Architecture Final Project - Jakarta Cultural Center by Luthan Araniry

An Expression of City Identity

Jakarta Cultural Center

Architectural Design Report AR4099 Final Project Luthan Araniry Ahmad (15218071) Supervisor: Dr. Ir. Lily Tambunan, M.T. Architecture Undergraduate Study Program School of Architecture, Planning and Policy Development Bandung Institute of Technology 2022

An Expression of City Identity

Jakarta Cultural Center

Abstract City identity is a certain character that distinguishes a city from other cities. It is needed to form society’s sensitivity to their own city. In the more recent years, globalization has created a sense of uniformity in the building forms of every city. This causes urban people to feel strange in their own city. Unfortunately, architecture projects in Jakarta tend to imitate cities abroad and lose their identity. The identity of the city is formed from the social, economic, and cultural activities of the society. Betawi is the native culture of Jakarta which creates the city’s identity. However, globalization has caused the disappearance of Betawi culture. Cultural preservation efforts are needed to protect this culture as the identity of Jakarta. Jakarta’s public enthusiasm for cultural facilities is still not extensive enough. In order to increase the interest in visiting, these facilities need to offer a variety of functions. A cultural center with

a gallery, auditorium, library, and commercial functions is needed to preserve and express the city’s identity. The challenge for architects in the era of globalization is to create works that still possess an identity. Critical regionalism is a theory that aims to preserve locality while following the flow of modernization. By applying this theory, architectural works are supposedly able to express identity. Jakarta Cultural Center is designed with a critical regionalism approach. There are three main concepts in the design, which are regional character, environmental character, and material character. Through these three main concepts, Jakarta Cultural Center can express the city’s identity. Keywords: Betawi culture, city identity, critical regionalism, cultural center

Contents Abstract

Chapter 1: Introduction 1.1 Background 1.2 Design Reference 1.3 Project Description

Chapter 2: Analysis 2.1 Context 2.2 Site 2.3 Users

Chapter 3: Design Proposal 1.1 Concept 1.2 Drawing

Bibliography

Chapter 1: Introduction 1.1 Background City Identity Cultural Center 1.2 Design Reference Critical Regionalism Application of Critical Regionalism 1.3 Project Description Objective Scope Design Issues

Chapter 1

Introduction

1.1 Background City Identity City identity is a certain character that can distinguish a city from other cities (Lynch, 1981). City identity is an important element of a city. It is needed to form community sensitivity to a city (Lynch, 1972). A city should be able to express its identity in order to achieve sensitivity for the urban people to their city. The beginning of the twenty-first century was marked by increasing globalization which clashes with the city’s identity. Globalization has caused a similarity of building forms everywhere which gives a sense of estrangement to the citizen in their own city (Prananto, 2011). Unfortunately, architectural projects in Jakarta tend to imitate cities abroad and thus lose their identity (Susilo, Primatama, 2018). Due to differences in cultural and environmental conditions, architecture abroad cannot be imitated arbitrarily. City identity is closely related to architecture, globalization has caused a similar architectural

appearance in every city. The same appearance of cities without revealing their identity will produce confusing visual chaos such as garbage spill urbanization (Schumacher, 2016). A bunch of garbage seems uniform everywhere so it is impossible to know where the garbage comes from. Similarly, cities will not be recognized if it has a uniform appearance. The identity of the city is formed by the social, economic, and cultural activities of the society (Lynch, 1972). Betawi culture is the native culture of Jakarta which forms the city’s identity. The existence of Betawi culture is fading and slowly disappearing due to globalization (Wardhani, et al., 2018). Betawi culture is starting to be forgotten due to various cultures that enter Jakarta (Steven, Herlambang, 2019). Therefore, cultural preservation efforts are needed to preserve Betawi culture as the identity of Jakarta.

Garbage Spill Urbanisation

(source: patrikschumacher.com)

Chapter 1

Introduction

Cultural Center Cultural facilities are one of the efforts to preserve Betawi culture. However, there’s still a lack of enthusiasm for cultural facilities from Jakarta’s local society. According to the Tourism and Creative Economy Office, in 2019 the number of visitors from eight major museums in Jakarta amounted to 4.4 million visitors. The eight major museums are Onrust Island Museum, Maritime Museum, Jakarta History Museum, Wayang Museum, Museum of Fine Art Ceramics, National Museum, Museum of Textile, and Joang’45.

