Ruang 008 Preservasi Vol.2 Aksi

RUANG
kreativitas tanpa batas

PRESERVASI
08 | 2014 V O L U M E 2 : A K S I
RUANG
PEMBUKA
”Preservasionis” adalah seseorang pragmatis yang sadar akan tugas ”waktu” untuk memakan
umur sebuah bangunan atau kebudayaan, sementara ”konservasionis” adalah seorang
romantis yang ingin menghadirkan sisa masa lalu dalam kemasan yang baru. Dua-duanya
harus sadar dengan apa yang dilakukan serta konsekuensinya terhadap kota, arsitektur, serta
penghuninya.
Setelah “Abstraksi” menawarkan konsep, nilai, atau pemahaman tentang ”Preservasi”,

kini ”Aksi” akan membuka pencarian, aktualisasi, dan implementasi dari nilai-nilai tersebut
melalui tujuh buah kontribusi. ”Aksi” akan dibuka oleh Kenta Kishi yang akan berbicara
mengenai “preservasi” sebagai hak dan representasi identitas mayoritas pada wajah kota
lewat “The Rightfulness of Preservation”. Kemudian hal-hal teknis mengenai aktor, biaya dan
fungsi terkait sebuah warisan arsitektur kolonial, khususnya benteng, akan dibahas dalam
“A historic legacy, former Forts in Indonesia today” oleh Cor Passchier. Restorasi (konservasi)
bangunan dan kawasan kolonial yang dapat membentuk identitas sebuah kota akan dibahas
oleh Johannes Widodo lewat “Conservation in Singapore”. Adapun solusi alternatif melalu
strategi urban akupuntur untuk mengaktivasi kawasan Kota Tua yang telah mati, diusulkan
oleh Diana Ang dan Daliana Suryawinata lewat “Event Space as a Solution for Kota Tua
Jakarta”. M. Ichsan Harja Nugraha akan mengilustrasikan beberapa ide intervensi Budi Lim
dalam upaya mengaktivasi Kota Tua. Yusni Aziz kemudian berusaha menggali realita arsitek
konservatoris di Indonesia dalam artikelnya “Mencari Arsitek Konservatoris”. ”Aksi” akan
ditutup oleh sebuah pencarian dalam usaha mempreservasi arsitektur tradisional dalam
“Yori Antar: Perjuangan untuk Nusantara”.
Pada akhirnya, seperti seleksi alam, yang bertahan dan terus dimaknai akan tinggal, yang lain
akan menjadi reruntuhan bahkan terkubur dalam-dalam. Kita sendiri yang akan memaknai
preservasi. Dan pada gilirannya, apa yang seseorang preservasi akan memaknai dirinya
sendiri, begitupula apa yang dipreservasi di kota akan memaknai penduduknya.
“If you don’t know where you’ve come from, you don’t know where you are.” (James Burke)
Selamat menikmati ruang | kreativitas tanpa batas

ruang arsitektur
2
ISI vol.2: Aksi
the rightfulness of
preservation
esai Kenta Kishi
intervensi budi lim

untuk kota tua
lukisan M. Ichsan Harja Nugraha
a historic legacy,
former forts in
indonesia today
esai Cor Passchier
conservation in
singapore
esai Johannes Widodo
event space as a
solution for kota tua
esai Daliana Suryawinata & Diana Ang
mencari arsitek
konservatoris
esai Yusni Aziz
yori antar: RUANG

perjuangan untuk editor:
nusantara ivan kurniawan nasution
mochammad yusni aziz
wawancara Yusni Aziz
web-blog: www.membacaruang.com
tumblr: ruangarsitektur.tumblr.com
email: akudanruang@yahoo.com
twitter: @ruangarsitektur
segala isi materi di dalam majalah elektronik ini adalah hak cipta dan
tanggung jawab masing-masing penulis. penggunaan gambar untuk
keperluan tertentu harus atas izin penulis.
Lukisan pada sampul depan oleh Sri Suryani

Lukisan pada sampul belakang oleh M. Ichsan Harja Nugraha
3
edisi #8: Preservasi. volume 2: Aksi
Pintu masuk dari sisi utara Plaza Fatahillah, anta

sejumlah karya seni dan monu
- Moch. Ichsan
4
ruang | kreativitas tanpa batas
ara gedung Kantor Pos dan Gedung Jasindo, dengan

umen berlantai kaca di tengahnya.
Harja Nugraha -
5
‘R i g h t f u l n e s s o
Rightfulness and Two Questions
In many case of ‘preservation’ in the city, there are controversies of the application of
‘rightfulness’ as fundamental condition required for the attitude towards preservation, as well
as its implementation. As such, the ‘rightfulness’ needs to be answered by many ‘questions’,
for example, “what can be preserved?”, “why it needs to be preserved?” and “how it should
be preserved?”.
However, in order to understand the ‘rightfulness’, we need to identify the nature of those
questions. One of the ways is by categorizing them into two broad types. Some related to
‘the questions about meanings’ (for example, “What is the preservation?” and “Why do
we preserve things?”). The others related to ‘the questions about values of instrument and
purpose’ (for example, “What is the purpose of preservation?” and “What benefit can be
expected by preservation?”).
In the ‘questions about meanings’, we can recognize diverse types of question asked in order
to construct a common vision of a city. For example, in the context of urban (re)development,
people will ask about the meaning of ‘preservation’ based on their own experiences and
interpretations of the history of the built environment. However, in reality, the ‘questions
about values of instrument and purpose’ are more often asked. It is practical. And it seems to
represent the desire of the ‘majority’ in the society who shares similar identity and interest.
Nevertheless, the bases of such questions are opportunistic, i.e. how much contribution and
benefit that preservation can give to the ‘majority’.
When historical buildings and/or urban spaces are recognized as social resources by the public,
memories and experiences are celebrated nostalgically in order to reinforce the ‘rightfulness’
of the majority’s identity. At the same time, the ‘rightfulness’ will also be recognized as a tool
to generate benefits for the ‘majority’. Preserved landmarks/landscapes, and its nostalgic and
glorious images, will create opportunity to (re)develop its surrounding areas, while expecting
new and massive influx of people and money from outside the area. The answer for the
‘questions about values of instrument and/or purpose’ in urban preservation acts as medium
that directly connects the majority’s identity and their economic activity. Yet, such premise
does not considering to find an alternative definition and meaning of preservation. As such,
the notion of the ‘right preservation’ today can be understood as a realization of ‘theme-
parked identity’. However, we must imagine and discuss possibilities of alternative concept of
the ‘rightfulness’ in urban preservation.
f P r e s e r v a t i o n’
by Kenta Kishi
Some references should be introduced. One example is the redevelopment of shop-houses

area in Chinatown in Singapore that re-applies colorful paintings on building facade and
constructing huge weatherproof canopies in between buildings. For Chinese descent citizens
who are the actual majority of Singapore society, such attitude is accepted as the ‘right one’
that reinforces majority’s identity and brings economic advantages. This also supported by
tourists as global consumers. However, for minorities who are not sharing same background
and behavior, such preservation project seems to propose ‘empty urban space’ where none
of them able to project their identity onto it. Another example of the ‘right’ preservation
could be found in small local cities in Japan. In order to revitalize economically depressed city,
an idea of “Retro-Town Program” is applied into the planning strategies of redevelopment
project. The effort to revive urban environment is supported by ‘rightfulness’ for majority,
but minorities, such as both foreign and domestic migrants and recent generations, perceive
difficulties to maintain and sustain this ‘someone else’s history’. In fact, they are the ‘prisoners
of unreal past’.
Through understanding above references, we can recognize a similarity between practical

way of preservation that answers the ‘questions about values of instrument and purpose’
and ‘master planning’-type of urban (re)development. Both have a tendency of fitness for
purpose and exclusiveness. Yet, on the contrary, city has been (re)produced organically and
sustainably by accumulation and network of small actions of people’s daily life. For such
condition, what is the ‘rightfulness’ of preservation?
Micro-Projects vs. Master-Planning
In recent years, I have been focusing on the urban settlement in Asian cities as important
reference to answer those questions. If we step into any settlement, we will be able to
recognize small actions of residents that are constantly performed to maintain and improve
the quality of their daily life. Even though most of the residents in those settlements are
belong to lower-middle class, the place is rich with realities and dynamics.
In 2010-2011, I directed an urban study project ‘Camp-on Kampung’ in Surabaya, Indonesia.

This project covers living environments of Kampung–urban settlements that spread
throughout the city. It focuses on social structures, living environments and local daily activities
of the settlement at specific site.The project emphasizes on their system of self-organization,
as well as to “how the identity is sustained”.
Sample of “micro-project” at Kampung Ketandan (top) and Kampung Ampel (bottom). ©Orange House Studio
We observed many small programs done by the residents to maintain the continuity of the
built environment, which I call ‘micro-projects’. We considered them as strategic materials for
an alternative way of urban re-production. Furthermore, through the study of possibilities of
linking and networking of the ‘micro-projects’, we tried to propose ‘methodology of urban
design system and/or urban management that can contain a potential of complexity of urban
ecosystem’. As such, we hoped that the analysis would be able to overcome the risk of
negative impact and singularity of the quality of the built environment in ‘master-planning’-
type of urban development, which rapidly growing in many Asian cities recently.
For the purpose of this study, it was necessary to understand the potentials and possibilities
of Kampung and the city itself. Instead of depending on objective analysis of measurable
data of the city, we went through various cooperative study activities with diverse local
actors from Kampung, government officials, academic societies, business, civic groups and
mass media. ‘Master Planning’ seems to be considered as exclusive method of investigation
that carried out by a specific team, while we opt for cooperative method that can suggests
an open-system process to explore possibilities of spontaneous and dynamic urban activities.
Preservation:Visual Interface of City
In the first phase of project, ‘micro-projects’ were gathered. Diverse facts and possibilities of
the connections and relationship were analyzed and translated into visual information. Daily
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Icons for ‘micro projects’ (top). Visual interface of Kampung’s ecosystem (bottom) ©Orange House Studio
life activities in Kampung were diverse; and their complementary forms were also complex.
In order to understand the complexity of Kampung’s system, we developed a technique to
visualize the urban information. A specific icon was given for each ‘micro-project’, and their
specific relationships were carefully mapped in, so called, the landscape photo.
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The visual information was not a tool to understand physical and measurable information of
an environment, but rather a tool to recognize the quality of an environment. For us, it was
important to step back from the conventional attitude of using measurable urban data that
can be applied for ‘master planning’.
Preservation: Cooperative Behaviors
In this phase, this urban study project was geared to design and apply a Kampung’s urban
system to an actual city. A public exhibition was operated by various participants (Kampung
residents and their communities, government officials, academic societies, business, civic
groups and mass media). It was considered as a prototype of alternative way of urban
preservation.
The theme and title of the exhibition is ‘Refugees of Future Cities’. In this time of massive
economic growth of Asian city, we tend to imagine a future vision of city with ‘master-planning’.
But should we challenge to look for a new future vision of city instead of compromising
ourselves to choose and live in a ‘master-planned’ city, we might end up become refugees of
a future city. All residents in this world have a potential to be a refugee in the future.
The exhibition became a platform to recognize, consider and share critical issue of our built
environment. We wanted to stress that this “refugee” is not necessarily negative or tragic
terms, as we imagine that in order to survive in the future city, a person will be forced
to produce positive actions and search for various possibilities. This exhibition delivered a
message to all residents in Surabaya that everybody should be an active producer instead of
being an active consumer.
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Icons for ‘micro-projects’ (image: Orange House Studio)
A military tent was provided by city government and it used for a main exhibition space ©Orange House Studio
A poster of exhibition ©Orange House Studio
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Audiences from Kampungs at movie screening by local cultural organization ‘Kinetik’. ©Orange House Studio
The aim of this exhibition was to provide a public space to share and discuss the possibilities
of urban system of Kampung. It consisted of three parts: architecture, design and art. Each
part offered various activities, such as art exhibition, performing arts, movie screening, craft
workshop and conference. The structure of program was produced through an extensive
and comprehensive discussion among the stakeholders of the city. In a way, it was also an
experiment to apply urban systems of Kampung into public and social activities.
Three Kampungs in the city joined as the main collaborators of this exhibition. These
Kampungs are facing different types of critical issues that conflicted with ‘master-planning’
of Surabaya, particularly in this transition period. Specific problems of each Kampung were
introduced to the public through various activities that offer the participants to consider
these problems as their own problems. Each activity in the exhibition was programmed as
a ‘micro-project’ in Kampung. Each exhibition meant to be independent, yet had a certain
connection and intersection to each other.
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Public discussion with residents of Kampungs and other cooperators, such as students, designers, architects,
educators, government officer, journalists, owner of broadcasting company, and etc. ©Orange House Studio
In the end, the collaborators and participants realized that the quality of exhibition would
depend on a degree of their participation.They also recognized how much hidden problems
and possibilities of city they could found, if they were deeply committed to cooperate in
urban activities. Such interactive experience should be considered and even suggested as
a methodology to re-produce our built environment, as it also suggests us to try to apply
‘questions about meanings’ for both social and physical environment of city in order to
discover ‘rightfulness’ of preservation of city.
The city that encompasses variety of issues and area of expertise can be defined as a
platform to receive simultaneous issues to be considered. As long as the investigation and
study are proceeding by the proper induction technique, urban activity can be a public
intellect, and it should be a clue to preserve a motivation of urban residents, hoping for the
future of the city and encouraging participation in their own built environments.
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a historic legacy, former
The meaning of urban-architectural heritage

