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Post Colonial Architecture in Indonesia

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 2014

Post-Colonial
Architecture in Bali
Indonesia:
THE SEARCH FOR SYNERGY OF DUALITY OF THE KETUT
ARTHANA’S ARCHITECTURE
BAGOES WIRYOMARTONO
Post-Colonial Architecture in Bali Indonesia: the Search for
Synergy of Duality of the Ketut Arthana’s Architecture
Bagoes Wiryomartono Ph.D.

Abstract

For several decades Bali has been well known as one of the destination of cultural leisure
on the globe. Indeed Bali is not only attractive because of its cultural heritage with exotic
landscape, but also that of its life-world that interacts with visitors and foreign influences
with a syncretic approach and process. The dynamics of such interactions does exist in
Balinese daily habitation and spiritual reflection. The massive invasion of global tourism
and the high demand of high quality for leisure challenge Balinese culture and architecture
to deal with the sustainability of their life-world with respect and dignity. This essay is to
discuss, examine and divulge the architecture of Ketut Arthana that is to see how the forces
of globalization are worked out and synergized within the Balinese tradition.
Methodologically speaking, this study departs its course from the thesis that the work of
architecture is the outcome and source of its life-world that never stops but always is in
progress. Accordingly, Balinese culture and tradition is the site where the life-world takes
place for Arthana’s architecture. His private house is the most representative traits and
traces of his way of thinking, whilst the other works are the expansion of his understanding
and engagement with others in the life-world in various scales and dimensions in terms of
socioeconomic and political context.
Keywords: Post-Colonial Architecture, Bali, Indonesia, Ketut Arthana

Architecture in Balinese Culture

Balinese architecture is indivisible from its culture and tradition that is conceived as a
process and product of synergy between dualistic forces. The principle is well known in the
tradition as rwa-bhineda (Made Poleng 2008: 17, Rubin & Sedana 2007: 1). Accordingly,
resolution and coalition between the contradictory forces, hulu - teben (upstream-
downstream) and purusa- pradana (male – female) are the necessity for the wholeness of
the reality (Bali Post March 21, 2010) . Thus for Balinese culture and tradition, reality is
never without the synergy of dualistic components of being, rwa bhineda, such as: dark-
light, tangible-intangible, male-female, day-night etc. The interface and the go-between
plays an important role in the synergy. As native Balinese, Ketut Arthana has been taught
and trained by his parents, traditional leaders and life-experience to learn how the synergy
of the contradictory elements, forces and streams towards saih. The concept comprises
harmony, perfection, resolution, alignment and synergy. The Balinese concept of saih is

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crucially important for human decision, deliberation, action and production. For Balinese,
striving towards saih is the actualization of cooperation in the framework of dharma.
Architecturally speaking, Balinese dharma is to mark out the boundary of humanity with
the built form. Since architecture belongs to culture, Balinese approach to planning, design
and construction of the built environment is to deal with its presence in the nature in order
to find its fine resolution and generous production. The work should be in the sense of
cooperation with nature that is demonstrated by the rituals. The rituals include the
commencement, establishment, operation and maintenance that are associated with the
presence of the built environment. In the Balinese tradition, one of the rituals is well known
as banten penyeneng; this ritual of offering is actually the practice of gratitude and
admiration on daily basis to the presence of the built form or structure. Hindu Balinese
religion teaches people to regard things as the integrated parts of the life-world that
deserve respectful treatment and management. In other words, things, such as buildings,
structure, tools, sites, flora and fauna, are not the objects of humankinds, but are the
essential components of the life-world as a whole.
In order to guard and steward the environment and its living processes, humanity is due to
handle and deal with other beings with care and considerate decisions, deliberations and
actions, The core of Balinese architecture lies in the integration of the built environment
into the whole cosmic system. Conceptually, this integration is nothing but the synergic
process of man-made into the ecological household of nature; it is the way to achieve a
perfect order between the living world and the inner self (Lansing 2006: 195). The Hindu
Balinese articulates the principles of this integration with various concepts such as
nawasanga, asta kosala kosali, asta bumi, and trihita karana-triangga-triloka that work as
guiding principles from philosophical to technical matters (Samadhi in 2007: Chapter 6).
The guiding principles of building construction and operation pertain to the necessity for
regard and affection that what you do to others is what you get from them as well; this
principle is in Balinese tradition is known as tat twan asi. Thus, the principle does not make
any different treatment either for nature or culture. Both deserve proper deliberation and
interaction from humankinds. How the concepts mentioned above in action, we will see in
the works of Ketut Arthana as follow:

