser/colonised or East/West, serving as a site for cultural translation and transformation.
Bhabha writes, “ Hybridity… unsettles the mimetic or narcissistic demands of colonial power but reimplicates its identifications in strategies of subversion that turn the gaze of the discriminated back upon the eye of power ” 10 Here, he describes hybridity as a process that undermines and reinterprets colonial authority by exposing its inherent contradictions. Through this subversion, the colonised challenge the dominance of colonial power structures.
Bhabha elaborates further: “ Hybridity is the sign of the productivity of colonial power, its shifting forces and fixities; it is the name for the strategic reversal of the process of domination through disavowal ” 10 . This perspective highlights hybridity as a mechanism through which colonial power is both destabilised and reconfigured. The Third Space, where such hybridity
occurs, becomes a site of resistance and transformation.
According to Bhabha, colonial powers aimed to assimilate colonised cultures to reflect their own systems, but full assimilation was never entirely successful. Instead, a new cultural space emerged—one that was neither fully colonial nor fully indigenous. In this space, the colonised negotiated their identity within imposed structures, while the colonisers were also influenced by these interactions. The Third Space , as a result, becomes a dynamic site of cultural exchange, contesting the binary opposition between coloniser and colonised.
Applying Bhabha’s theoretical concepts to the design of the Dutch embassy, the embassy can be envisioned as a Third Space that acknowledges the contradictions of colonial history. The intention is to confront and address historical grievances, transforming the embassy into a space of mutual influence and renewed cultural dialogue that recognises and engages with these complexities.
02.2 JAKARTA: AN EXISTING THIRD SPACE
Jakarta, Indonesia’s current capital, serves as an example of an existing Third Space within the context of Eurocentrism. Established as a colonial trading post, the city’s development was driven by Dutch commercial interests, with its administrative centre, Kota Tua, symbolising European control 11 . The Stadhuis, the former city hall, represented mercantilist governance rather than civic administration. Over time, Jakarta’s urban development reflected a clear pattern of colonial exploitation, with Europeans relocating to affluent areas like Weltevreden, while indigenous populations were confined to dense, unplanned kampung settlements 11
This segregated development has resulted in a chaotic urban landscape marked by environmental challenges and social inequality, where the coloniser’s intent to dominate ultimately led to the emergence of new cultural forms shaped by local responses. Jakarta, therefore, exemplifies a Third Space shaped by imbalanced power dynamics, and the consequences have negatively impacted both the local population and the colonisers.
The design of the new embassy in Nusantara aims to rectify this history at the new capital by creating a new Third Space , —one defined not by domination, but by mutual respect and cooperation.
the urban fabric of Jakarta source: Muhammad Fadli/Bloomberg
slum distribution in Jakarta source: Kuffer et al.
The Batavia Castle was the administrative center of the Dutch East India Company’s trade empire in Asia.
Note that this drawing shows that it was enclosed by stonewalled fort.
The Stadhuis was the town hall of Batavia.
Note that the plaza was surrounded by tall fence, preventing the general public to enter.
This drawing shows the contrast between the settlements of VOC and the general public - the Batavia plaza segregates itself from the civic center.
This condition reflects the future urban development of Jakarta.
the exterior of Batavia Castle / source: Johann Wolfgang Heydt
view of the Stadhuis / source: Johann Wolfgang Heydt
Illustration of life in Batavia / source: Andries Beeckman
CONCEPTUAL MEDIUM
03.1 ALUN-ALUN
Traditionally, alun-aluns have been focal points for communal activities, religious ceremonies, and social interaction. Typically situated in front of royal palaces or mosques, these squares are deeply symbolic and represent community cohesion and the intersection of spiritual and social life 3 . The absence of an alun-alun in Jakarta is a direct consequence of Dutch colonial urban planning, which prioritised commercial interests over the well-being of local residents 11 .
The decision to reintroduce an alun-alun in the new capital city, as part of this Dutch embassy’s design, marks a departure from this colonial legacy. It symbolises the Dutch government’s commitment to reconciliation and respect for Indonesian cultural values. The spatial organisation of the embassy is centred around the alun-alun , with other functions arranged in harmony with this core element.