Number of Visitors

(source: author’s documentation)

People tend to have a consumptive lifestyle, as proved by the rapid development of shopping centers (Epifania, 2011). In 2019 the number of Grand Indonesia Shopping Mall visitors reached 26 million visitors. Therefore, Grand Indonesia visitors in 2019 were six times more than the eight major museums in Jakarta. It signifies the society’s immense enthusiasm for commercial facilities compared to cultural facilities.

Museologists from the University of Indonesia, Kresno Yulianto, stated that the image of cultural facilities in Indonesia is only seen as a repository for ancient items. Actually, some people go to cultural facilities not to visit exhibitions, but to enjoy other facilities such as parks and retail (Barranha, 2009). Jakarta needs cultural facilities that not only serve as a repository for ancient items but can also accommodate various functions, such as galleries, libraries, and auditoriums. The addition of commercial functions to cultural facilities also has the potential to increase people’s interest in visiting. The cultural center is a large building in which there are galleries, auditoriums, and libraries (DeCarli, Christophe, 2012). Therefore, a cultural center, with a gallery, auditorium, library, and commercial functions, is needed to express and preserve Jakarta’s identity.

Chapter 1

Introduction

1.2 Design Reference Critical Regionalism The challenge for architects in the era of globalization is to create works that maintain their identity and can communicate both regionally and globally. Critical regionalism emerged to show identity in architectural works (Jencks, 1977). Critical regionalism is enabling the expression of regional identity in contemporary architecture (Hidayatun et al., 2014). Critical regionalism is an approach that has attention to regional characteristics that are closely related to culture, climate, and technology (Curtis, 1996). By means of this, architects can express the identity of the city through a critical regionalism approach.

Bagsværd Church, Jørn Utzon, 1976 (source: arquitecturaviva.com)

Bagsværd Church Design (source: archdaily.com)

The theory of critical regionalism can be traced through the work of Kenneth Frampton, which is “Towards a Critical Regionalism: Six Points for an Architecture of Resistance”. Critical regionalism is the answer to “how to be modern and return to its origins; how to revive an old abandoned civilization and take part in a universal civilization.” Frampton stated that architecture must preserve local history and culture by reinterpreting relevant values into contemporary forms. Critical regionalism seeks to preserve locality while keeping up with modernization. According to Frampton (1993), there are six points of critical regionalism, which are culture and civilization, the rise and fall of the avantgarde, critical regionalism and world culture, the resistance of place-form, culture versus nature, and the visual versus the tactile. The explanation of each point is as follows. 1. Culture and Civilization This point explains Frampton’s view on technological developments that increasingly eliminate the regional characteristics.

2. The Rise and Fall of Avant-Garde This point discusses the industry’s entry into the world of construction in the mid-19th century which threatened the existence of regional character in architectural works. 3. Critical Regionalism and World Culture This point states that in the midst of globalization, architecture still needs to bring locality to the design so that it can produce works of regionalism character. Frampton proposes critical regionalism as a mediation between globalization and regional identity. 4. The Resistance of Place-Form This point explains the phenomenon of placelessness that occurs all over the world, which deals with places that have no character and look the same as other places. 5. Culture Versus Nature: Topography, Context, Climate, Light, and Tectonic Form This point discusses the current state of architecture that is increasingly prioritizing cost optimization and putting aside contextual, cultural, and environmental aspects, resulting in works that have no identity. 6. The Visual Versus the Tactile This point explains that technological developments increasingly eliminate tactility, in architectural works, which are the regional character of an area.

Säynätsalo Town Hall, Alvar Aalto, 1952 (source: archdaily.com)

Frampton provides two examples to explain critical regionalism. The first example is Jørn Utzon’s Bagsværd Church, which was built in 1976. The second example is Alvar Aalto’s Säynätsalo Town Hall, which was built in 1952. According to Frampton, these two works are examples that can represent critical regionalism. Säynätsalo Town Hall Design (source: archdaily.com)

Chapter 1

Bagsværd Church and Säynätsalo Town Hall are the precedents used in the cultural center design. Both works represent critical regionalism. Therefore, by reviewing them, the cultural center is expected to be able to apply critical regionalism. Bagsværd Church is a church designed by Jørn Utzon in Denmark in 1976. The Bagsværd Church was Utzon’s first work after returning to Denmark from Australia and the Sydney Opera House, which he designed. The church is located on the northern outskirts of Copenhagen in a suburban setting. The design of Bagsværd Church interprets the regional element which is a traditional Danish church whose construction is based on local traditions. Contemporary design is presented in the interior of the building, especially on the wavy ceiling. Bagsværd Church brings out the character of the environment by maximizing

Introduction

natural lighting to create an interesting atmosphere. The regional characteristic of the material is shown in the use of local and natural materials with textures that enhance the visual and tactile experience in the design.

