Design Thesis | On the People's Identity: The Indonesian Embassy in Canberra | Booklet

On the People’s Identity

THE INDONESIAN EMBASSY IN CANBERRA

Mario Yohanes Rinaldy 917889 Master of Architecture Design Thesis Semester 1, 2022 Studio 10: Good Citizens Melbourne School of Design The University of Melbourne

Contents 1

FOUNDATIONS

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PRECEDENT ANALYSIS

32

3

CONCEPT DESIGN

48

4

SKETCH DESIGN

78

5

FINAL DESIGN

124

6

WORKING SKETCHES

149

7

REFERENCES

167

1 FOUNDATIONS

Figure 1. Monas (National Monument) in Jakarta, Indonesia. (Kartapranata, 2010)

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Mario Yohanes Rinaldy

Thesis Question Q1.

What should be defined as contemporary Indonesian architectural identity?

Q2.

How can intrinsic spatial qualities surrounding the acts of gathering and welcoming as the Indonesian identity acts as an architectural driver in a formal and pragmatic setting?

Design Thesis

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Figure 2. Wisma Indonesia, Indonesian embassy at Orchard Road.

(National Museum of Singapore, 1970)

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Mario Yohanes Rinaldy

Thesis Statement The discourse surrounding contemporary Indonesian architecture to superficially follow traditional based forms and patterns highlighted a broader issue on what is perceived to be our national identity. As the Indonesian government tries to increase the nation’s standing on the international scene, it is unfortunate that this literal aesthetic translation is being indirectly supported and replicated to reflect our advancements in society, culture, economy, and global participation.

In an everchanging modern Indonesian society, resorting to visual traditionalism to define our modernity is an unsuitable solution. This thesis attempts to reinterpret a new national identity by using the Festival Indonesia open-gate event as a basis to investigate the intrinsic

Design Thesis

spatial qualities and established cultural values on meeting and gathering, what kind of spaces they require both contemporarily and traditionally, while also balancing the formal, pragmatics, and security requirements of the embassy typology within the surrounding context.

Through a speculative redesign of the Indonesian embassy in Canberra, Australia, it is hoped that an updated Indonesian architectural identity and message defined by the people’s identity will be conveyed without relying on visual superficiality.

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Figure 3. Istiqlal Mosque, designed by Friedrich Silaban, a Christian from the Batak Tribe in North Sumatera, does not rely on literal translations of Arabic forms, rather a combination of modernism and brutalism. (musnahterinjak, 2011)

Figure 4. Hotel Indonesia (now Hotel Indonesia Kempinski) & the Welcome Monument built for the 1962 Asian Games (Jakarta Post, 2018)

Figure 5. Wisma Nusantara, considered to be the first skyscraper in South East Asia, was built as part of Soekarno’s vision in 1963.

Due to the coup in 1965, it was not finished until 1972 and opened by Soeharto (Haryanti, 2019)

Historical Background Post-colonialism resulted in new independent nations seeking its national identity within Asia in particular. Many of these nations seek to rationalise their cultural diversity into architectural form without relying on colonialist sentiments and influences. A foundation of a new Indonesian architectural identity emerged after the independence of the nation in 1945 as its first president, Soekarno, embarked on a national building program to create a new national character.

His aim was to detach Indonesia from all influences of Dutch colonialism, and by using modern architecture to bring a new chapter of society for a hopeful and optimist future (Kusno, 2013). In his megaprojects, he was careful not to use specific cultural forms and references as he was wary of accusations of specific ethnic and religious

Design Thesis

domination. Hence, Monas and other buildings during this time was constructed in modernist architecture with only very specific local references (Dovey, 2010). His acknowledgement of the diversity of the nation allows him to utilise it as a uniting symbol of strength.

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After the 1965 coup, the next president, Soeharto, take upon a new meaning on national identity for his political agenda. He believed and pushed traditional ethnic diversity as the core identity of the nation, a veil which will in turn discouraged any united front against his regime (Kusno, 2000). In architecture, this translates into a national agenda to revive traditional architecture within each specific provinces and ethnic groups, depicted in large modern projects which were literal cosmetic translations in a superficial manner without any deeper connections to meaning and history (Purwaningrum, 2017). Public and government buildings were built incorporating traditional forms as it was seen as the final and ideal source of identity and architectural ideas.

This shift under Soeharto’s 30year regime can be arguably

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considered as the catalyst to problems of contemporary Indonesian architectural identity faced today.

Mario Yohanes Rinaldy

Figure 6. The University of Indonesia Rectorate Building, built in 1984, in the style and arrangement of Javanese pendopo. (Unknown)

Figure 7. The Purna Bhakti Pertiwi Museum (left) is in the form of the tumpeng, a local celebratory cuisine. The museum displays Soeharto’s private collections of artworks and souvenirs. It is part of Taman Mini Indonesia Indah (TMII) theme park, similarly filled with similar looking cosmetic translatoins of traditional forms, which is a key project of his regine. (Rustandi, 2012)

Figure 8. Museum Indonesia, still in TMII, in the style of perceived Balinese architecture (TMII, n.d.)

Design Thesis

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Thesis Elaboration THE INDONESIAN IDENTITY The perception that contemporary Indonesian architecture should resort to traditional forms and aesthetic symbolism is agitating within the discourse. The fact that the rich culture of Indonesia being reduced into traditional superficiality is a lost opportunity and incorrect solution to convey our national identity. The 2016 Nusantaran Architecture Design Competition (Sayembara Desain Arsitektur Nusantara) (Figure 9 bottom) held by the Ministry of Tourism and other governmental institutions and departments revealed this problem on a broader scale. The government’s intention with this competition to find a suitable replicable model to define and promote local culture and tourism was heavily criticized by observers as it is a one-sided

top-down approach rather than responding to the people’s social and cultural values in a bottom-up approach, resulting in numerous appropriations of traditional forms and patterns (Purwaningrum, 2019). It is also further aggravated by the selected proposal of the new state capital national palace in the shape of the mythical Garuda bird from Hindu mythology, the nation’s coat of arms symbol, designed by sculpture artist Nyoman Nuarta (Figure 9 top).

Nuarta’s claim that his design is not based on “colonial principles and elements” has sparked an outrage among Indonesian architects as many argued that our identity and methods evolved from colonial technology and principles (Kumparan, 2022).

Is resorting to image-based symbolism the only way we can define our identity?

Figure 9. Collage of currently perceived contemporary Indonesian architectural language. The top is Indonesia’s new state palace proposal

by Nyoman Nuarta. Bottom image is a collage of winning designs in the 2016 Nusantaran Architecture Design Competition (Nuarta & Kunkunvisual, 2021 and Nusantaran Architecture Design Competition winners 2016) Design Thesis

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In an effort to diverge from superficiality, many prominent Indonesian architects addresses this by seeking local craftmanship and materiality. Combining them creatively into modern design, their projects created a humble vernacular look while remaining sustainable and ecological (Figure 10). Other architects seek to ultramodernity, high-tech design, and fabrication, creating clean and sleek designs (Figure 11). Despite the stark contrast between styles, both sides will claim that their designs are contextual, rooted in their respective locations, and possesses the Indonesian identity (Purwaningrum, 2017). However, it can be said that these focuses only provide physical solutions while unconsciously overlooks the intrinsic social, cultural, and political aspects. This approach is easily chosen by architects as the visual—or the seen—is more

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approachable to the common people rather than the unseen spatial character values. A limited minded view on the physical and aesthetic will only lead to problems later.

Rather than solving and only looking at the physical manifestation of identity, this thesis proposes that we should observe on the intrinsic character of the Indonesian people as a basis for architectural manifestation.

Mario Yohanes Rinaldy

Figure 10. The Arc gymnasium by Ibuku in Bali utilises local bamboo construction and craftmanship in a modern manner while remaining ecological, sustainable, and grounded to vernacularity (Griffiths, 2021)

Design Thesis

Figure 11. On the other hand, Andra Matin utilises clean cuts and form simplicity to relate to the local context in the Tubaba Mosque project in Lampung. Islamic religious numbers symbolism are present in the height and light openings among others. Carvings of scriptures in the local language were carved into the concrete wall inside the tower shell (Matin, 2017) 12

Figure 12. The tradition of Mappalette Bola from South Sulawesi involves a community effort to move a house. It is a form of gotong royong (Rahman, 2020)

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Mario Yohanes Rinaldy

THE GOTONG ROYONG CULTURE Despite the diversity across the thousands of ethnic groups in Indonesia, there are underlying shared values which can underpin an overarching identity concept for the nation.

One notable value is gotong royong, or “mutual assistance”.

The concept of togetherness and social discussion was derived from the ideas of social nationalism and social democracy from Soekarno’s speeches and discussions of national ideology post-independence. The spirit of gotong royong also covers the principle of appreciation, equality between people, and dialog, and has been a defining keystone and derived essence of the national ideology (Dewantara, 2017). Since then, the concept of social interaction as a collective,

Design Thesis

consensual, and cooperative society has been the basis of debates and nature of Indonesian culture. Although in a strict interpretation the term means a collective social activity, its core meaning is a guiding philosophy which puts the collective life as the most important (Bowen, 1986). What made gotong royong defines a pan-Indonesian cultural mindset is that it is not particularly owned by one ethnic group, but rather transcended everyone’s.