Arthana’s House, Denpasar

House for Balinese people has something to do with their feeling of being in touch with
their being. The feeling at home in Balinese tradition is spiritual state of being where they
are able to find their niche in the cosmological constellation from their household and
family to community and society. In order to experience the sense of home, the concept of
center plays an important role. Everybody is the center for his/her being. Architecturally,
the manifestation, articulation and expression of the center is essential; the Balinese
tradition calls the center as natah. The core of Balinese sense of home in the context of
house is the existence and establishment of natah. This is the point and benchmark, from
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which everything around the house comes into being, works, operates, develops and
present.
The establishment of center, natah, is not simply to find the benchmark for construction.
This is for most Balinese people marking the beginning of engagement in new environment
and community. Prior to the establishment is the search for the source or the well of cosmic
energy on the site. Spiritual expertise is in need for this process, which is traditionally
conducted by a Hindu Balinese priest, pedanda or other a spiritual and religious leader in
the community. To certain degree, the traditional expert is actually the person who has
been familiar with the knowledge of geomancy, underground water streams, gravitation
and natural forces under the soil top. As part of the traditional requirement, the
establishment of the natah requires the ritual of nasarin; it is a ceremonial offering with
sacrificing animal. The purpose of the ritual is to deliver the intention of wholeness for all
beings on the site that include inhabitants, pawongan, environment, palemahan, and
spiritual entities, parahyangan. The unity of mind, body and spirit from humanity to cosmic
system is holistically understood and conceived as the departure of having healthy, safe,
beautiful, and harmonious home on the site in terms of rahajeng.

Figure 01: The view from center area of the house to the river

The natah in Arthana’s house is architecturally signified with the fish pond. The location of
the pond is not at the same level with the entry area. This positioning explores the notion of
natah in vertical dimension so that the value of balance comes into play in a spherical

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composition. The architect makes a breakthrough the function of natah from planar to
three dimensional coordination. The taxonomy of Balinese spatial category is now open for
its various level of height. The profane-middle-sacred arrangement, nista-madya-utama, is
elaborated with the variety of level. All this is made possible because the house is
geographically located at the river cliff of Jeh Ajung.
By the establishment of natah, the idea of the settlement has been announced and declared
publicly so that the boundary of out and inside becomes visible. However, the boundary is
not only marking the territory for the visible, but also that for the intangible. The
establishment of natah claims the inside boundary as the site of new life-world.
Architecturally, the boundary is to define the life-world in relation to others. The sense of
home is signified with the moving inside the boundary of house called penyengker. Arthana
does not build this boundary in obvious way by erecting enclosure with wall structure or
fence surrounding the site. The traditional way of marking boundary of the house is
commonly made with the high surrounding wall.

Figure 02: View from the living area to the pool

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Gate, kori, as the transitory passage from outside, jaba, to inside, jero, plays an important
role in Balinese architecture. The sense of home begins from the experience of passing
through this gate. Human scale for the gate’s proportion and dimension is set in according
to the owner of the house. Arthana’s gate is situated on the west area of the house. Nearby
the gate, visitors will find the garage and service area on the north side and the on the
south. From the gate the path will lead visitors to the center and stop at the corridor linking
two bedrooms on the opposite position at upper level. The staircase that is provided at the
south corridor, leads visitors to lower level areas to go to the fish pond and living and
dining area. In matter of fact, the pond does not only enact as the spot of orientation and
center of the movement, but also as the sign of living with its dynamics.

Figure 03: View from Centre to living and dining area.