Interior

Combination of Local and Contemporary

Local and Natural Material

Natural Lighting

(source: archdaily.com)

Säynätsalo Town Hall is a multipurpose building designed by Alvar Aalto in Finland in 1952. The town hall is a study in opposition: elements of classicism and the monumental blended with modernity and intimacy to form a cohesive new center-point for the community. The design of Säynätsalo Town Hall represents a regional character which is a traditional European town hall, consisting of courtyards and towers. Aalto combines vernacular language and modernist principles. The material choice of textured brick material stimulates visual and tactile experience in the design. Aalto also brings out the environmental character by maximizing natural light and ventilation into the building.

(source: archdaily.com)

(source: arquitecturaviva.com)

(source: archdaily.com)

Chapter 1

Introduction

Application of Critical Regionalism Based on the theory and design precedents that have been presented in the previous section, in order to express the city’s identity, it is concluded that there are three points that can be applied to the design, which are: 1. Regional Character “The fundamental strategy of Critical Regionalism is to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place”. (Frampton, 1993: 21). The locality is required in architectural design to express the city’s identity. It is a regional character of an area such as history, culture, and local arts. The regional character can be presented by reinterpreting values that are still relevant. The difference in regional characteristics in each region will certainly convey a different identity.

Exterior

(source: finnishdesignshop.com)

Natural Lighting

(source: finnishdesignshop.com)

2. Environmental Character “Critical regionalism necessarily involves a more dialectical relation with nature…”. (Frampton, 1993: 26). Different architectural responses are required for each environmental condition such as topography, climate, and natural light. The difference in this response will express the identity which is the characteristics of the environmental conditions. 3. Material Character “One has in mind a whole range of complementary sensory perceptions which are registered by the labile body…”. (Frampton, 1993: 28).

European Traditional Town Hall (source: finnishdesignshop.com)

Textured Brick

Material differences in each area will express a different identity. Differences in material characteristics can be felt by presenting multisensory experiences such as visual and tactile.

(source: finnishdesignshop.com)

Chapter 1

Introduction

1.3 Project Description Objective

Scope

This project has a vision which is: “To create a cultural center that can express the identity of Jakarta.” From this vision, two design missions were derived, which are:

The project is located on Panjang Street, South Kedoya, Kebon Jeruk, West Jakarta. This project was initiated by the Jakarta Department of Tourism and Culture in collaboration with the developer. In line with the project objectives, the Jakarta Tourism and Culture has a vision of “Jakarta as a Tourism and Cultural Destination with International Standards”. The design of this cultural center consists of four main functions, which are:

1. Creating a cultural center with a critical regionalism approach. Through this, the design is expected to express the identity of Jakarta. It is also envisioned as a space to preserve Betawi culture which is the identity of the city. 2. Creating a cultural center that can accommodate the functions of galleries, auditoriums, libraries, and commercials. By presenting various functions, it is expected to increase public society’s interest in visiting cultural facilities.

1. History and Culture Gallery, to build public awareness of the Betawi ethnicity history from its opposition to colonization to its independence. 2. Public Library, contains various information resources related to Betawi culture. 3. Multifunction Auditorium, used for various types of activities, such as performances, traditional events, and meetings. 4. Local Commercial, aimed to increase public society’s interest in visiting cultural facilities and also to introduce local products.

Ondel-ondel

(source: pingpoint.co.id)

Chapter 1

Introduction

Design Issues

Jakarta Placelessness

Based on the theory of critical regionalism, in order to express the identity of Jakarta, three issues were formulated in the design of the cultural center which are regional character, environmental character, and material character. Through these three issues, it is expected that the design can overcome the problem of placelessness, which is a place that does not have an identity. The explanation of these three issues is as follows.

2. Environmental Character The cultural center is expected to express the environmental character of Jakarta. The tropical climate is the environmental character of Jakarta. This character must be responded with an architectural approach which is tropical architecture, such as building orientation and maximizing natural ventilation and sunlight. The response will express the city’s identity which is the tropical character.