I was born and grew up near the sea side of the village Noordwijk in the Netherlands. On
one day, in 1951 and six 6 years old , I stood on the beach, watching a spectacular blow up of
a big German ”Atlantic wall” bunker located at the south side of our boulevard; just a month
later there was only a sand dune left. A significant evidence of German occupation in the
Second World War was vanished completely and years later it felt to me as I was robbed of a
specific reminder, only a picture and a history book remained.
Probably it was a governmental policy to skip the era of German occupation out of the
people’s minds; a form of urban planning by destroying, creating a ”correct” environment
without any tangible uncomfortable memorial. It sounds like an ultimate post-colonial issue,
pointing a question like: is the architectural-urban historic legacy from the colonial past
logically and automatically accept as heritage by the former colonised people as well?
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forts in indonesia today

by Cor Passchier
Fort Otahiya, Gorontalo (±1590) (photo: Cor Passchier/PDA)
With reference to the example of the destroyed German bunker, I tend to

affirm such; although the perception may have a different emotional load.
The preservation of the German bunker might have contribute to the
collective memory of later generations as a memorial landmark on the sea
side, but apparently it did not fit the conservation policy of the government,
which envisaged the image of a fashionable seaside resort.
Where does the term preservation stands for?
At least it should be based on a question like: ”what are the challenges for
the building or structure today” and how we intent using it? By ignoring such,
there is hardly any prospect for a historic building to survive.
15
Preservation is a logical part of the urban planning process, a holistic approach dealing with
the characteristics determining the identity of the city, considering the physical and economic
possibilities and opportunities for survival; these in balance with growth and expansion plans
of the city including the related infrastructure. The latter is not meant as a pure technocratic
statement, there is more. Probably the main reason for the presence of architectural heritage on
the agenda is enclosed in the thesis that ”historic and modern buildings are both an exponent
and product of the same dynamic society”.The mix of continuity and change give significance to
human existence and conditions for hope in the future. Considering modernity as the opposite
of historic is to me just a created forced contrast, tomorrow we will define today as yesterday.
Obviously, in the first decades of the young state Indonesia, the architectural- urban environment
Fort Van den Bosch, Ngawi (photo: Cor Passchier / PDA)
got not immediate affected by modernity; the young state at the start suffered under political
and economic instability. The capital, Jakarta, was undergoing a tremendous grow in population
and the answers were found in an enormous increase and condensing of inhabitants captured
within the limits of the colonial city Batavia. Simultaneously combined with the power and the
flush of independence which causes a creative whirlpool, where politicians, writers, painters
could launch their statements in an overwhelming and optimistic mainstream.
Meanwhile, dealing with the reality, the government focused to transform the archipelago in
one nation; common symbols were needed with a clear and straight message, strengthen the
national awareness of the people.They create an Indonesian layer over the colonial town, street
names were changed, sculptures from the colonial era removed and new symbolic sculptures
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arose often reflecting the struggle of freedom and independence. For instance, in Jakarta the
former Koningsplein (Kings square) became Medan Merdeka (Freedom square), making it clear,
the times were a changing.
The architectural-urban legacy, after regime change, could not suddenly disappear or
demolished, the latter seemed quite unrealistic. Former colonial offices got overcrowded by
more employees than ever and the new elite went to live in the homes of the former colonial
elite, while some Jakarta people (until the present) called themselves ”orang Betawi”.
Fort Willem, Ambarawa (± 1835) (photo: Cor Passchier/PDA)
Streets, squares, parks, buildings and all that together, create the environment and décor, which
is known as ”identity”.
Say ”Bandung” and one will react ”Gedung Sate”, ”ITB”, ”Hotel Homann”, the first two built
in 1921 and the last in 1939. Mention ”Jakarta” and one will respond with ”Monas”, ”Jalan
Sudirman” or ”Kota”; the first two are after war references, but the last dated from the early
days of the founding of the colonial town. That’s the way people react proudly and in their own
way. It is my town; I live here identify myself with the décor, which stands for my neighbourhood
– or town. Even expressions of nostalgia became famous and already subject of heritage itself.
In my mind comes up the song Bandung selatan di waktu malam, the original by Ismail Marzuki
(1948), I do regard it as an ultimate expression of intangible heritage.
17
Bunker from Second World War,Tarakan Makassar – Fort Rotterdam (±1670) (photo:
(photo: Cor Passchier / PDA) / PDA)
Forts in Indonesia
An article is necessarily limited in size, also In the Indonesian archipelago, forts and
in content; I will spend some attention to a remains are everywhere. From the 15th to the
particular legacy and heritage, the many forts 18th century, the Portuguese and the Spanish,
built in Indonesia in the course of the centuries followed by the Dutch and English and also
are a reflection of the turbulent history. the local rulers had their fortifications. Forts
were built at strategic locations, usually at the
The project ”identification and inventory of sea, with some smaller forts in the hinterland
Forts” (2007-10) in Indonesia is developed protecting trade routes. Except as defence
by the NGO’s PDA Indonesia and PAC the against enemy attacks, forts also served as
Netherlands; behind both NGO’s were warehouses of herbs and spices. Within the
the governments of Indonesia and the walls lived soldiers-, merchants- and artisans,
Netherlands. This ambitious project covered often an inner garden and a small hospital,
the entire Indonesia archipelago. In the sometimes a church were built. Forts
field survey, we operated with two teams, were as foreign stations in the country and
supported and assisted by the local offices storage places of merchandise; spontaneous
of the Ministry of Culture and Tourism, in settlements arose around such sites. Coastal
cooperation with several local universities and forts have often become the cradle for the
heritage organizations, support by numerous establishment of later big cities.
volunteers. Soon we experienced, the legacy
of historical forts and fortifications in Indonesia The later forts, from the 19th century served
was of an exceptional extent. Originally, the more strictly military purposes, while in the
government hand over a list about 270 forts 20th century, the fortress as a defence bastion
but soon we discovered and determined lost its significance and strategic defences
more than 440 and numbers additionally built were more dispersed, while the older forts
objects, such as small bunkers, etc.
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Cor Passchier Model Fort Rotterdam (image: Cor Passchier / PDA)
only served as military barracks. Forts were forts are used in various ways, sometimes
built according to European functional military they are slowly demolished and the old brick
regulations and an architectural style is no reused by the people. Also a large number of
question; except perhaps in the gatehouses, forts are placed on the national- regional lists
where sometimes an architectural accent is of monuments. A very few are still in use as
shown, baroque, classicism we may encounter. military barracks, others having a new function
like: museum, cultural centre, or as leisure and
Nowadays, there are many forts disappeared tourist objects.
or merged in nature, certainly this applies to
the former wooden blockhouses- and beach In Gombong, central Java, the octagonal fort
reinforcements. However a number of forts (about 1820) has undergone a technical
survived often felt into decay, losing their maintenance; nowadays it is now used as a sort
original function since long. About some we of amusement park. In the immediate vicinity
only know they exist ones and some ruins are of the Fort, one can find are all kind of funfair
preserved as a fixed in stone as a memorial attractions, even plastic dragons; above on the
of history. octagonal wall drives a small fair train on rails;
they actually did not make any meaningful
In the history of the Indonesian built heritage use of the building space and structure and I
like former forts occupy a special place. They guess this kind of function will not prove being
are tangible reminders of the past and still sustainable.
of significance in everyday life. Sometimes
the built environment is part of the identity In Banten, west Java, the remains of the former
in the everyday decor, sometimes to found Fort Surosowan (around 1680) undergone a
far away from human settlement. Ancient consolidating restoration and is as part of the
landscape an archaeological park.
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Yokyakarta - Fort Vredeburg (±1760) (photo: Cor Passchier / PDA)
In Makassar, Sulawesi, the big Fort Rotterdam (about 1670) is since

centuries the identity carrier of the town on the seaside. It is recently
restored and has a main cultural function; one finds here the regional
museum Galigo, the inner space is a fairground for the city dwellers
and the branch office of the ministry of Education and Culture is
established here.
In Ambon, the small tower fort Amsterdam (about 1633), is restored

to its former glory, on beautiful location near by the sea; unfortunately
one did not paid serious attention to establish a new meaningful
function after the rehabilitation; so for some time it was still an empty
witness of history.
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Recommendations and conclusions

It is clear that the national and regional governments are willing to invest in the
conservation and reuse of built heritage, such as forts. However, not all stakeholders,
architects and investors, have knowledge and information about the conservation
and reuse of old forts. In November 2013, an international European conference
(ArtFort) was held and also an Indonesian delegation participated. The information
exchange regarding to the reuse of this category built heritage was considered as
very positive and it is an actual subject of thoughts to organize such an international
workshop also in Indonesia. Which I would highly recommend; beside the share of
information, it may broaden the scope how to treat historic Forts as useful heritage,
how to organize the approach and with references to economic benefits and
integrating in urban planning.
21
Sketsa ini menggambarkan konsep ‘perlambatan jalan’ yang

diterapkan tahun 2008 pada segmen utara Jalan pos, pe
gedung Museum Senirupa yang menyimpan koleksi lukisan
Dengan memperbaiki kondisi di sekitar Museum, JOK berh
kreatif yang diharapkan bisa me
- Moch. Ichsan
22
g awalnya direncanakan JOK (Jakarta Old Town Kotaku) untuk

ersis di sisi timur Plaza Fatahillah. Di latar belakang nampak
n dan keramik karya seniman-seniman terkemuka Indonesia.
harap bisa menjadikannya sebuah ikon bagi kalangan pekerja
enghidupkan kembali kawasan ini.
Harja Nugraha -
23
conservation in
singapore*
by Johannes Widodo
“While Singapore continues to transform, it is important to enhance our sense of

identity and identification with our city. Singapore is our home. People must feel
this in themselves and in their surroundings. URA’s role is to make Singapore a
city with character and identity through our physical landscape. So far, more than
6,500 buildings and structures across the country have been conserved, despite
our limited land and a relatively short history. Retention of our identity through
conservation will become more important as more of our city becomes developed
and redeveloped to cater to the needs of a larger population.” 1
The Central Role of the Urban Redevelopment Authority (URA)

Soon after the separation from Malaysia and became an independent nation, Singapore was in a
dire condition physically and economically.Two most important institutions were set-up in 1965
to deal with the most pressing physical and economics issues and to develop Singapore, namely
the Housing Development Board (HDB) and the Economic Development Board (EDB). In
1967 the Urban Renewal Department (URD) was set up under the HDB to tackle the physical,
social, and economic regeneration of the Central Area, until 1974.
On 1 April 1974 the Urban Redevelopment Authority (URA) was created as an independent
statutory board under Ministry of National Development (MND) to take over the URD
responsibility, with primary task to redevelop the Central Area and resettle residents affected
by the redevelopment. Within the period of 1967-1989 a total of 184 hectares of land were
cleared, assembled and sold under the URA Sale of Sites Program, resulting in the development
of 155 projects.Through this program, Central Area was transformed from an area of slums and
squatters into a modern financial and business hub
In 1980 URA prepared a comprehensive long-term plan for the Central Area including the
development of Marina City on 690 hectares of reclaimed land. Three years later in 1983
the Urban Design Plan for the Central Area was created and aimed to guide ”an orderly
transformation of the city skyline and the creation of an environment interwoven with the
historical, architectural and cultural heritage of the older parts of the city”, followed by the
announcement of Central Area Structure Plan in 1985. Thus URA was exercising its power to
”develop” and at the same time to ”conserve” the central area of Singapore. Although the URA’s
1
From the speech by Mr Mah Bow Tan Minister for National Development at URA Corporate Plan Seminar
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Singapore street market in 1960s (Source: old postcard of Singapore)
conservation policy seems comprehensive in commercial development with much higher

adhering good conservation principles, but in values and returns. Vast shop-house area
reality the results are not satisfying. It focuses inside the old central area, like Kampong
too much to the physical and economic Glam, Middle Road, and Kereta Ayer areas
aspects of gentryfiyng most of the remaining were re-developed and replaced by high-rise
heritage buildings in the central area, and not housing-cum-commercial blocks to house
giving enough attention to preserving the some of the existing inhabitants, and the
existing community or social-cultural fabric. original communities have been relocated
somewhere else.
The ”demolish and rebuild” policy during
the 1970-1980s has cleared or destroyed a The extent of demolition and re-
large stock of old shop-houses and town- development was so large, until finally the
houses in a vast area of the central area of government realized the irreversible loss
Singapore, and its communities have been of tangible cultural heritage and intangible
displaced from the historic mixed-used identity of place especially in the central area.
settlement areas and dispersed elsewhere. Therefore since 1990s the conservation plans
Some of the reasons for demolition and have been drafted and implemented, to save
population-removal policy were to sanitize the remaining stocks of this valuable urban
the social diseases (like overcrowding, heritage – although it was mainly driven by
prostitution, gambling, gangsters), to improve the tourism industry and the speculative
the environmental problems (bad utilities, property re-development schemes. Many old
unhygienic sanitation, structural dilapidation), shop-houses were given second lease of life
and to reclaim unproductive area for new by ”adaptive re-use” approach, from empty
25
buildings they were turned into new shops, Retention, sensitive Restoration, and careful
restaurants, cafés, hotels, or offices. Mayor Repair. This principle is further elaborated as:
changes in the interior space to adapt the 1) Building should not be altered, or parts of it
new functions and to comply with stringent demolished, if they can be preserved in their
building safety regulations were permitted, original condition.
while façade features or style should be kept. 2) When upgrading and adapting a building
The original white-indigo lime-based plaster to a new uses, the existing structure must
was removed and replaced by stronger be retained. This can be done through
PC-based plaster, often with new weather- strengthening and repairing the structural
proof and colorful exterior paints. The dying elements in the most sympathetic and
traditional craftsmanship and the usage of unobtrusive way, and using original methods
traditional building materials are not revived, and materials, wherever possible
but replaced by modern contemporary 3)Selective replacement should only be
technology and materials, and resulted in the considered when absolutely necessary.
loss of authenticity and discontinuity in the 4) Total reconstruction goes against accepted
production of material culture. international conservation practices
5) A thorough research of the conservation
URA Conservation Plan was announced in building will also facilitate the proper
1989. Historic districts like Chinatown, Little execution of works on site.
India, Kampong Glam, Singapore River - 6) The technical aspects and process of the
including Boat Quay and Clarke Quay - as well various activities must be documented at
as residential areas like Emerald Hill, Cairnhill, every stage.
Blair Plain, and secondary settlements like Joo
Chiat and Geylang were given conservation To implement the principles, URA defines
status. The naming or labeling of these areas ”7 Levels of Conservation Activities” and
followed the Singapore Tourism Board ”Top-Down Approach”. The seven levels
“branding” strategy to sell Singapore, which of activities are: 1) Maintaining the essential
turned the central areas of the city into character of the building, 2) Preventing further
“theme parks”. deterioration, 3) Consolidating the fabric
of the building, 4) Restoring the building to
URA Early Conservation Approach original design and material, 5) Rehabilitating
In 1993 URA together with the Preservation the building without destroying its character,
of Monuments Board (PMB) published 6) Replacing missing significant features of the
”Objectives, Principles and Standards for building, and 7) Rebuilding severely damaged
Preservation and Conservation”. Here it parts of the building.
is stated that the objectives, principles and
standards have been specifically written with The ”Top-Down” Approach literally means
the Singapore context in mind, and they are that works start from the top (roof) and
derived from local experience, and where progress downwards, while retaining the
appropriate are drawn from international floor(s) and roof. This enables the lower
sources (among others are Venice Charter elements of the building to be repaired
1964, Burra Charter 1988, etc.). or replaced without affecting the existing
structure. The benefits from this construction
URA prescribes ”3R Principle”: maximum method are: the building remains structurally
2
URA & PMB (1993), p. 12
26
stable, the work can proceed under all Similar stylistic classification and approach was
weather conditions, and deterioration due to applied to different conservation areas, like
weather is minimized. Chinatown, Kampong Glam, and Little India,
with some adjustments to match with the
In shop-house conservation, URA endorses special ”theme” assigned for those particular
“facadism” and prefers to retain the façade areas. Three books elaborating the historical
and allows alteration of the rest of the background of the place and special physical
building. To facilitate this façade classification features of shop-houses typology for each
was defined according to linear periodization, conservation area, with very little attention
with meticulous stylistic description of its given to the existing social-cultural significance.
parts:
1) Early Shop house style (1840-1900) To encourage and to give incentive to private
2) First Transitional Shop house style (early conservation initiatives, The Architectural
1900s) Heritage Awards was created.3 It was started
3) Late Shop house style (1900-1940) in 1994, when URA gave ”Good Effort”
4) Second Transitional Shop house style (late Award for well-restored buildings. The annual
1930s) ”Architectural Heritage Awards” was first
5) Art Deco Shop house style (1930-1960) introduced in 1995 to replace the previous
award. In 2003, the awards category was
27
URA façade classification &

