Dutch to English translation

Residence Semarang 1932

Name: House Dr Han TiauwTjong
Type: house
Design Year: 1932
Carried: Yes
Still existent: ja/2000
Architect / Office: LiemBwanTjie 1932
Principal: Dr Han TiauwTjong
Address: Chandi North Semarang indonesia
Archives: NAi/LIEM/pf2 (Cover 2: blueprint detailing glass door),
VD1 (exterior and interior photos)
Literature: 2, 5, 9, 10, 12

 
 
Veranda house TiauwTjong Han, Semarang (1932)
 
Furniture in the house of Han LiemBwanTjie TiauwTjong,
Semarang (1932)
 
Interior with the residents of house TiauwTjong Han, Semarang
(1932)
 
Sideboard LiemBwanTjie house in Han TiauwTjong, Semarang
(1932)

Details:
Mr. Han TiauwTjong was board member and friend of
LiemBwanTjie people. The villa Liem for him designed, can be
faintly sloping roofs and far overhanging roofs are terraces with
parapets kalis toe and decorative manner in which structural
elements and features are gedatilleerd, Alsen Indian version of
Frank Lloyd Wright's prairie houses seen. The house is located on
a hill and is beautifully embedded in the landscape of the residential
Chandi, then a new district of Semarang, villas for the wealthy. The
client has to be designed with all the furnishings so that the interior
and exterior fully in harmony. In the Java Critic (magazine Jakarta)
has been KhouwBianTie a poem about this house, entitled "House
Han," an ode to the artwork and the artist who had designed house.
 