1. Regional Character The cultural center is expected to present locality through architectural elements, such as building mass and composition. The locality is a regional character of an area, in this case, Jakarta. Betawi culture is the original culture of Jakarta and the identity of the city. Several regional characters will be presented in the design of the cultural center, including history, culture, and Betawi arts. These characters will be presented by reinterpreting values that are still relevant.

3. Material Character The cultural center is expected to present the material character that exists in Jakarta. These characters can be presented through multisensory experiences such as visual and tactile. These experiences can show the character differences of the local materials. The experiences are presented through the use of local textured materials, such as local wood and bricks. Through these experience, the cultural center can express the city’s identity in the design.

(source: unsplash.com/@appai)

Chapter 2: Analysis 2.1 Context History and Culture Architecture Traditional Art 2.2 Site 2.3 Users

Chapter 2

Analysis

2.1 Context History and Culture Betawi culture began to form in the 17th century from a mixture of various ethnic groups. These groups came from both the archipelago and outside the archipelago, such as Portuguese, Indian, Chinese, Arabic, and Dutch. In the 18th century, thousands of slaves from different ethnic groups lived in Batavia. The number of slaves at that time was approximately half of the city’s population. Based on the census performed by the Dutch Colonial in 1615 and 1815, there were various ethnic groups living in Batavia. However, there are no records regarding the Betawi ethnic group. The Betawi ethnic category only began to appear in the population census of 1930. At that time, the Betawi ethnic group reached 778,953 people, which made up the majority of the population of Batavia. Their culture was born from the

combination of various ethnic groups that have lived in Batavia since the 17th century. Since then the Betawi ethnic group has continued to grow and increase its population. Currently, the Betawi ethnicity is known as the native of Jakarta. As the capital city of Indonesia, Jakarta continues to be occupied by new residents from various ethnic groups. As a result, the existence of the Betawi ethnic group has begun to disappear and be forgotten. Betawi culture exists among the various ethnic groups living in Jakarta, including Javanese, Betawi, Sundanese, Chinese, Batak, Minangkabau, Malay, Bugis, Madurese, Bantenese, and Banjar. Based on the population census in 2010, there was no dominant ethnic group with over 50 percent. The largest ethnic group that occupies Jakarta is the Javanese with a percentage of 36, followed by the Betawi tribe took 28 of the percentage.

Historical Timeline

(source: author’s documentation)

Chapter 2

Analysis

Architecture Betawi architecture is the result of cultural acculturation from the various ethnic groups that have lived in Jakarta. The results of this acculturation can be seen in the shape of the Betawi house which resembles the traditional house of other ethnic groups. There are four types of Betawi houses: the kebaya house, the stilt house, the warehouse house, and the joglo house. The difference in types is influenced by the house’s location and its surrounding culture. For example, the warehouse houses that are widely used for remote areas and the stilt house is adapted to the coastal area to avoid the high tides. The building materials used by Betawi houses are mostly wood. It is a material that is easy to obtain at that time. The woods used are sawo wood and kecapi wood. The Betawi house has a wide terrace which symbolizes the openness of its people to newcomers. The terrace functions as a sitting area with a chair called an amben. The terrace floor is called gejogan which is a symbol of respect for visiting guests. The terrace of the house is also surrounded by a fence that is believed to prevent negative things from the outside. Kebaya House

(source: author’s documentation)

The characteristic of Betawi architecture is also shown through ornaments. Betawi houses are usually decorated with a traditional ornament called lisplang gigi balang. It is shaped like a pointed triangle and mounted on the roof side. Of the four types of Betawi houses, the kebaya house is the type of house that most displays authentic Betawi architecture. Other types of traditional houses have been influenced by the culture of the immigrants. For example, the joglo house which is influenced by Javanese culture. Kebaya house has a specific characteristic which is the shape of the gable roof. It resembles the kebaya cloth that is folded into several parts with different heights. Kebaya house is divided into two parts which are public and private areas. The public area is at the front of the house that functions as a terrace. The private area is located at the back, consisting of bedrooms, a family room called pangkeng, and a kitchen called srondoyan. Kebaya house is also equipped with guest rooms called paseban that is designed to honor visiting guests. When there are no guests coming, the paseban is usually used as a praying room.

Chapter 2

Traditional Art As the natives of Jakarta, Betawi has various kinds of traditional art. Betawi arts are divided into three groups, which are fine arts, performances, and literature.