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SYMBOLISM AS IDENTITY Despite the notion that symbolism must be strictly redacted in modern architecture was widespread—albeit divisive—in many countries in Asia, it can be considered that Indonesians and symbolism being inseparable is a part of our identity.

Achyut Kanvinde and Muzharul Islam, at the time, claimed that a return to traditionalist values and architecture is a sign of societal stagnation. Kanvinde further explained that a return to traditionalist value is illogical in modern times as they are expressions of the past (Ashraf & Belluardo, 1997). Ken Yang and Tay Kheng Soon notably proposes ‘tropical modernism’ as an effort to frame an architectural language which would express the ambitions and modernity of a nation while also showing an

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appreciation of traditional values (Kusno, 2010). By responding to the tropical climate and ecological aspects, architects are able to create a plural non-political nor culturally insensitive architecture.

Despite this, the inseparability between the people and symbolism allows a better relation to local tradition and culture. In a study of the Grand Mosque of West Sumatera (Figure 13), the local population has widely approved and appreciated its appealing design despite the form being an outline of their traditional architecture (Kurniati, 2016). Anderson (2006) relates this affection to ‘logoisation’, a colonialist tactic which reduces their colonies’ symbols into simplified outlines which resulted in the Indonesian populace being inclined to support symbolism.

Mario Yohanes Rinaldy

However, it is still an unfounded preposition to strictly rely on visual cues of traditional elements. An abstract symbolism of culture and spatial qualities would be more suited to convey modern societal values while still being appreciative of the past. One example this can be done is through an observation of traditional public spaces and spatial planning. In Figure 14, public spaces as a space of social interaction and intermingling were highlighted in three different traditional planning practices.

By representing these formal and informal public spaces into a contemporary interpretation of built form and layout, the spaces will still be able to relate to local culture and symbolism without overly relying on visual cues of forms and patterns. Of course, a further exploration on similar ways needs to be undertaken in this

thesis to understand other ways of conveying symbolism without resorting to visual cues. Being contextual should not be limited to the adoption of forms, shapes, and patterns, but should be reflected into the core meaning of the building.

Figure 13. Grand Mosque of West Sumatera

by Rizal Muslimin is in the form of the traditional Minangkabau roof form. Despite the literal translation of form, patterns, and symbolism, the mosque has won several awards and beloved by the local people.

(Setiawan, 2021)

Design Thesis

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Traditional Spatial Planning Analysis To

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Figure 14. Analysis diagram of three traditional public space planning in Indonesia (Author, 2022) 17

Mario Yohanes Rinaldy

Figure 15. A traditional Toba Batak village showing the central meeting space between the rows of houses.

Figure 16. Aerial imagery of a Toba Batak village layout in Lintong Ni Huta, North Sumatera.

Figure 17. The two central sacred Banyan Trees and social night activities in the alunalun/city square.

Figure 18. Aerial imagery of Alun-alun Yogyakara.

Figure 19. Streetview showing Gianyar Palace and Astina Square.

Figure 20. Aerial imagery of Gianyar’s ‘heavenly crossroad’ showing Balinese spatial planning.

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Design Thesis

THE ARCHITECTURE OF DIPLOMACY The embassy is the chosen building typology to explore this redefinition and investigation on national architectural identity.

According to Loeffler (1998), embassies are “symbolically charged buildings which was defined by domestic politics, foreign affairs, and a complex set of requirements.” They do not serve a single client or government entity but a composition of multiple departments and services.

Although Loeffler’s investigation revolves around the evolution of American embassies, many conceptual aspects and meaning align with the general discourse around embassies.

Embassies projects an image for both its own and host nation. A defensive embassy will convey a secluded and stoic nation, for

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example. On the other hand, a transparent and open embassy will convey a friendly and democratic nation. This posturing is carefully curated to not create clashes with the locals. After all, embassies are foreign intrusions, but by positioning an embassy as a “friendly” intrusion, embassies will in turn improve and contribute to the surrounding local context, both socially, culturally, and politically (Loeffler, 1998).

Mario Yohanes Rinaldy

One example of an acclaimed embassy example is the American embassy in New Delhi

by Edward Durell Stone (Figure 21). The strong geometric form and strict formality characteristic of American embassy doctrine of security and transparency at the time were integrated with an interpretation of local elements and spatial qualities, which can be seen in its screening system and central courtyard. These abstractions managed to balance between symbolism and intrinsic American and Indian values.

Design Thesis

Figure 21. The screening, extended eaves, and horizontality as a response to the local climate and context managed to succesfully integrate local references and American modernist design principles without being superficial in form (Das, 2011).

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Figure 22. The 1972 appearance of the embassy shows a more monotone colour scheme in every aspect of the building (NAA, 1972).

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Figure 23. The first cultural pavilion, Wisma Wisata Budaya utilises a modern form of the Javenese pendopo combined with a Javanese and Balinese mixed roof style (NAA, 1974).

Mario Yohanes Rinaldy

THE INDONESIAN EMBASSY IN CANBERRA

incidents and threats (Barrow, 1978).

The current Indonesian embassy in Canberra, Australia was built in 1979 within the Embassy Belt district of Yarralumla. Despite the diversity of embassy architecture from other nations in the city, the Indonesian embassy has been peevishly described as bland, functional, and lacking architectural beauty (Barrow, 1978). It’s only saving grace is its array of Balinese statues, gate, and being the only embassy to have dedicated pavilions for art, culture, and performance, the Wisma Wisata Budaya and Balai Kartini. The pavilions were in the form of a Javanese ‘pendopo’/ meeting hall albeit with a mixed Balinese/Javanese roof. It is also the first embassy to be fenced off, against Canberra’s Garden City policy, after several security

However, an open-house cultural event, ‘Festival Indonesia’, occurred annually. This unique event opens the gate and welcomes outside visitors; Indonesians, locals, and other diplomats, to enter the embassy freely to experience local food, exhibits, dances, and performances. Many attendees commented that the multicultural experience especially regarding Indonesian cuisine is what made this event unique to Canberra (SBS, 2018; Indonesian Embassy in Canberra, 2019). This foreign policy cultural tactic employed coincides with Indonesia’s shared value of gotong royong, and discussion around cuisine.

Design Thesis

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Figure 24. Collage of the 2017 and 2018 Festival Indonesia activities (Google Maps Reviews, 2018).

The following images and figures are research done on on-site conditions during Festival Indonesia, compiled through images from Google Maps Reviews.

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Mario Yohanes Rinaldy

FESTIVAL INDONESIA Festival Indonesia is an annual event every November where the embassy opens it gates to the general Canberran public. The usually restrictive typology of the embassy is now contradicting itself by opening up and extending an open hand outwards. The main festival took place on the parking lot grounds, where temporary food stands and performing stage were set up. The lobby porter-chocere acted as a makeshift display while the culture pavilion displayed additional performances.

It provides an interesting perspective to define a nation’s identity without relying on visual forms. Observing this festival, notions of welcoming, gathering, interaction, and exchange were present among the Indonesian diaspora surrounding food,

Design Thesis

performances, and identity. The local populace and other nation’s diplomats who visited are now guests being welcomed into our own home.

This Festival provides a jumping point in narrowing how to represent Indonesia’s identity: through the character of the people. Acts of gathering, meeting, and welcoming, aligned with the gotong royong spirit, serves as an abstract yet concrete element which can unite a vast archipelagic nation.

Throughout each province of the country, there are underlying similarities on these aspects, and from them an series of spatial requirement, forms, and arrangements can extrapolated into built environment and architecture.

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Although inadequate, it is interesting to observe the multifunctionality of the parking lot grounds to host not only the festival but also national ceremonies. The activities hosted on the parking lot grounds also bleeds towards all part of the ground plane of the embassy, in particular the central ‘nook’ between the two flanks of the U-shape building arrangement.

Figure 25, 26, 27. (SBS, 2018; 2020) The festival was attended by up to 5000 guests (SBS, 2018).

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Site Photographic Observation

Figure 28. Indonesian Embassy in Canberra frontal view. Notice the Balinese gate and statues on the left. (Indonesian Embassy in Canberra, n.d.)

Figure 29. Festival Indonesia 2019 underway in the parking lot grounds of the embassy, a unique open-house event promoting Indonesian culture and cuisine, in which locals, Indonesians, and other diplomats are free to visit annually (Indonesian Embassy in Canberra, 2018)

Design Thesis

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Figure 30. Before and after renovation.

(70yearsindonesiaaustralia, n.d.; Nomisztif, 2011)

The above photo was taken in 1971, right after the opening of the embassy in Canberra.

Initially, the embassy, and any other buildings in the city at the time, does not have any fencing.

After several security incidents and threats, the embassy is the first one to erect a fence, which can be seen in the bottom image.

This photographic comparison also created an interesting 27

observation. Before the fence went up, the front part of the embassy is a grass lawn, where the main entrance was through the Balinese Gate directly into the central public space and pavilion. After the fence was built, the Bali Gate loses its status as main entrance due to the new front lobby.

