Surveys on Vernacular Architecture.

Their Significance in the 20th Century Architectural Culture

Conference Proceedings. Oporto, May 17-19, 2012

UNDAGI’S SUSTAINABLE ARCHITECTURE

Yenny Gunawan
Parahyangan Catholic University, Bandung, Indonesia

Abstract

In Indonesia, the foundation of architectural education is detached from the

vernacular tradition. As a result, this paper puts forward that the architecture
built are not sustainable, especially if we defined the word sustainable not only
the renewable resources or the continuity of the environment in the realm of
technology, but also as the continuity of a culture. Hence, this paper proposes
that it is important to learn vernacular tradition of a place and adapt it to the
contemporary world. This study analyzes how an undagi –a Balinese master
builder- built in the past and in the present. An interview with the Balinese
undagi is conducted to show his vernacular knowledge and how he sees the
changing world of Bali. The result of the interview is examined in conjunction
with literature research on the vernacular tradition in Bali which sees building as
an extension of man as well as a microcosm of part of the whole environment. In
the end, case study of a hotel in Bali, designed by this Balinese undagi, will be
evaluated to show the sustainability of how he thinks about Balinese architecture
in the developing world. Eventually, this paper demonstrates that sustainable
architecture can be created by continuing the vernacular knowledge of ‘making’
architecture. In the end, hopefully this paper will contribute to the understanding
of sustainable architecture that is achieved by designing relations between
vernacular tradition, the developing environment and the changing culture.

Key words: vernacular tradition, sustainable culture, undagi.

Introduction

In Indonesia, the first school of architecture was De Techniche Hoogeschool te

Bandung (now known as Bandung‟s Insitute of Technology) in West Java. It is
built in 1920‟s by the Dutch government due to the increasing needs of engineer
in Indonesia. Hence, the education model or the curriculum was derived from
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

the European knowledge of architecture1, not from Indonesia‟s vernacular know-

ledge of architecture. Few of Indonesian finest young man learned architecture
at that school. Eventually, after Indonesia‟s independence in 1945, they became
architects and/or lecturer of architecture. As a result, the architecture built (be-
fore and after independence) were European buildings –brick, thick walls with
small windows openings-, and not vernacular architecture of Indonesia –wood,
thin walls, sometimes, no walls-. Through the emergence of architecture schools
across Indonesia, the European education model spreads until now. These
schools adopt the curriculum, enhancing the gap (Fig.1).

Figure 1. Mediteranian style house built next to Rumah

Gadang in Padang Pariaman, West Sumatra. Ironicaly,
the construction workers were proud to say that the
drawings came from Java Island. Source: Gunawan, Y.
2008.

The phenomenon above occurs in many parts of Indonesia. As a result, Indone-

sia‟s vernacular architecture is in the edge of extinction. Eventually, this pro-
blem draws attention to some architecture academicians and practitioners in In-

1
The knowledge derived from its history and theory of Greek and Rome architecture, to Re-
naissance, Baroque, Modern movements, etc. as well as Beaux Arts and Bauhaus education model.
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

donesia. They stated that a documentation of vernacular architecture and its

knowledge are needed. As Urs Ramseryer (2003: 23) stated, „A communication
gap thus exist, which needs bridging sooner rather than later, before the young
drift further away and, worst yet, begin to doubt the value of their tradition’. In
this sense, the awareness of continuing vernacular architecture as knowledge is
crucial in the education of an architect (Oliver, 2006).

The reaction is supported by the growing awareness of sustainable architecture,

and the expanded meaning of the term sustainable architecture which should
„pervade not only technological things, but also include questions of a building’s
suitability for its socio-cultural as well as environmental context’ (Williamson,
2003, p. 4). Thus, development of architecture should concern on the continuity
of both environment and culture. Hence, a growing respect in traditional2 ways
of thinking is arising (Williamson, et.al, 2003; Steele, 2005).

This study chooses Bali Island as case study due to the strong existence of tradi-
tional ways of thinking, including their vernacular knowledge of creating archi-
tecture. Their unique culture caused „exposure of Bali island to tourism as early
as 1914‟ (Panji Tisna, IGR. in Ramseyer, 2003, p. 18-19), and still become one
of the most well-known destination around the world till now. This phenomenon
show that Bali‟s vernacular knowledge survives globalization and tourism.
Hence, this study analyses vernacular architecture knowledge of an undagi –a
Balinese master builder- and how he adapts to the changing world of globaliza-
tion and tourism. Accordingly, it is interesting to seek out how the adaptation
affected the creation of a sustainable architecture.