Stylistic description (Source: URA, 1995)
further refined: ”Category A” for national generations. Buildings and elements from
monuments and fully conserved buildings, various cultures and influences from past to
and ”Category B” for old buildings with present have become indispensable parts of
new, innovative and sensitive interventions. our cultural heritage, and it will continuously
The judging is conducted by an Assessment evolve into the future. Inhabitation aspect is
Committee appointed by the URA. always related to the articulation of the built
forms or the material culture.When the social
The policy and the guideline are profoundly fabric (community, inhabitants) is gone, then
inclined towards physical conservation of building and settlement will turn into empty
multi-racial, colonial, and national heritage of shells where deterioration will take place. In
Singapore – while the conservation of social this critical stage, the choices are demolition
fabric of community is noticeably missing. It or re-development, especially when it takes
became apparent later that the conservation place in the central urban prime locations.
policy which is focused mainly on the tangible
aspect has created problems in the intangible Conservation, preservation, restoration,
aspect of heritage. revitalization efforts of our material and
living heritages should be aimed towards
Holistic Urban Heritage Conservation the community cultural continuum. The
and Regeneration community’s cultural continuum can be kept
Cultural purification and elimination of parts and nurtured by preserving the community’s
of our layered or hybridized identity which tangible and intangible cultural heritages
have been formed for generations are not through faithful and careful restoration, and
truthful to our own history and to our future through sensitive and sensible care and
28
Former Shop Houses in China
Square after redevelopment
interventions. The dying or missing traditional 1) articulation of the heritage values in

skills and craftsmanship can be revived and order to convey the spirit of place through
restored through training and education, and conservation,
to be updated with the current technological 2) appropriate use or adaptation of the
advancement. Following the principles of structure,
traditional medicine to cure the sickness 3) interpretation of the cultural, social,
by invoking good energy for holistic healing historical and architectural significance of the
process of body and soul, effective and structure(s) in the conservation work,
affirmative actions can be developed in the 4) understanding of technical issues of
spirit of good will and good faith in order to conservation/restoration in interpreting the
preserve our memory and identity through structure’s significance,
conservation of our cultural heritage in 5) appropriate use or adaptation of the
entirety and holistically. structure,
6) interpretation of the cultural, social,
The community should be empowered by historical and architectural significance of the
technical skills and sustained by economic and structure(s) in the conservation work,
institutional infrastructure, through holistic 7) understanding of the technical issues of
conservation and preservation strategy in conservation/restoration in interpreting the
mobilizing all stake holders. Recognitions structure’s significance,
such as awards and status should be aimed 8) use of appropriate materials,
to generate greater impacts towards a 9) how well any added elements or creative
more sustainable and effective heritage technical solutions respect the character and
policy, planning, and management of the inherent spatial quality of the structure(s),
community’s tangible and intangible cultural 10) manner in which the process and the
heritages, and not for the sake of marketing final product contribute to the surrounding
or branding for the sake of mass-tourism environment and the local community’s
money. cultural and historical continuum,
11) influence of the project on conservation
Good conservation projects and practices practice and policy locally, nationally, regionally,
are those which successfully demonstrating or internationally,
the following points:
5
Refer to UNESCO Asia Pacific Awards for Culture Heritage Conservation criteria. Detail information about the
awards can be found in: http://www.unescobkk.org/culture/our-projects/empowerment-of-the-culture-profession/asia-
pacific-heritage-awards-for-culture-heritage-conservation/ 29
12) ongoing socio-economic viability and significant buildings. It is multi-dimensional, to

relevance of the project, and provision for its include buildings, road patterns, streetscapes,
future use and maintenance, and open spaces and vistas; demands multi-
13) technical consistency, complexity and disciplinary involvement across local and
sensitivity of the project methodology. national levels; and incorporates all stake
holders (users, owners, heritage-supporters,
Changes in Singapore Urban decision makers) of the conservation
Conservation Approach process.
Recognizing the need to involve the community
in the urban planning process URA started to Besides specific recommendations for
embark on public consultations exercise in the different places across Singapore, the
urban planning process since the drafting of Subject Groups also suggested the following
Concept Plan 2001 (Aug 2000 – May 2001). proposals to take conservation efforts in
The ideas and feedbacks from public were Singapore to the higher level:
gathered through public forums, exhibition, 1) Valuing the priceless: conserving areas with
and public dialogue before the Concept Plan rich heritage, charm, and social value, even
was finalized at the end of 2001. In 2002 though there may be loss in development
similar process was repeated again when potential at the local level.
Master Plan 2003 was drafted. Three Subject 2) Different levels of conservation: conserving
Groups were appointed by the Minister of significant exteriors, interiors, and details of
National Development to study proposals selected buildings; and controlling the use
on: 1) Parks & Water-bodies Plans and Rustic of selected buildings with strong social and
Coast, 2) Urban Villages and Southern Ridges historical values.
& Hillside Villages, and 3) Old World Charm. 3) Act fast: preparing a comprehensive list of
The ideas and recommendations were to be buildings for safeguarding.
incorporated into the draft of Master Plan 4) A Network of heritage assets: linking
2003. up areas of the conserved area with the
new developments that serve as heritage
The Subject Groups comprise professionals, connectors.
representatives from interest groups, and 5) Differential expectations and planning:
laymen. They felt that a shift in the balance adopting different performance and planning
between conservation and re-development standards that are sensitive to the urban
is required, and a new framework is needed fabric of areas identified with the conserved
for holistic conservation – an integrated, area.
synergistic approach that goes beyond 6) Beyond efficiency, embracing new
physical structures to include communities solutions: exploring alternatives to widening
and activities that contribute to the old world of roads within the conserved area, and
charm. Holistic conservation encompasses exploring the use of different transportation
the whole neighborhoods, including modes.
contemporary and less architecturally 7) Recognizing our heartland heritage:
6
MND (2002), Parks & Waterbodies Plan and Identity Plan - Subject Group Report on Old World Charm, p.8
30
keeping blocks of public housing architecture and townships that encapsulated the range of
public housing from the 1950s to the present.
8) Wish list: retaining more built heritage for future generations, including the more recent
building that depicts the history of Singapore’s path towards independence and efforts in nation
building process.
9) Heritage economy: recognizing conservation’s contribution to the economy by providing
funding for conservation initiatives and efforts.
10) Money talks: introducing more incentives for owners of conservation buildings
11) Private sponsorship: encouraging the setting up of a privately-run heritage trust.
12) Getting insights: commissioning a study on property value of conserving buildings
13) Promote traditional trades: developing ways to recognize owners of traditional trades
that are valued by the public.
14) Active citizenship: precipitating the formation of local business improvement groups.
15) Renaissance people: developing a heritage education program that takes a more active
and concerted form to inform, educate, and inspire people about their city.
Living heritage: traditional trades in the shop-house in Serangoon area (“Little India”)
31
Recognitions and the Future of

Conservation in Singapore
In October 2007, Singapore rejoined UNESCO Keng Temple (Honourable Mention Award
after 22 years of absence. But even before in 2001), the Convent of Holy Infant Jesus
this historic turning point, UNESCO had given (Award of Merit in 2002), Old St. Andrew’s
Singapore three awards in recognition of the School (Honourable Mention Award in
achievements of individuals, private sector 2006), and finally the Hong San See Temple
organisations and public-private initiatives in restoration project won the highest Award for
successfully restoring and conserving heritage Excellence in 2010.
structures in this small city-state.
On the community level, recently some
UNESCO aims to promote the stewardship individuals have registered themselves to
of the world’s cultural resources, including the become individual members of ICOMOS,
built heritage which constitutes our collective which is the first important step towards the
cultural memory, and the foundation upon formation of ICOMOS National Committee.
which communities can base their future. Government is also interested to look into
In Asia and the Pacific, UNESCO supports the possibility of submitting some sites in
conservation activists at all levels, and Singapore for UNESCO World Heritage
particularly seeks to encourage the role of listing. Although these developments seem
the private sector in preserving the region’s preliminary and still very early to generate
cultural heritage. The UNESCO Asia-Pacific real impacts, but these are significant steps
Heritage Awards for Culture Heritage towards better approach to preservation and
Conservation is one of the regional initiatives conservation of heritage.
that support the organisation’s global strategic
objective of promoting the localisation and In Singapore both land and heritage are
empowerment of the culture profession to scarce. These constraints should drive better
develop and implement the best conservation and more effective conservation strategies
standards. and methods so that the full positive impact
of conservation may contribute to strong
Since 2000 the Heritage Awards committee economic development, nation-building, and
has received more than 300 entries from across a sense of home. In working towards these
Asia. Many of the entries have set technical ends, it is essential to form a civic coalition, a
and social benchmarks for conservation in the community network and an alliance among all
region, while simultaneously acting as catalysts stakeholders to maintain a balance between
for local preservation initiatives. Over the conservation and development, and to ensure
years, the projects illustrate the increasing an orderly and healthy evolution of the built
momentum and level of conservation in environment and the community that lives
Asia and the Pacific. Four Singaporean within it.
conservation projects have so far won
UNESCO Heritage Awards: the Thian Hock
32
We are obliged to prolong the lifecycle of our tangible and intangible heritages for the sake of
the future generation, to ensure the link with their roots and the transmission of memory from
the past into the future. Conservation means nurturing the community’s cultural continuum.
By prolonging the life of our heritage for future generations, we can ensure their link with their
roots and the transmission of memory from the past to the future.
“A nation must have a memory to give it a sense of

cohesion, continuity and identity.The longer the past,
the greater the awareness of a nation’s identity”
*This paper was presented at the serial talk on Capitals’ Archaeology: Urban Origins and Conservation,
organized by The Southeast Asian Ministers of Education Organization Regional Centre for Archaeology
and Fine Arts (SEAMEO-SPAFA), 29 April 2011, at Siam Society, Bangkok, Thailand. It was then published
in SPAFA Journal Volume 21, Number 3, September-December 2011 (ISSN 0858-1975), published by the
References
1. Engelhardt, R. (editor). ”Asia Conserved: Lessons Learned from the UNESCO Asia-Pacific Conservation
Awards”. Bangkok: UNESCO, 2007
2. ICOMOS Charters, http://www.international.icomos.org/charters.htm
3. Ismail, Rahil, Shaw, Brian & Ooi Giok Ling (editors). ”Southeast Asian Culture and Heritage in a Globalizing
World – Diverging Identities in a Dynamic Region.” Surrey: Ashgate, 2009
4. MND (2002), Parks & Waterbodies Plan and Identity Plan - Subject Group Report on Old World Charm,
Ministry of National Development, Singapore
5. MND (2002), Parks & Waterbodies Plan and Identity Plan - Subject Group Report on Urban Villages and
Southern Ridges & Hillside Villages, Ministry of National Development, Singapore
6. Tan, Sumiko (1999), Home.Work.Play, Urban Redevelopment Authority, Singapore
7. URA & PMB (1993), Singapore - Objectives, Principles and Standards for Preservation and Conservation,
Urban Redevelopment Authority & Preservation of Monuments Board, Singapore
8. URA (2004), Architectural Heritage Singapore - Architectural Heritage Awards 1994 to 2004, Award
Winning Projects by Singapore-registered Architects, Urban Redevelopment Authority, Singapore
9. URA (1995), Chinatown Historic District, Urban Redevelopment Authority, Singapore
10. URA (1995), Little India Historic District, Urban Redevelopment Authority, Singapore
33
Sebuah ilustrasi yang menggambarkan penerapan lain

dari upaya perlambatan jalan oleh JOK pada segmen
Jalan Pintu Besar Utara (sisi barat Plaza Fatahillah)
untuk mendorong tumbuhnya keramaian. Perlambatan
jalan ini dicapai dengan menerapkan lajur zig-zag pada
jalan yang dahulunya lurus dan ramai. Bollard (batu
pembatas) dan bangku yang didesain dengan artistik
turut menciptakan karakter unik dari segmen ini.
- Moch. Ichsan Harja Nugraha -
34
35
event space as
for kota t
by Daliana Suryaw
Town Hall Renovation in 1973 (photo: James Cobban)
Jakarta as a capital city suffers many aspects, yet it beholds hidden treasures such as Kota
Tua. Especially on the subject of Kota Tua, there has been a high level of desperation. For
more than four decades since the first preservation program commenced in 1970s1, several
revitalization plans have failed to be implemented, resulting in piecemeal projects that have
fallen short to create substantial positive impact.
The problems in Kota Tua are layered and intertwined. Dilapidated infrastructure and polluted
environment have created an undesirable living and working environment, encouraging
businesses to move out and squatters and street vendors to move in. Those interested in
investing in the area are quickly discouraged by the rigid yet insufficient heritage building
regulations, lack of incentives, and lack of priority and coordination within the government
to carry out the revitalization plan. Not to mention that the master plan has not been made
public or accessible. There are 182 heritage buildings2 in Kota Tua, most of which are located
36
s the solution
tua jakarta
winata & Diana Ang
Visualization of Kali Besar after revitalization plan 1973. (source: Cobban, 1985)
within the core area of Fatahillah Square.3 For privately-owned buildings, which comprise
70% of building ownership (Tambun, 2013), the cost of renovating and maintaining a heritage
building outweighs its benefits, while for state-owned buildings; the condition is further
restricted by limited lease duration to private investors.4 While the owners are waiting for a
promising change, the centuries old buildings continue to decay and fall apart.
Recently, however, the current city administration takes Kota Tua revitalization plan into its
12 Priority Programs 2013-20175 and announced that Special Economic Zone be planned
starting 2014.6 The SEZ will allow for the 160 hectares historic area to be managed by a
single authority to ensure efficiency and flexibility. While the Special Economic Zone may
take several years to be formed and the master plan 20 years, this has shed a new hope for
the area.
37
which involves notable international and

