Interview with Mustakim Adipradja

2009

, founder and Chairman of the Yayasan Ibrahim Hasan (Ibrahim Hasan Foundation), who provided me with scholarships, very strong encouragement, valuable suggestions and prolific discussions. Professor Ibrahim Hasan is a very special Acehnese man who is concerned with Acehnese culture, customs and development. I would also like to thank the Regional Government of 'Nanggroe Aceh Darussalam' (Pemda NAD) for supporting me with financial scholar grants. I am also thankful to Mr and Mrs Winkler and Bapak Tomik Subagio for their assistance in preliminary proofreading of my English text and Loene Doube for her final professional editing. I owe my completion of this process very much to my family in Jakarta and Banda Aceh, Indonesia. Very special thanks go to my parents, parents-in-law, brother and sisters-in-law for supporting me with endless love and never-ending prayers; without their support this thesis would never have been written. I have been fortunate to have many good friends who have given me both their warm friendship and support, which in many different ways helped me finishing my study. My thanks go to Mr and

The notion of 'art worlds' is useful for thinking about meetings of meaning in art, and by implication architecture, across boundaries of nation, culture and identity. Because architecture is less easily separated than some other arts from the conditions of its material production, it inevitably sits, often uneasily, between these material conditions and its status as 'art'. The aim of this article, which began life as an exploration of the relationship between contemporary architecture and national identity in Indonesia, is to adapt the notion of 'art worlds' to architecture and to use it to consider the production of contemporary architecture in Indonesia, especially by reference to the approach of one architect who explicitly thinks and speaks of his work in terms both of 'art' and 'worlds'. 1

this research is to discuss the following information about indonesian Architecture, It’s influences, it’s religion, what are the influences that the colonizers have imprinted to the Indonesian Architecture and other supporting information.

2015

E. Saefullah Wiradipradja is an Indonesian who studied at Monash University in 1982-1984. He studied on an Australian Agency for International Development (AusAID) Scholarship and completed a Masters in Air and Space Law. The interview was conducted in English by Dr. Jemma Purdey of Deakin University and Dr. Ahmad Suaedy of the Abdurrahman Wahid Centre for Inter-faith Dialogue and Peace at Universitas Indonesia. This set comprises: an interview recording, and a timed summary.

2015

Adi Widodo Mudigdo is an Indonesian who studied at the University of Melbourne in 1962-1967. He was able to study in Australia through The Colombo Plan, and he completed a Bachelor of Architecture. The interview was conducted by Dr. Jemma Purdey and Prof. David Lowe, both of Deakin University. This set comprises: an interview recording and a timed summary.

The Past in the Present - Architecture in Indonesia, 2007

2024

This dissertation examines the architectural legacy shared between the Netherlands and Indonesia during and after the late Dutch colonial era (1910–1960). It explores how Dutch colonialism facilitated cultural and architectural exchanges, influencing movements like the Amsterdam School in the Netherlands and the Independence Movement in Indonesia. By tracing the historical evolution of pre-colonial and colonial architecture in both regions, the study highlights a complex interplay of adaptation, hybridity, and mutual influence. The research adopts a comparative analysis to reveal how colonial encounters transcended power dynamics, resulting in a reciprocal architectural synthesis. This analysis sheds light on the enduring impact of these exchanges on modern architectural practices and identities in both nations.

International Journal of Built Environment and Scientific Research, 2019

In Architecture context is a glorious substitute, although in reason, context can deliver architecture to a more humane product, but is it possible to adapt the context without empathy? Does the designer experience the process of empathy in the architecture of the designer? By studying how empathy works and seeing its impact on an event, can provides new narratives rather then just seeing the user purely as an object of observation. Political decisions, a view of culture, and an understanding of local traditions can be used an important inform in defining a quality of space. the presence of empathy can contribute to decisions taken by the perpetrator on the object of empathy. How can empathy be used in architecture? how empathy affect human decision? This Paper will study Empathy Thoroughly both from it’s origin and how years of discourses have change it, anlyze how it can be used for architecture. Later, the understood concept will be reflected towards the 1950’s of Indonesian urba...

2019

The term ‘Nusantara’, which literary means ‘the archipelago’, has been revisited and adopted in a newly emerging terminology of ‘Nusantaran architecture’. This new term is widely accepted among Indonesian architects and scholars as an alternative direction of Indonesian architectural identity and is currently employed by the Indonesian government as a centrepiece of the national tourism strategies. The notion is being challenged as it is considered as vouge and problematic in many fundamental aspects, and the necessity to use this term as the county’s identity representation is also being questioned since it may fall short into superficiality and end into commodification. This paper scrutinizes the perplexity behind contemporary Nusantaran architecture as Indonesia’s widely celebrated exclamation. Focusing on scholarly discussion, this paper aims to investigate both sides of supporting and opposing arguments, to get a more comprehensive understanding of the discourse Indonesian arch...