Unlike the traditional solemnity often associated with embassy designs, the public space in this proposal is maximised and made accessible to all. This open gesture allows the embassy to function not only as a space for diplomatic affairs but also as a symbolic site of cultural exchange and public engagement. The embassy embodies a modernised version of the alun-alun, where Indonesian traditions and Dutch modernity coexist—contributing to the formation of a new hybridity 12
the twin banyan trees in the centre of alun-alun of Yogyakarta, c. 1857 / source: Wereldmuseum Amsterdam
Night Crowds at Alun-Alun Kidul Yogyakarta, 2024 source: pergiyuk
03.2 CRITICALLY REFLECTING ON THE THEORY OF THE THIRD SPACE
Critiques of Bhabha’s theory of the Third Space suggest that the “hybridity” occurring within it is often oversimplified in postcolonial contexts as a generalised notion of crosscultural “exchange” 12 . This usage, particularly in colonial-era cases like Jakarta—viewed as a Third Space emerging within a colonial setting— can obscure significant imbalances in power and may even serve to downplay the violence and exploitation inherent in colonial rule. By emphasising the malleability and transformative potential of culture, hybridity is sometimes seen as an assimilationist approach that erases pre-existing cultural distinctions, risking a reductionist view of colonised identities and failing to fully engage with the complexity of local cultures 12
This project, however, is fully conscious of these critiques as it invokes Bhabha’s Third Space Rather than masking colonial power imbalances, the intention is to create a modern Third Space that reflects a more equitable, trust-based relationship aligned with present-day diplomatic relations. By directly addressing and expressing regret for historical violence and exploitation, the Dutch government acknowledges the injustices of colonial rule and seeks to promote reconciliation.
A key architectural element in this project is the inclusion of Indonesia’s alun-alun , a traditional public square found on Java, where the current
capital is located. Historically, the absence of an alun-alun in Jakarta symbolised a lack of regard for local cultural forms, as colonial authorities overlooked such culturally significant spaces. The inclusion of an alun-alun in the new embassy design is thus a meaningful gesture to counter the perceived “eastern-totalisation” associated with hybridity theory. It signals respect for Indonesian cultural identity and recognises the unique significance of the alun-alun to Javanese traditions. This project does not seek to negate or assimilate cultural differences; rather, it proposes that diverse cultures can coexist respectfully, acknowledging historical complexities and supporting an exchange founded on equity and mutual recognition.
render image alun alun overview
03.3 ALUN-ALUN, ADAPTED
+ ARCHITECTURAL STRATEGY
This Dutch embassy’s design reintroduces an alun-alun in the new capital city , marking a departure from this colonial legacy. It symbolises the Dutch government’s commitment to reconciliation and respect for Indonesian cultural values .
The spatial layout of the embassy is centred around the alun-alun, with other functions arranged in harmony with this core element.
STRATEGY
04.1 POLDER MODEL
The Dutch polder model—a consensus-oriented decision-making system 4 reflects the concept of the Third Space and Dutch-Indonesian diplomacy. Originating in the Netherlands’ approach to water management, the polder model emerged from the need for collaboration to protect low-lying lands from flooding. By the Middle Ages, communities organised themselves into polder boards, where diverse stakeholders cooperated to develop and maintain dikes. This cooperative governance laid the foundation for a broader Dutch tradition of balancing interests through negotiation and compromise 4 The polder model today demonstrates a “pragmatic recognition of pluriformity” 13 , where differing perspectives are reconciled to create socially stable and inclusive solutions. This ideology aligns with the embassy’s objective of supporting cultural diversity in harmony.
The Polder Model mirrors the principles underlying Homi Bhabha’s Third Space , a space of hybrid identity and shared cultural negotiation. Just as the polder model merges varied perspectives to overcome challenges, the Third Space envisions a site of cultural interaction that transcends colonial binaries, creating new forms of understanding and identity. For Dutch-Indonesian relations, this framework is essential in moving beyond a colonial legacy to establish a relationship based on mutual respect.
This project draws on these principles by departing from the alun-alun , a Javanese public square, into its design. This architectural element serves as a literal Third Space within the embassy, symbolising the meeting of Dutch and Indonesian cultural values. By recognising the alun-alun ’s local importance, the design shows respect for Indonesian identity and acknowledges historical imbalances, embodying a polder-like negotiation of space and symbolism.
The polder model’s relevance to the embassy thus lies in its embodiment of cooperation across cultural and historical divides, reflecting a shared commitment to constructive engagement. As the Netherlands acknowledges its colonial past, the polder model’s collaborative ethos becomes a blueprint for achieving a more balanced and respectful partnership. By embracing both the polder tradition and the Third Space , this project symbolises a new, equitable phase in DutchIndonesian diplomacy that values coexistence and reciprocal understanding.