Mario Yohanes Rinaldy

Figure 31. Balinese gate and statues flanked the left side of the embassy, which led through a garden, pond, and into the cultural pavilion (ANU, 2016)

Figure 32. The Gamelan, a traditional instrument, and other cultural objects on display within the pavilion (ANU, 2016)

Design Thesis

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Site Mapping

Figure 33. Site mapping of the Indonesian Embassy in Canberra. (Author, 2022) 29

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Site Aerials

Embasy of Finland Embassy of Indonesia Embassy of Brazil Singapore High Commission The Commonwealth Club Embasy of Mexico Embasy of Estonia

Samoa High Commission Finnish Ambassador Residence Embassy of France Embasy of Egypt French Ambassador Residence

Figure 34. Aerial imagery of the local context.

(Nearmap, 2021) Design Thesis

Pakistan High Commission

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Public Entrance/ Security Post Water Feature / Pond Balai Kartini (1985) Bali Gate and Statues Wisma Wisata Budaya (1971)

Lobby (porte cochere) Chancery (1971) New Offices (1984) Formal Entrance Central Parking Court

Figure 35. A closer aerial imagery of the embassy proper and identified elements.

(Nearmap, 2021) 31

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2 PRECEDENT ANALYSIS

Figure 36. French Embassy in Indonesia floor plans. (Archdaily, 2014) 33

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Precedent Analysis FRENCH DIPLOMATIC CAMPUS JAKARTA, INDONESIA Segond-Guyon Architectes (2014) The French Embassy in Jakarta is one of the few examples that has a publicly available floor plans and architectural drawings.

Although the form and context of the embassy differs from the Canberra site--being in the downtown area and vertical--its relatively small scale and its space and personnel requirements are similar with the current size of the Indonesian embassy in Canberra.

This precedent is used as a base for investigating the internal spatial programme brief. The calculations were adapted into the project programme brief in Figure X.

Figure 37. French Embassy in Indonesia exterior view. (Ricolleau, n.d.)

Design Thesis

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Spatial Programme Requirements

RECEPTION 12 SQM

SECURITY

STAFF PANTRY & SERVICES

75 SQM

72 SQM

DIPLOMATIC OFFICES 912 SQM

CHANCERY

5x4 20 SQM

8x4 32 SQM

MEETING ROOMS

LARGE MEETING/ BANQUET

200 SQM

BANQUET SUPPORT SERVICES

TOILETS 100 SQM

STAIRS 2X

30 SQM

60 SQM

LIFTS 2X

5x5 20 SQM

PASSPORT SERVICES 178 SQM

OFFICES 90 SQM

BOOTHS 30 SQM

ARCHIVES/ STORAGE 30 SQM

PUBLIC INTERFACE 28 SQM

GARDENS AND OPEN SPACE REMAINDER OF SITE / ~3504 SQM

TOTAL SITE 6764 SQM

APPROX. PROGRAM SPACE REQUIREMENTS 3260 SQM

Figure 38. Approximate spatial programme brief of the project based on the French Embassy precedent. (Author, 2022).

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CULTURE ATTACHE & OTHER DEPTS. 704 SQM

CULTURE

5x4 20 SQM

COMMUNITY/FOOD

90 SQM

SERVICES

55 SQM

HALL

242 SQM

Design Thesis

8x4 32 SQM

HALL

242 SQM

PAVILION 169 SQM

BACKSTAGE 55 SQM

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SEMI-PRIVATE

PRIVATE

PUBLIC

Figure 39. St. Andrews Beach House plan and elevation (Letrunghao, 2012.) overlayed with privacy level analysis, 37

Mario Yohanes Rinaldy

ST. ANDEWS BEACH HOUSE ST. ANDREWS, VICTORIA Sean Godsell. (2006) The St. Andrews beach house sits well within the landscape context of the hilly coastal terrain.

The project is horizontal in nature and does not interfere with the landscape, rather integrates and complements it. These elements fits well in the hilly Canberra site, as the embassy has the possibility of integrating and complementing the landscape rather than being intrusive.

The house is also elevated on four concrete pillars, clearly demarcating the threshold between the public and the private, a journey entering the interior of the house from the outside.

The long horizontal nature and different layers of programming also coincides with traditional Indonesian houses spatial typology, especially the Dayak Longhouse from Kalimantan and Gadang House from West Sumatera.

Figure 40. St. Andrews Beach House (Michavilla, 2013) Design Thesis

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Figure 41. Layout comparison analysing privacy division between the Dayak Longhouse and Gadang House.

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DAYAK LONGHOUSE & GADANG HOUSE Spatial Investigation of Layers and Horizontality.

Both the Dayak Longhouse and Gadang House posseses a large linear communal space, where families interact and congregation occurs. This space also featured a repeated array of columns/collonade which defines zones between the semi-public, semi-private, and the private (bedrooms).

Similarly, the sheltered terrace commonly found in Australian houses posseses the same inherent spatial qualities and interaction, which align well and can be appropiated as a local context response in an embassy typology,

Figure 42. Linear corridor in St. Andrews Beach House. (Realestate, 2018) Design Thesis

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Figure 43. Snapshots of the Australian Consul General Residence gardens. (TCL, 1995).

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AUSTRALIAN CONSUL GENERAL RESIDENCE KOBE, JAPAN. Perry Lethlean, TCL. (1995).

The symbolic and official nature of the Australian Consul General residence gardens in Japan means that it becomes more than what the function and program dictates. The design of this series of gardens seeks out to showcase the Australian identity while also being culturally and contextually sensitive to Japan.

Each garden acts as a bleed of the main house internal function, which transitions from a formal welcome garden to a more intimate scale and form. The architects implemented several Japanese design concepts such as, ‘suwari’ (forced perspective), ‘shakkei’ (borrowed scenery),

Design Thesis

ceremony, and minimalism, resulting in a combination of Western and Eastern garden principles, a Japanese garden with Australian elements.

A play of wet and dry landscape, large and intimate spaces, formal and relaxed, materiality, as well as integration with the surrounding lush greenery and creek create interaction and bonding between dignitaries and the two nations.

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Figure 44. Collonade and terrace acts as a communal space and unifying element.

(Dwitomo, 2021).

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BOGOR CREATIVE HUB BOGOR, WEST JAVA Local Architecture Bureau.

(2021).

The building was built to act as a creative generator and a creative hub for open interaction and exchange. It’s singular form curves into a C around a heritage listed building, sitting within the lush greenery. Programs are arranged along the spine of the building while remaining porous for circulation between the outer rims and inner garden.

Repetitive collonade and sheltered terrace runs along the shape of the building, connecting all the programs with a main circulation area and creating inclusiveness. It also acts as an interaction space as well as an opportunity for the program to

Design Thesis

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Figure 45. The ground floor of the library functions as a playspace and workshop space for the public. (KIE, 2020).

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Figure 46. Microlibrary Warak Kayu by SHAU in Semarang, Indonesia. (KIE, 2020) Figure 47. The top floor is the more private library space. (KIE, 2020).

Mario Yohanes Rinaldy

MICROLIBRARY WARAK KAYU SEMARANG, CENTRAL JAVA SHAU. (2020).

This project is part of the microlibrary series initiated by SHAU and local governments.

Similar to other projects that has been done, the library program is elevated on stilts to create a privacy division and to free up the ground floor, allowing for differing activities to be conducted within each level. Additionally, elevating the library also corresponds to the traditional house-onstilts typology commonly found throughout the nation.

the harsh tropical sun in Semarang.

The Warak Kayu Microlibrary utilises locally sourced timber as its main material. Timber screening covered the library program, allowing wind to pass through yet shielded it from the

Design Thesis

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3 CONCEPT DESIGN

Spatial Arrangement Analysis

Chancery Culture Pavilion Plaza / Open Space Grassland Asphalt Circulation

PRE-1984 SEQUENCE Before renovations and adjustments due to security threats, the embassy possessed vast gardens in the front and back with no fencing and gates.

There is a sequential journey through a timber bridge and stone footpath into the main entrance, the Bali Gate, on the side.

Visitors are welcomed by the cultural pavilion, landscaping, and open plaza, before the embassy’s entrance at the rear. A clear transitory experience.

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Chancery Culture Pavilion Plaza / Open Space Grassland Asphalt Circulation

CURRENT SEQUENCE The site is now gated and fenced. The sequential experience is replaced by a straightforward frontal lobby entrance. Most of the front grassland was also replaced by asphalt and parking which also functions as a makeshift public space for the open-gate event, Festival Indonesia.

The shift from grassland and landscape into a strict order of formality has erased the transitory experience of welcoming within the Indonesian identity context.

Design Thesis

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Sequence Analysis

PRE-1984

Welcome Front Gardens

Gathering Plaza / Open Space

Culture Pavilion

Diplamacy Chancery

Gathering Plaza / Open Space

Diplomacy Chancery

Grassland Rear Gardens

CURRENT

Welcome Parking Lot

Culture Pavilion

Grassland Rear Gardens

COMPARISON OF SEQUENCE Diagram showing the journey through the site and degree of public/private before and after the 1984 renovation.

The 1984 arrangement follows a gradual transition from public to private, while the current arrangement follows an incoherrent set of sequence.

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Sequence Possibilities

Informal / Public

Formal / Semi-Private

Plaza & Gardens

Culture

Informal / Semi-Public

Informal / Public

Plaza & Gardens

Informal / Public

Chancery

Formal / Semi-Private

Culture

Formal / Private

Chancery

Formal / Semi-Private

Informal / Semi-Public

Plaza & Gardens

Formal / Private

Culture

Informal / Public

Formal / Private

Chancery

Formal / Semi-Public

Formal / Semi-Private

Plaza & Gardens

Culture

Informal / Public

Chancery

Formal / Private and Open

Plaza & Gardens

Culture

Chancery

There are several options on sequencing on site, whether to restore the old sequence or create a brand new one.