Inside
Introduction
LiemBwanTjie The architect was the first Chinese architect who
worked in the Dutch East Indies. He left at a young age in his native
Netherlands to a good education.Especially an internship at Michael
de Klerk left a deep impression on the young LiemBwanTjie
behind. After a brief period in China, he returned to his homeland
for an architect to start a private practice. Until the war
LiemBwanTjie worked as an architect in his hometown of
Semarang, where he was a sounding board for its architecture
among wealthy Chinese clients who gave him the opportunities to
further develop.
He designed many homes, but other projects, including office
buildings, cinema buildings, pools, tombs, monuments es. Voorde
cottages and villas LiemBwanTjie was often commissioned to help
design the entire interior, which he gladly did. The architecture of
these houses he attempted a synthesis of modern Western
architecture and the ancient Chinese philosophy about building and
living.
After the Second World War, which LiemBwanTjie had been hiding,
he left with his family to Jakarta to be there to set up a new
practice. Through its architecture and its reputation when he fell to
the Government of Indonesia and he and other architects were
asked to make an inventory of the war on the islands.
This new position brought him large commissions. He was able to
expand his repertoire to include schools, institutes, hospitals and a
monastery, a temple and a church. Also, he was commissioned to
construct office buildings for two ministries.His clients were no
longer predominantly Chinese, which is also reflected in its
buildings, which were tighter and more sober. Well tried
LiemBwanTjie in these buildings into a harmonious combination of
exterior and interior to come.
In 1965, when he was seventy-four years old, he left with his family
to Indonesia in the Netherlands a suitable education for his two
daughters to find. He died in 1966. Most of the archives of
LiemBwanTjie is in the collection of the Dutch Architecture Institute,
with drawings and an extensive photo documentation from the
period 1930-1965.Some drawings and photographs are his family
owns.
Background and Education
LiemBwanTjie was born on September 6, 1891 in Semarang, where
his family had established four generations ago. They were wealthy
textile wholesalers. At that time, the Chinese business world,
including the family firm Ling Liem Kiem, good contacts with textile
manufacturers and other industrialists in the Netherlands. So it was
that a number of parents decided to send children to the
Netherlands for further study.LiemBwanTjie was with a group of
boys entrusted to a friendly business relationship, under which they
would bring in his own family and friends. That would give them
guidance in the selection of the various subjects.
LiemBwanTjie was the only one of eight sons and two daughters
from father LiemTjingSoei the chance to continue their studies. He
completed successfully H.B.S.MTS and earned two diplomas in
Architecture and Engineering. Due to the untimely death of his
father he wanted out as soon as possible to go home. The outbreak
of World War prevented this, however.
From 1916 LiemBwanTjie worked as an architectural draftsman at
various agencies.His first practical experience he did with
BJ Ouendag, M. De Klerk, and Ed Golden and Money
Maker. Cuypers, all in Amsterdam. Here he learned the style of the
Amsterdam School know. By Michel de Klerk, he worked on the
production of drawings for the design competition of the National
Academy of Fine Arts in Amsterdam, was awarded second
prize. Winner of this contest were B. Bijvoet and J.Diver.
LiemBwanTjie's years in the Netherlands were very fruitful for his
development as an architect. After four years of the above agencies
having worked, Liem was in 1920 at the Technical University in
Delft, to serve his interest in architecture continued to flourish. He
followed this study to the structural engineer. In 1921 he was forced
by circumstances to find a job. Before he approached
unsuccessfully H.P. Berlage possible new employer. In Delft
LiemBwanTjie lived in rented rooms at the Van Singel
Leeuwenhoek, where he and friends and classmates, including BT
ir Boeyinga often discussed on cultural and spiritual issues. By
listening to music of the great Western composers, reading many
books and his growing knowledge of the work of famous architects
at that time, his knowledge of Western culture is increasing.
But his Chinese origins continued to play an important role. At
university he was a member and later chairman of the Chinese
Student ChungHua Hui, ranging between all his old childhood
friends Sat All had seen how the Indian colonial government applied
a policy of discrimination on the 'Foreign Orientals', especially the
Chinese, who therefore had no right to land, no official could be and
could not join the army.There was little hope for the
future. Therefore addressed some of the members of Hui
ChungHua increasingly to the homeland of China. Cultural identity
was paramount.The Chinese in Indonesia should strive for the
revival of his own culture. There was serious talk of emigration to
China and so was the Repatriation Fund.
Apart from his chairmanship of ChungHua Hui in 1924, Liem served
for a short time as chancellor of the Chinese Consulate in
Amsterdam. Then he went with some friends to Paris, where the
artistic climate of the Ecole des Beaux Arts is very attracted to
him. In the French intellectual atmosphere he felt at home. He lived
there between the artists and bohemians, late into the night, he led
numerous heated debates in literary cafes with his classmates,
including many from the homeland of China. This intellectual and
cultural exchange LiemBwanTjie considered essential for the
formation of an architect. In Indonesia after he encouraged young
architects to gain practical experience abroad, so take note of the
cultural Development of other nations.
China and Indonesia
Liem in 1926 left Paris with his Chinese friends in China to
complete his studies before he offered him a job as a lecturer at
Technical Faculty could fulfill. For this he received the
ChungHuaHui a scholarship fund of NLG 125, - per month for the
duration of the year honors. Through Siberia, the cheapest way, he
left for Beijing where he is within one year at the Yenching
University completed his studies. The Chinese government then
sent him to ShaoKoan (Kwangtung Province), where he built some
bridges.
Because of the many riots and chaos that reigned in China, decided
LiemBwanTjie late 1929 on the advice of his familly gaaan back to
the Dutch East Indies. Initially he was refused entry because of
suspected leftist sympathies, Liem had by chance a member of a
banned movement met a conversation he had been hit. He was
regarded as a Communist, he never was. He has over the years,
always fiercely excited about the racist policies of colonial powers,
but he's never been a member of any political party. With good
references from the Netherlands graduate friends, some of whom
now one seat had in the House of Assembly and the Council of the
Indies, he eventually access to the country, with a probationary
period in which he daily was being watched by the National Security
Service ( BVD). During this period he stayed at the People Council
member LoaSekHie.
Liem settled in Semarang, where he entered the service in Public
Works. He had to promise not to interfere in political issues and he
also noted it has taken. He exchanged his job with the City of
Semarang was soon to own a professional practice as consulting
architect.
In Chinese society, he was soon a familiar figure. He was good
friends with Mr Kwee Kek Beng, editor of the Chinese-Malay
newspaper SIN PO Batavia, with whom he both political and
cultural issues debated on. In the cultural field offered little incentive
Liem's environment, except maybe the Wajangvoorstellingen court
dance and he was able to attend in the Kraton (palace) of
Mangkoenegara (Sultan) in Surakarta. The cinemas offered only a
fraction of what was shown in the west. Of the original Chinese
culture, the ancestors of the Chinese had brought to India, was at
some ancient temples after, not much. The tradition petered out
quickly.
In his imagery LiemBwanTjie the culture of his ancestors
redesign. From the European experience and his knowledge of art
and philosophy of the West, East and West, he tried to melt into a
new unit. The Chinese element in his architecture was based on
philosophical assumptions regarding the relationship of man to his
environment. While in the West wants to control nature, attempts by
the Chinese in its contemplation to go. The architecture of
LiemBwanTjie always adds to the environment in which it is
placed. Influences of architects like Frank Lloyd Wright,
LeCorbusier, Dudok and the architects of De Stijl in its architecture
are clearly present in the balanced interplay of volumes, lines and
planes and in the treatment of the parties window. The modern
comfort and tailored layout and design of the buildings is clearly
derived from modern Western architecture.
Although LiemBwanTjie in Delft was not graduated, he is a member
of the Royal Institute of Engineers (KIVI) appointed. In his work as
an architect and in his teaching in China he had sufficiently proven
to be one of them to be counted. Desodanks he could not ir before
putting his name. He was also a member of the Netherland Indian
Architects Circle (NIAK), an organization promoting Indian
architecture. He held to the honor code of the organization by the
rate of NIAK to work and not advertise themselves. Perhaps the
latter led to that relatively little published about him. But he wrote
himself a few times in the Indian Architectural Review / Local
Engineering.LiemBwanTjie was also a member of the Architects'
Council of the Royal Institute of Dutch Architects (BNA). On March
23, 1934 he was made a member of the Society for the Promotion
of Arts and Sciences in recognition for the quality of his work until
now.
 