local architects and landscape architects7
to collaborate with local government and
building owners to reprogram 6 heritage
buildings and 1 landscape area located
along Kali Besar and Fatahillah Square.8 At
the same time, Jakarta Old Town Reborn
Corporation has pioneered a pilot project of
the conversion of Post Office building into
Museum of Contemporary Art and Visitor’s
Center, to be opened in March 2014.9
Second, creative festivals act as catalyst to

revive the soul of Kota Tua. Beyond gaining
substantial tourism and redefining the image
of the city, festivals can be a powerful tool
to cultivate the communities of interest
Kota Tua aspires to accommodate and be
identified with. In The Death and Life of Great
American Cities,10 Jane Jacobs states that ”a
city’s very wholeness in bringing together
people with communities of interest is one
of its greatest assets, possibly the greatest.”
Creative festivals in Kota Tua can be the
center where the city’s young and creative
minds come together.11
Jakarta Old Town Reborn Program Archipunctural
Strategy 2013-2014. (source: JOTRW Curatorial
Team ) Learning from Venice and Malaka
Venice is Europe’s largest car-free urban area.
Immediate and collective actions Tourists come for its architectural-urban
In the meantime, two agents of change are spatial quality, and mostly the festivals. In the
needed to complement the long-term plan. 1980s, the Carnival of Venice was revived
First, a group of pilot projects that can acts and the city has become a major centre of
as exemplary urban magnets for the area. international conferences and festivals.12
This needs to be done immediately as the Venice hosts three of the world’s most
heritage buildings are becoming increasingly prestigious festivals: The Venice Art Biennale,
difficult to save with time, and collectively, The Venice Architecture Biennale, and the
so that the diversity of owners, users, and Venice Film Festival where all the world’s
programs create engaging, vibrant points of greatest artists, architects and filmmakers
interests and communities within the area. celebrate with a backdrop of elegantly
Such initiative is being proposed through decaying historical buildings and canals.
the Jakarta Old Town Reborn Program Jonker Walk, a popular tourist area in Malaka,
led by Rumah Asuh and Erasmus Huis, started with regular weekend festivals
38
from 18.00-24.00 initiated by the Malaysian can greatly affect the authenticity of the
government. Soon, it became a new tradition. cultural aspect of the district.
Even though urban critics point out that
Jonker Walk has become overtouristic and Kota Tua Creative Festival (KTCF), supported
overcommercialized, it has achieved several by Indonesian Diaspora Network, the City
points in preservation with a new spirit. of Jakarta, and the Ministry of Tourism and
Creative Economy, aspires to be a festival
Kota Tua can foresee a revival by means of that brings contemporary creative affairs
great festivals with contemporary affairs and engage them with the social and physical
that measures up to international standards. spaces of Kota Tua. The event is proposed to
Jakarta has already regularly hosted such take place in 2014 as the revitalization program
events, only they are typically held in shopping commences. Held in open public spaces and
malls or conference centers. Festivals decaying heritage buildings around Fatahillah
such as Jakarta Food and Fashion Festival, Square and Kali Besar, the festival programs
Jakarta International Film Festival, Jakarta are designed to provoke discussions and
Architecture Triennale, and Java Jazz Festival reflections in broad disciplines, as well as
can benefit from relocating to the abundance propose alternative ways of enjoying spaces
of diverse public and private spaces in Kota in the city. The program of the festival tests
Tua. the long-term plan to turn the district into
creativity and innovation center.13 Arts and
It is important to note that festivals, if to culture programs have been enduring aspect
become a powerful tool in reconstructing of the masterplans, evolving from proposed
the identity of a district, must include traditional handicrafts outlet in 1973
participatory and community building aspects (Cobban, 1985) to proposed Museum of
to it in instead of only accommodating Modern Art Jakarta, contemporary galleries,
spectators and consumers. Today, there are and relocation of Institut Kesenian Jakarta
regular festivals taking place in Kota Tua, but (IKJ) in 2004,14 to the realization of Museum
most are traditionally themed and geared of Contemporary Art in 2014 (Ida, 2013).
towards spectatorship. In the long run, this
Art Biennale, Arsenale,Venice (photo: AudreyH)
39
KTCF also works with LWG DMO Kota Tua (Local Working Group & Destination Management
Organization)15 to develop programs that engage the existing creative communities in Kota Tua.
The festival hopes to create for its participants a sense of openness and involvement in the
larger revitalization program. As mentioned in The Image of the City by Kevin Lynch, ”moving
elements in a city, and in particular the people and their activities, are as important as the
stationary physical parts. We are not simply observers of this spectacle, but are ourselves a
part of it, on the stage with the other participants.”16 The revitalization of Kota Tua can benefit
from ideas and responses of its diverse citizens and visitors that feel a sense of belonging to
the historic district.
City as Event Space

In The Manhattan Transcripts, Bernard Tschumi states that ”architecture is not simply about
space and form, but also about event, action, and what happens in space.”17 Architecture and
urban spaces are inseparable from events that take place within it. Millions of events construct
the daily narratives and meaning of citizens’ lives in a city,18 and architecture and urban space
are underutilized tool to construct events that can bring vitality to the city. Festivals are just
one form of this. While Jakarta has recently witnessed a rising number of public events, the city
could tap into this and use events as a tool to improve the social and physical conditions of
dilapidated spaces in a city. For example, the city could establish a policy where incentives are
given for events that take place in the places designated for urban change within a given time.
Jakarta Old Town Kotaku

2004 plan to “revive kota for
artist & creative community
within walking distance”
(source: JOK document)
40
Evolution of Preservation to flourish into genuine culture by having

In Kota Tua, the concept of preservation communities whose livelihood revolves in the
has always been motivated by tourism. A area and overseen by urban managers.20
supporting motive may also be ”not so much
of what is being preserved as fear of what While the guidelines concerning preservation
will replace it”,19 since several of Jakarta’s in Kota Tua are constraining and may need
beloved historic urban fabrics, such as Senen, revisions so it can be beneficial to the district
have given way to modern developments revitalization in a timely manner, the most
insensitive to its unique economic and important aspects that need to be preserved
cultural history. The preservation concept and allowed to evolve are the unique intangible
of Kota Tua has evolved from a focus on qualities that is not commonly found in many
adaptive reuse buildings for tourism in 1973 public places in Jakarta, such as diversity
(Cobban, 1985) to include a place to live and of users (tourist, students, locals), cultural
work in 2000s (JOK, 2004), to become ”a activities (photo-shoots/filming), and leisure
town of creativity and innovation” in 2012 (biking, playing chess outdoors) that create a
(Ministry of Tourism and Creative Economy heterogeneous space unique to Kota Tua.
of the Republic of Indonesia, 2013). Although
the implementation of the master plan(s) Although the preservation of Kota Tua
has been painstakingly slow, the evolution of will be mostly judged in the success of the
the concept is positive. A city district should revitalization of its physical spaces, the process
not be mummified for tourism, but allowed to reach such state involves many aspects
41
Kali Besar Timur (photo: Diana Ang)
Interior of Rumah Akar (photo: Diana Ang) Interior of Former Tjipta Niaga (photo:Windo Salomo)
that are not architectural, mainly in creating systems to simplify complex bureaucracy, provide
incentives for building renovation and target groups to occupy the district.
Hitting its fourth decade of revitalization attempt, it is too early to say this time the attempt
will not fall short. Yet, so far, positive changes have rapidly taken place in the past year, namely
the reorganization of street vendors, creation of LWG DMO, formation of Jakarta Old Town
Revitalization Corp, Jakarta Endowment for Art and Heritage, inclusion in city administration’s
12 Priority Projects 2013-2017, the plan to create Special Economic Zone, the upcoming
completion of Jakarta Contemporary Arts Museum, and the upcoming Kota Tua Creative
Festival.
Meanwhile, complex problems need creative solutions. Perhaps the problem of Kota Tua itself
is one episode in the city that allows for diverse community with common interest to come
together and join forces: all stakeholders, from the building owners to street vendors, from
government bodies to architects and urban designers.
References
[1] Cobban, James L. “The Ephemeral Historic District in Jakarta.”Geographical Review. 75.3 (1985): 300-318. Web.
<http://www.jstor.org/stable/214487>.
[2] Tambun, Lenny. “A New Hope for Jakarta’s Kota Tua.” Jakarta Globe [Jakarta] 24 Feb. 2013, Web. 21 Feb. 2014.<http://
www.thejakartaglobe.com/archive/a-new-hope-for-jakartas-kota-tua>.
[3] Sugiantoro. Appendix 2: Jakarta Case Study. 1st ed. Mandaluyong: Asian Development Bank, 2008. 105-162. Print.
[4] Anderson, Charles, and Jennifer Blake. “Saving Batavia.”Jakarta Globe [Jakarta] 4 Apr 2009, weekend ed. Print.
[5] Sak. “12 Program Prioritas Jokowi-Basuki 2013-2017.”Ahok. 4 Dec 2013. Web. 21 Feb 2014. <http://ahok.org/berita/
news/12-program-prioritas-jokowi-basuki-2013-2017>.
42
Visualization of Fatahillah Square during Kota Tua Creative Festival 2014. (source: KTCF Curatorial Team)
[6] “Kota Tua Akan Dijadikan Kawasan Ekonomi Khusus.”Kompas [Jakarta] 26 Apr. 2013, Web. 21 Feb. 2014. <http://
megapolitan.kompas.com/read/2013/04/26/15291755/Kota.Tua.Akan.Dijadikan.Kawasan.Ekonomi.Khusus>.
[7] The architects and urban designers include Dutch architecture practices OMA, MVRDV, KCAP, Niek Roozen +
Wageningen University, and Indonesian architecture practices Han Awal & Partners + SHAU, Andra Matrin Architects,
Djuhara + Djuhara,and Citra Konsulindo Utama.
[8] Jakarta Old Town Reborn Workshop Curatorial Team Document (2013)
[9] Nurcahyani, Ida. “PT Pembangunan Kota Tua Jakarta diluncurkan.” Antara News [Jakarta] 13 Nov 2013, n. pag. Web.
21 Feb. 2014. <http://www.antaranews.com/berita/404742/pt-pembangunan-kota-tua-jakarta-diluncurkan>.
[10] Jacobs, Jane. The Death and Life of Great American Cities. 1st Vintage Books ed. New York: Random House, Inc. ,
1992. 119. Print.
[11] The idea of Kota Tua as a center for creative industries was first proposed in 2000s. Source: Jakarta Old Town
Kotaku (JOK) Document (2004)
[12] Ciancio, Antonella. “New “kings” of Venice revel in carnival.” Reuters [New York] 20 Feb 2012, n. page. Web. 21 Feb.
2014. <http://www.reuters.com/article/2012/02/20/uk-italy-carnival-idUSLNE81J00T20120220>.
[13] “Old Batavia revitalized through Destination Management Organization (DMO).” Ministry of Tourism and Creative
Economy of the Republic of Indonesia, 21 Apr 2013. Web. 21 Feb 2014. <http://www.indonesia.travel/en/news/
detail/940/old-batavia-revitalized-through-destination-management-organization-dmo>
[14] Jakarta Old Town Kotaku (JOK) Document (2004)
[15] Pratawisari, Fitri. “Pengembangan Pariwisata Perlu Peran Warga Sekitar.” Kompas [Jakarta] 10 Apr 2013, lipsus
n. pag. Web. 21 Feb. 2014. <http://lipsus.kompas.com/gebrakan-jokowi-basuki/read/xml/2013/04/10/11505024/
Pengembangan.Pariwisata.Perlu.Peran.Warga.Sekitar>.
[16] Lynch, Kevin. The Image of the City. 1st ed. Cambridge: Joint Center for Urban Studies, 1960. 2. Print.
[17] Tschumi, Bernard. The Manhattan Transcripts. 2nd ed. London: Academy Editions, 1994. Print.
[18] Livesey, Graham. “Deleuze, Whitehead, the Event, and the Contemporary City.” Event & Decision: Ontology
& Politics in Badiou, Deleuze, and Whitehead. Calgary: University of Calgary, 2007. 18. Web. 21 Feb. 2014. <http://
whiteheadresearch.org/occasions/conferences/event-and-decision/papers/Graham Livesey_FinalDraft.pdf>.
[19] Semes, Steven W.The Future of the Past: A Conservation Ethic for Architecture, Urbanism, and Historic Preservation.
1st ed. New York: W. W. Norton & Company, 2009. 140. Print.
[20] The idea of “urban manager” was mentioned by Jakarta Old Town Kotaku (JOK) members during a meeting related
to workshop held in Erasmus Huis in December 2012 43
44
Bangunan ini berlokasi di Jalan Pintu Besar Utara di sisi barat