Preliminary judgement prefers the third arrangement where the major threshold is located after the gardens and frontal areas.

Design Thesis

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Key Ideas

WELCOMING

GATHERING

The embassy typology as an unwelcoming and restrictive formal space are challenged by creating a welcoming gesture and warm inviting atmosphere representative of the Indonesian people’s character derived from the unique open-gate culture of the Indonesian Embassy in Canberra.

The embassy caters to the diaspora and contributes to the local amenity acting as a public open space for festivals, interaction, and discussion surrounding food and cuisine.

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A plaza and landscaping derived from vernacular square typologies as a driving element of arrangement.

Mario Yohanes Rinaldy

TRANSITION AND SEQUENCE

CONTRAST

Layers of privacy, formality, and seperation create a transitional journey between spaces and programs derived from vernacular spatial qualities in inviting people in depending on closeness of bond and relationship.

Representing the diversity of the nation yet also acknowledging the singularity of it. A contrast of form between the formal and informal, public and private, the free and the secure, and programmatic functions.

Design Thesis

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Form Finding SITE AXIS AND SETBACKS General layout of the site axis and entrance as well as observed setbacks per regulation as well as neighbors alignment.

The axis are derived from the neighbors and street alignment.

The current Indonesian Embassy is peculiarly at an angle without any explanation and is unoptimized as it is dominantly west facing. This alignment will bring it into a proper site arrangment and context.

55

Observed Setbacks: Front : 8M -12 M and greater Sides : 3M Rear : 3M - 12M and greater

Mario Yohanes Rinaldy

3 12

3

N

CO

Design Thesis

XIS

TA

X TE

12

SIT

EA

XIS

56

ZONING The main axis also acts as the main plaza derived from traditional Batak villages, a gate in the front before opening up linearly inside flanked by rows of houses and storage. This linear form is also comparable to a main street and square found in the Australian context.

The Culture pavilion and plaza are located on the northern side for optimal sunlight, while the Chancery offices is located on the southern side.

The linear central space leads the circulation into the rear gardens and view to the greenery, landscape, and Lake Burley Griffin.

57

Mario Yohanes Rinaldy

12 PM

9 AM

3 PM

CULT

GATHE URE

Design Thesis

CHAN RIN G

2M

CER Y E

WE

M LCO

58

CONTOUR AND VIEWS The steep slopes and hilly character of the site provides a challenge and an opportunity for the building form to sit within the landscape, rather than being intrusive and iconic. Height differences ranges from 2M to almost 7M. From the highest point of the site, a clear commanding view of the surrounding area can be seen.

It is also hierarchically the most imporant and ‘sacred’ part of the site according to Balinese urban planning.

Furthermore, by having the main axis run through the whole length of the site, there is a clear viewpoint straight into the main plaza, creating the inviting gesture and welcoming aspect of the project.

59

Mario Yohanes Rinaldy

6.7 M

2M 2.8 M

REFERENCE LEVEL

Design Thesis

60

BUILDING FORM The building forms flanked the central plaza; the cultural pavilion in the north and the chancery in the south. The cultural pavilion retains a similar footprint to the current pavilion, Wisma Wisata Budaya, as it is functionally differentiated to the performance halls and theatres.

The central plaza is a place where the main community exchanges and festivals occurs. The space is massively increased to satisfy approximate attendance requirements.

The chancery is horizontal in nature and 3 levels tall, creating a bold form which sits within the landscape. There is a central entrance from the public plaza.

61

Mario Yohanes Rinaldy

3 12

3

C

XIS

TA

EX

T ON

12

GATHE

EA

G

CER Y

URE

E

M LCO

WE

Design Thesis

XIS

CHAN

RIN

CULT

SIT

62

PROGRAM DISTRIBUTION A courtyard divided the horizontal form of the chancery into two sets of offices, the diplomatic function and cultural attache and other departments, and acts as a meeting spot for diplomatic staff seperate from the public. The theatre hall and performance space is shifted to the ‘public’ ground floor of the Chancery building to create a differentiation of privacy levels across the levels, derived from traditional stilt houses.

63

Mario Yohanes Rinaldy

9 AM

3 PM

2M

DIPL

OM

ACY

SER VIC

GATHE

ES

RIN

& OT

CULT

G

THEA TRE

AND

HALL

HER CULTUR DEPA E A RTM TTA ENT CHE S

S

URE WE

Design Thesis

E

M LCO

64

LAYERS AND TERRACE The Chancery building is defined by walls which defines the level of privacy of offices and functions within the form according to principles of spatial transition and sequence from public to private.

Similarly, a sheltered terrace wraps around the cultural pavilion which allows any events or exhibition being held to flow outside the building. It also acts as a transition space between the indooor and outdoor open air plaza.

The terrain condition has not been considered in this figure ground extrusion excercise, but will open up more possibilities and opportunities of arrangement.

65

Mario Yohanes Rinaldy

6.7 M

2M 2.8 M

REFERENCE LEVEL

Design Thesis

66

LANDSCAPING Landscaping of the public space and frontal gardens will incorporates the terrain height differences to create different levels of formality, gesture, and approach.

The circulation is guided from the lower front of the site into the higher back end of the site into the main plaza, height seperated from the street.

The height difference slopes also create a clear seperation for security without relying on fencing the site.

This will be the next stage of investigation and development.

67

Mario Yohanes Rinaldy

Design Thesis

Figure 48. Melbourne Square height difference is linked with pathways and stairs to link different degrees of formality/spaces; the street and entrance plaza. (TCL, 2015).

68

Preliminary Models

PERSPECTIVE 1 Aerial view from main traffic access showing the building forms and peeking into the plaza.

Flat terrain model.

69

Mario Yohanes Rinaldy

PERSPECTIVE 2 Main axis view into the plaza shows the zoning and form division of the cultural pavilion and chancery.

Flat terrain model.

Design Thesis

70

PERSPECTIVE 3 The terrace wraps around the cultural pavilion acts as a threshold between the indoor and outdoor.

Flat terrain model.

71

Mario Yohanes Rinaldy

Model Spatial Exploration

CONCEPT MODEL 1 An exploration of a meeting hall/ space. Meetings and interaction happened under the shelter along the ring and within the central courtyard and collonades.

Design Thesis

72

CONCEPT MODEL 1 COLLAGE Discussion and dialog in an open environment; under a shelter, open to nature.

73

Mario Yohanes Rinaldy

CONCEPT MODEL 2 An exploration of layering and transparency based on the Indonesian house character.

Letting in people according to their closeness and formality.

Design Thesis

The sequence follows the pattern: transparent (fence), solid (wall), transparent (inner areas), solid (rear).

74

CONCEPT MODEL 2 COLLAGE Model on site. Exploring layers of privacy, horizontality, and surrounding context.

75

Mario Yohanes Rinaldy

Concept Design Reflection The presentation in class was not the best and it resulted in misunderstandings for the crit. My ideas were not conveyed properly since I am exhausted the night prior.

However, there are some valuable points by the crits which I could use as a starting point moving forward.

First, the crit mentioned that one big horizontal building does not seem to represent the diverse nature of Indonesia, suggesting an assembly of buildings instead. Despite my original intention to break away from the common ‘Indonesia = multiple buildings’ notion by creating a singular form to signify our unity, I realised that my intentions were unsuitable.

Another feedback by the crit suggested a new precedent study of the microlibrary by SHAU which uses recycled ice cream jugs as a facade element, which showcased an Indonesian nuance.

Design Thesis

76

4 SKETCH DESIGN

79

Mario Yohanes Rinaldy

Sketch Design Introduction The Sketch Design reorients the viewpoint into a more instrinsic value on how the Indonesian people meet and what spaces they require, constrasting the more macro-scale strokes in Concept Design. Different scales of Indonesian spaces and activities inhibiting them were analysed and translated into built gestures, strategy, and architectural form.

The embassy now resembles a courtyard compound, where all the program and functions were arranged around a central courtyard garden complemented with in-between spaces between each of them. The design at this stage started to balance the formal requirements and openness gestures proposed in this thesis.

Design Thesis

80

Types of Meetings and Spaces Required PUBLIC OPEN-AIR/URBAN - Open air plaza, direct connection to nature and greenery - Serves as a ceremonial space and a general congregation area - Congregation around a commercial element (hawkers), or under shade (trees or shelters). Without these, no matter how wonderful the space is, no one will be using it - A focus to a nearby monumental element, either a building, sculpture, monument

Figure 49. Gambyong dance in a Klaten Square. (Pemkab Klaten, 2018).

81

Figure 50. Public space across Ampera Bridge in Palembang (Urban Space Critics, 2012).

Mario Yohanes Rinaldy

PUBLIC OPEN-AIR/URBAN

Design Thesis

82

IN-BETWEEN SHELTERED TERRACE - Sheltered space, usually a terrace, connection to outdoors - Informal interaction, usually with guests who are not fully close in relationship - Informal activities, such as talking, taking a sip of coffee, playing chess with neighbours, usually either sitting on a chair or on the floor - Transitory element between the public and private, open and enclosed

Figure 51. A group of friends chilling on the terrace in the 1980s. (Prisilia, 2015).

