GEOFFREY BAWA IN THE RENAISSANCE OF TRADIT IONAL ARCHITECTURE

pRESERVATION OF THE “mBARU NIANG”

TRADITIONAL & mODERN FUZE

Edition 13th / 2013

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EDITION 13

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paul Tan

Vita Rahayu

ARKdesign

Olivia pingkan

June 2013

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DiscourseDiscussion TRADITIONAL & MODERN FUZE

InnovationTechnology SIWALU JABU, KARO TRADITIONAL HOUSE

ARKdesignIndesign ABIAN KOPI; ST. MORITZ PENTHOUSE

DesignNews TRADITIONAL HOUSE & RESORT ARCHITECTURE

RecentPublication PRESERVATION OF THE “MBARU NIANG”

PrincipalPoint GEOFFREY BAWA IN THE RENAISSANCE OF TRADIT IONAL ARCHITECTURE

EditorsMailHouse

StayInformed

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03PrincipalPoint

Geoffrey Bawa in the Renaissanceof Tradit ional Architecture

“Boutique hotels have played an important role in the renaissance and appreciation of traditional and vernacular architecture all

over the world “

Pool view westward from lobby across the pool to the sea

My first introduction to Geoffrey Bawa (British trained Sri Lankan Architect, born in Colombo 1919) was through my passion for art and the paintings of Donald Friend (c 1950). I love Friend’s depiction of simple, honest, yet exotic life in Asia very similar to how Gauguin (c 1890) saw life in French Polynesia Tahiti. Bawa’s architecture somehow expressed that simplicity in the vernacular architecture of Sri Lanka. Bawa and Friend became friends and exchanged designs between Bali and Sri Lanka. Bawa designed Friend’s villa by the beach in Batu Jimbar, Sanur, and Friend painted Bawa’s main doors to his home in Colombo. In my opinion, it was since this time that a new approach to designing resorts was born.

Peter Muller, an Australian architect working in Bali, who later also knew Bawa in Sri Lanka, started a personal journey in exploring the design and materials of traditional Balinese architecture, through the design and development of Amandari in Ubud (c 1988). Since Muller designed the Bali Oberoi in Kerobokan (c 1977), the first, all-villa hotel, he and his wife, who is an archeologist, researched and found some original materials

used for building in Balinese villages. One of the many materials revived through her research, is the coffee brown colored sandstone found in an ancient village of Taro around the Ubud area, in central Bali. This type of sandstone is locally known as Paras Taro. Since then this local sandstone is widely used in modern Balinese resorts, villas and almost all architectural creations trying to bring the Balinese look and feel to it.

It is during these creative years of both Bawa and Muller, the term “boutique hotel” was born. This term is used for small resort hotels, usually located on sites with dramatic views and natural beauty. This thirty or so villas, are designed in the traditional, vernacular architecture with very high quality and luxurious amenities; better than the “five star” rated hotels, in the level of services and conveniences. Boutique hotels have played an important role in the renaissance and appreciation of traditional and vernacular architecture all over the world. Brian Taylor in his book on Bawa wrote, “Much of what has been written on Bawa’s architecture refers constantly to its inspiration from local vernacular building – its being a contemporary interpretation of course,

By paul Tan

Painting by Donald Friend

Of these traditions”. From Bhutan to Bali, and from ski resorts in Courchevel to Kohsamui, boutique hotels designed in the traditional architecture all over the world are reinventing vernacular architecture into the modern lifestyle expectations of the 21st Century traveller. Many however, have abused the term and refer to boutique hotel design loosely without the in-depth architectural/archaeological knowledge, husband and wife Muller had. It has diluted the original meaning of the term as well as cheapened its architecture.

The meaning of architecture in the past is often born out of religious and cultural beliefs of the people. Shapes, materials, ornaments, planning and orientation of buildings and architecture have very deep and significant lifestyle roles to play in these communities. To compare it in meaning to the car garage in an American home is a very poor parallel. Asta Kosala Kosali to the Balinese, or Feng Shui to the Chinese, is deeply rooted in their cultural beliefs. Muller visited Bali, in 1970 a

really transformed me, because I understood that indigenous architecture contained within itself everything I had been intuitively searching for … the utilization of renewable local materials assembled in a thoughtful, practical way to suit the spiritual, cultural, emotional and physical needs of the community of individuals. The simple complexity was stunningly beautiful to me, so expressively honest and environmentally harmonious.” (Muller to Johnson, 1996).