Fatahillah. Desain teralis dari besi tempa-nya sangat cantik dan
menarik, menjadikannya satu dari beberapa bangunan disini yang
disukai para fotografer. jendela di lantai kedua dihiasi kaca patri
dan menggambarkan simbol-simbol kota yang dikuasai Belanda.
- Moch. Ichsan Harja Nugraha -
45
‘MENCARI ARSITEK
KONSERVATORIS’
oleh Yusni Aziz
Waktu tidak dapat meruntuhkan semangatnya. Meski telah aktif berprofesi sejak era
pemerintahan Sukarno, Han Awal seperti tidak mengenal kata berhenti. Di usianya yang
ke-83, Ia masih tetap aktif berprofesi sebagai arsitek konservatoris. Belum lagi beberapa
tanggung jawab lainnya, seperti anggota dewan pengawas Pusat Dokumentasi Arsitektur
(PDA) dan yang terkini, sebagai anggota Board of Advisor dari Jakarta Endowment for Arts and
Heritage (JEFORAH).
Tiga hari setelah perayaan Imlek, saya berkunjung ke rumahnya bersama puluhan pertanyaan
akan realita arsitek konservatoris di Indonesia. Profesi yang bergerak khusus dalam konservasi
bangunan bersejarah ini seperti masih belum banyak memiliki peminat. Han Awal yang
berpengalaman selama lebih dari dua dekade tentu akan memiliki cara pandang tersendiri
terhadap hal ini.
Sore itu, Ia menyambut saya di pintu ruang tamu. Mengenakan kemeja batik merah dan
celana kain hitam, Han Awal langsung mengundang saya duduk di teras belakang.
“Rumahnya bagus pak”, ujar saya spontan melihat rumahnya yang sangat hangat, khas garis
desain Han Awal.
“Ini rumah gaya lama kok. Hahaha”, jawabnya ramah.
Kami berhenti di depan meja kayu bundar yang dikelilingi kursi-kursi plastik berwarna
putih. Kicauan burung peliharaan bersama bising suara pembangunan apartemen di dekat
rumahnya mengiringi kedatangan kami. Beberapa saat kemudian, satu cangkir kopi susu dan
piring kecil makanan ringan diantarkan oleh seorang wanita paruh baya. Setelah Han Awal
meminta satu cangkir lagi kopi susu untuknya sendiri, kami segera memulai diskusi.
46
Kiprahnya dalam dunia konservasi diawali pada tahun 1980-an ketika Uskup Agung
menawarinya memperbaiki kerusakan pada gereja Katedral. Han Awal yang saat itu tidak
pernah mempelajari ilmu konservasi, tetap kukuh untuk mencoba dan belajar secara otodidak.
Kelak hal itu membuatnya tersadar bahwa di praktek konservasi profesi arsitek dapat
disamakan dengan seorang dokter. Han Awal harus melakukan diagnosa terhadap penyakit
bangunan dengan sangat hati-hati. Melalui riset mendalam terhadap sejarah, teknis dan
metodologi cara membangun pada masa itu.
“Lama-lama akhirnya menjadi passion. Bukannya saya tergila-gila, tapi saya sangat empati
dengan pekerjaan saya. Seperti ada kekayaan yang terpendam. Sesuatu yang tadinya tidak
tahu akhirnya jadi memahami bahwa di belakang itu ada semacam kearifan. Tidak analisa
bangunan saja, tetapi juga jiwa dan cara membangun pada masa itu. Ini luar biasa.”
Dia melanjutkan dengan pentingnya pemahaman sejarah. “Saya yakin bahwa kearifan sejarah
perlu kita miliki. Karena di situ kita banyak gali jejak sejarah kita sendiri, untuk akhirnya sampai
ke masa kini. Berpijak pada apa yang diberikan oleh sejarah.”
“Sejarah yang mana?”, tanya saya.
“Entah itu tentang kolonial, Majapahit atau bagaimana pedagang Islam masuk kesini. Tidak
usah menolak diri, karena itu kenyataan untuk bangsa. Dan tanpa kenyataan itu, kita tidak akan
timbul budaya seperti sekarang.”
“Kita juga harus melihat masa kolonial membawa sesuatu yang positif, tidak selamanya negatif.
Memang banyak penindasan, tapi juga banyak yang dikenalkan seperti cara berpakaian. ‘Masak
kita jadi bangsa sarungan?’ kata Soekarno. Akhirnya, bangsa Indonesia baiknya menata masa
depan dari kearifan lokal seperti Soekarno”, lanjutnya
Bangunan bersejarah memang seperti sebuah laboratorium hidup. Mereka menyimpan

kearifan masa lalu dan sejarah secara gamblang, terbuka untuk interpretasi lebih lanjut.
Dokumentasi melalui buku tidak bisa menggantikan suasana ruang, bukti aplikasi teknologi
terhadap lingkungan, dan jejak autentik sejarah yang hadir di sebuah bangunan. “Pemahaman
ini sangat penting untuk dimiliki para mahasiswa dan praktisi arsitektur”, ujar Han. Sehingga
semakin banyak arsitek konservatoris yang bergerak aktif, semakin banyak ilmu dan memori
bangsa yang akan terselamatkan untuk kita dan generasi mendatang.
Namun kenyataan berbicara lain. Franky Liauw dalam “Konservasi masih Minoritas1”
menekankan bahwa kegiatan konservasi masih belum memiliki banyak peminat di Indonesia.
Manfaat konservasi telah banyak dikemukakan, tetapi banyak yang masih melihat konservasi
sebagai penghambat kemajuan.“Kemajuan” masih diidentikkan dengan membangun bangunan
modern yang ada di negara “maju” dalam kecepatan tinggi.Yang jika diteruskan akan merusak
budaya dan identitas sebuah kota, membawanya menjadi semakin generik.
1. Tulisan dapat ditemukan dalam Prosiding Seminar Nasional Perkembangan Teknologi VS Konservasi Arsitektur. Jurusan Arsitektur
Universitas Merdeka Malang, 28 Agustus 2008. 47
Bangunan kolonial di Kota Tua Jakarta rubuh di awal tahun 2014 karena kurangnya sentuhan konservasi
©YusniAziz
Franky juga berkata tuntutan ekonomi juga lebih mendorong para pemberi ijin meloloskan
penghapusan bangunan bersejarah. Mayoritas arsitek sendiri masih belum terlalu peduli
terhadap pentingnya mereka,. Terlalu sibuk mencari nama dengan menciptakan sesuatu yang
baru dan berani, dan kurang menoleh ke belakang.
Padahal arsitek-arsitek besar yang menciptakan pembaruan juga adalah sosok yang sangat
menghargai pekerjaan konservasi dan sejarah. Kurator Vennice Biennale 2014, Rem Koolhaas,
memberikan tema “Fundamentals”, yang akan mencoba mengangkat evolusi arsitektur
nasional sebuah negara dalam kurun waktu 100 tahun. Pada tahun 2012, delapan pemenang
Pritzker Prize, dan beberapa arsitek ternama lain mengirimkan sebuah surat terbuka2 kepada
walikota Chicago, Rahm Emanuel, untuk menghentikan penghancuran Rumah Sakit Prentice
karya Bertrand Goldberg, yang akan digantikan oleh bangunan riset medis Universitas
Northwestern.
Setahun kemudian, Rem Koolhaas, Peter Eisenman, Steven Holl, dan beberapa nama besar
lainnya juga menandatangani surat terbuka3 untuk preservasi rumah Konstantin Melnikov
di Moskow, Rusia. Surat tersebut menyatakan pentingnya preservasi rumah tersebut untuk
menjadi sebuah museum publik. Segala dokumentasi tentang Melnikov juga sebaiknya
dikumpulkan di sebuah museum yang terletak dekat dengan rumahnya, dan terbuka untuk
pembelajaran arsitek, akademisi dan masyarakat.
48
Lantas,
kenapa kita seperti masih kekurangan arsitek konservatoris? Apakah kita butuh lebih banyak
arsitek konservatoris? Bagaimana sebetulnya realita yang terjadi di Indonesia?
Kementerian Pendidikan dan Kebudayaan (Kemdikbud) merupakan kementerian yang

bertanggung jawab terhadap pelestarian Bangunan Cagar Budaya (BCB) dan Kawasan Cagar
Budaya (KCB). Nadia Purwestri, direktur PDA, menyampaikan kondisi yang sedang terjadi,
“Nah, Kemdikbud itu didominasi arkeolog. Mereka memperlakukan bangunan yang bukan
candi seperti candi. Akhirnya bikin dead monument, bukan living monument.”
Menurut Arya Abieta, anggota Tim Sidang Pemugaran (TSP) DKI Jakarta, realita yang terjadi
ini bukan sesuatu yang salah. Namun memang sering terjadi perbedaan pola pikir dalam
pelaksanaan konservasi. “Sederhananya, teman-teman arkeolog ingin mengajak masa kini ke
masa lalu. Kita arsitek ingin mengajak masa lalu ke masa kini.”
Konservasi bangunan di Indonesia memang dipelopori oleh profesional di bidang arkeologi.

Pada era kolonial, banyak masyarakat Eropa yang tertarik kepada kebudayaan nusantara.
Karena hal ini dapat mengangkat nama Belanda di mata internasional, akhirnya Commisie in
Nederlandsche-Indie voor Oudheidkundige Orderzoek op Java en Madura dibentuk tahun 1901,
untuk mengelola warisan budaya Indonesia.
Komisi ini akhirnya menjadi Dinas Purbakala Hindia-Belanda (Oudheidkundige Dienst in

Nederlandsche-Indie) di tahun 1913. Secara undang-undang, Monumenten Ordonnantie no.
238 tahun 1931 juga ditetapkan untuk melindungi dan mengelola cagar budaya, yang menjadi
dasar pembentukan UU Cagar Budaya no 5 tahun 1992.
Dari sini muncul beberapa tindakan arkeologis yang sangat fundamental. Pada tahun 1907
hingga 1911, tim pimpinan Theodoor van Erp melakukan restorasi pertama Borobudur.
Kemudian tahun 1902, van Erp juga mengawali pemugaran candi Prambanan, yang akhirnya
terselesaikan tahun 1953 di bawah pemerintah Indonesia4.
Borobudur sebelum proses

restorasi Theodoor van Erp.
(Sumber: Borobudur, Periplus
Editions HK Ltd. 1990)
2. Surat terbuka dapat dilihat di:

http://resources.ber trandgoldberg.
o r g / O p e n - L e t t e r- t o - M a y o r-
Emanuel_Prentice_08.29.12.pdf
3. Surat terbuka untuk preservasi
rumah Konstantin Melnikov
dapat dilihat di: http://www.
a r q u i t e c t u r av i v a . c o m / m e d i a /
Documentos/melnikov_heritage.pdf
4. Lihat “Momen penting dalam
pergerakan konservasi arsitektur
Indonesia” di akhir halaman
49
Mayoritas arsitek sendiri pada saat itu lebih terfokus untuk mengenalkan modernisme, atau
berusaha melakukan sintensis dengan kearifan lokal. Di era pemerintahan Soekarno, mereka
semakin sibuk dengan arsitektur modern sebagai usaha penciptaan identitas baru bangsa
Indonesia. Hingga akhirnya di tahun 1970an, konservasi semakin terangkat di kalangan arsitek
ketika Ali Sadikin mempelopori revitalisasi kota tua Jakarta.
Namun pendidikan arsitektur di perguruan tinggi pada saat itu masih belum memberikan
pendidikan konservasi. Alhasil, arsitek Indonesia yang mendapatkan proyek konservasi
cenderung belajar secara otodidak seperti Han Awal.
Dewasa ini, beberapa universitas sudah mengenalkan ilmu konservasi bangunan, meski masih
dalam ranah mata kuliah pilihan. Konservasi seakan masih belum menjadi hal krusial dalam
dunia pendidikan arsitektur Indonesia. Nadia berpendapat, “Karena pemugaran itu engga
popular. Mereka lebih suka desain kan? Bangunan tingkat tinggi, atau yang kompleks. Daripada
bangunan tua itu.”
“Mata kuliah sejarah arsitektur juga cenderung di anak tirikan oleh mahasiswa karena buat
mereka engga keren.”
“Tapi menurut saya ya engga salah kalau mahasiswanya kaya gitu, lah dosen-dosennya juga
banyak yang engga paham.”
Alhasil mayoritas arsitek muda kurang memiliki kesadaran dan wawasan konservasi yang
diperlukan dalam dunia arsitektur. Jika hal ini terus berlanjut, praktik konservasi terancam
akan selalu didominasi oleh arkeolog. Arya mengatakan dominasi ini juga berdampak besar
pada kinerja dokumentasi depdikbud, dimana data gambar yang sudah ada cenderung masih
prematur untuk kebutuhan kerja arsitek.
Ini menjadi salah satu alasan untuk

mendirikan PDA sebagai institusi
independen pada tahun 2002. Sebagai
salah satu pendiri, Arya menyatakan PDA
berusaha menjembatani perdebatan
antara arsitek dan arkeolog. PDA juga
melakukan pekerjaan esensial melalui
kegiatan penelitian dan dokumentasi isu-
isu arsitektur dan cagar budaya Indonesia.
“Kalau bikin ‘Pedoman’ terlalu formal, itu urusan negara