83

Figure 52. A regional army detachment played chess with the local on the terrace of his home (Chanafi, 2018) Mario Yohanes Rinaldy

IN-BETWEEN SHELTERED TERRACE

Design Thesis

84

PRIVATE ENCLOSED SPACE - Enclosed space with a connection to nature, your living room - Intimate relationship and activities, for friends, families and relatives, such as gossiping, chatting, family gathering, dining together, discussion - No one from the outside should really know what is going on within this space

Figure 53. A gathering of mothers gossiping.

(Unknown).

85

Figure 54. A Batak family gathering. (Detik, 2015).

Mario Yohanes Rinaldy

PRIVATE ENCLOSED SPACE

Design Thesis

86

SEPARATION BY HEIGHT PUBLIC VS PRIVATE - Similar to vernacular architecture of houses on stilts, private program sits above the public interface - Public ground floor is freed up for general activities and circulation - An example of this is the Microlibrary Warak Kayu / SHAU, Semarang, Indonesia

Figure 55. The ground floor of the library functions as a playspace and workshop space for the public. (KIE, 2020).

87

Figure 56. Microlibrary Warak Kayu by SHAU in Semarang, Indonesia. (KIE, 2020) Figure 57. The top floor is the more private library space. (KIE, 2020).

Mario Yohanes Rinaldy

SEPARATION BY HEIGHT PUBLIC VS PRIVATE

Design Thesis

88

Symbolism: Traditional Urban Planning as Site Layout Strategy ALUN-ALUN JAVA The ‘alun-alun’ or open-air plaza is surrounded by the palace (South), mosque (West), and security institutions (East). The palace/government can be on either side of the North-South axis. This urban scale typology is commonly found on Javanese cities, as it was one of the earliest studied urban planning example in the nation. It was then replicated in other cities outside of Java.

For example, the Alun-alun Yogyakarta.

Figure 58. Same as Figure 17

89

Figure 59. Same as Figure 18

Mario Yohanes Rinaldy

Design Thesis

E S

N

N W

W 90

NINE-FOLD PLANNING BALI Based on Hindu principles and the context of the island’s Mount Agung, a ‘heavenly intersection’ is surrounded by the palace (NE), square (SE), market (SW), and town hall (NW). This symbolic planning scheme is found in the island of Bali although at a much smaller scale, e.g.: house, temple, village centres.

For example, Gianyar’s main intersection flanked by the palace and Astina square

Figure 60. Same as Figure 19

91

Figure 61. Same as Figure 20

Mario Yohanes Rinaldy

E

N W

S

E

S

Design Thesis

EN

LA

92

LINEAR VILLAGE PLANNING NORTH SUMATERA The traditional Batak villages/ ‘huta’ in North Sumatera is linear in form flanked by houses on one side and grain storage on the other. The main ‘street’ is where activities and ceremonies occur.

One set of these villages is enclosed by a fence and a gate where guests must be greeted in before entering. It is variable in direction layout.

For example, the villages in Lintong Ni Huta, North Sumatera.

Figure 62. Same as Figure 15

93

Figure 63. Same as Figure 16

Mario Yohanes Rinaldy

IN TA

N OU

E

S

Y TR

EN

LA

KE

Design Thesis

M

Y TR

EN

94

COMBINATION OF PLANNING LAYOUTS General elements of the aforementioned three planning layouts are combined into an overarching site layout strategy for the project.

Axial intersection, central open-air green space in the center surrounded by a ring of circulation, building arrangement on two sides, and entry at the front

95

Mario Yohanes Rinaldy

Y TR

EN

ING T ILD EMEN U B NG RA AR

ING T ILD EMEN U B NG RA AR

Design Thesis

96

Form Finding SETBACKS AND SITE CONTOUR General layout of the site according to planning regulations and site contexts. The steep contour of the site provides a possibility to build into the landscape as it ranges from 2M to 7M in height difference.

The central axis acts as a welcome gesture and an activity node of the embassy compound.

97

Mario Yohanes Rinaldy

3

10

10

3

SETBACKS AND SITE CONTOUR

Design Thesis

98

SITE LAYOUT Adjustment of the combined traditional urban planning layout is applied unto the site. An open air plaza is located in the center providing a centralised meeting and activity space.

99

Mario Yohanes Rinaldy

AXIS DIPLOMAT

10

SITE LAYOUT

Design Thesis

100

BUILDING ARRANGEMENT AND AXIS Two axis, the cultural and diplomatic axis, defines the alignment of the buildings flanking the central plaza. The cultural pavilion is slightly tilted to align perpendicularly to the Chancery as it still serves a diplomatic function to showcase exhibitions to foreign guests and diplomats.

101

Mario Yohanes Rinaldy

AXIS DIPLOMATIC

AXIS CULTURAL

BUILDING ARRANGEMENT AND AXIS

Design Thesis

102

FORMS AND ENVIRONMENTAL RESPONSE A covered terrace encircled the central plaza linking all building forms. The cultural buildings are lower in height as it is located in the northern end of the site. Horizontal screens in the Chancery responded to the northern and western sun.

103

Mario Yohanes Rinaldy

S CULTURAL

FORMS AND ENVIRONMENTAL RESPONSE

Design Thesis

104

ND A LA NI FIN STO E &

RE CC T.

SITE PLAN

MEXICO

MEXICO

A MO

RW DA

SA

EG YP

T

PE

RT H

AV E

.

APO G IN

R S

D AN CE NL N FI IDE S RE

IN W

.

E AV

R

50

20

10

0

OVERALL SITE ISOMETRIC

107

Mario Yohanes Rinaldy

Design Thesis

108

0 109

5

15

35 Mario Yohanes Rinaldy

GROUND FLOOR PLAN LEGEND 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Security Toilet Banquet hall / Restaurant Kitchen Storage Cultural exhibition pavilion Central square Indoor theatre hall Theatre backstage Theatre Reception Foyer Mechanical & engineering Large conference room Passport office Passport office booth and reception Foyer and reception

Design Thesis

110

0 111

5

15

35 Mario Yohanes Rinaldy

FIRST FLOOR PLAN LEGEND 2 5 16 17 18 19 20 21 22 23

Toilet Storage Library Departmental attaches offices Attache/director office Outdoor balcony terrace Courtyard deck Rooftop garden Meeting room Diplomatic offices

Design Thesis

112

0 113

5

15

35 Mario Yohanes Rinaldy

SECOND FLOOR PLAN LEGEND 2 5 22 23 24 25

Toilet Storage Meeting room Diplomatic offices Consul office Ambassador’s office

Design Thesis

114

SECTION A

115

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0 Design Thesis

5

15

35 116

SECTION B

117

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0 Design Thesis

5

15

35 118

Vignettes VIGNETTE 1 The terrace which encircled the central grass lawn acts as a transitory space where the formal and informal activities intersects, between the public outside and private interior.

119

Mario Yohanes Rinaldy

VIGNETTE 2 The central grass lawn acts as a market square where the main congregation happens in festival days. In off days, the central square acts as a ceremonial space as well as a gathering space for the diplomatic staff

Design Thesis

120

Schematic Design Reflection The presentation of my schematic design went well and I feel satisifed about my improvements in presenting and work produced over the course of this thesis project so far. The feedback and crits I received during the presentation identified some gaps within my project. Although the guest crits praised my arrangement and justifications on layout and rationality, it seems that the crits deemed it “too neat” and “too restrained”. A degree of messiness, grittiness, and vibrancy is needed to bring in the soul and character of the Indonesian people and its vibrant gatherings into the embassy proper. I do acknowledged that my material choices as of the presentation is unsuitable and incorrect to context and concept, and yes, the crits also advised the use of materiality to bring out the nuances of this project. Moving forward, materials which intersects with Australia and Indonesia will be selected for the building. For now, I have started to consider the use of bricks, timber, and oxidized steel.

However, I am conflicted with one of the points of using 121

recycled materials to bring out these nuances as an Indonesian identity. I do still think strongly that recycled materials have no place in an embassy building. This typology, despite how I intended to bend it in this project, is still a building to project power and presence in a foreign state as well as built to last a long time. The use of recycled materials, although wonderful in idea, will increase unnecessary complexity and create an unsuitable image for Indonesia, in my opinion.

Another point of feedback is to my idea of terraces which acts as informal gathering and meeting spaces. It was pointed out that despite it being an Indonesian feature and typology, it is unsuitable to Canberra’s unusually cold climate. Its linear aspect without other activating function will also n呕o 吐 t support the meeting and gathering I intended it to be. Perhaps, moving forward, an altercations of layout and insertion of micro-infrastructure and landscaping will better supplement the notion of meeting in these spaces. Another consideration to respond to the climate is also completely enclosing these Mario Yohanes Rinaldy

terraces and provide climatically sheltered links between the assembly of buildings, which is currently not present. Climatically, this project has some major issues which hinders the acts of meeting and gathering.

On the point of symbolism, modernism, and ornamentation, it is my initial intention to not include culturally affliated visual patterns in my design. Indonesia and modernism has such a deep connection related to the struggle post-Independence to create a new national identity. Prominent contemporary Indonesian architect, such as Andra Matin which I mentioned in the Thesis Elaboration, tries to stay away from mere visual copying of such patterns and forms and instead rely on form purity and materiality. Moving forward, I would explore these abstractions of spaces and nuances to translate it into a unifying form element for the building.

