islam and architectural identity of banda aceh
TRANSCRIPT
Islam And Architectural Identity Of Banda Aceh
Izziah Hasan1, Mirza Irwansyah2
1Departement of Architecture, Faculty of Engineering, Syiah Kuala University, Banda Aceh, Indonesia, Email:
[email protected] of Architecture, Faculty of Engineering, Syiah Kuala University, Banda Aceh, Indonesia, Email:
Abstract
Aceh, an Indonesian province on the northern tip of Sumatra Island, has uniqueurban and
rural environments and a rich cultural tradition. Its population of about five million is
predominantly Muslim. Aceh’s ties with Islam have a long and rich history. In the struggle for
Aceh autonomy aftermath the independence of Indonesia, the Acehnese have been
searching for their unique islamic identity by turning to their cultural heritage. This paper aims
to examine the issue of architectural identity of Banda Aceh, the capital city of Aceh. It
focuses on three representative buildings in Banda Aceh. They are The Masjid Raya Baitur-
Rahman, The Governor Office, and the governor house, called Pendopo.
The study argues that cultural identity evolves over time. Therefore, itt is difficult to fix within
rigid frames and definitions. In constructing this study, a number of written sources are
reviewed. In additions, field observation is also conducted. In doing this, the study shows the
role of islamic cultural background of Aceh the formation of Aceh’s architectural identity.
Keywords: Islam, architectural identity, Banda Aceh
Sub Theme: Wisdom of the Past
Introduction
Aceh is one of provinces in Indonesia. It is located on the northern tip of
Sumatra Island. The region of Aceh, with its population of about five million and
predominantly Muslim, has been known as the ‘veranda of Mecca.’Since the
aftermath Indonesian independence, particularly between 1970s -1990s during the
reign of President Suharto,there was a strong shift in emphasis toward cultural
identity among Indonesians in general and Acehnese in particular. Regarding this,
there have been a conscious efforts to develop the built environment of Banda Aceh
with regard to the quest for local identity. In searching for local architectural
identity,the Acehnesesearch for local difference byreconstructing and revitalizing their
unique cultural heritage and Islamic identity. In so doing, they raise the level of
cultural awareness among Acehnese about Aceh’s past in shaping the contemporary
architectural identity.
This study, thus, aims to examinehow modern architecture of Aceh
deliberately incorporated traditional and islamic values. The study argues that cultural
identity changes overtime and it is difficult to define within certain frame. In examining
this issue,the study focuses on three representative buildings located in the capital
city of Banda Aceh; The Masjid Raya Baitur-Rahman, The Governor Office, and the
governor house, called Pendopo. These buildings were become the most presticious
goverment projects in 1990s, The study involved field work as the primary sources to
conduct photographic survey of the three repesentative buildings. To sopport this,
interview to key informans are needed. Moreover,the scondary data are collected by
reviewing a number of written sources on historical back ground and architectural
development from precolonial and post colonial period. This study does not include
the discussion on architecture during colonial era because the Acehnese did not
participate in the production of most architecture in Aceh. In doing this study, the
paper shows the role of islamic cultural background of in the formation of Aceh’s
architectural identity.
Cultural Historical background
The maritime history records that the geographical location of the Aceh
region on the ocean route between the China Sea and the Indian Ocean has, in the
past, enabled Aceh to play a significant role in the international trade network (Figure
1). In additions, the cultural history of Aceh records that before colonial era, the
kingdom city of Aceh in the seventeenth century has become a cosmoplitant city
where travellers came from other countries. Aceh region had a population of
cosmopolitan merchants comprised of Arabs, Indians, Southeast Asians, andChinese
(Cortesso cited in Hasan, 2010). The interactions between the indigenous people
and foreigners in the formative period caused to the emeregence of crossed cultural
issue.
Figure 1: Geographical location of Aceh
Source: Leigh (1989)
The foreign traders – while selling their merchandizes – had spread their
religions: Hinduism, Buddhism and Islam.An existing gravestonebelonged to Sultan
Malik al-Salih and a number of gravestones between the thirteenth to fifteenth
centuries give an evidence of the existency of Islam in Aceh (Fatimi, 1963; Alfian,
1994). The stones that haveIslamic calligraphies of Quranic verses and an Arabic
poem mix with Hindu’s art show the influence of Hindus in Acehnese Islamic culture.