Analysis

Batik

(source: jakpusnews.com)

Betawi fine arts include batik, traditional weapons, ondel-ondel, traditional clothes, and traditional houses. The performing arts consist of music, dance, drama, and martial arts. Betawi literary arts include language and folklore. The explanation of these three groups is as follows. 1. Fine Art The batik of Betawi showcases various motifs, including dododio, mak ronda, rasamala, nusa kalapa, lereng, and ondel-ondel. Betawi traditional weapons are golok gobag, golok ujung turun, and golok betok. Ondel-ondel is a large doll from Betawi resembling a male and female. Betawi traditional clothing for men is koko shirt, black cap or peci, and sarung. For women, it is shortsleeved kebaya, sarung batik, and headscarves or selendang. Betawi traditional houses are kebaya houses, stilt houses, warehouse houses, and joglo houses. Lisplang gigi balang which is found in traditional houses is also a Betawi art. It has the shape of a triangle and a circle which means honesty, courage, tenacity, and patience.

Ondel-ondel

(source: poskota.co)

Tanjidor

(source: indonesiakaya.com)

Topeng Dance 2. Performing Art Betawi music arts are gambang kromong, keroncong tugu, tanjidor, and rebana. For its dance arts, Betawi is known for its topeng, lenggang nyai, japin, and cokek dance, while for its drama arts, Betawi has lenong, tonil, and wayang golek. Betawi also has a famous martial art which is pencak silat. 3. Literary Art The Betawi language is a language that is close to Indonesian but possesses a certain uniqueness, such as changing the letter “a” at the end of the word to the letter “e”. For its folklore, Betawi is well known for Si Pitung, Jagoan Tulen, and Nyai Dasima stories.

(source: goodminds.id)

Lenong

(source: infobudayaindonesia.com)

Silat

(source: kompas.id)

Chapter 2

Analysis

2.2 Site The site is located on Panjang Street, South Kedoya, Kebon Jeruk, West Jakarta. This location is a strategic location for the cultural center of Jakarta due to Kebon Jeruk’s strong Betawi characteristics. In Kebon Jeruk District, there is a Betawi village that still survives, which is Rawa Belong Village. The village is believed to be the birthplace of Pitung, the legendary Betawi champion. Pitung is a Betawi hero who defended the lower class from the Dutch colonialists in the 19th century. He is also known as a hero who mastered the martial arts of pencak silat. Rawa Belong Village is famous for its silat traditions, farm life, and a flower market area that has been built since 1980. Rawa Belong Flower Market is considered as the largest flower market in Southeast Asia. Around the site, there are also many art communities, ranging from fine arts to literary arts.

Based on the city plan, the site is planned as a commercial area, cultural center buildings are permitted to be built in this zone. The project site is bounded by a four-story-high commercial area on the north, east and south sides. The west side of the project site is bounded by a two-story residential area. The site has an area of 11,998.41 m2. The site is located in the middle of the city so it has a topographical condition that tends to be flat. Jakarta has a tropical climate with two distinct seasons which are rainy and dry. According to the meteorology climatology and geophysics council, the average temperature in Jakarta is 28.8 °C (24.0 °C - 35.6 °C). The average air humidity is 76.16%. The average wind speed in Jakarta is 1.6 m/s. The average air pressure in Jakarta is 1,003.30 mb. The average sunshine throughout the year is 55.00%. The average rainfall is 2831.5 mm/year. Residential Area

Commercial Area

Mixed-use Area

Chapter 2

Analysis

The regulations related to the use of space according to the city plan are as follows. The amount of building covered ratio is 60%. The amount of floor area ratio is 2.4. The number of green areas that must be provided is 30%. The maximum amount of basement area is 55%. The building borderline is 10 meters from the main street and 2 meters from the residential street. The site can be accessed by private vehicle, public transportation, or by walking. Private vehicles can access the site via Panjang Street, which is 40 m wide on the east side, Kedoya Palma I Street with a width of 20 m on the north side, Kedoya Angsana Raya Street with a width of 10 m on the west side, and residential street with a width of 10 m on the south side. For public transportation, a bus stop can be found at the front of the site, which is the Duri Kepa Bus Stop provided with pedestrian bridge facilities. The site is also surrounded by a 2 m wide sidewalk with plants for pedestrians. Green Area

Heavy Traffic

Light Traffic

Bus Stop

Parking Lot

Chapter 2

Analysis

Based on the analysis that has been done, there are potentials and problems found around the site. Potentials around the site are related to access, infrastructure, and zoning. Problems around the site are related to green areas, orientation, and traffic. These potentials and problems need to be considered when designing the cultural center.