This response also aligned with peer feedback from classmates, which suggested to look at Alvar Aalto’s Säynätsalo Design Thesis

Town Hall, in which the assembly of buildings have a consistent form language and materiality which still responds to the local culture and context.

I would also like to point out, maybe due misunderstanding of the crits, that this project which orientates the identity from traditional forms and visual superficiality to the character of the people and their acts of meeting and gathering is my intended answer to my thesis question what can be considered as our national identity.

In the end, the major challenge moving forward, as one of the crits puts it, is to build an Indonesian building, with Indonesian character, in an Australian climate.

122

5 FINAL DESIGN

12:00

AXIS DIPLOMATIC

9:00

15:00 AXIS CULTURAL

BUILDING ARRANGEMENT AND AXIS

125

FORMS AND ENVIRONMENTAL RESPONSE

Mario Yohanes Rinaldy

Final Design Introduction The final design of this thesis carries on the concepts, ideas, and strategies from Sketch Design without minimal alterations.

Selected materiality and contrasting colour were combined into a vibrant yet formal embassy. Water features acts as reflective intimate spaces in-between the building. A guest is guided in through the main entrance and axis through a series of courtyards, open, and intimate, as the journey from the front ends at the rearmost courtyard and gardens.

Functional requirements such as supporting engineering functions and environmental response were streamlined to create a more relatable embassy for the diaspora.

The roof of the cultural pavilion are now simplified into a simple unifying language, compared to the more traditional-referenced roof in Sketch Design. Furthermore, it also acts to lower the height presence and maximise the northern sunlight in the central courtyard.

Design Thesis

126

ND A LA NI FIN STO E &

MEXICO

EC

CT.

SITE PLAN

MEXICO

A MO

RW DA

SA

EG YP

T

PE

RT H

AV E

.

RE

APO G IN

S

D AN CE NL N FI IDE S RE

IN

W E. AV SCALE 1:1000 0

10

20

50

ISOMETRIC ISOMETRIC

LIBRARY

THEATRE HALL

ATTACHE OFFICES

CULTURAL EXHIBITION PAVILION

BANQUET/RESTAURANT

CHANCERY

D A

DETAIL ISOMETRIC

SCALE 1:300 0

129

7.5

15

Mario Yohanes Rinaldy

ISOMETRIC DETAIL DETAIL ISOMETRIC

METAL ROOF TRIMDEK

CONCRETE BEAM 300x600

UB200 SCREEN SUPPORT CONCRETE BEAM 300x600 WB350 MAIN COLUMN, PAINTED ALUMINUM ROUND CLAD COVERING FACADE PANEL TYPE 2 1500x3500 45x90 TIMBER BATTENS @ 200mm CL UB200 FACADE WALL SUPPORT, TIMBER CLAD COVERING FACADE PANEL SUPPORT CONCRETE BEAM 300x600 FACADE PANEL TYPE 1 1500x3500 45x90 TIMBER BATTENS @ 100mm CL MAIN COLUMN BASE, GRAY MARBLE CLAD / HOMOGENOUS TILES UB200 SCREEN SUPPORT DARK GRAY ASPHALT ROOF SHINGLES RATTAN PANEL CEILING UB200 TRIMMED EDGE TERRACE ROOF SUPPORT SHS100 TERRACE PILLAR, TIMBER CLAD COVERING

A

RW

IN

AV

E.

DRAINAGE, METAL GRILL COVERING

SCALE 1:50 30

0

Design Thesis

1

2

5

130 MARIO YOHANES RINALDY | 917889

GROUND FLOOR PLAN GROUND FLOOR PLAN

A

REFLECTING POOL

CULTURAL EXHIBITION PAVILION

UP

C

DELIVERY CULTURAL RECEPTION DESK STR

KITCHEN

BANQUET/ RESTAURANT

UP

SHELTERED MAIN ENTRY

FOYER/ SEATING AREA

UP

SECURITY

SECURITY OFFICE WC

REFLECTING POOL

STR

STR

PASSPORT & VISA OFFICE

D

A’

131

Mario Yohanes Rinaldy

B

POWER SUPPLY

REFLECTING POOL

TECHNICAL SUPPORT MATERIAL STORAGE

REPLACEMENT SOURCE INTERNAL EQUIPMENT

GENERATOR

WASTE C’

BOILER ROOM

STOREROOM & WORKSHOP

FOOD STORAGES

UP

BATTERY STORAGE

UP

UP

STR

CONFERENCE/LARGE MEETING ROOM

D’

SRV

PANTRY

B’

ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200 0

Design Thesis

5

10

20

MARIO YOHANES RINALDY | 917889

132

FIRST FLOOR PLAN FIRST FLOOR PLAN

A

C

DIPLOMATIC STAFF COMMON AREA

UP

DN

MEETING ROOM

DIPLOMATIC STAFF OFFICES (MFA)

STR

STR

GARDEN DECK

D

A’

133

Mario Yohanes Rinaldy

B

THEATRE HALL

C’

FOYER/RECEPTION

LIBRARY & ARCHIVES

DN

BACKSTAGE

DN

FOYER

UP

TERRACE DECK

DN

STAFF COMMUNAL AREA

STR

D’

TRADE

DIPLOMATIC STAFF OFFICES (MFA) DEFENCE/ MILITARY STR

B’

ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200 0

Design Thesis

5

10

20

MARIO YOHANES RINALDY | 917889

134

SECOND FLOOR PLAN SECOND FLOOR PLAN

A

C

DN

MEETING ROOM

CONSUL

SECRETARIES OFFICES

STR

AMBASSADOR’S OFFICE

D

A’

135

Mario Yohanes Rinaldy

B

C’

CULTURE & EDUCATION

DN

MEETING ROOM

D’

HIGH LEVEL DIPLOMATIC OFFICERS (MFA)

B’

ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200 0

Design Thesis

5

10

20

MARIO YOHANES RINALDY | 917889

136

SECTION A - A’

SECTIONS MEETING ROOM

STAFF COMMUNAL AREA

DEFENCE/MILITARY

STAFF PARKING AREA

SECTION B - B’

THEATRE HALL

LIBRARY & ARCHIVES

TOILET

CULTURAL EXHIBITION PAVILION OFFICE

REFLECTING POOL

OFFICE

SECTION PAVILION C - C’

CULTURAL EXHIBITION

LARGE MEETING ROOM

CULTURE

CHANCERY DN

SECTION A - A’

SECTION A - A’

MEETING ROOM

DN

The central courtyard connects the more public cultural section and the more private/formal chancery. The slanted roof of the cultural section connects well with the terrace roof form and does not rely on copying traditional forms. It also acts to lower the height presence and allow maximum sunlight into the central courtyard garden.

DEFENCE/ MILITARY

MEETING ROOM

LARGE MEETING ROOM/CONFERENCE ROOM

PANTRY

TRADE

STAFF PARKING AREA

MEETING ROOM

THEATRE SECTION D - D’HALL INTERNAL EQUIPMENT

FOYER

STAFF COMMUNAL AREA

BOILER ROOM

DEFENCE/MILITARY

STAFF PARKING AREA

SECTION B - B’

ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200 0

137

5

10

20

MARIORinaldy YOHANES RINALDY | 91 Mario Yohanes

THEATRE HALL

TOILET

SECTION A - A’

MEETING ROOM

STAFF COMMUNAL AREA

DEFENCE/MILITARY

STAFF PARKING AREA

OFFICE

OFFICE

SECTION B - B’ CULTURAL EXHIBITION PAVILION

LARGE MEETING ROOM

CULTURE

CHANCERY

LIBRARY & ARCHIVES

SECTION A - A’

THEATRE HALL

TOILET

CULTURAL EXHIBITION PAVILION REFLECTING POOL

MEETING ROOM

SECTION C - C’HALL THEATRE INTERNAL EQUIPMENT

FOYER

STAFF COMMUNAL AREA

DN

BOILER ROOM

SECTION B - B’

STAFF PARKING AREA

SECTION B - B’

MEETING ROOM

DN

DEFENCE/MILITARY

The rear part of the embassy is built into the landscape, allowing a semi-basement to be built. The basement contains mechanical equipment, storages, and staff car park. Above it is a more intimate courtyard joining the theatre, library, and attache offices. Both building forms above are connected through this courtyard and a sheltered SECTION D - D’ walkway.

DEFENCE/ MILITARY

MEETING ROOM

LARGE MEETING ROOM/CONFERENCE ROOM

PANTRY

TRADE

STAFF PARKING AREA

THEATRE HALL

DELIVERY TOILET

CULTURAL RECEPTION DESK

TOILET

CULTURAL EXHIBITION PAVILION

REFLECTING POOL

SECTION C - C’

ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200 0

Design Thesis

5

10

20

MARIO YOHANES 138 RINALDY | 91 DN

CULTURAL EXHIBITION PAVILION CULTURE

SECTIO

THEATRE HALL

INTERNAL EQUIPMENT

FOYER

BOILER ROOM

SECTIO

DELIVERY TOILET

CULTURAL RECEPTION DESK

CULTURAL EXHIBITION PAVILION

SECTION C - C’

SECTIO

Water features/reflecting pools are present in between the cultural buildings as well as other parts of the site. These pools acts as intimate spaces and sensory experience when walking from the front through the rear of the site.