The slow development or even the disappearance of traditional architecture, has, at least in Asia, found a vehicle in which it can develop and mature, the resort hotel architecture now booming around the globe. It will remain to be seen where it leads to, and that is part of the mystery and fun we have in the innovation of the ever so needed architecture that is strongly rooted in our beliefs. The Greeks and Romans, the Egyptians, the Chinese and Japanese have all created forms of architecture that are rooted in the traditions of the time, and some are still being re-invented and become the source of inspiration to many architects today. We are hopeful, the same development process will happen to traditional architecture in South and South East Asia. I hope you will enjoy this edition of AQ, as we try to explore some of the architectural forms that are designed today, but we believe have evolved out of the local traditional and vernacular architecture.

Sources : - “Geoffrey Bawa” by Brian Brace Taylor, 1986 Concept Media Pte Ltd.- Wikipedia, Peter Muller (architect)- Wikipedia, Geoffrey Bawa

04PrincipalPoint

Painting by Donald Friend

Geoffrey Bawa

05RecentPublication

http://tripwow.tripadvisor.com/slideshow-photo/rumah-adat-suku-todo-ruteng-flores-n1-flores-indonesia.html?sid=111522064&fid=fb-7626559013597400615

MBARU NIANG, FLORES,

INDONESIA

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PRESERVATION OF THE “MBARU NIANG”

“In the ‘Mbaru Niang’ preservation’ the architect initiated a community-led revival of the vernacular ‘worok’ homes, conical constructions of

tied-together wood and bamboo. “

Local, Tangerang-based architect Yori Antar started the Rumah Asuh project as a movement to preserve traditional houses and building technologies throughout indonesia. The architect takes young designers to distant villages to both experience and renovates existing traditional homes. All under the premise indigenous culture has time-tested methods for building effective and perfectly acclimated dwellings.

Believing in the power of local wisdom has proved fruitful for the architect, who just earned a spot on the shortlist for the aga khan prize for architecture, shortly on the heels of garnering UNESCO Asia-pacific award for cultural heritage conservation, specifically for his work with the Wae Rebo community in Flores Island, Indonesia. In the ‘Mbaru niang’ preservation’, the architect initiated a community-led revival of the vernacular ‘worok’ homes conical constructions of tied-together wood and bamboo.

Rendering of the building typology image

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The rattan palette and thatched roofs have been a hallmark of the architectural language of the remote island, however when the group of touring young architects realized that there were only four of these unique homes standing, two of which were badly in need of repair, a project to preserve the typology was born. While the set of skills required to build the dwellings had been handed down through generations, the process was quickly democratized to include university students and the community at large and to rightly preserve the techniques from fading to mere memories.

The structures are imbued with more than the base requirements of a shelter. They are examples of a living culture, an architect that inherits the power of family and humanistic kinship. Yori Antar’s architecture posits that there is room for architectural values in the industry today, as he stated to the Jakarta Times, “if we want to build modern architecture, build ones that have soul.”

Source:www.designboom.com/architecture/yori-antar-mbaru-niang-preservation-flores-island-indonesia/

construction of MBARU NIANG

Rendering of the building typology image

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T R A D I T ION A L H O U S E

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R E S O RT A R C H I T E C T U R E

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Toraja house or “Tongkonan” (meaning “sit”) can be said to be the seat, but not meaning the actual seat. Designed as a representation of the universe, the tongkonan is constructed in three parts: the upper world (the roof), the world of humans (the middle of the building), and the underworld (the space under the floor).

The Beach Republican in Thailand has been influenced by traditional Toraja house design. This can be seen in communal halls and colourful long tail fishing boats nearby.

Source :www.the-scandinavian.com/blog/?p=301#more; http://artasia.www2.50megs.com/Indonesia/houses.

Toraja House in Beach Republic Architecture Design

Toraja traditional house, South Sumatra, Indonesia -Photo credit: Rafał Cichawa

Beach Republic, Thailand

Gadang house, Minangkabau (Padang), Indonesia Samui Buri Beach Resort Thailand

Tower House serves as a shelter, space for family meetings, and for ceremonial activities.

Samui Buri, a unique resort built in the Royal Thai traditional architecture, set on the 100 meter stretch of beach-front location at the tranquil Maenam Beach.

Two different architectural designs, coming from two different countries, that have the same architectural character.

Source:http://scopecimsafkunand.blogspot.com/2010/06 http://www.samuiburi.com/

Gadang House & Indigo Pearl

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Nihiwatu Resort Hotel, Sumba, IndonesiaSumba traditional house, East Nusa Tenggara (NTT), Indonesia

Sumba House, Nihiwatu Resort Inspiration

Nihiwatu, a small and exclusive island hideaway in remote eastern Indonesia, is one of the most extraordinary resorts in this exceptional island nation. The concept of resorts architecture is derived from the Sumba traditional house, East Nusa Tenggara, Indonesia, which is made from wood and thatched alang - alang.