Undagi’s vernacular knowledge on architecture

Studies on Balinese architecture mentioned a „traditional architect‟, known as

undagi who „follows the palm-leaf manuscript of architectural rules which takes
into consideration the principal tenets of Balinese Hinduism‟ (Panji Tisna, IGR. in
Ramseyer, 2003, p.21). These Balinese architecture rules are known as Asta

2
The word traditional derived from the word tradition, and hence in this writings, the use of the
word traditional related to the meaning handed-down from one generation to another.
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

Kosala Kosali (Danes, Popo in Ramseyer, 2003; Oliver, 2003: p. 184; and Alit,
2003). The main principle of Asta Kosala Kosali is the acknowledgement of
human entity (microcosm/bhuana alit) as part of the universe at large (macro-
cosm/bhuana agung).

In recognizing microcosm and macrocosm, asta kosala kosali seeks to achieve

balance amongst the three elements of life: God, human beings and nature
(world, universe) –popularly known as the three cause of happiness (Tri Hita
Karana). The Balinese believed that „true happiness might be obtained when one
establishes harmony with God, with other human beings and with the
environment‟ (Ramseyer, 2003, p. 22). And thus, it is the task of an undagi to
keep the architecture in the state of balance between God, human beings and
environment to achieve happiness (Alit, 2003; Davison, Julian & Bruce
Granquist, 1999).

Tri Hita Karana points out that „the environment (macrocosm) are made up of
five basic elements: water (liquid), air (wind), fire (light), earth (solid matter)
and ether (space), and come in the form of two complementary opposites (rwa
bhineda) like material (sekala) and immaterial (niskala)‟ (Ramseyer, 2003,
p.21). Thus, the Balinese treats elements of nature, such as trees, water, etc. as
well as building materials such as stone, wood, bamboo, etc., carefully and
respectably, believing each elements (the material) embodied the immaterial.
This kind of respect is most apparent in the Balinese shrines. The shrines vary in
shapes and scale which denotes the different level of niskala (the immaterial),
for example: village shrines or pura for the keeper of the village, plinggih for the
keeper of the environment, pamerajan or sanggah for the house or known as
family shrines, etc.

Another form of respect can be seen in how they treat the materials. Every
stone has its own character and hence, each stone shoud be treated differently;
some should be located above the human head, and some close to the lower
part of the human feet. For example: „the placement of Karang Asti and Karang
Batu in lower part of a building (or nista angga in Balinese), while Karang Daun,
Manuk and Sae in the upper part (vertical dimension of a building). (Alit 2003:
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

105). This kind of respects is what Fritjof Capra identified as „intuitive wisdom
…in which life was organized around a highly refined awareness of the
environment‟ (Inglis, Julian T. 2003, p. 1) which should be added in most culture
in the world occurs in the form of beliefs and ideology.

Moreover, the macrocosm of Balinese is the island of Bali with Gunung Agung as
the holiest mountain. Thus the main direction of the dwelling compound (or the
microcosm) (Ramseyer, 2003; Oliver, 2003, p. 168-189) is „running north-south
towards the highest and holiest mountain (to which north and the Holy or kaja,
utama are assigned) and to the sea (to which south and what is low or kelod,
nista are assigned).‟ (Danes, Popo in Ramseyer, 2003, p. 96). The other directi-
on is east-west, „from the point of rising sun (to which the Holy or kangin, utama
are assigned) and the point of sunset (to which the low or kauh, nista are as-
signed).‟ (Danes, Popo in Ramseyer, 2003, p. 96; Julian & Bruce Granquist
1999; Eiseman, F.B., Jr. 1990).

Thus, the buildings in the dwelling compound are assigned in those directions;
the shrines of the dwelling in the north-east, the kitchen and the gate in the
south-west. Furthermore, „An important feature in the compound is the
communal outdoor space, in the middle of the compounds, the dwellers’ center
orientation called natah’ (Danes, Popo, in Ramseyer, 2003; Julian & Bruce
Granquist 1999; Eiseman, F.B., Jr. 1990). As a result, spatial orientation in
Balinese architecture are very important and should be maintain to achieve
happiness (the goal of Tri Hita Karana). Hence, it is apparent that an undagi will
not break the rules of spatial orientation as it will shatter the happiness. And
therefore, at the same time, it is a direct connection to create sustainable
architecture in the sense of maintaining the continuity of socio-culture of a
community.

Thus, from the explanation above, this paper suggests that the Tri Hita Karana‟s
acknowledgement of the immaterial aspects of environment contributes to how
an undagi creates a balance relationship between the buildings and their envi-
ronment. Because of this perspective, an undagi will not conquer and destroy
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

the environment with his buildings which is exactly what sustainable architecture
suggested that architecture should be in harmony with nature3 and its culture.

The last implication of Tri Hita Karana, discussed on this paper is in considering
happiness of other human beings. It places the emphasis on buildings as means
for creating relations between people, and at the same time between people and
buildings. Thus, „…in the designing of a building complex along with its spatial
layout, in the choosing of the construction’s structure and building materials, an
undagi must carefully takes into considerations not only climatic and environ-
mental conditions, but also social and spiritual conditions’ (Danes, Popo, in
Ramseyer, Urs. 2003, p.20). It is important for an undagi to take care of the
stone craftsman, the brick builder, the wood craftsman, the occupants and the
surrounding neighbours.

