Transformation of a Chinese Cultural Heritage House in Bandung:

Towards Sustainability

Elizabeth Susanti Gunawan

, Krismanto Kusbiantoro

and Sugiri Kustedja

Faculty of Arts and Design, Universitas Kristen Maranatha, Jln. Suria Sumantri no. 65, Bandung, Indonesia

Keywords: Chinese, Contemporary Culture, Heritage, Sustainability, Transformation.

Abstract: Chinese settlement in Bandung is an inseparable entity that existed along with the development of the

historical city. But due to the rapid development of the city and cultural restrictions policy during the New

Order era, Chinese settlements are intentionally immersed socially by modernization and even neglected.

Political changes by the end of the 1990s provide an opportunity for Chinese cultural practitioners to start

preserving a culture. Many methods are conducted to conserve valuable heritage. One of them is to

transform a Chinese heritage house attached with Chinese architecture elements, furnished the interior with

Chinese style furniture so that it can educate society as well about the richness of the culture. The case study

is the house of Mr. Lin at Gang Basalamah that was transformed into an art collector house. This paper aims

to describe the transformation of the house and shows the physical elements that exposed Chinese

contemporary culture. The research will be qualitative research based on purposive chosen sample on the

house and explore the idea of sustainability that emerged from the transformation decision done by the

owner. The research findings are the optimization of cultural revitalization as a result of the transformation

of the house.

https://orcid.org/0000-0003-4411-4555

https://orcid.org/0000-0002-6085-3131

https://orcid.org/0000-0001-7237-9986

1 INTRODUCTION

1.1 Chinese Indonesian Dwelling

during Dutch Colonial Era

Learning about Chinese Indonesian houses; most of

the scientific materials currently available mostly are

the discussion of earlier Chinese dwellings, in areas

called as Pecinan in the historical littoral old cities

along the coast of Indonesian islands. The Pecinan is

a product of Dutch colonial Wijkenstelsel

segregation policy since the 18

century that

Chinese communities should be contained in

specific bonded areas only (Kustara, 2009: 72-74).

During the ending of the 19

century, the

obstructions were relaxed and gradually released.

Some Chinese people who have fortune built

significant spacious houses outside of the ghettos.

Those mansions have a courtyard and specific

Chinese customs of closed buildings plan, with

components, and ornaments intense with Chinese

symbolic meaning. They have made modifications in

architectural aspects to suit tropical weather and

local social culture features, named as Indische

Empire style; a hybridization of local Indonesian

(Javanese) style mixed with Dutch/European style,

and then added up with Chinese architecture

elements. Architecturally they are called eclectic

designs, extravagant buildings to display the pride of

the owner’s successful lives, huge mansions with

refined mixed Chinese cultural taste.

The development of Indonesia as a nation and

especially Bandung with the contribution of the

Chinese community happens within 5 centuries.

According to Blusse in Kustedja (2012: 106), the

first arrival of Chinese immigrants had been detected

since the early 15

century; sailing through the

western path passing Sumatra and Java and also

through the eastern path passing the Maluku

archipelago and the western coast of Kalimantan.

But the formation of Chinese settlements in the

Gunawan, E., Kusbiantoro, K. and Kustedja, S.

Transformation of a Chinese Cultural Heritage House in Bandung: Towards Sustainability.

DOI: 10.5220/0010751000003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 285-293

ISBN: 978-989-758-604-0

285

cities of Java started in the mid of the 17

century.

Moreover, we know that the formation of the

Chinese settlements could not be separated from the

intervention done by the Dutch that arranged the

settlements segregation according to the ethnic

group and other restrictions to control the mobility

of the Chinese community.

In addition to the rich heritages of the Dutch

colonials, Bandung also has many precious Chinese

community settlements which have been developed

since the early 18th century. During that particular

period, the Dutch issued three policies that gave

impact to Bandung that was the construction of a

road along the island of Java, the construction of a

railway and the development of a Chinese camp

according to the decree dated on 9

June 1810. The

development of the Chinese camp was to utilize

empty lands for improving the welfare of the people

(Kustedja: 2012, 114). At the beginning, the policy

of the Dutch to improve the development of

Bandung was an effort to fulfill the needs of

residential facilities which later developed into the

central government and economy in 1810.

Therefore, Bandung was inaugurated as the capital

of the district on the 25

September 1810.

At the turn of the 20

century, as Bandung

gained more economic and political significance, the

Chinese population grew as being involved in trade

and manufacturing industries and in various white-

collared jobs in service industries (Tunas, 2009: 31).

Furthermore, the growth of Bandung that involved

the Chinese communities inherits some cultural

heritages, both tangible and intangible, that can still

be found in certain areas. The most significant

Chinese heritages in Bandung are architectural

artifacts such as residential, hotels, schools, sacred

temples, shop houses and commercial buildings

owned by the Chinese descendants. Some of them

are in good condition and others are not. These

heritages evolved along with the needs of the

owners; some are well preserved, others are

converted into another function and some others are

not even identified due to lack of information.