Back Cover
The Chinese LiemBwanTjie architect (1891-1966), trained in the
Netherlands, France and China, has spent most of his career in
Indonesia pre-and post-war work. Liem was raised in Semarang as
a member of the Dutch colonial government as "foreign Orientals"
regarded Chinese minority, who were denied tenure and official
functions.Liem's parents were wealthy textile merchants, that their
son had the opportunity to study in the Netherlands. From about
1910 to 1924 Liem stayed in the Netherlands, where high school
and followed the MTS and several years of Architecture at Delft
University studied. In 1924 he moved to Paris, attracted by the
intellectual and artistic climate at the Ecole des Beaux Arts. In 1926
he left for Beijing where he received his architectural training at the
Yenching University and completed haunting as engineer architect
in public came where he was involved in building bridges in
Shaokan in the province of Kwangtung. Many Indonesian people of
Chinese descent saw in China, where in 1911 a revolution to end
the empire had created a new future. In 1929, Liem returned back
to Indonesia, the situation in China, in a succession of coups ended
and where local "war lords" terrorizing the population, had become
too unsafe.
In the Netherlands, Liem practical experience on the desks of
BJ Oudendag, M. De Klerk, and Ed Golden and Money
Maker. Cuypers. In the Netherlands he also took the opportunity to
look more deeply into his Chinese cultural background. During his
years at the Delft University he was a member of the Chinese
Student ChungHua Hui.Liem was his whole career trying to bridge
the gap between modern Western architecture and Chinese
tradition. While the Western tradition focuses on mastery of nature,
the Chinese tradition is based more on respect for nature and
adaptation.Much of his work is characterized by a tight business
and expressionism, always giving attention to a gradual transition
from outside to inside through verandas and terraces. In his houses
he sometimes uses traditional forms such as the hoofgopgaande
hack with lots of overhang, where once situated immediately below
the window, a band, so that the canopy seems to float. Liem often
applied decorative motifs into his work, which are often stylized
Chinese characters. He prefers the overall interior design in his
work and all furniture, furnishings, etc. Inside, we often find special
color combinations, Liem's furniture is often tight versions of
traditional Chinese furniture.
This book appears at the initiative of the Foundation Bibliographies
and lists of works by Dutch architects and urban planners
(BONAS). BONAS The Foundation focuses on identifying the work
of Dutch architects, interior designers, urban planners and
landscape architects and garden from the nineteenth and twentieth
centuries.
BONAS The Foundation is housed in the building of the Dutch
Architecture Institute, which cooperates closely. For information:
Foundation BONAS, Museumpark 25, 3015 CB Rotterdam