Access

Infrastructure

Zonation

The site is surrounded by vehicle lanes so it can be accessed from every side. Panjang street, which is 40 m wide, is strategic to be the main access to the cultural center.

There are bus stops and parking lots around the site that can support the activities in the building. There is a pedestrian bridge in front of the site so it can be easily accessed by pedestrians.

The area around the site is dominated by residential zones. It is necessary to provide public space so that local residents can participate in livening up the atmosphere of the cultural center.

Green Area

Orientation

Traffic

Currently, most of the green area around the site is not used as public space. The design of the cultural center needs to maximize this area by opening it to the visitors.

The land stretches to the north and south which makes the site get excessive sun exposure from the west and east. An architectural response is needed regarding this orientation issue.

Access for vehicles needs to be moved to the back due to the traffic jam on Panjang Street. The congestion also causes air and noise pollution in the site area.

Chapter 2

Analysis

2.3 Users The users of the cultural center design are divided into four categories which are the arts community, the local society, commercial tenants, and managers. Each user has specific needs that need to be provided for in the design. The explanation of these categories is as follows. 1. Art Community The Betawi village of Rawa Belong is known for its silat community and various other art communities. Martial arts performances of silat have the potential to become users of the cultural center. In addition to auditorium facilities, the arts community also needs flexible space that can be used for various types of activities, such as rehearsals and open performances. The diversity of the art community around the site also has the potential to open up learning activities. For this reason, cultural centers need to provide multifunctional rehearsal rooms and classrooms.

Topeng Dance

(source: infobudayaindonesia.com)

Tanjidor

2. Local Society As explained in chapter one, the local society in Jakarta has a much greater enthusiasm for commercial facilities compared to cultural facilities. For this reason, the addition of a commercial function has the potential to increase public interest in visiting.

(source: beritaku.id)

3. Commercial Tenant Commercial facilities are also intended to introduce local products to visitors. The commercial businesses that will be presented at the cultural center are retail and cafe that sells Betawi products, ranging from food, souvenirs, to contemporary products from local brands.

Silat Betawi Performance (source: tirto.id)

Betawi Soup

4. Manager Managers are responsible for taking charge of all activities that occur in the cultural center. For this reason, supporting facilities that can ensure the continuity of various types of activities are needed in the design.

(source: kompas.com)

Chapter 3

Design Proposal

Chapter 3: Design Proposal 3.1 Concept Regional Character Environmental Character Material Character 3.2 Drawing

Chapter 3

3.1 Concept

Design Proposal

Betawi Architecture

Kebaya House

Kebaya Cloth

The design form is intended to interpret the kebaya house with the folds of the roof resembling the kebaya cloth. It is a type of house that shows authentic Betawi architecture.

The basic form of this house comes from the kebaya cloth which is divided into six parts. The four middle sections are then folded up at different heights and removed from the rest.

The shape of the design starts from a piece of kebaya cloth that is cut one side into three parts of different lengths. Only the sides are cut to the ends, the middle is only cut partially.

Fold

Cut To create the basic form of the cultural center, the result of these folds will then be cut out and partially removed. The kebaya cloth is now divided into three sections.

Basic Form The result is the basic form of the cultural center. The shape will then be adjusted to the composition of building the mass. There will be three main masses according to the basic form.

Jakarta Cultural Center’s design is intended to express the identity of the city. Through a critical regionalism approach, the cultural center is expected to solve all the design issues. According to the design issues, the concept for the cultural center is divided into three parts which are regional character, environmental character, and material character. Through architectural elements, the cultural center’s form needs to express the identity of Jakarta, which is Betawi culture. The expression that will be conveyed is traditional Betawi architecture interpreted into contemporary architecture. Kebaya house is a type of traditional house that shows authentic Betawi architecture. Kebaya house has a uniqueness that can be seen in the folds of the roof which resembles the kebaya cloth folding shape. The shaping of the building begins with the same folding principle of the kebaya house to create the basic form of the cultural center’s design.

The parts of the kebaya cloth will then be folded up and down according to the folding principle of the kebaya house. There are four different folds carried out in this phase.

Chapter 3

Design Proposal The basic form that has been produced is then adjusted to the composition of the building mass. The building mass is adjusted based on tropical climate conditions in Jakarta. For this reason, the building mass is oriented to the north and south directions to minimize exposure to sunlight from the east and west directions. Not only that, the mass of the building also maximizes natural lighting and ventilation through the openness of the building mass.