Source : - http://noenkcahyana.blogspot.com- http://www.nihiwatu.com/

Honai has long been known as a traditional house in Jayawijaya. The Dani and indigenous tribes who inhabit the central highlands of Papua.

In Tanzania there is a resort, Serengeti Serena Safari Lodge, that has very strong similarity with the design of Honai.

Source : -http://christiandaniell.blogspot.com/2013/03/hanoi-house-papua.html-http://www.serenahotels.com/serenaserengeti/

Honai, Irian Traditional House, Irian Jaya, Indonesia The Serengeti Serena Safari Lodge, Tanzania, Africa

Honai House & Serena Safari Lodge

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The Layar Villa, Bali, IndonesiaPalloza, thatched House, Galicia, Spanyol

The gorgeous Presidential Suite, Hilton Bora Bora

Palloza is a traditional thatched house as found in Galicia, Spain. They are circular or oval, and about ten or twenty feet in diameter. The Palozza roof shape similarity can be found in The Layar Villas located in the heart of the most important residential areas of Bali, Seminyak. The Layar was designed by a group of Italian architects.

Source :- http://www.iclickfun.com/10-unique-houses-from-around-the-world/- http://raywhiteparadise.com/villa-rental/the-layar-luxury-villa-seminyak.html

Palloza Thatched House & The Layar Villa

The Hilton Bora Bora Nui Resort and Spa sits on Toopua Motu, an island in the lagoon just over a kilometre from the mainland. This resort takes a water village as their concept.

Brunei is famous for it’s traditional water vilages. This is a photo of a water village called Kampong Ayer, the Water Village of Bandar Seri Begawan, capital of Brunei on northern Borneo.

Source : - http://www.classicvacations.com/- http://www.trekearth.com/gallery/Asia/Brunei/West/Brunei_and_Muara/Bandar_Seri_Begawan/photo943483.htmKampong Ayer, Brunei

Water Village and Water Resort

13DesignNews

Seven storeys ‘Chandra Mahal’, or the Moon Palace and Amanbagh, India, take the architectural values of Mughal architecture with domed cupolas and inner courtyards.

‘Chandra Mahal’ is one of the highlights of the City Palace tour, residence of Bhavani Singh, Maharaja of Jaipur right now. The architecture of ‘Chandra Mahal’ is a blend of traditional Rajasthani and Mughal architecture.

Source : - h t t p : / / t o u r i s m i n d i a o n w a y . b l o g s p o t .com/2011_09_01_archive.html-http://ampersandtravel.com/accommodation/Amanbagh-Alwar

Amanbagh, IndiaChandra Mahal, India

Mughal Architecture in Chandra Mahal and Amanbagh

I Resort ,VietnamFujian Tu Lou House, China

Fujian Tulou houses are a type of Chinese rural dwelling in the mountainous region of south eastern Fujian, China. The uniqueness of this building is its circular shape.

This uniqueness can also be seen in the I Resort; Nha Trang in Vietnam. The resort is located in a small hill near the main river separating from Nha Trang city centre has the necessary calm.

Source : -http://www.archdaily.com/214626/i-resort-a21-studio-2/-http://www.treehugger.com/sustainable-product-design/the-ancient-hula-hoop-buildings-of-china.html

Uniqueness Tu Lou House & I Resort

14DesignNews

This unique Korowai Architecture is to protect families from the swarming mosquitoes below, as well as from troublesome neighbours and evil spirits.

Finca Bellavista take the tree home architecture as their resort concept. This resort is located on 600 acres of land in the mountains of Costa Rica.

Source : -http://www.atlasobscura.com/places/korowai-tree-houses-http:/ / iz ismile.com/2013/03/22/experience_treehouse_living_in_forested_costa_rica_resort_21_pics.html

Korowai Tree House, Papua, Indonesia Finca Bella, Costa Rica

Tree house in Papua and Costa Rica

INTELLIGENT LIVING

15DiscourseDiscussion

John Banton is the Associate Director of ARKdesign Australia Pty. Ltd. John specializes in Retail architecture design and graphics.

In this edition, John got a chance to interview Martin and Emma Branner, husband and wife team, principals of Interarc Pte.Ltd, an international interior design firm specializing in resort and hospitality design. Interarc is the interior design associate office of ARKdesign in Singapore.

How does traditional architecture influence your thinking on interior design projects today?

We encounter the use of traditional architecture almost exclusively in our interior design work on destination resort hotels rather than city hotels.