Although Islam became the dominant faith in Aceh, Hindu beliefs somewhat subdued
and have remained part of Acehnese culture.
When the Kingdom of Aceh reached the‘golden age’ in the sixteenth and
seventeenth centuries, kingdom city became the centre of religious study and
learning (Hasan 2015). A large number of Islamic scholars not only from Indonesia
but also from abroad came to Aceh to teach Islam before and after their journeys to
Mecca for pilgrimage. In this regard, Hall (1981) mentioned in his writing that Aceh
known as the ‘gate to the holy land’ or the ‘veranda of Mecca.
During the golden age, the kingdom city of Aceh grew into a large urban
centre.The productive interaction between the indigenous people and foreigners,
such as Indians, Turks, Chinese and Arabs, has coloured the built forms in the
Kingdom of Aceh. Having cited the accounts of foreign travellers who visited Aceh in
the seventeenth century, Lombard (1991) records that the foreigners from several
countries mentioned above have helped Acehnese to built a number of building
inside the palace complex (Figures 2 and 3). However, most of these buildings were
not sirvived.
Figure 2: The open space within the palace complex
Source: Lombard (1991)
Figure 3: The seventeenth century palace court of Aceh
Source: Lombard (1991)
Meanwhile the local people, as reported by Peter Mundy (Tempel cited in
Hasan, 2010) built their house with simple wood construction that raised on poles
(Figure 4). Peter Mundi was one of European travelers who came to Aceh in the
seventhenth century.
Figure 4: A traditional Acehnese house, sketched by Peter Mundy
Source: Temple (1903)
The cross-cultural interactionbetween local and foreign has broughto diversity
of influences that shaped Acehnese history and created a unique urban
environment. The interactions have contributed to the emergence of a dialogical
frame of socio-cultural processes that create local idenity.
Architecture and Local Identity
Towards the mid-1970s, the government of Indonesia under the reign of
President Suharto, made an important step in the debate about modern architecture
in Indonesia. The main argument was that Indonesian architecture should regard the
richness of indigenous architecture,gathering the colourful heritage of art and
architecture from all provinces in Indonesia in order to reconstruct a collective
national tradition (Kusno, 2012).The effort was strongly support by governor Ibrahim
Hasan, who reigned the government of Aceh between 1987 to 1993.Since Aceh has
a trong Islamic back ground, the governor strongly suggested that Acehnese should
not abandon their cultural heritage with its Islamic values for the sake of progressive,
modern lifestyle.Concerning this, the Acehnese, shared the government’s view, and
tried to create contemporary architectural forms in Aceh that was based on the roots
of its Islamic cultural heritage (Hasan 2010).
Iin order to introduce local identity into the built environment, Governor
Hasan placed a strong emphasis on the return tolocal tradition in regard with Islamic
value in the development of art and architecture. In 1987, the governor, through Aceh
provincial budget, initiated the construction and renovation of several important
buildings. These included the building of the governor office, the renovation of
Pendopo (the governor house), and the renovation of the great mosque of Baitur-
Rahman (Arif, 2006).
Governor office
The govenor office constructed in the beginning of 1990s (Figure 5).This architectural
building styleis one of the 80s – 90s architectural works that express identity of the
place. As one of the major projects completed during this decade, the governor office
revealed the search for modern Indonesian architecture that involved references to
some typological characteristics of local architecture.The architectural references of
the governor office’s features were selected to enhance the traditional character.
The rectangular formsare derived from a simple shape of traditional
Acehnese house. The expossed pillars, roof, and trianggular gable screen that
arefound in the office seem to remind viewers of the stilted traditional Acehnese
house (see figure 4). More over, the main entrance of this office – mark by two rows
of columns supporting an additional roof attached to the main building – and the
wallcarvings become the echo of traditional houses belong to rich families.
Figure 5: The Governor’s office building in Banda Aceh,
Source: Author’s collection
Figure 6: The traditional Acehnese motifs on the surfaces
Source: Author’s collection
An enclosed wooden structureof traditional Acehnese house that is raised on
poles of about eight feet in height, with a free passage underneath it, among other
things,was to address climatic needs.Such a bulding construction allows the cool
moist air to be drawn up through the slatted floor to reduce the hot currents created
from heated roof space (Dall cited in Hasan 2010).Meanwhile, the look a like stilted
house of governor office seems do not regard local climate. The presence of the
gable screen that is attached to gable wallis and the floor constructions (Figure 6)
blocked the air circulations.