dan pemerintah, akhirnya dinamakan ‘Panduan’. Panduan
itu pun pada saat mau dicetak kita pikir harusnya dibuat
oleh instansi yang berwenang. Makanya saya rubah
judulnya jadi ‘Pengantar Panduan’. Dan istilahnya sangat
di-appreciate oleh pihak pemerintah.”, ujar Han Awal.
©YusniAziz
50
Sebagai arsitek konservatoris, Han Awal merasa mendapatkan dukungan luar biasa dengan
adanya PDA. Dia juga merasa PDA telah melakukan sebuah gerakan signifikan dengan
penerbitan “Pengantar Panduan Konservasi Bangunan Bersejarah Masa Kolonial” di tahun
2011. Buku ini mencoba memberikan pemahaman dasar konservasi dari sudut pandang
arsitek. Sesuatu yang belum pernah ada sebelumnya. Dengan adanya buku ini untuk publik,
Han berpesan, “Saya yakin setiap arsitek bisa melakukan konservasi, asal ada sikap ingin tahu
dan hati-hati.”
Selain pendidikan, kebijakan pemerintah juga berdampak besar pada praktik arsitek
konservatoris. UU Cagar Budaya no. 11 tahun 2010 mengamanatkan bahwa setiap
pemerintah kota harus memiliki tim Ahli Cagar Budaya untuk mengusulkan penetapan atau
penghapusan BCB. Arya memandang ini sebagai sebuah langkah yang positif. Dia kemudian
menegaskan bahwa TSP DKI Jakarta telah berdiri jauh sebelum terbitnya kebijakan tersebut,
dan bahkan fungsinya telah merambah ke ranah perijinan.
Dengan ini, setiap arsitek yang menangani proyek tentang BCB atau KCB di Jakarta harus
berdiskusi dengan TSP, yang anggotanya mencakup arsitek, arkeolog, planolog hingga
budayawan. Arya berpendapat bahwa diskusi ini dapat membantu mencari solusi terbaik
untuk proyek konservasi yang cenderung memiliki grey area yang sangat tebal. Apa yang
sebaiknya tidak dilakukan di bangunan satu mungkin dapat menjadi sebuah rekomendasi ke
bangunan yang lain, tergantung dari berbagai pertimbangan arsitektural dan konteks pada
saat itu.
Meski demikian, dukungan pemerintah dirasa masih belum optimal. Masih banyak juga
kebijakan yang cenderung menjerat praktik arsitek konservatoris.
“Serba sulit kalau kita kaitkan dengan aturan proyek pemerintah. Proyek itu ditenderkan,
komponen penilaian tender lebih banyak biaya daripada teknis. Sementara kalau bicara
konservasi, justru masalah teknis didahulukan”, komentar Arya.
Insentif untuk konservasi juga masih belum ada sehingga arsitek dan pemilik bangunan tidak
terlalu tertarik untuk mengusulkan konservasi. Arya menambahkan, “Pada waktu bekerja di
konservasi, sebetulnya kita kerja double. Sebagai arsitek dan peneliti. Namun jika itu proyek
pemerintah, kita dibayar seperti proyek pemerintah yang lain. Dan sialnya juga terkadang
pekerjaan itu disebut sebagai pekerjaan rehabilitasi!”
Standar gaji untuk pekerjaan rehabilitasi memang cukup minim, ujar Han Awal. Membuat
konservasi cenderung menjadi pekerjaan sampingan seorang praktisi, demi hobi atau idealisme
dalam berprofesi. Hal ini tentu membuat banyak orang berpikir dua kali jika ingin mendalami
konservasi. Membuat kita terancam untuk selalu kekurangan arsitek konservatoris.
51
Namun akhirnya tantangan yang luar biasa besar, tidak membuat para penggiat konservasi
menyerah. Perlahan tapi pasti, dengan optimis, perjuangan Han Awal, Arya Abieta, Nadia
Purwestri bersama rekan lain untuk mengangkat praktik konservasi semakin menunjukkan
masa depan yang cerah.
Kesadaran pemerintah kota dan masyarakat akan pentingnya bangunan bersejarah semakin
meningkat. Tim Ahli Cagar Budaya sudah dibentuk di Surabaya, Solo,Yogyakarta, dan beberapa
kota lainnya. Mimpi Ali Sadikin pun dilanjutkan kembali lewat sebuah langkah yang patut
dicontoh melalui kerjasama pembentukan Jakarta Old Town Revitalization Corporation (JOTRC).
Konsorsium ini berinisiatif untuk menghidupkan kembali kawasan Kota Tua dengan membeli
85 bangunan dan merenovasinya kembali. Ini berarti juga membuka jalan lapang untuk
pekerjaan konservasi bersama dengan pihak privat hingga setidaknya 20 tahun kedepan,
sesuai target operasi mereka.
Gedung Arsip Nasional dan Wae Rebo, pemenang penghargaan tertinggi, “Award of Excellence” dari UNESCO Asia-
Pacific Heritage Award. (Sumber: kiri: ©Henrivandeputte; kanan: ©florestourism.com)
Proyek konservasi kita juga sering mengangkat dunia arsitektur Indonesia di mata internasional.
“Award of Excellence” dari UNESCO Asia-Pacific Heritage Award pernah diberikan kepada
proyek Arsip Nasional pada tahun 2001, atau Wae Rebo dari Rumah Asuh pada tahun 2012.
Wae Rebo juga pernah terdaftar dalam shortlist untuk Aga Khan Award 2012.
Semakin banyak juga kerjasama dengan pihak internasional terkait dengan pergerakan cagar
budaya mulai dari International Committee of the Blue Shield, UN-Habitat, UNESCO, dan
dengan Pemerintah Belanda, seperti program Jakarta Old Town Reborn dan Inventarisasi
benteng di Indonesia.
Namun perjalanan masihlah panjang. Masih banyak mimpi yang ingin dicapai. Nadia berharap,
“Saya inginnya makin banyak arsitek yang melek konservasi. Supaya bangunan-bangunan kita
bisa lebih lestari.”
Arya juga merasa bahwa hal itu sangat penting, sehingga dunia arsitektur bisa menjadi lebih
ideal. Arsitek konservatoris bisa bergerak secara independen atau mendukung arsitek lain
dalam proyek konservasi. Kerjasama ini sangat penting sehingga usulan akan menjadi kreatif
dan tetap dapat dipertanggungjawabkan dalam kaidah konservasi. Untuk dunia konservasi
yang lebih progresif, tidak selalu didominasi oleh pendekatan arkeologis.
52
Dalam dunia pendidikan, Nadia

berharap dalam waktu dekat sebaiknya
semua universitas bisa mewajibkan
mahasiswa arsitektur untuk mengambil
mata kuliah konservasi, minimal satu
semester. Arya juga mengusulkan
sebaiknya mulai dipikirkan mendirikan
S2 khusus konservasi, mengingat
beberapa universitas sudah memiliki
sumber daya yang memadai.
Han Awal menambahkan, “Undang-

undang dan peraturan yang ada perlu
dielaborasi. Dan janganlah konservasi
itu dianggap sebagai kerjaan rehab.
Skala fee-nya itu tidak banyak. Kalau ada
peraturan yang lebih baik, dan insentif
mungkin orang akan lebih tertarik.”
Pemugaran gedung Jasindo oleh Arya Abieta dalam proses

konstruksi. JOTRC akan melanjutkan dengan 85 bangunan *
lainnya ©YusniAziz
Tanpa terasa, kopi susu saya sudah hampir habis. Langit juga sudah mulai gelap.Ternyata sudah
satu jam lebih saya bercengkrama dengan Han Awal. Menjelang akhir, Han Awal menekankan
dia tidak pernah berekspektasi macam-macam dalam berprofesi sebagai arsitek konservatoris,
meski pengakuan semakin sering datang dari berbagai pihak. Seperti Professor Teeuw Award
dalam bidang pemugaran yang diberikan kepadanya di tahun 2007; dan Satya Lencana dari
Presiden SBY yang dianugerahkan atas perjuangannya dalam konservasi di tahun 2013.
Ketika saya tanyakan apakah ada keinginan untuk mendapatkan penghargaan UNESCO
untuk proyek Jakarta Kota Tua, dia menjawab, “Saya lebih mementingkan, bagaimana saya
bertanggung jawab kepada isu sejarah. Kalau saya dapat memperkaya tanpa mengganggu
jejak sejarah, its okay. Bahwa itu nanti dihargai macam-macam, itu bonus.”
“Yang penting, saya bertanggung jawab. Dan itu satu poin yang juga harus dipegang arsitek
terutama yang muda, beranilah bertanggung jawab!”
Begitu banyak ilmu yang dia dapat dari bekerja sebagai arsitek konservatoris. Mulai dari
kearifan masa lampau, hingga cara pandang baru yang lebih menghargai setiap peran dalam
proses pembangunan sebagai mitra sejajar, baik klien, kontraktor ataupun para pengrajin.
Untuk semua ini, Han Awal berkata, “Saya sangat berterima kasih. Luar biasa kayanya. Dan
saya ingin kerja terus sampai akhirnya engga bisa.”
53
edisi
MOMEN#8: Preservasi.
PENTING volume 2: AksiPERGERAKAN KONSERVASI ARSITEKTUR INDONESIA
DALAM
1900 1910 1920 1930 1940 1950

PENGHARGAAN
PROYEK 1902 - 1903: Restorasi bagian dasar Candi 19

KONSERVASI Prambanan oleh Theodoor van Erp Siw
te
1907 - 1911: Restorasi pertama
Pe
Borobudur oleh Theodoor van Erp
1918 - 1926: P. J. Perquin (Oundheidkundige
Dienst) melanjutkan restorasi Prambanan
1926 - 1930: De Haan melanjutkan
restorasi Prambanan
1931 - 1942: V.R. van Romont
merestorasi Prambanan
PROGRAM & 1901: Commisie in Nederlandsche-Indie voor
ORGANISASI Oudheidkundige Orderzoek op Java en Madura
(Komisi Penelitian Arkeologi di Hindia-Belanda) 1951
Diens
1913: Oudheidkundige Dienst Purba
in Nederlandsche-Indie (Dinas
Purbakala Hindia-Belanda)
19
UNDANG Monumenten Ordonantie

UNDANG no. 238 tahun 1931
Monumenten Ordonantie
no. 21 tahun 1934
54
1960 1970 1980 1990 2000 2010 2020

2000: UNESCO Asia-Pacific Heritage Awards: 2012: UNESCO Asia
“Honorable Mention” untuk Restorasi rumah Pacific Heritage Award:
Charles Prosper Wolff Schoemaker, Bandung “Award of Excellence”
untuk Wae Rebo;
2001: UNESCO Asia Pacific Heritage Award: “Award
IAI Jakarta Award
of Excellence” untuk Arsip Nasional, Jakarta
kepada Swiss Ambassador
2003: UNESCO Asia-Pacific Heritage Awards: “Award Residence
of Merit” untuk Jembatan Chen-Tek, Medan.
2006: IAI Jakarta Award kepada Konservasi
Gedung Eks Imigrasi Bataviasche Kunstkring
2007: Soedarmadji Damais, Wastu Pragantha Zhong & Han Awal
mendapat penghargaan Teeuw Award untuk pemugaran.
2011: IAI Award untuk Wae Rebo
953: Restorasi Candi 1971 - 1984: Restorasi kedua 2004 - 2010: Konservasi
wa, Prambanan Borobudur oleh Pemerintah Indonesia gedung eks Imigrasi, Jakarta
erselesaikan di bawah 1977 – 1987: Restorasi 2006 - 2008: Konservasi gedung
emerintah Indonesia Candi Brahma, Prambanan bank Indonesia, Jakarta
1982 – 1991: 2009: Pelestarian Wae Rebo
Restorasi Candi Wisnu,
Prambanan 2010: Konservasi gereja St
Leo, Padang & Rehabilitasi
1987: Pemugaran gereja
Jam Gadang, Bukittinggi
Katedral, Jakarta
2014: Renovasi
1997 - 1998: Restorasi gedung Jasindo &
Arsip Nasional, Jakarta Kantor Pos, Jakarta
1959: Lahirnya Ikatan Arsitek Indonesia (IAI) 2000: Lahirnya JPPI
1: Oudheidkundige 2002: Berdirinya Pusat

st menjadi Dinas 1970an: Revitalisasi Jakarta Kota Dokumentasi Arsitektur
akala oleh Ali Sadikin
2003: Lahirnya Piagam
Pelestarian Pusaka Indonesia.
1991: Balai Studi dan Konservasi
Borobudur. Pada tahun 2006, 2004: Lahirnya BPPI
berubah menjadi Balai Konservasi 2007: OMAH UGM, Inventarisasi
953 - 1957: ATAP Peninggalan Borobudur benteng seluruh Indonesia
(hingga 2010); Berdirinya Jakarta
TAHUN PUSAKA INDONESIA 2003 Old Town Kotaku
2008: Berdirinya JKPI; Rumah
Akhir 1980an: Lahirnya Arsitek Muda Indonesia (AMI) Asuh; dan Indonesian Committee
for Blue Shield
2012: P3KP / Kota
Pusaka Heritage Planning
2013: Lahirnya JOTRC
TAHUN PUSAKA INDONESIA 2013 & JEFORAH
UU Cagar Budaya UU Cagar Budaya
no. 5 tahun 1992 no. 11 tahun 2010
Sumber: Pusat Dokumentasi Arsitektur, BPPI & Berbagai Sumber

55
YORI ANTAR :
PERJUANGAN UNTUK
NUSANTARA
oleh Yusni Aziz
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Siapapun yang pernah mengunjungi kantor Han Awal &

Partners pasti terhenyak saat datang pertama kali. Selamat
tinggal suasana kantor yang tipikal, karena apa yang ada lebih
mirip sebuah rumah peristirahatan dengan kolam renang
dan area untuk bersantai. Bahkan saat datang kesini, David
Gianotten dari OMA pun berujar, “We should have an office
like this!”.
Bangunan yang sama juga menjadi markas Rumah Asuh,

yayasan pertama di Indonesia yang bergerak dalam preservasi
arsitektur nusantara. Sore itu, saya, mewakili RUANG, datang
untuk berdiskusi dengan Yori Antar mengenai pergerakan
tersebut. Sebuah langkah baru dan berani untuk dunia
arsitektur Indonesia.
Bagaimana sebetulnya Rumah Asuh (RA) didirikan?
Saya sering melakukan perjalanan, baik di dalam maupun

di luar negeri, untuk melihat obyek-obyek arsitektur. Dari
arsitektur modern, seperti Le Corbusier atau Mies van de
Rohe, hingga arsitektur tradisional yang dibangun masyarakat
setempat. Setelahnya, saya refleksikan terhadap keadaan
Indonesia. Seringkali saya menemukan fakta-fakta baru.
Salah satu perjalanan yang terpenting adalah ketika ke negeri

Tibet. Kami mengunjungi 3 wilayah Tibet: Tibet Cina, Tibet
Nepal, dan Tibet India. Pada tahun 2003, perjalanan kami
menghasilkan buku berjudul Tibet di Otak. Iseng-iseng kami
meminta kata sambutan dari Dalai Lama, mengejutkannya
ia membalas kurang dari 2 minggu. Tulisannya menggerakan
Semua foto ©RumahAsuh saya untuk lebih mengetahui negeri sendiri.
Apa yang sangat berkesan dari kata sambutannya ?
Saat kami di Tibet Cina, Dalai Lama sudah terusir ke India. Kami katakan bahwa kami mendapat
banyak pengalaman yang luar biasa di negeri Tibet. Tidak banyak orang Indonesia yang
mengenal negeri anda, karenanya kami ingin menuliskannya dari kacamata orang Indonesia.
Dia membalas, walaupun bangsa Indonesia tidak mengenal negeri Tibet. Sebaliknya, sejak
berdirinya negeri Tibet sampai sekarang kami selalu mengenal Indonesia. Guru besar kami
seorang India bernama Atisa Dipamkara. Ia berguru selama 11 tahun kepada seorang Lama
– pemimpin tinggi Budha – bernama Serlingpa. Lama itu berasal dari Golden Islands, atau
tepatnya tepatnya Sumatra. Di sana dia dikenal sebagai Dharmakirti.
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Hal itu menjadi pelajaran wajib murid-murid Budha Tibet. Sedangkan,

orang Indonesia sendiri engga tahu Dharmakirti dan peninggalannya.
Perjalanan penting lainnya ketika kami ke Kamboja untuk melihat

Angkor Wat, yang ternyata sangat mirip dengan Prambanan dan
Borobudur. Ternyata dinasti Jayawarman I, yang memimpin pada
masa itu, berasal dari dinasti Syailendra yang juga membangun
Borobudur. Angkot Wat adalah kerajaan yang didirikan oleh dinasti
Syailendra dalam pelariannya ke Kamboja.
Indonesia telah menginspirasi sekelilingnya di masa itu, namun

orang Indonesia kurang mengenal negeri sendiri. Buku-buku yang
menceritakan sejarah Indonesia malah ditulis oleh orang asing.
Bahkan, masak candi Borobudur yang menemukan Raffles? Kan
Aneh? Udah ada dari dulu, kenapa dia yang nemuin!
Pengetahuan sejarah yang blank, membuat kita amnesia sejarah.
Dari sana, saya ingin lebih mengenal Indonesia, karenanya kami

melakukan perjalanan rutin keliling Nusantara. Sejak 2003, kami
sudah mengunjungi Nias, Toraja, serta desa-desa adat yang sulit
dijangkau. Pada tahun 2008, kami bertandang ke NTT, tepatnya
wilayah Flores dan Sumba. Dua perjalanan itu sangat penting untuk
kelahiran RA.
Di Sumba, kami bertemu seorang rohaniwan, fotografer, dan pecinta

budaya Sumba bernama Pastor Robert Ramone. Kelak dia akan
menjadi motor pembangunan program-program RA di Sumba, di
Katenggaro, Waenyabo, dan Baetabula.
Apa bapak Robert adalah orang asli Sumba?
Iya. Hidupnya juga diserahkan untuk melestarikan budaya Sumba.