04.2 OPENNESS
The Dutch people are known for their “openness”. Introspecting on this characteristic, the word may imply two layers of meaning –directness and tolerance.
Dutch directness is deeply rooted in cultural and historical factors that shape the Dutch communication style, especially in prioritising clarity and honesty. Straightforwardness is so inherent to the Dutch society that there’s even a specific word for it: bespreekbaarheid (“speakability”), meaning that everything can— and should—be openly discussed 14 . Emerging from Calvinist principles that value transparency and a straightforward approach to interaction, directness is considered respectful – as it views truthfulness as a moral imperative. Directness is also reflective of the Dutch egalitarian ethos, where equality in social interactions is valued - opinions are stated openly, regardless of rank or status. This approach stems partly from the Netherlands’ long history as a trading nation, where clear, efficient exchanges were essential for business and societal cohesion 14 .
As a result, Dutch people are often comfortable addressing issues head-on, believing this to be more effective than indirect approaches. In the context of diplomacy with Indonesia, this characteristic could encourage greater transparency and trust between the two nations, given that direct communication leaves little room for ambiguity or misinterpretation. While Indonesian culture generally values a
more euphemistic communication style, Dutch openness could be a complementary strategy that helps clarify intentions and objectives in bilateral dialogues.
Dutch tolerance is another defining trait rooted in the Netherlands’ history of diversity and trade. Known for embracing various religious and ideological perspectives, Dutch society developed a pragmatic approach to coexisting with differing views. This tolerance is reflected in the Dutch concept of gedogen, which accepts minor infractions if they serve social stability. Such pragmatism has shaped Dutch policies on social issues and contributed to a societal ideal that values open-mindedness and accommodation. In the context of developing diplomatic relations with Indonesia, Dutch tolerance could provide an essential basis for understanding and compromise. Indonesia’s cultural and political is diverse, in which this complexity require sensitivity, and Dutch tolerance for different views can allow diplomatic dialogues to be established with less obstacles.
render image main building at entrance
04.3 OPENNESS, IN AN ARCHITECTURAL SENSE
+ ARCHITECTURAL STRATEGY
Responding to the concept of openness architecturally, the embassy embraces spaciousness and transparency 15 , which are key characteristics of contemporary Dutch architecture. It enhances accessibility and public engagement , and connects all programmatic elements to the central alun-alun. This is evident in the generous open-plan ground floor, the open-air atrium, and the transparent façade. On a symbolic level, this feature reflects the Netherlands’ diplomatic commitment to transparency and mutual trust
The exposure of circulation elements is a key motif, creating dynamic environments where occupants themselves add liveliness to the space. This emphasis on human interaction aligns with the new hybridity—a space where Dutch and Indonesian cultures meet, interact, and evolve together.
04.4 THE HIGH-TECH FARMHOUSE: A GESTURE OF COOPERATION
The proposed Dutch embassy in Nusantara incorporates a high-tech farmhouse in response to the Netherlands’ expertise in sustainable agriculture. As a global leader in agricultural technology, the Netherlands has pioneered innovations in vertical farming and greenhouse systems, which provide sustainable solutions for urban food production 16 . This feature within the embassy demonstrates the Dutch government’s intent to share advanced agricultural knowledge with Indonesia, establishing the embassy as an active hub for technological exchange.
Indonesia’s initiative to build a “sustainable forest city” 17 in Nusantara is part of its broader goal to ensure food security, resource efficiency, and environmental sustainability.
According to the Asian Development Bank’s assessment of Indonesia’s agriculture sector 18 , the country faces significant challenges related to food security and environmental degradation, which highlight the need for sustainable agricultural methods 18 . In this context, Dutch expertise can make a substantial contribution to enhancing local agricultural practices. The embassy’s farmhouse provides a practical demonstration of these innovations, showing methods that can be adapted to Indonesia’s unique climate and geography.
Integrating the farmhouse into the embassy’s design also expands the diplomatic relationship between the Netherlands and Indonesia,
transforming the embassy into a space that produces real, shared benefits. Serving as a Third Space , the farmhouse symbolises a productive intersection of Dutch and Indonesian priorities in sustainable development. It enables both nations to engage in hands-on exchanges that support long-term resilience in agriculture.