The first step is to research the culture, the area and what historic relevants might apply and from this we are able to develop a narrative through the interiors in particular the furniture, artwork and accessories. The inclusion of constantly developing technology and connectivity will always present a challenge in presenting a seamless guest experience.

What does traditional architecture bring to modern interior design?

Traditional architecture brings space andtransparency to our modern interior work. Very often we are dealing with spaces that have enormous roof volumes supported only by columns without infill. As liberating as this can be, the downside can be vast dark spaces looming overhead, which can be handled by capable lighting consultants and solutions such as

Traditional & Modern FuzeInterview with Martin Branner and Emma Matias by John Banton

bamboo chicks or newer motorised mesh blinds.Another very important issue raised by traditional architecture can be that of lack of privacy and controlling sight lines to ensure guest comfort. Privacy issues can only be handled by skilful master planning in conjunction with interior planning to ensure controlled and exclusive sight lines.

In what way do you fuse traditional architecture and modern architecture?

From an interior point of view it usually involves providing all of the expected technology and modern comforts such as A/C, four fixture bathrooms etc while acknowledging and maintaining the traditional roots and celebrating them in a sensitive manner that meets the needs of today’s sophisticated traveler.

CENTARA GRAND BEACH RESORTPhuket Villas

EPHELIA RESORT of MAHE, SEYCHELLESCyann Restaurant

PRINCE MAURICE RESTAURANT Mauritius

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best way to meet those expectations. Sometimes there is a heritage upon which to build while at others there needs to be a bit of liberty taken in interpreting the local culture. Along with the Operator and the Architect the ID is tasked with meeting guest expectations. Always the thin line between a new cultural experience or experiencing a theme park.

An example of how clients and customers relate to traditional architecture can be found in Singapore’s China Town or Little India. They are constantly filled with foreigners looking for somesort of authentic experience. Singapore, to its detriment, managed to destroy a great deal of its built heritage before realizing it was really a money maker. The same for cities all over the globe.

What can we learn form the traditional architectural approach?

There is the permanence and durability in traditional architecture and interiors that seems to engender a “feel good” emotion and provides a sense of continuity. We live in a world that makes it very hard to keep up and while most cultural signposts today seem to be directions for the young, there is still a world wide grey population with tremendous spending power that doesn’t necessarily find the next new thing that intriguing or compelling.

The projects that still resonate and do not look dated are those that one would call traditional are

What do you think traditional architecture contributes to climate change thinking?

British colonial architecture uses over-door transoms, verandas, high ceilings and other architectural features to assure adequate air flow and maximum cooling. French colonial design and buildings also addresses climate issues similarly as witnessed in places such as Mauritius, the West Indies and New Orleans. These same features are celebrated in some of today’s modern buildings and are often cited in awards such as the Aga Khan prize.

The unfortunate problem with the above approaches is they were not intended for the highly urbanised world in which we are now living. Nearly half of the population now lives in cities and in those cities they reside in high rise buildings. An entirely new vocabulary of building design that recognizes climate change is being developed and refined. The only question is, are the solutions being developed and adopted fast enough?

How do you think clients and customers relate to traditional architecture?

The resorts, often in romantic or romantic sounding destinations are generally, for the guest, a great distance from their homes. They expect something out of the ordinary in the interior design and some orderly and working version of traditional vernacular architecture is often the

usually based on traditional tenets of balance, symmetry and comfort. But this universal idea and the relevance of the traditional criteria is often lost on a younger clientele. Styles come and go with alarming frequency, with 10 year old buildings being redeveloped in the latest style. By the very nature of population increase, the need to house an ever expanding population and rehabilitating the environments leads us it to question how non traditional architecture and eco-engineering will lead the way forward.

PRINCE MAURICE GUEST ROOMMauritius

CENTARA GRAND BEACH RESORTPhuket Villas

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Final WordMost of our interior design work has been trying to meet the expectations of guests who are looking for a new and unique cultural experience. And at the same time provide a local population with an installation they feel comfortably mirrors local design and building customs.

In twenty years of practice in Asia we have seen the pendulum swing from one extreme to another. Where once we were chastised for suggesting the use of traditional Chinese chairs in an interior we now find these pieces appreciated by the very people who deleted them previously. Tradition, in all its manifestations, will ultimately always resonate and with a different ring throughout different countries and regions.

When one looks at the interiors of many of the latest building being realised by the architects of today one is likely to see some sort of Bauhaus early 20th century furniture in the mix - a Mies chair here or a Corbusier chaise there. Furniture designs less than a century old are now the new traditional totems giving continuity and comfort. The concept of “traditional” keeps being reinterpreted and moving forward.