Bersama pak Robert, RA melakukan pembangunan rumah-rumah
dan desa adat yang terus berjalan hingga sekarang.
Lain halnya dengan Flores, kami menemukan Wae Rebo. Awalnya,

kami tidak mengetahui lokasi Wae Rebo. Satu-satunya informasi
yang kami miliki adalah bangunannya, yang bisa memuat 100 orang,
terancam punah. Tanpa arah yang jelas, kami mencari ke Manggarai.
Setelah dua hari tanpa hasil, kami memutuskan untuk menghentikan
pencarian.
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2008
Semua foto ©RumahAsuh
Dalam perjalanan pulang, kami mampir di sebuah rumah makan yang ramai dengan orang
asing. Kami terkejut oleh foto Wae Rebo di dindingnya. Namun, pemiliknya tidak tahu, hanya
menunjuk rombongan turis yang akan menuju Wae Rebo dan menyarankan seorang supir
yang bisa mengantar. Kamipun membuat janji dengannya untuk berangkat ke Wae Rebo jam
10 malam. Namun, ia tidak datang, dan digantikan oleh temannya. Sayangnya ia juga hanya
2008
mengerti bahasa Manggarai. Kami pasrah, dan tetap berangkat.
Dari Ruteng, kami bermobil dari jam 12 malam hingga 5 pagi, namun belum terlihat tanda-
tanda Wae Rebo. Setengah 6 pagi kami sampai di sebuah desa bernama Denge, yang
merupakan perhentian terakhir ke Wae Rebo.
Kami bertemu dengan seorang guru bernama Blasius Monta. Ia kaget dengan kehadiran kami.
“Mau ke Wae Rebo? Deket, tinggal jalan kaki. Tapi makan dulu, jalannya agak berat.” Kami ber-
15 dikasih makan mi instan dan nasi. Setelahnya, pak Blas memanggil dua orang guide untuk
membimbing kami.
Kami berjalan tanpa jalan setapak dan menyeberangi sungai setinggi pinggang. Setelah 3 jam
masih belum sampai, saya semakin deg-degan. Dua kali saya ingin kembali karena tidak ada
kejelasan. Perjalanan semakin berat. Kami tidak lagi berjalan dengan kaki; merayap bahkan
pakai pantat, bermodal nekat.
Setelah berjalan lima jam, pada jam 3 sore, kabut tiba-tiba terbuka. Terlihatlah siluet empat
rumah bundar. Kami berteriak senang, bertepuk tangan. Sementara Wae Rebo membalas
dengan gonggongan anjing.
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Rupanya masyarakat sadar dengan kedatangan kami dan keluar rumah. Dua pihak yang sama-
sama asing bertemu. Buat saya, itu adalah pertemuan bersejarah. Kami adalah orang Indonesia
pertama yang masuk ke Wae Rebo! Kami menemukan desa yang nyaris punah.
Berdasarkan data pak Blasius, ada ratusan turis tapi tidak satupun orang Indonesia. Saat itu,
ada 8 mahasiswa dari Taiwan yang sudah seminggu menginap, dan 2 antropolog dari Amerika
yang perempuannya sudah menetap selama 1,5 tahun. Desa ini seperti jendela dunia. Di
tempat itu kami menemukan berbagai bangsa.
Orang Wae Rebo menganggap orang dari Jakarta adalah orang tua mereka. Saya katakan
bahwa saya datang dari Jakarta yang justru tidak punya akar. Saya datang untuk belajar dari
akar arsitektur Indonesia.
Kemudian sampai kapan kita hanya jadi penonton, padahal banyak potensi dari arsitektur
nusantara. Anggaplah kita seorang dokter. ada pasien yang sakit, kita hanya melihat, merekam,
dan memfoto penyakitnya, tapi jika tidak berusaha menyembuhkan, sama saja kita melakukan
dosa profesi. Jadi, jangan menunggu siapa-siapa lagi, ini tugas kita!
Kami mengenal seseorang dari Wae Rebo bernama pak Martin. Ia pernah bercita-cita menjadi
pastur di Filipina, tetapi tidak jadi. Namun, positifnya dia belajar bahasa Inggris. Pak Martin
menjadi juru bicara Wae Rebo yang membawa keluar-masuk turis asing. Seperti duta besar.
Dan yang paling penting, kami bertemu pak Frans, kepala tukang yang pernah memperbaiki
Wae Rebo. Saya undang pak Blasius, pak Martin, dan pak Frans ke Jakarta.
Dahulu ada tujuh rumah, sekarang tinggal empat, kata mereka. Saya bertanya, “Kalau misalnya
dicarikan dana, mau engga kalian bangun lagi?” Mereka bilang, “Oh, itu engga pernah kita
pikirkan pak. Buat kami, memperbaiki saja udah lebih dari cukup. Kami miskin, engga bisa
mengambil kayu dari hutan karena hutan itu sudah termasuk kawasan hutan lindung.”
Jadi, karena desa tersebut termasuk kawasan hutan lindung yang tidak boleh ada manusia di
dalamnya. Pernah desa itu disuruh pindah. Mereka bingung, lah mereka sudah ada sebelum
Indonesia merdeka kenapa disuruh pindah? Akhirnya mereka harus beli kayu-kayu di pasar,
dan harganya mahal sekali. Padahal kayunya juga dari hutan mereka.
Itu ternyata juga permasalahan utama rumah adat dimana-mana!
Dari situ saya pertemukan mereka dengan ibu Tirto, dari Aqua, yang saya ajak menjadi donatur.
Awalnya, ibu Tirto masih belum tertarik, namun, ketika bertemu dan melihat kejujuran mereka.
Ia pun terketuk dan berjanji membantu. Kami membuat program pembangunan satu rumah
di Denge. Semacam perpustakaan dan museum kecil, tempat dokumentasi pembangunan itu.
Kemudian di Wae Rebo, pembangunan dimulai. Menariknya, saat membangun, satu rumah
yang sudah agak rusak dipretelin untuk dipelajari dan diperbaiki. Setelah paham, mereka
dapat membangun kembali dengan cara mereka sendiri. Dari situ saya mendapatkan formula!
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Pertama, cara mempelajarinya adalah

dengan membiarkan mereka membangun
dengan cara mereka seasli-aslinya, karena
itu rumah adat bukan rumah modern. Saya
juga melihat luar biasanya upacara, budaya,
kehidupan sosialnya sebagai sebuah kegiatan
yang sangat berharga, sebagai living culture.
Bahkan yang sudah mulai punah, hidup lagi.
Jadi sebetulnya bapak tidak

mempertahankan monument tapi
living culture-nya?
Iya. Buat saya, itu adalah living museum.
Setelah rumah itu selesai, bu Tirto tambah

lagi satu. Namun, rumah mereka masih
empat karena yang lama dibongkar lagi dan
membangun lebih cepat. Saat pembangunan
rumah kedua, saya mengirim dua mahasiswa
dari UI dan UNS untuk merekam prosesnya
dari awal sampai selesai. Selama satu bulan
lamanya. Tanpa pernah pulang. Data itu
menjadi buku Pesan dari Wae Rebo yang
menghasilkan tiga rumah lainnya. Lengkaplah
rumah Wae Rebo menjadi tujuh.
Selanjutnya, kami kirim lebih banyak

mahasiswa. Mereka mendokumentasikan
melalui tulisan, gambar digital, foto, dan video.
Data-data ini akan merubah pendidikan
arsitektur di Indonesia, karena untuk
pertama kalinya kita punya bahan arsitektur
nusantara. Prof Josef Prijotomo bahkan
berani menulis, “Kebangkitan Kembali
Arsitektur Nusantara”.
Wae Rebo menjadi bahan kampanye

saya ke perguruan tinggi dan pemerintah.
Depdikbud tersadar bahwa saya mengurusi
living culture, sementara mereka mengurusi
dead monument. Seharusnya kita
menyelamatkan living culture, bukan dead
monument. Dengan membuat museum,
Semua foto ©RumahAsuh
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jangan-jangan budaya malah kita matikan supaya bisa masuk museum. Mending kita selamatkan
desa-desa adat yang terancam punah. Ide ini didengar wamen, Ibu Wiendu Nuryanti, dan
kami ditawarkan program rumah budaya, yang diadopsi dari RA.
Program itu saya tolak, karena mindset berpikirnya proyek. Masa saya suruh jadi kontraktor.
Jangan pakai metode proyek, jangan pakai tender. Ini masyarakat, kita harus bekerja bersama-
sama masyarakat. Kalau dijadikan proyek, mereka akan melakukan penolakan, dan akhirnya
bukan milik mereka lagi.
Hal ini menyadarkan Kemen PU, program mereka dalam penyelamatan rumah adat
menghadapi banyak kegagalan. Rumah adatnya diganti semen, dicor, dan sebagainya. Ada satu
rumah yang berhasil dibangun oleh kontraktor, tapi masyarakat engga mau pakai. Tujuannya
sudah benar tapi resepnya salah.
Uang segitu banyak akhirnya engga kepakai, seperti program bagi-bagi kulkas untuk rumah
adat Sasak, Lombok, yang dilakukan Depdikbud . Masak rumah adat ada kulkasnya? Itu kan
konyol! Itu uang hangus, karena engga ada yang jalan.
Itu kan sebetulnya juga bisa memusnahkan budaya yang ada?
Iya, itu kan penghancuran sistematis. Saya katakan, sebaiknya sistemnya berupa bansos,
nilainya terbatas 500 juta. Itu sudah cukup! Dan untuk menerima dana bansos, masyarakat
harus membuat sebuah lembaga. Memang agak rumit, tapi programnya jalan. Pemerintah
membangun 2 rumah lainnya yang masih bagus, rumah yang utama dan terakhir, jadi semuanya
benar-benar baru. Mereka juga membangun di Sumba. Kemdikbud sekarang bangga dan
mereka mengadopsi resep RA.
Yang paling penting buat saya dengan program RA ini, kita berhasil merubah mindset dunia
pendidikan. Kalau merubah jalur birokrasi, sampai kapanpun tidak bisa. Mindset bahwa
arsitektur Indonesia ini harus mengacu kepada arsitektur nusantara. Seluruh dunia sedang
mencari green building, arsitek nusantara jelas memenuhi green building. Ada gempa dimana-
mana, arsitektur nusantara tetap survive. Makanya kita harus mengkinikan arsitektur nusantara.
Apa proses pengkinian arsitektur nusantara itu saat ini sudah berjalan?
Sudah, justru melalui perguruan tinggi. Permasalahannya adalah, selama masa kuliah hingga
kini, kita tidak pernah mendapatkan pendidikan arsitektur nusantara. Buku-buku tentang
arsitektur dan tokoh luar negeri hafal, tapi buku tentang arsitektur nusantara engga ada.
Dari sini, mahasiswa belajar banyak dan makin banyak yang ingin ikut. Program kami di
Sumpur, Sumatera Barat, malah yang bergerak satu universitas, yaitu Universitas Bung Hatta.
Inilah dunia akademis kita yang baru, dan ini menjadi tugas teman-teman IAI daerah. Jadi tidak
usah repot-repot, selamatkanlah semua aset budaya daerah itu.
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Kita akan bikin buku yang akan menjadi pembelajaran. Buku itu akhirnya menjadi hak cipta
kita semua. Jadi kalau ada yang minta data ke saya, saya kasih. Mari kita menuju arsitektur
Indonesia dengan mindset baru.
Jadi kesimpulan dari saya adalah arsitektur nusantara penting buat Indonesia, dan penting juga
buat dunia. Sudah saatnya arsitektur nusantara menginspirasi dunia. Permasalahannya, siapa
duluan yang mendapat ilmu itu? Kalau kita engga duluan, arsitek luar negeri yang bisa duluan
menemukan formulanya.
Apakah pengkiniannya juga sudah terformalisasi ke dalam institusi pendidikan?
Pasti. Sekarang ini ada sayembara arsitektur nusantara yang disponsori oleh Propan, dan
sebagian dari perguruan tinggi sudah menjadikan sebagai bagian dari studio atau ujian akhir.
Jurinya pak Endy Subijono, Popo Danes, Prof. Josef Prijotomo.
UNESCO juga pertama kalinya memberi penghargaan kepada bangunan seperti Wae
Rebo. Selama ini mereka condong memberikan penghargaan kepada bangunan-bangunan
yang lebih tektonik, dari batu atau bata. Mereka bilang ada dua poin yang membuatnya
menang. Pertama yang melakukan adalah masyarakatnya sendiri dan kedua, terjadi proses
pembelajaran kepada masyarakat adat sekaligus kepada dunia akademis.
Dari sini kita mulai menerima banyak panggilan. Saya dipanggil ke Australia, Kroasia untuk
bicara mengenai Wae Rebo. Wae Rebo akhirnya juga masuk shortlist Aga Khan. Itu publikasi
yang luar biasa, alhasil tahun lalu jumlah turis meningkat ke Waerebo hingga 4 kali lipat, baik
turis asing maupun lokal.
Jadi, walau ada DNA yang hilang, yang baru yang bisa kita tambahkan ke dalam masyarakat.
DNA yang baru itu kita berikan pembelajaran seperti pariwisata dan bahasa Inggris. Saya
sampaikan agar mereka membuka diri untuk eco-tourism. Seperti program homestay untuk
mendapatkan income.
Namun, kita juga harus waspada, apakah dengan banyaknya turis ini nantinya akan merubah.
Mereka punya cara sendiri untuk menyortir, saya usulkan kalau perlu dimahalin! Jadi turis yang
masuk juga bukan sembarangan, seperti di Nepal dan Bhutan. Turis yang kasar dan kelakuan
yang engga terpuji tidak diterima.
Tapi akhirnya menurut bapak apakah punahnya itu juga karena pendidikan
arsitektur modern?
Secara tidak langsung, kitalah pembunuhnya, melalui pendidikan arsitektur modern. Kita
diajarkan yang modern lah masa depan, arsitektur tradisional adalah masa lampau. Kita
dibingungkan dengan masa depan yang bukan dari akar kita, tapi dari revolusi industri Eropa.
Kita disuruh menganggap tradisi adalah bagian dari masa lampau.
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Foto ©RumahAsuh
Kemudian apa langkah kedepan dan mimpi besar dari RA?
RA bekerjasama dengan Propan mengadakan sayembara untuk perguruan tinggi, berkala