AMBASSADOR’S OFFICE

CONSUL OFFICE

MEETING R

DN

MEETING R

LARGE

PASSPORT & VISA OFFICE REFLECTING POOL

SECTIO

139

Mario Yohanes Rinaldy

SECTION A - A’

LARGE MEETING ROOM CHANCERY

ON A - A’

MEETING ROOM

STAFF COMMUNAL AREA

DEFENCE/MILITARY

STAFF PARKING AREA MEETING ROOM

SECTIONSTAFF B -COMMUNAL B’ AREA

DEFENCE/MILITARY

STAFF PARKING AREA

ON B - B’ THEATRE HALL

TOILET

LIBRARY & ARCHIVES

CULTURAL EXHIBITION PAVILION REFLECTING POOL THEATRE HALL

LIBRARY & ARCHIVES

TOILET

SECTION C - C’ REFLECTING POOL

DN

ON C - C’MEETING ROOM DN DN

MEETING ROOM

LARGE MEETING ROOM/CONFERENCE ROOM

DEFENCE/ MILITARY

PANTRY

TRADE

STAFF PARKING AREA

ROOM

ROOM

SECTION D - D’

E MEETING ROOM/CONFERENCE ROOM

DEFENCE/ MILITARY

PANTRY

TRADE

STAFF PARKING AREA

ABBV. KEY: STR = STORAGE SRV = SERVICES

ON D - D’

SCALE 1:200 0

5

10

20

MARIO YOHANES 140 RINALDY | 91

Design Thesis ABBV. KEY: STR = STORAGE SRV = SERVICES

THEATRE HALL

INTERNAL EQUIPMENT

FOYER

BOILER ROOM

SECTIO

DELIVERY TOILET

CULTURAL RECEPTION DESK

CULTURAL EXHIBITION PAVILION

SECTIO

AMBASSADOR’S OFFICE

CONSUL OFFICE

MEETING R

DN

MEETING R

LARGE

PASSPORT & VISA OFFICE REFLECTING POOL

SECTION D - D’

SECTIO

The chancery proper are rational in planning. Office rooms are arranged based on staff hierarchy, in which the most executive officers, such as the Ambassador and Consul are located at the top and in the front. Meeting spaces are centralised to allow easy access from the very horizontal building. A terrace deck acts as a connecting space and a private staff communal area linking the diplomatic quarters and attache offices in the rear.

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AREA SECTIONSTAFF A -COMMUNAL A’

DEFENCE/MILITARY

STAFF PARKING AREA

ON B - B’

MEETING ROOM

STAFF COMMUNAL AREA

DEFENCE/MILITARY

STAFF PARKING AREA

THEATRE HALL

LIBRARY & ARCHIVES

TOILET

SECTION B - B’ REFLECTING POOL

ON C - C’

THEATRE HALL

LIBRARY & ARCHIVES

TOILET

DN

CULTURAL EXHIBITION PAVILION REFLECTING POOL

ROOM

ROOM

SECTION C - C’

E MEETING ROOM/CONFERENCE ROOM

DEFENCE/ MILITARY

PANTRY

TRADE

DN

STAFF PARKING AREA

ON D - D’MEETING ROOM DN

DEFENCE/ MILITARY

MEETING ROOM

LARGE MEETING ROOM/CONFERENCE ROOM

PANTRY

TRADE

STAFF PARKING AREA ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200

SECTION D - D’

0

5

10

20

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ABBV. KEY: STR = STORAGE SRV = SERVICES SCALE 1:200 0

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PERSPECTIVES

PERSPECTIVE 1 Frontal view of the embassy compound. The sheltered space and the longitudinal form draws the guests inward, invoking an invititation and welcoming gesture.

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PERSPECTIVE 2 Water greets the entry of the cultural section as well as the chancery. Reflective pools provides an intimate linkage in-between building forms and programs.

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PERSPECTIVE 3 The central courtyard greets the visitory upon entering the compound. A vast sightline into the rear of the building views into the grassland beyond. The court acts as a central uniting space for staff, visitors, ceremonies, and gatherings.

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PERSPECTIVE 4 A three-story atrium decompresses the scale upon entering and reorient the layers of privacy within the chancery. Colorful pillars contrasted the formal nature of materiality and function.

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PERSPECTIVE 5 During festival days, temporary tents and shelter can be erected within the central courtyard and surrounding spaces. Performances, displays, and visitors floods the public ground floor of the embassy.

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6 WORKING SKETCHES

Week 6

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Schematic Design Reflection Sketches

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7 REFERENCES

Bibliography Anderson, B. (2006). Imagined communities: Reflections on the origin and spread of nationalism. Verso.

Ashraf, K. K., & Belluardo, J. (1997). Building the nation: The architecture of Achyut Kanvinde and Muzharul Islam. India International Centre Quarterly, 24(2/3), 203–218. http://www.jstor.org/ stable/23005446 Barrow, G. (1978). Canberra’s embassies. Australian National University Press.

Bowen, J. (1986). On the political construction of tradition: Gotong royong in Indonesia. The Journal of Asian Studies, 45(3), 545-561. doi:10.2307/2056530 Dewantara, A. (2017). Alangkah hebatnya negara gotong royong (Indonesia dalam kacamata Soekarno). PT Kanisius. https://osf.io/ preprints/inarxiv/e7cqk/download Dovey, K. (2010). Becoming places: Urbanism / achitecture / identity / power. Routledge. https://doi.org/10.4324/9780203875001 Indonesian Embassy in Canberra. (2019, November 16). Thousands of visitors crowded the 2019 Indonesia Festival in Canberra. https:// kemlu.go.id/canberra/en/news/3271/thousands-of-visitors-crowded-the2019-indonesia-festival-in-canberra Kusno, A. (2000). Behind the postcolonial: Architecture, urban space and political cultures in Indonesia. Routledge.

Kusno, A. (2010). Tropics of discourse. Fabrications, 19(2), 58-81, DOI: 10.1080/10331867.2010.10539658 Design Thesis

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Kusno, A. & Darby, P. (2013). After the New Order: Space, Politics, and Jakarta. University of Hawaii Press. https://doi. org/10.1515/9780824838669 Loeffler, J. C. (1998). Architecture of diplomacy: Building America’s embassies. Princeton Architectural Press.

Prijotomo, J. (2008). Pasang surut arsitektur Indonesia. Wastu Lanas Grafika.

Purwaningrum, Rr. Diah. (2017). Long road to identity: Critical study of contemporary Nusantaran architecture. https://www.researchgate.net/ publication/328744029_LONG_ROAD_TO_IDENTITY_Critical_Study_ of_Contemporary_Nusantaran_Architecture Purwaningrum, Rr. Diah. (2019). Perplexing discourse of Indonesian architectural identity: An understanding of contemporary Nusantaran architecture. https://www.researchgate.net/publication/338710499_ PERPLEXING_DISCOURSE_OF_INDONESIAN_ARCHITECTURAL_ IDENTITY_AN_UNDERSTANDING_OF_CONTEMPORARY_ NUSANTARAN_ARCHITECTURE SBS. (2018, November 21). 5.000 people attend ‘Festival Indonesia’ in Canberra. https://www.sbs.com.au/language/english/5-000-peopleattend-festival-indonesia-in-canberra Kumparan. (2022, January 5). Desain istana presiden di ibu kota baru karya Nyoman Nuarta dan polemik netizen. https://kumparan. com/kumparanbisnis/desain-istana-presiden-di-ibu-kota-baru-karyanyoman-nuarta-dan-polemik-netizen-1xFUGodi1AC/1

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List of Figures Figure 1: Kartapranata, G. (2010). Indonesian National Monument (Monas). Wikipedia Commons. https://commons.wikimedia.org/wiki/ File:Merdeka_Square_Monas_02.jpg Figure 2: National Museum of Singapore. (1970). Wisma Indonesia, the Indonesian Embassy at Orchard Road. Roots. https://www.roots.gov. sg/Collection-Landing/listing/1194878 Figure 3: Musnahterinjak. (2011). Masjid Istiqlal dan Kemayoran.

Panoramio. https://en.wikipedia.org/wiki/File:Masjid_Istiqlal_-_ Panoramio.jpg Figure 4: Jakarta Post. (2018). Hotel Indonesia in the 1960s. Jakarta Post. https://img.jakpost.net /c/2018/08/06/2018_08_06_50689_1533539145._large.jpg Figure 5: Haryanti, R. (2019). Wisma Nusantara. Kompas. https:// properti.kompas.com/read/2019/07/07/164216121/kisah-wismanusantara-pencakar-langit-pertama-di-asia-tenggara Figure 6: Unknown. University of Indonesia Rectorate Building.

Figure 7: Rustandi, T. (2012). TMII with Jakarta city background. Flickr. https://www.flickr.com/photos/tjetjep/7330872892 Figure 8: TMII. (n.d.). Museum Indonesia. TMII. https://www.tamanmini. com/museum/museum-indonesia?lang=en Figure 9 Top: Nuarta, N. & Kunkunvisual. (2021). Desain Garuda Istana Negara. CNBC Indonesia. https://www.cnbcindonesia.com/ news/20210712150214-7-260171/penampakan-terbaru-desain-istanagaruda-di-ibu-kota-baru/5 Design Thesis

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Figure 9 Bottom: Sayembara Desain Arsitektur Nusantara. (2016).