Orientation

Composition

Mass Form

The longest side of the site faces east and west, so the orientation of the building mass needs to be adjusted to minimize the excessive sun exposure from these directions.

The mass of the building is placed based on a grid system which is intended to represent the character of the Betawi village as well as provide the same spatial experience.

The mass of the building is adjusted to the concept of form that comes from the folds of the kebaya house. The building masses are then connected through corridors.

Subtraction

Indoor Zoning

Outdoor Zoning

The mass of the building is subtracted to maximize natural lighting and also natural ventilation. There are voids laid at each circulation node in each mass.

The building mass zonation is divided into four main functions which are gallery, auditorium, library, and commercial areas. The rest of the mass will be used as a support function.

The character of the Betawi village is strengthened by the presence of ponds and plazas that represent the activities of the Betawi people, which are fishing and gardening.

The composition of the masses is intended to represent the character of the Betawi village. This character is presented through the cultural center’s separate masses which are placed based on a grid system. The spaces between the building masses will provide a similar spatial experience as the Betawi village experiences. The experience of Betawi village is strengthened by the presence of ponds and plazas that represent the routines of the Betawi people, which are fishing and gardening.

Chapter 3

Design Proposal

Axonometry 27

Chapter 3

Design Proposal

Regional Character To express the city’s identity, the locality is needed in the cultural center design. The locality is a regional character of an area, in this case, the character of Jakarta. The regional character differences in each region will certainly express a different identity. Betawi culture is the regional character as well as the identity of Jakarta. To express it, the regional characters that will be presented in the cultural center are history, culture, and Betawi art. These characters will be presented by taking the current relevant values. As discussed in the previous part, the cultural center’s basic form is intended to interpret the traditional Betawi architecture which is the kebaya house. Of the four types of Betawi houses, the kebaya house is the type of house that most displays authentic Betawi architecture. The interpretation of the kebaya house can be seen through the composition of the cultural center’s basic form, which is carried out based on the folding principle of the kebaya house.

Not only interpret its shape, but the cultural center also uses a structure that is similar to the kebaya house. This traditional house structure mainly uses wood material. For this reason, the cultural center design is also dominated by wooden structures. At the bottom of the kebaya house, there is a stone structure that serves as a support for the foundation of the house. The stone structure is represented in the design with brick material which is located on the ground floor of the cultural center. The composition of the separate cultural center masses tries to represent the character of the Betawi village. The outer space of the cultural center is equipped with ponds and plazas that represent the daily activities of the Betawi people which are fishing and gardening. Adding ponds and plazas to the design can strengthen the spatial experience that occurs in Betawi villages. Exploded Axonometric

Chapter 3

Design Proposal

Site Plan 29

Chapter 3

Design Proposal

Building Facade Upon the entrance of the cultural center, visitors can already feel the regional character. Expression of form, structure, and atmosphere has been reflected in the building facade. The interpretation of the kebaya house shape can be seen in the form of the roof. The representation of the kebaya house structure can be seen in the dominant use of wood material, while the atmosphere of Betawi village can be seen in the composition of separated masses. 30

Chapter 3

Design Proposal

Main Entrance The terrace and open space are the hallmarks of the kebaya house. These spaces have an implied meaning of Betawi people’s friendliness to newcomers.

Kebaya houses use their terrace and open space as a space to receive guests. Similar to its original function, the cultural center will also use these spaces for visitors, especially for circulation.

The design of the cultural center is dominated by the presence of open spaces and terraces on each floor. By having these spaces, visitors would be more likely to feel invited in coming into the cultural center.

There is a sitting area that visitors can use to rest at several points of the terrace and open space. To make sure these spots are comfortable, they are also surrounded by plants that can cover the visitors from sun exposure. 31

Chapter 3

Design Proposal

Multifunction Auditorium The auditorium is intended to serve as accommodation for various types of activities, especially Betawi performing arts, such as gambang kromong, topeng dance, lenong, and pencak silat. During their performances, the large openings of the auditorium can dramatize the atmosphere due to the resulting shadows. The auditorium is expected to encourage the preservation of Betawi arts which is the regional character and identity of Jakarta. 32

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Independence Gallery In the cultural center design, there is a gallery of history and culture on the history of Betawi people’s resistance from the colonialism era to their independence. The gallery is divided into three sections based on the history of Betawi. The separation of the galleries is intended to create a storyline in the design. The three galleries are the colonial gallery, the opposition gallery, and the independence gallery. The colonial gallery tells of the formation of Betawi culture along with

the history of Dutch and Japanese colonialism. The opposition gallery tells the story of the Betawi people’s resistance against the colonizers, starting from the period of slavery until the formation of the Betawi ethnicity as the majority of the population of Batavia at that time. The independence gallery tells the chronology of what happened after independence, which deals with the declining number of Betawi communities and its fading culture. 33