Specialist for Curtain and Fabric Interior Jl. Kembang Abadi 1 Blok A1 No. 35 Puri Kembangan , Jakarta Barat 11610

Ph : 021-583.06173 Fax:021-583.06174

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Siwalu Jabu

Traditional Karo House Structure

Traditional house is one of the nation’s cultural assets. Each region has traditional houses with distinctive features and the uniqueness of each. However, unfortunately the day more people are leaving the area of traditional house and move in a regular house. There are only some regions, people, or tribe which still survive in the traditional house.

One of the interesting traditional houses is the “Batak Karo traditional house”. This Traditional house is also known as “traditional house Siwaluh Jabu”. Siwaluh Jabu has a sense of a house inhabited by eight families. Each family has its own role in the house.

The houses are constructed for wood, bamboo, using ijuk fibers for binding (no nails or screws are used) and for the thatched roof. The design is naturally earthquake-resistant.

The colours used in Karo designs are red, white and black. The red signifies a zest for life, a ‘get-up-and-go’, the colour seen in traditional clothes used in weddings, black the colour of death, man’s ignorance of Dibata’s (God) will, and white, the colour of God’s holiness.

Ornamentation is very important in Karo houses, with Buffalo horns an essential decoration of the traditional houses and two white-painted horns are mounted on each end of the roof, using both male and female buffalo. Ornaments in Karo houses served traditionally to protect the residents from evil spirits, and to demonstrate the status of the owner. With the fading of traditional religious beliefs (permena), they are now largely decorative and reminder of past cultural traditions.

Karo Traditional House

Parts of the Karo Traditional House Rear Preview Front Preview

Source : 1. www.indonesian-tourism.info/2012/06/batak-karo-traditional-house.html2. en.wikipedia.org/wiki/Batak_architecture

19ARKdesignIndesign

Abian Kopi Spa & Villas was designed based on research into Asta Kosala Kosali, the Balinese tradition of building orientation and proportion.

ABIAN KOPI SPA & VILLAS

Location : Puncak Sari, Tabanan, Bali, IndonesiaStatus : Design DevelopmentDesigner : Paul Tan

20ARKdesignIndesign

ST. MORITZ PENTHOUSE

Living Room Dining Room Bath Room

Location : Jakarta Barat

Status : Design Development

Designer : Devy Anggraeny

Bed Room

Interior Layout

PRE LAUNCHING MAJESTIC WATER VILLAGE, ULUWATU, BALI, INDONESIAOn 21 March 2013 at Grand Hyatt Bromo Room, Jakarta, Prioritas Land held a Pre Launching for their latest project, Majestic Water Village, Uluwatu, Bali.

Apart from the owners, the event was also attended by Paul Tan as Architect, Devy Anggraeny as Interior Designer, Gunawan - President Director of Premier Hospitality Management and Aries Harijanto, Director of Indonesian Feng Shui Online center.

This is an exclusive pre- launching event and investor gathering, that was filled with property enthusiasts because Majestic Water Village is the first and only water village concept in Indonesia during modern times.

L - R: Aries Harijanto, Gunawan Rahardjo, Marcellus Chandra, Paul Tan, Devy Anggraeny

Model of the masterplan model of the villaPaul Tan, speaking about the architectural concept of water village

20Events

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BIRTHDAY in ARKdesign

Meidy’s Birthday - 23 May 2013 -

Adhitia Panduwinata’s Birthday- 28 May 2013 -

Meidy with ARK staff from left to right:Hema Saepuddin, Reza, Herman, Riki Mubarok, Wisnu Setiawan,

Adhitia Panduwinata, Meidy Suriansyah, Freddy Sumanto, Ari Dermawan, Hartono Wijaya

Diana Ananta, Felicia Gunawan, Melinda Mayella, Sherry Lydia, Meidy Suriansyah, Vita, Olivia Pingkan, Wenda Boen

Adhitia Panduwinata and Wenda Boen - General Manager

Adhitia with ARK staff from left to right:M.Rosidi, Hartono Wijaya, Adhitia Panduwinata, Sherry Lydia, Fajar Abdi,

Vita, Riki Mubarok, Olivia Pingkan, Felicia Gunawan, Diana Ananta, Wenda Boen, Freddy Sumanto, Eko Arif

ARKdesignNewTeamMembers22StayInformed ARKdesign

New Team Members

Olivia Pingkan, S.ESTIE Bisnis Indonesia, Jakarta, IndonesiaBachelor in Economy

Hartono WijayaUniversitas Kristen Indonesia, Jakarta, IndonesiaBachelor in Economy

PT ARKIPURI INTRA NASIONAL

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