The construction of the house is based on simple principle of post and lintel structure
standing on concrete foundations. In dealing with its steep terrain the foundations are
constructed with various depths so that they are able to manage various heights of the floor
plans. The joints are constructed with conventional craftsmanship with nails and pegs or
cotter pins. However, as a whole form, the house plan is irregular consisting of rectangular
plans that stand structurally independent; its hinge joints enables the house to manage
various lateral forces, torsion and bending moment from earthquake. Even though the
main body and its roof system of the house is established with units of wooden frame

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structure that work independently, the spatial organization brings all the units as an
architecturally united whole. The architect does not do excessive cut and fill works to deal
with the river cliff; instead of that he manages and utilizes the variety of floor levels for
providing rooms for bedrooms, terraces and storages.
In many ways, the visual experience of movement in the house is mostly concentrated
around the fish pond. The sense of connection with nature and open air is strong and fluid.
Sometimes surprises are there to experience, especially around the pond where paths
connect all rooms and domains. At the upper level, the visual experience around the natah
is magnificent and stunning with a dramatic scene of jungle and river cliff with swimming
pool on the ground; the long narrow pool reflects sky and greenery with glittery rays of
sunlight in the morning and moonlight in the clear night sky. Staying in the house in this
case is like residing from the urban noises and busy traffics of Denpasar to a niche of
serenity with the interpenetrating and interlocking of spaces and views. The integration of
existing trees and other plants into the house system shows how the dualistic components:
the nature and man-made are in cohabitation to uphold the life-world of Arthana’s family.
All this is likely the outcome of design and construction approach that regards to the site
and its natural components with thankfulness and admiration. Humanity is not the center
of the life-world in the making things, but the part of the cosmic system with specific and
unique mission for revealing and divulging the power of nature and resources based on
wisdom and responsibility.

The Five Elements of Puri Ahimsa, Mambal Ubud

The power of nature becomes the main content of this healing and relaxation compound.
Like the taxonomy of the house layout, Puri Ahimsa facility is designed in alignment with
Balinese spatial categorization. The orientation of nawasanga to the Mount of Agung and
the sea is obvious for positioning its sacred-profane category of domains. The site is chosen
because of the intensity of its natural energy that comes out from the underground. The
approach to arrange and compose domains and its activities is worked out around the
traditional values of Balinese cosmology as described as Vastu Shastra or the wisdom of
construction. The built form is conceived to be in alignment with the macro structure of the
landscape in its orientation and layout of domains. The most important thing of site
planning and design of the facility is to establish its center. Of course, it is not simply the act
to point out the point or benchmark on the site. Rather, the search for the most powerful
concentration of geomagnetic and under current streams that come out from earth.
Traditional experts are requested for this search. Once, the area has been identified and
demarcated, the layout of the facility is developed.
According to the site condition, the buildings will be arranged in such a way that perform a
crescent formation encircling the open space facing to the Mount Agung. Being in alignment

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with the natural landmarks is conceived by Balinese people not as subjugation to the
nature. Rather, the necessity for synergy is the essence of creation and establishment of
man-made environment. Resistance against the nature and its process is perceived by
Balinese tradition as self-destruction. Accordingly, humanity is not understood as a
triumph over nature with knowledge and skills. On the contrary, being human is being able
to be humble with wisdom and astuteness. The alignment with the nature in terms of saih
works within the framework of life’s sustainability from uphati, sthiti, and pralina
(creation-operation/maintenance-destruction for regeneration).

Figure 04: Layout of the Five Elements Puri Ahimsa, Mambal Ubud, sketch by the architect 2003

The functional content of each building in the compound is designed for multi faith
gathering, interaction and relaxation. The compound is intended to be the place of healing
for body-mind-spirit regardless background, religious affiliation, and sexual orientation.
Being safe, relaxed, inspired and free is the main purpose of the environmental design for
this complex. The establishment of the facility is an architectural initiative for recovery
from the wound of Bali Bombings on October 12, 2002. The spirit of tolerance and
cooperation of humankinds for the life-world peace and growth underlies the
establishment of this compound. Indeed, the components of the facility should not

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represent any specific religious affiliation. In doing so, all people from various background
and spiritual association are able to work hand in hand together. The place for gathering is
an open circular space that is believed to be the spot where the rays of geo-energy are
active. The spot is marked with eight stones marking cardinal points of solar orientation on
which people can sit and meditate.