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Environmental Character The environmental character difference in each region gives a different identity to its region. Adjustment of the design to the environmental character supports the expression of the area’s identity. Jakarta’s tropical climate shapes the city’s environmental character. It is then needed for an architectural response to optimize this tropical climate condition. Tropical climates have excessive exposure to sunlight from the east and west, so it needs to be avoided. As discussed in the previous section, the composition of the mass of the cultural center is oriented to the north and south directions. That way, the longest side of the mass faces north and south so as to minimize sun exposure from the east and west directions. The cultural center is also surrounded by plants and trees that can minimize excessive sun exposure, especially from the east and west. These vegetations also function as a barrier to

air and noise pollution that comes from around the cultural center, especially pollution from the vehicle traffic on Panjang Street. The cultural center air ventilation system is designed to produce a stack effect, which is the movement of air in buildings using propulsion. The stack effect is optimized by the presence of voids that function as a place to drain hot air from inside the building. The stack effect is also optimized by presenting ponds in the design. The presence of water elements could help lower the air temperature around the cultural center. The use of a sloping roof in the design also optimizes the stack effect by providing a wider space on the ceiling so that it can facilitate air circulation in the design of the cultural center. Using a sloping roof can also help to overcome high rainfall in the tropics. Perspective Section 35

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Public Library The cultural center is also designed to enhance natural lighting and ventilation. Through the open building mass, the cultural center is able to maximize the natural lighting and ventilation that enter the building. Each room in the cultural center has air vents on the upper wall as a way for natural lighting and ventilation to come into. Some rooms also use glass openings to optimize natural lighting. 36

Libraries and coworking spaces are the spaces that use glass openings. These rooms require more natural lighting than other rooms, especially for reading and working. In the library, it can be seen air vents and glass openings surround the entire room. As a result, the library can maximize both natural lighting and ventilation. With this optimization, visitors can read more comfortably.

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Temporary Gallery Some rooms in the cultural center intentionally do not use walls to maximize natural lighting and ventilation. The rooms that are left open are the temporary gallery, rehearsal room, visitor center, courtyard, and lounge.

Environmental character is also presented through the use of natural materials that are identical to the tropical climate. The materials used in the design of the cultural center are wood and bricks.

The design is expected to minimize the electricity needs for artificial lighting and ventilation by optimizing the local natural resources. This optimization will also express Jakarta’s climate.

Brick material is used on the walls of the ground floor. The rest of the design is dominated by wood material. The presence of these materials can strengthen the expression of tropical character. 37

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Material Character The material character of each region certainly has its own uniqueness. Even though similar materials are found, the different conditions, such as the environment and production process, help create specific characteristics and differences that can be felt. The material character distinctions allow the emergence of identity. This is why different identities will appear in each region, in this case, the city identity. Differences in material characteristics need to be noticeable by the visitors so they can feel the material identity. However, some visitors are not able to immediately feel the differences just by looking at the material. In order to sense the material differences, the design needs to maximize the visual and tactile experience. Through this experience, visitors can feel the different characteristics by seeing

or touching the material directly. To portray its identity, the cultural center needs to use local textured materials that can be felt. The design of the cultural center uses local bricks on the walls of the first floor. The wall is designed as high as three meters and is located in each mass of the building. The brick material is exposed so that visitors can see and touch the textural characteristics. By doing so, the visitors will be able to sense the character of the material visually and tactically. For the second and third floors, the design of the cultural center uses local wood materials on the walls and floors. The material is exposed so that visitors can see the wood grain and texture that have its own beauty. The wooden walls are uniformly designed with a one-meter-wide frame surrounding the cultural center. This uniformity provides aesthetic value that can be felt visually by visitors. Wall Material

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Rehearsal Room The aesthetic of wood material can not only be seen in the wall and floor elements but also in the structural elements. The design of the cultural center mostly uses wood as the main structure. The structure is not covered so that the tectonics can be visually perceived. As for the ceiling, visitors can see the beam structure that is used in the design. Visitors can see the tectonics of the wooden roof structures in the rehearsal room, temporary gallery, and co-working spaces. 39

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Bibliography

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