In the end, we should also note that in many research the socio-cultural aspect
is link to the economic health and vitality of the people, which „may or may not
be linked with a concern for the well being of the environment for its own sake
rather than solely as a potential resource and necessary support for human
being. The sustainability of all three –environmental, socio-cultural and econo-
mic system- is sometimes called “the triple bottom line” by which the viability
and success of design and development should be accessed‟ (Williamson 2003,
p. 4). Hence, this study will also acknowledge a small part of economic aspect in
the case study below.

Sustainability in Royal Pita Maha Resort.

Royal Pita Maha Resort is chosen as case study because it is owned and design-
ed by a Balinese undagi who has a master degree in business administration4. In
this way, the undagi has an understanding of both vernacular knowledge of

3
„Avoiding the destruction of natural habitats is as much a priority for architectural developments
as the enhancement of existing natural environments, the development of links between them and
the introduction of new habitats‟ (Sassi, Paola, 2006, p. 33).
4
From the interview with several Balinese people, apparently, undagi as a title can also be given
to someone who has a considerable achievement (and seen as a talent) in creating Balinese
architecture. And this undagi whom designed the Royal Pita Maha Resort had received the Balinese
master builder since 1990s.
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

Balinese architecture and modern ways of thinking . For the purpose of this
paper, the analyses will be conducted in conjunction with three aspects of sus-
tainability: environmental, socio-cultural and economic system.

The first aspect to be discussed is the sustainability of the environmental

system. The resort is located in Kedewatan village, Ubud, Gianyar region in a
huge site. The site starts from the street and ends at a river –called Ayung river-
down the slope (approximately 80 meters height difference). There is also a
natural water-fall and few rice-fields –in the North-, and tropical rainforest in the
east side.

From the interview, in designing the layout of the resort, the undagi respects the
existing environment (the macrocosm). He keeps the river and the natural wa-
terfall as it were, as well as the trees and plants as many as possible, especially
the huge ones. The buildings are placed in relations with contours of the slope,
the trees, the river and the rice-fields. The river and the rice-fields became the
main view of the buildings. Connections to the river 80 meters down the slope is
achieved by a large swimming pool in the middle (approximately 30 meters from
the street, or 50 meters from the river), an organic linear lagoon stretching
alongside the river, and the balcony which directly captures the curve of the
river (see Fig 2).

Figure 2: (left) the careful placement of buildings towards li-

near lagoon alongside river and the rice fields and (right) the
curve of the balcony. Source: Gunawan, Y. 2010.
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

In additions, the undagi uses the potential of the environment to enhance the
resort‟s atmosphere and activity. For example: the water from the waterfalls is
used for holy spring-water pool, the river is also used for rafting, the working
rice-fields acting as views from the bungalows, and so on. As a result, the con-
nections of the resort and the environment of the site are strong.

Moreover, most of the materials chosen are Balinese vernacular architecture‟s

materials. The undagi used Balinese stone, bamboo, wood, and thatch roofs.
And most of these materials are from the surrounding Gianyar villages. In this
way, the undagi managed to lower the energy used for transporting building ma-
terials. The four Balinese stones (Batu Paras Taru, Selekarang, Klating and
Sarwogenep) are carefully chosen because of its texture and motifs5. The stones
are carved excessively in the resort gates and the walls (see fig. 5). Most of the
construction workers are Balinese, hence they know the motifs of the stones (or
known as Karang), how to thatch the roofs, and the bamboo weaves. This way,
the undagi has successfully sustained a local craftsmanship which closely related
to the Balinese culture as well as the enviroment.

The second aspect of the sustainability of Balinese socio-culture in Royal Pita

Maha Resort is by following the North-South spatial orientation of Balinese archi-
tecture rules mentioned above. The design of the main circulation of Royal Pita
Maha resort divides the North villas and the South villas, and ends in the natah
placed in the middle of the site, acting as entrance, public space, and communal
space (see Fig. 3). From the natah, visitors are welcomed by two main buildings;
The North Wing Lobby and Restaurant, and The South Wing Lobby and
Restaurant, enhancing the division of the North and South orientation.