setahun sekali. Sayembara arsitektur belum pernah dilakukan secara masif dalam bentuk
roadshow ke perguruan tinggi. Ada 15 lebih perguruan tinggi yang kami datangi. Brief-nya
adalah merancang rumah budaya dengan mengkinikan arsitektur nusantara di daerah masing-
masing. Terbuka untuk mahasiswa dan fresh graduate yang maksimal 2 tahun lulus.
Sayembara berikutnya adalah mendata rumah tradisional. Jadi yang dipilih adalah siapa yang
bisa mendata selengkap mungkin dari Rumah Adat di daerah masing-masing. Misalnya sudah
kejadian, kita akan punya data untuk dibagi. Perguruan tinggi akhirnya punya PR yang luar biasa
untuk menggali budaya kita sendiri.
Bahkan, saya terobsesi untuk menemukan DNA bangunan yang sudah punah.
Misi saya, saya berharap tahun ini bisa membuat pameran bersama Tropeninstituut (Koninklijk
Instituut voor de Tropen). Saya akan kasih semua bahan-bahan saya dari RA dengan kompensasi
bahan-bahan sejarah dari mereka. Data-data antropologis kita itu sangat lengkap di Tropen
Instituut dan KILTV.
Kami tidak hanya mengurus data di tingkat nasional, tetapi juga internasional. Bahkan kerjasama
ini juga akan sampai ke Malaysia. Saya pernah presentasi di Australia, bersama arsitek restorasi
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Asia. Pada saat arsitek Malaysia melihat waerebo, mereka kaget, “Kami baru sadar. Ternyata
selama ini kami merestorasi bangunan peninggalan Inggris! Kami ingin diajarin!”
Ada rumah Dayak di desa adat Dayak Bidayuh, Kalimantan, yang bentuknya bulat yang biasanya
mendampingi rumah tengkoraknya. Suku dayak ini ada di Indonesia dan juga Malaysia. Kami
pelajari dari Rumah Dayak yang ada di Malaysia kemudian diaplikasikan lagi ke Dayak yang di
Indonesia. Donaturnya saya yang carikan, tapi datanya dari mereka. Mereka setuju, dan lokasi
akhirnya di Indonesia. Datanya nanti buat Indonesia dan Malaysia.
Apa juga ada mimpi untuk membawa arsitektur tradisional Indonesia ke ranah
internasional ?
Jelas, mungkin itu bukan tugas saya lagi, tetapi arsitek-arsitek yang akan datang. Kami membuka
jalan, dan itu sudah cukup. Tidak usah mengurusi birokrasi yang begitu rumit, cukup dengan
mengubah mindset. Jadi kalau kita mau bikin perubahan secara cepat dan masif, itu harus dari
mindset. Percuma berbelit birokrasi, kita kecapekan sendiri.
Akhirnya, bagaimana kesan mahasiswa yang menginap 2-3 bulan di lapangan itu?
Kamu bisa tanya ke mahasiswa tersebut. Mereka pernah menjawab, kami dapat harta karun,
Pak! . Beberapa bilang, “ini seperti sekolah kami.”
Program itu berhasil buat saya, karena saya berhasil mengubah mindset dan kecintaan mereka,
dan menjadi militan. Mereka selalu menceritakan ini ke teman, dosennya, mereka jadi dikenal
dan ketua jurusannya minta lagi dikirimkan.
Kajur ITS sampai bilang, “saya senang sekali bapak mengirimkan mahasiswa kami ke Sumba.
Setelah pulang dia berubah”
“Dia lebih percaya diri”
Jadi pada waktu mahasiswa dia masih bingung, sekarang dia sudah mengerti kenapa dia
menjadi arsitek.
Setiap kali saya ke kampus, mereka selalu tanya, “Kapan kita dikirim?” Seperti perang, “kita
rebut merah putih!” Hahaha. Darah muda dan kebangsaan mereka hidup lagi.
Ini hal yang patut kami syukuri, karena engga mengira dampaknya sampai kemana-mana. Dan
ini bergulir terus, dan tetap menginspirasi. Bahkan Eko Alvares, yang juga dosen di Univ Bung
Hatta bilang, “Yor, aku akan melakukan apa yang kamu lakukan di Waerebo, membantu rumah
gadang dibangun.” Dia sudah ada pasukan mahasiswanya sendiri.
Sekarang, penghuni desa adat juga merasa bangga, karena desa-desa adatnya mendapat
perhatian dan mereka dalam posisi memberi. Sebuah kebanggaan untuk mereka.
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PROFIL KONTRIBUTOR kenta kishi
Direktur dari LWL (Lab for the wonderlanscape) sejak 2003 dan CDN
(Crisis Design Network) sejak 2007. Pada tahun 2010, melakukan sebuah
proyek studi urban di Surabaya sebagai API (Asian Public Intellectuals) dari
Nippon Foundation. Mendapatkan gelar BA di arsitektur dari Tokyo University
of Arts dan M.Arch dari Cranbrook Academy of Art di Michigan, USA. Ia juga
mengajar sebuah studio desain di Tokyo Zokei University.
Moch. Ichsan Harja Nugraha

He is an artist currently lives in Bandung, Indonesia __a city well-known for
its heritage of beautiful old buildings. Being its lifetime resident, He develop a
strong interest in urban/building conservation and since 2005 has already publish
several illustrated books, contain 150-300 building sketches exclusively done in
watercolor, aimed at promoting general public awareness on this issue. In 2009,
He got the Asian Public Intellectual (API) Fellowship to create a similar book on
Kyoto, a world-heritage city famous for its plethora of old and beautiful buildings.
cor passchier
Cor Passchier is a Dutch architect-researcher (1945), who is a honorary
member of IAI (Indonesian Institute of Architects), also director of ”PAC
architects and consultants”. He is actively improving cultural ties between
narasumber
Indonesia and the Netherlands, especially in the field of architecture. He
was previously awarded with the UNESCO Asia-Pacific Heritage Award for
the conservation of the National Archives Building in Jakarta, along with the
architects Han Awal and Budi Lim. He was recently involved and responsible
for the bilateral project ”identification and inventory of Forts in Indonesia”
johannes widodo
Associate Professor and the Deputy Head for Administration and Finance,
the co-Director of the Tun Tan Cheng Lock Centre for Asian Architectural
and Urban Heritage in Melaka (Malaysia), and Executive Editor of JSEAA
(Journal of Southeast Asian Architecture) at the National University of
Singapore. He is the founder of mAAN (modern Asian Architecture
Network) and iNTA (International Network of Tropical Architecture).
He received his degree in Architecture from Parahyangan Catholic YORI ANTAR
University (Bandung, Indonesia, 1984), Master of Architectural Engineering Generasi kedua dari Han
degree from Katholieke Universiteit Leuven (Belgium, 1988), and PhD in Awal & Partners yang
Architecture from the University of Tokyo (Japan, 1996). telah aktif sejak 1970. Salah
satu pendiri AMI (Arsitek
daliana suryawinata Muda Infonesia) di tahun
She is the founder of SHAU Rotterdam, curator of Open City Jakarta, 1991 dan juga menjadi
lecturer, researcher and PhD-by-Design nestor at the Why Factory, TU Delft. fotografer freelance untuk
She is chief officer of the Indonesian Institute of Architects, European Union Aga Khan Awards for
chapter. Daliana is a graduate of the Berlage Institute Rotterdam (MArch) Architecture. Pada tahun
and Tarumanagara University in Jakarta (BSc). She worked at OMA, West 8, 2008, Ia mendirikan Rumah
MVRDV, andramatin and Han Awal and Partners. Since 2006 she has been Asuh yang terfokus pada
teaching at the Berlage Institute, the Rotterdam Academy of Architecture, preservasi arsitektur
and Delft University of Technology. Recently she received the ”ARCHINESIA tradisional dan kolonial di
Certificate of Appreciation 2012” and ”Indonesian Diaspora Award for Indonesia.
Innovation 2012”. She is also an advisor to the architecture and urban design
programs at the Erasmus Huis Jakarta for the period 2012-2016.
Yusni Aziz
Alumnus dari double-degree bachelor program
kerjasama antara ITS dan Saxion Hogeschool of
Applied Sciences. Kemudian menyelesaikan riset di
Berlage Institute pada tahun 2013. Saat ini sedang
sibuk dengan riset independen.
diana ang
Diana Ang is a junior architect at Office for
Metropolitan Architecture (OMA) in Hong
Kong. She holds a Bachelor of Architecture
from Rice University. Previously, she
has worked at Tod Williams Billie Tsien 66
Architects in New York City.
KOLEKSI RUANG
#1: Ruang #2: Arsitektur Hijau #3: Jakarta #4: Karya Arsitek
Indonesia di luar
negeri
Edisi sebelumnya:
#8: Preservasi
Vol I: Abstraksi
#5: Arsitektur
#6: Ruang Publik #7: Rumah
RUANG merupakan sebuah wadah menyuarakan hati dan pikiran insan kreatif yang memiliki ketertarikan pada arsitektur,
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kreativitas tanpa batas

Setelah “Abstraksi” menawarkan konsep, nilai, atau pemahaman tentang ”Preservasi”,

Selamat menikmati ruang | kreativitas tanpa batas

intervensi budi lim

yori antar: RUANG

Lukisan pada sampul depan oleh Sri Suryani

Pintu masuk dari sisi utara Plaza Fatahillah, anta

ara gedung Kantor Pos dan Gedung Jasindo, dengan

Rightfulness and Two Questions

Some references should be introduced. One example is the redevelopment of shop-houses

Through understanding above references, we can recognize a similarity between practical

Micro-Projects vs. Master-Planning

In 2010-2011, I directed an urban study project ‘Camp-on Kampung’ in Surabaya, Indonesia.

Preservation:Visual Interface of City

Preservation: Cooperative Behaviors

Icons for ‘micro-projects’ (image: Orange House Studio)

A poster of exhibition ©Orange House Studio

a historic legacy, former

The meaning of urban-architectural heritage

forts in indonesia today

Fort Otahiya, Gorontalo (±1590) (photo: Cor Passchier/PDA)

With reference to the example of the destroyed German bunker, I tend to

Where does the term preservation stands for?

Fort Van den Bosch, Ngawi (photo: Cor Passchier / PDA)

Fort Willem, Ambarawa (± 1835) (photo: Cor Passchier/PDA)

Cor Passchier Model Fort Rotterdam (image: Cor Passchier / PDA)

Yokyakarta - Fort Vredeburg (±1760) (photo: Cor Passchier / PDA)

In Makassar, Sulawesi, the big Fort Rotterdam (about 1670) is since

In Ambon, the small tower fort Amsterdam (about 1633), is restored

Recommendations and conclusions

Sketsa ini menggambarkan konsep ‘perlambatan jalan’ yang

g awalnya direncanakan JOK (Jakarta Old Town Kotaku) untuk

“While Singapore continues to transform, it is important to enhance our sense of

The Central Role of the Urban Redevelopment Authority (URA)

Singapore street market in 1960s (Source: old postcard of Singapore)

conservation policy seems comprehensive in commercial development with much higher

URA façade classification &

interventions. The dying or missing traditional 1) articulation of the heritage values in

12) ongoing socio-economic viability and significant buildings. It is multi-dimensional, to

Recognitions and the Future of

“A nation must have a memory to give it a sense of

Sebuah ilustrasi yang menggambarkan penerapan lain

Town Hall Renovation in 1973 (photo: James Cobban)

which involves notable international and

Second, creative festivals act as catalyst to

Art Biennale, Arsenale,Venice (photo: AudreyH)

City as Event Space

Jakarta Old Town Kotaku

Evolution of Preservation to flourish into genuine culture by having

Kali Besar Timur (photo: Diana Ang)

Bangunan ini berlokasi di Jalan Pintu Besar Utara di sisi barat

“Ini rumah gaya lama kok. Hahaha”, jawabnya ramah.

“Sejarah yang mana?”, tanya saya.

Bangunan bersejarah memang seperti sebuah laboratorium hidup. Mereka menyimpan

Kementerian Pendidikan dan Kebudayaan (Kemdikbud) merupakan kementerian yang

Konservasi bangunan di Indonesia memang dipelopori oleh profesional di bidang arkeologi.

Komisi ini akhirnya menjadi Dinas Purbakala Hindia-Belanda (Oudheidkundige Dienst in

Borobudur sebelum proses

2. Surat terbuka dapat dilihat di:

Ini menjadi salah satu alasan untuk

“Kalau bikin ‘Pedoman’ terlalu formal, itu urusan negara

Dalam dunia pendidikan, Nadia

Han Awal menambahkan, “Undang-