Figure 05: Multipurpose Hall of the Five-Elements Puri Ahimsa

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Figure 06: Swimming Pool of Five-Elements, Puri Ahimsa, Ubud Bali

Figure 07: Interior of the Restaurant of Five-Elements, Puri Ahimsa, Ubud Bali.

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In Balinese culture and tradition, five elements play an important role in the making of
architecture. The five is known as pancamahabhuta meaning essential elements of being
(Batuan 2009). The five consists of pertiwi (earth), apah (fluid), teja (light-energy), bayu
(wind-air), akasa (space) that constitute beings between earth and sky. Because of the five
elements, ‘beings’ are able to present in the life-world as things. Since “being” manifests in
two concepts: purusha (intangible) and pekerti (tangible), the sense of presence is not
simply matter; the presence comes into being in various forms of five elements. The
harmony between beings from micro to macro scale pertains to the unison of five elements
in various forms, styles, fashions, and ways. The perfect unity of five elements is primarily
contained by sentient beings such as humankind. Thus, the harmony of humankind and the
universe is of necessity because they contain the same five elements; humankinds and
other beings are cosmologically made from the same elements. Since wellness of being and
entity is impossible without the sense of harmonious cooperation of its essential elements,
healthy life-world is impossibly achieved and maintained without a life style that brings
about activities into balance: work and leisure, spiritual and physical, creative and
operative etc. Unsurprisingly, the idea of wellness comes from the perfect synergy of the
five elements into human body-mind-spirit that demonstrates the multivalent capacities
and healthy life for creative, relaxed to working activities.
The architecture of the compound is characterized by bamboo roof construction in various
forms and dimensions. However, they are united together with the same building materials
and construction details. As a compact composition, Five-Elements compound is a meeting
point of body-mind-spirit based on the alignment with locality and its resources. The
natural resources on the site is provided by the spring well. For Balinese people, the well is
not only the source of water for their daily activities,, but also the healing element and the
blessing resource of humanity. The architect treats the spring water well as an integrated
part of the composition. A Balinese shrine, pura Padma Sari is erected and dedicated to
express the gratitude to the Supreme Being.
Moreover, the spirit of back to nature is likely the central theme for the whole compound in
terms of architecture and its healthy way of life. However, the implementation of the theme
is obviously leading its architectural form and organic materials towards the appreciation
and admiration for the natural rawness and its influence to the body-mind-spirit of
humanity. Using traditional materials and the tectonics based on local wisdom is probably
the main strategy of Arthana’s architectural design. Indeed, all this is driven and motivated
by the necessity for synergy between the dualistic forces, elements, and properties of life-
world reality. How is such a strategy working in the context of modernity? So far as
observed from the practice of architecture, Arthana is still consistent in his intuitive
approach to design and construction. He believes in the conversation with the nature at
spiritual level through instinctive process. In other words, the natural site tells us what she
wants and is able to carry in accommodating human need.

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 Concluding Remarks

The two examples of Arthana’s architecture mentioned above are likely representative for
understanding the contemporary building design in Bali. Beyond these works, Arthana’s
design practice includes several resort places and private villas in various locations of Bali
and the globe. In conclusion, Arthana shows and demonstrates the necessity for synergy of
dualism in terms of ways, forms, stiles, fashions, and manners that brings about the sense
of peace and healthy growth.
Jati Padang April 25. 2014

References:

Batuan, Dewa Nyoman (2009) Mandalas of Bali: A Hand-Held Tool for Meditation. Cornwall England: Michael
Wiese Production.
Lansing, John Stephen (2006). Perfect Order: Recognizing Complexity in Bali, New Jersey: Princeton University
Press.
Made Poleng, Ida Bagus (2008). Ida Bagus Made, the Art of Devotion, Ubud: Museum Puri Lukisan
Rubin, Leon and I Nyoman Sedana (2007). Performing in Bali, London: Routledge
Samadhi, T Nirarta, Reinforcing Identity: Balinese Urban Design Concepts for Achieving Balinese Cities with
Cultural Identity in Bruce Stifter, Vanessa Watson and Henry Acselrad editors (2006), Dialogues in Urban and
Regional Planning, Volume 2, London: Routledge.
Wiana, I Ketut, Menyeimbangkan Dinamika Purusa dan Pradana. Bali Post March 21, 2010.

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