The undagi also places the main shrines in the North-East direction, near the
river. There are also several smaller shrines placed more dispersed to honour
the huge trees and the stones (macrocosm). Near the waterfalls and the river,
there are few smaller shrines or also known as pelinggih to worship the keeper
of the water. And moreover, still connected to the immaterial aspect of the

5
As mentioned before, in Asta Kosala Kosali, there are certain rules on the placement of stones
that suited their characters. Therefore, in this Royal Pita Maha Resort, some stone or karang are
crafted and placed to suits the motifs, textures and symbols of the stone.
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

environment and the spatial orientation, the North South orientation also appa-
rent in the construction stages of the resort, stage 1 is the development of the
North lobby, restaurant and villas (completed), and stage 2 is the development
of the South lobby, restaurant and villas (now conducted). In doing so, the
undagi sustained Balinese culture in Royal PitaMaha resort.

North Villas

natah

South Villas

Figure 3. Main circulation that divides the North and South

villas, and the natah in the middle, acting as entrance.
Source: Royal Pita Maha site plan, 2010.

Furthermore, in the natah, he places huge statue of Goddess (see Fig 4). The
statue not only emphasis the main entrance for the visitors/guests but also re-
presents the story of the place. The local people believed that „many centuries
ago, a holy man called Maharsi Markandhya embarked upon a spiritual journey
of enlightenment that led him to Mount Agung in Bali… Further exploration of
this vicinity led Maharsi to the village of Kedewatan, a name originating from the
Balinese words Dewa meaning the God. It is an area greatly revered by locals as
it is believed to be blessed by the Gods‟ (from the interview). Furthermore, when
the Maharsi found a river, he sees Goddesses of great beauty and he named the
river, Ayung river (the river of beauty). The story is also carved in the walls of
the North Lobby and Restaurant (see Fig. 4). In this way, the undagi skillfully
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

combines two important identity of the site, as well as the unique atmosphere of
the tourist that stayed in the resort.

Figure 4. (left) carved story of Maharsi and (right) the natah

with Goddess statue. Source : Gunawan, Y. 2010.

The third aspect of sustainable architecture is economy. To enhance people‟s

economy, the undagi did three things. The first is creating connections with the
surrounding villages by designing three street junctions between main
circulations of the resort and the roads to the Balinese villages (see Fig. 5). By
creating this infrastructure, the undagi allows easier access to the village, and
eventually, it will affect the development of vilager‟s economy. The second one is
related to the construction workers whom are also the people from surrounding
villages, except the workers for the thatch roofs which require greater skills.

to village to resort to village to resort

Figure 5. Street junctions between main circulation to the

resort and to the villages. : Gunawan, Y. 2010.

And last but not least are the hotel workers. The main principle of recruitment of
the resort is the people surrounding the resort. Instead of one month usual
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

training for professional, they conduct five-months training for the people,
whether they are elementary graduates, a high school graduates or holds a
bachelor degree. Each degree will be given a suitable position in the resort. As a
result, because many hotels‟ workers are Balinese, then the rituals of Balinese
everyday life are conducted in the resort. It can be seen in the offerings in front
of each villas‟ main door. In this way, the undagi participates in the creation of
sustainable architecture in the economic health and viability in the realm of
tourism.

Conclusion

From the results and discussion above, this paper shows that the undagi
successfully achieves the goal of Tri Hita Karana: the happiness, by keeping the
balance between God, the environment, and the people involved: the
construction workers, the hotel workers, the villagers, and the tourist. And
furthermore, by keeping the balance, the undagi has contributed to a sustainabi-
lity in the Balinese culture through architecture.

Thus, this paper puts forward that it is important to „teach‟ vernacular

knowledge of architecture in the education of an architect. By continuing
vernacular knowledge of making architecture, an architect can contribute to the
creation of a sustained environment and culture; a balance between
environment, human culture and economic system in this developing and
globalizing world.

Acknowledgement

The author would like to thank Ir. Wy Alit –the project architect of Royal Pita
Maha hotel- for sharing the drawings, explaining the materials‟ chosen, and the
construction process of the hotel. The author also would like to thank Mr. Ida
Bagus Alit who had carefully explained the general concept of management and
operation of the hotel. The author would like to give a special thanks to the
 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

undagi: Drs. Tjokorda Gde Raka Sukawati, Ec. MM for the hospitality and the
willingness to share the thoughts. And last but not least, thanks to Ir. Alwin
Sombu S., MT. for his network to Royal Pita Maha resort.

References

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 Surveys on Vernacular Architecture. Their Significance in the 20th Century Architectural Culture
Conference Proceedings. Oporto, May 17-19, 2012

Author identification

Yenny Gunawan. Gained Bachelor Degree in Architecture in 2000. Worked at

architecture publishing company from 2000-2002 due to high interests in architectural
research and writing. Decided to pursue an MA in International Studies on Vernacular
Architecture at Oxford Brookes University, UK, under supervision Prof. Paul Oliver, and
graduated on 2004. On returning to Indonesia, together with 3 other friends, established
her own architecture firm from 2004-2008, and actively research and write on
architectural issues. Become a freelance architect and a full time lecturer in architecture
department since 2008 till now. Has presented papers in some national and international
seminars.