Pendopo
The Pendopo is the name of the governor house (Figure 7). It was built in
1880 by the Dutch during colonial time. The pendopo is located on the site of the
Aceh Sultan palace. After the colonial era, the Pendopo is mostly used as the
governor’s residential building. With the growing interest in local identity, the
Pendopowas renovated in 1980s.In the renovation the building interiorchanged
dramatically, especially with the presence of Acehnese character. The wall, doors,
and windows, were decorated with islamic-Acehnese art (Figures 8). In addtions,
furnitures were changed to local style. After the renovation, the Pendopo was
renamed as Meuligo, "palace" in Acehnese.
Figure 7: The governor's house
Source: Author’s collection
Figure 8: Interior building decorated withtraditional carving
Source: Author’s collection
Mosque of Baiturrahman
The mosque of Bait al-Rahman was constructed between 1879 and 1882 during
Dutch colonial era (Figure 9). The mosque was the first monumental work built by the
Dutch. It was built on the ruins of the previous mosquebuilt by Sultan IskandarMuda
in the seventeenth century.The mosque was designed by the French architect de
Brunc(O’Neil, 2000) after the Dutch destroyed the old mosque in 1877. There fore,
for the Dutch the construction of the mosque was a symbol of reconciliation, an
attempt to persuade the Acehnese to end their uprising (Alfian et al., 1997).
Figure 9: The great mosque of Baitur-Rahman, Banda Aceh, in 2003
Source: Author collection
The representation of the mosque shows the combination between local and
foreign elements. The idea of an enclosed square plan seems to derive from the
previous mosque that had been ruined by the Dutch. The appearance of the
mosquelooks like the Indian Moghul architecture. Meanwhile, the ornaments, such as
lotus petal and abstract motifs show the influence of Hindus art, most of building
materials was imported from out side the region and the fine tracery was
manufactured in Belgium (O’Neil, 2000).
For many years after the mosque constructed, the Acehnese rejected and
abandon to use the mosque. Acehnese have never accepted Dutch occupation in
Aceh and their resentment of the Dutch was expressedat many levels and in many
forms. However, Ironicallyafter the independece of Indonesia, the mosque was
always occupied by local people. They used not only for praying but also for other
activity relating to Islamic activities. The mosque gradually became one of the most
popular buildings, with its architectural style being imitated in religious buildings
throughout Indonesia, and particularly in Aceh. It became the focal point of the city of
Banda Aceh and the pride of all Acehnese.It turned to become a model for the
architectural harmony betweentradition and modernity. As one the most important
building in Aceh, the mosque was renovated and upgraded several times.
The renovation of the mosque done in 1987placed strong emphasis on local
forms. The mosque's appearance was deliberately changed from Euro-Indian to
Acehnese in character, by covering the internal surfaces with traditional Acehnese art
and adding furnitures decorated with acehnese art (fig 10). In presenting local, the
mosque was fully decorate with traditional Islamic -Acehnese art.
Figure 10: The traditional Acehnese motifs on the mosque's interior.
Source: Author’s collection
From the representation of the three buildings, it is shown that architects
working in Aceh adopts an eclectic approach, wherebytraditional aceh and islamicart
and architectural elements and motifs were selected and incorporated into modern
buildings.
Conclusion
The three representative buildings were intended to serve as a reference to
presence locality for many generations to come. In searching Islamic local character,
traditional elemens such as ornamentations, triangular gable screens, posts, and a
variety of roof designs are the most frequent used in those buildings. Preoccupation
with traditional traits,like all such efforts seeking to create local character, is primarily
an exercise in aesthetics.The effort to preserve cultural heritage was predicated on
the need to understand and remember what the Acehnese’s ancestors had achieved.
The idea to have a sense toward local value has, in many ways, led to the eclectic
tendency in the modern architecture of Aceh.As a result, the buildings appear to
show “a sweeping impression” of being Acehnese.
In fact, a simple and straightforward approach to eliminate culture within its
regional boundaries has become increasingly problematic in the current globalised
conditions.The presentation of the ‘islamic’ Acehese buildings as a local identity,
however, were executed expediency and limited to traditonal traits.The idea to
present character of the place should regard the current social conditions instead of
presenting as a replica of the past.
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