Winners 2016. Propanraya. https://arsitekturnusantara.propanraya. com/pemenang/2016 Figure 10: Griffiths, A. (2021). The Ark by Ibuku undulating canopy arched interior. Dezeen. https://www.dezeen.com/2021/07/24/ibukuthe-arc-bamboo-jungle-bali-architecture/ Figure 11: Matin, A. (2017). Tubaba Mosque. Andramatin. https://www. andramatin.com/project/tubaba-mosque/ Figure 12: Rahman, A. (2020). The tradition of gotong royong of moving house in South Sulawesi. Tribun News. https://makassar. tribunnews.com/2020/11/25/semangat-gotong-royong-begini-carawarga-desa-pongo-masamba-memindahkan-rumah Figure 13: Setiawan, E. (2021). Masjid Raya Sumatera Barat. Kompas. https://travel.kompas.com/read/2021/12/26/080700627/masjid-rayasumatera-barat-menang-penghargaan-internasional?page=all Figure 14: Author. (2022). Analysis diagram of three traditional public space planning in Indonesia.

Figure 15: Gramedia. (n.d.) Rumah adat Batak. Gramedia. https://www. gramedia.com/literasi/macam-rumah-adat-batak/ Figure 16: Google Earth. (2022). Aerial view of a Batak Village in North Sumatera.

Figure 17: Prasetyo, D. (n.d.). Alun-alun Kidul. Tandakoma. https:// tandakoma.com/3-hal-yang-perlu-kamu-tahu-sebelum-mampir-ke-alunalun-kidul/ 171

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Figure 18: Google Earth. (2022). Aerial view of Alun-alun Kidul in Yogyakarta.

Figure 19: Google Maps Street View. (2022). Street view of Istina Square in Gianyar.

Figure 20: Google Earth. (2022). Aerial view of Gianyar’s main intersection.

Figure 21: Das, S. S.. (2011). US Embassy New Delhi. Wikipedia Commons. https://commons.wikimedia.org/wiki/File:US_Embassy_ New_Delhi.jpg Figure 22: National Archives of Australia. (1974). International relations - Diplomatic representation - Indonesian Embassy. Retrieved on March 25, 2022. https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/ DetailsReports/PhotoDetail.aspx?Barcode=11828981 Figure 23: National Archives of Australia. (1972). International relations - Diplomatic representation - Indonesian Embassy Canberra. Retrieved on March 25, 2022. https://recordsearch.naa.gov.au/SearchNRetrieve/ Interface/DetailsReports/PhotoDetail.aspx?Barcode=11828914 Figure 24: Google Maps Reviews. (2018). Collage of the 2017 and 2018 Festival Indonesia activities.

Figure 25: Indonesian Embassy in Canberra. (2018). Festival Indonesia at the Indonesian Embassy in Canberra. SBS. https://www.sbs.com.au/ language/english/5-000-people-attend-festival-indonesia-in-canberra

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Figure 26: Indonesian Embassy in Canberra. (2018). Angklung performance at the Festival Indonesia in Canberra. SBS. https://www. sbs.com.au/language/english/5-000-people-attend-festival-indonesiain-canberra Figure 27: Indonesian Embassy in Canberra. (2020). Ambassador Drs Yohanes Kristiarto S. Legowo led a one minute of silence to remember fallen heroes. SBS. https://www.sbs.com.au/language/english/audio/ the-garuda-on-my-breast-indonesia-in-my-heart-by-this-motto-we-canmake-indonesia-maju-a-reality Figure 28: Indonesian Embassy in Canberra. (n.d.). Front view of embassy. Indonesian Ministry of Foreign Affairs. https://kemlu.go.id/ canberra/en Figure 29: Australian National University. (2016). Balinese statues in the gardens of the Indonesian embassy. ANU College of Arts & Social Sciences. https://cass.anu.edu.au/news/indonesian-embassy-joinsunique-internship-program-anu Figure 30 Top: 70yearsindonesiaaustralia. (n.d.). Indonesian Embassy 1971. https://www.70yearsindonesiaaustralia.com/shared-history/ indonesian-embassy-australia Figure 30 Bottom: Nomisztif. (2011). Diplomatic mission of Indonesia in Australia. Wikipedia Commons. https://commons.wikimedia.org/wiki/ File:Embassy_of_Indonesia_Canberra.jpg Figure 31: Australian National University. (2016). Balinese statues in the gardens of the Indonesian embassy. ANU College of Arts & Social Sciences. https://cass.anu.edu.au/news/indonesian-embassy-joinsunique-internship-program-anu 173

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Figure 32: Australian National University. (2016). Gamelan and wayang kulit on display. ANU College of Arts & Social Sciences. https://cass. anu.edu.au/news/indonesian-embassy-joins-unique-internshipprogram-anu Figure 33: Author. (2022). Site Mapping of the Indonesian Embassy in Canberra.

Figure 34: Nearmap. (2021). Aerial view of site.

Figure 35: Nearmap. (2021). Aerial view of site.

Figure 36: Archdaily. (2014). Floor plans of French Embassy in Jakarta.

Archdaily. https://www.archdaily.com/779863/embassy-of-france-andfrench-institute-in-jakarta-segond-guyon-architectes Figure 37: Ricolleau, J. (2014). Front view of French Embassy in Indonesia. Archdaily. https://www.archdaily.com/779863/embassy-offrance-and-french-institute-in-jakarta-segond-guyon-architectes Figure 38: Author. (2022). Spatial requirements diagram Figure 39: Letrunghao. (2012). Plan and section of St. Andrews Beach House. Wikimedia Commons. https://commons.wikimedia.org/wiki/ Category:St_Andrews_Beach_House#/media/File:FLOOR_PLAN.jpg Figure 40: Michavila, X. (2013). St. Andrews beach house. Flickr. https://www.flickr.com/photos/ximo_michavila/8420057659/in/pool914134@N23 Figure 41: Author. (2022). Spatial analysis of Dayak Longhouse and Gadang House.

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Figure 42: Realestate. (2018). Corridor of St. Andrews Beach House.

Realestate. https://www.realestate.com.au/lifestyle/step-inside-anextraordinary-inside-out-steel-beach-house/ Figure 43: TCL. (1995). Australian Consul General’s Residence. TCL. https://tcl.net.au/projects/australian-consul-generals-residence Figure 44: Dwitomo, D. (2021). Bogor Creative Hub. Archdaily. https:// www.archdaily.com/963703/bogor-creative-hub-local-architecturebureau Figure 45: KIE. (2020). Frontal view of Microlibrary Warak Kayu.

Archdaily. https://www.archdaily.com/936421/microlibrary-warak-kayushau-indonesia/5e7dd8acb357658bc30001ed-microlibrary-warak-kayushau-indonesia-photo Figure 46: KIE. (2020). Photo of the ground floor of the microlibrary acting as a playspace for children. Archdaily. https://www.archdaily. com/936421/microlibrary-warak-kayu-shau-indonesia/5e7dd74bb35765 8bc30001e9-microlibrary-warak-kayu-shau-indonesia-photo Figure 47: KIE. (2020). Photo of the top floor which is the library proper.

Archdaily. https://www.archdaily.com/936421/microlibrary-warak-kayushau-indonesia/5e7ddae6b357658bc30001f1-microlibrary-warak-kayushau-indonesia-photo Figure 48: TCL. (2015). Melbourne Square. TCL. https://tcl.net.au/ projects/melbourne-square Figure 49: Pemkab Klaten. (2018). Gambyong dance festival.

Klatenkab. https://klatenkab.go.id/1000-penari-semarakkan-festivalgambyong-kolosal/festival-tari-gambyong-3/ 175

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Figure 50: Urban Space Critics. (2012). Public space across Ampera Bridge. Urban Space Critics. https://criticalurbanspace.wordpress. com/2012/12/27/the-first-public-space-in-indonesia/ Figure 51: Prisilia, A. (2018). A group of Indonesian girls in the 1980s relaxing on the terrace. Hitekno. https://www.hitekno.com/ internet/2021/11/09/194422/gadis-gadis-tahun-1980-asyik-nongkrongdi-teras-netizen-salfok-ke-hal-ini Figure 52: Chanafi, I. (2018). A regional army detachment playing chess with a local resident. Jam Berita. https://jamberita.com/ read/2018/07/27/2973/bermain-catur-bersama-bapak-kadus-jaten/ Figure 53: Unknown. (n.d) A group of mothers gossiping.

Figure 54: Detik. (2015). Pinggan Sapa: Kisah kebersamaan keluarga Batak yang nyaris punah. Detik. https://bataktoday.com/2015/10/25/ pinggan-sapa-kisah-kebersamaan-keluarga-batak-yang-nyaris-punah/ Figure 55: Same as Figure 45.

Figure 56: Same as Figure 46.

Figure 57: Same as Figure 47.

Figure 58: Same as Figure 17 Figure 59: Same as Figure 18 Figure 60: Same as Figure 19 Figure 61: Same as Figure 20 Design Thesis

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Figure 62: Same as Figure 15 Figure 63: Same as Figure 16

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