Discussing about Chinese cultures in Indonesia,

we cannot deny the sociological problems that

started decades ago. It is obvious that during the

Dutch occupation, peoples in Indonesia were

segregated by ethnic groups to avoid gaining power

through unity that might cause problems to the

Dutch. The Chinese for many years had become a

social buffer to separate the Dutch with the local

citizens. In some cases, even the Chinese were

accused of being accomplices of the Dutch, although

there were some Chinese who fought and rebelled

against the Dutch during the occupation.

1.2 Chinese Indonesian Dwelling after

the Indonesian Proclamation

After the Indonesian proclamation of the

independence, the Chinese descendants had become

part of the society, but still with the foreigner status.

Twenty years later, for about three decades (1965 –

1998), Chinese cultures were unexpectedly not able

to grow in Indonesia due to some political issues.

Ethnic discrimination emerged and Chinese

descendants were forced to leave their nationality

and even their Chinese names. Chinese Culture,

Chinese language and even characters were not

allowed to be shown in public. The acting

government at that time nurtured the anti-Chinese

spirit among the nation. Therefore Chinese cultures

were sublimed yet live within the heart of the

Chinese descendants. Chinese Indonesian release

Chineseness ornament in houses, and increasingly

turned towards local and Western style architecture.

Three decades was sufficient to disrupt the

process of inheritance of the culture to the younger

generations. Younger generations, both Chinese and

locals have lack of knowledge about the Chinese

cultures and heritages in Bandung and cause a latent

threat to the sustainability of the Chinese Heritage.

People of Bandung hardly can understand the

significance of the Chinese cultural heritages, so

those heritages are in a serious thread of

mistreatment, misunderstood and even possibly

facing destruction.

Fortunately, at the end of the second millennium,

supported by the reformation spirit of the nation, a

new paradigm of nationalism emerged; values of

humanity and plurality were considered in a new

way. K.H. Abdurrachman Wahid, as the President of

the Republic of Indonesia at that time, opened the

gates of ethnic discriminations that had been closed

for decades and widened the way of multiculturalism

and plurality in the nationhood of Indonesia,

especially for the Chinese descendants.

Nowadays there are many Chinese organizations

in Indonesia. The spirit of reformation seemed to

have touched the roots of political awareness of the

Chinese descendants. Now they are actively

involved in both social and political daily life of the

nationhood of Indonesia. Chinese descendants’

cultures rose as part of the nation’s culture. They

live as Indonesian culture and are greatly diverse.

This situation opens opportunities to rethink and

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reposition the Chinese cultures and also re-identified

the cultural heritages in order to preserve it.

This paper aims to describe a case study of a

Chinese Indonesian person who is very concerned

about the preservation of Chinese cultural heritage.

He revitalized his old house into an art house and

shows the physical elements that exposed Chinese

contemporary culture.

2 METHODS AND MATERIALS

2.1 Sustainable Development

Sustainable development is a development process

based on the principle of meeting the needs of the

present without sacrificing the needs of future

generations. One of the factors faced in achieving

this development is maintaining the environment

without sacrificing the needs of economic

development and social justice. Development by

paying attention to the preservation of cultural,

historical, social values, and building conservation

to improve people's lives is one of the concerns in

the declaration of the United Nations Climate

Change Conference (“COP21”) in Paris and the

Sendai Framework for Disaster Risk Reduction

2015-2030.

Conservation of cultural heritage in sustainable

development supports the 2015-2030 Sustainable

Development Goals initiated by the United Nation.

Cities or areas with cultural heritage need to be

managed properly so as to create a more established,

safe, sustainable city and human life by making

efforts to protect and maintain world cultural

heritage and natural cultural heritage (The

Ecological Sequestration Trust, 2016).

2.2 Conservation of Cultural Heritage

The cultural heritage is the expression of a variety of

ways of living built by a community that is passed

from generation to generation, including customs,

practices, places, objects, artistic expression and a

certain value. This cultural heritage is both tangible

and intangible (ICOMOS, 2002). There are 3 types

of cultural heritage: built environment that includes

building, city and archeological remnants; natural

environment that includes rural environment, coastal

environment, and agricultural heritage; and artifacts

includes documents, books, products and pictures.

Cultural heritage is very important since it indicates

the level of a nation's civilization.

Cultural heritages are unique, rare, fragile and

cannot be renewed or replaced by various

technologies and materials that exist today because it

is an authentic legacy of human activity in the past.

The threat of destruction of various cultural

heritages is usually caused by 2 factors: the first is

the impact of time considering that the material will

slowly deteriorate over time; the second is active

destruction due to disaster, war and others (Svoboda,

2013).

Cultural heritages need to be preserved due to its

importance. The preservation that is carried out does

not rely merely on physical preservation, but

includes various intrinsic values contained in

cultural heritages. Cultural heritage must be treated

very carefully to avoid any damage caused and any

changes in the heritages, because the slightest

change has the potential to reduce the significant

cultural values.

There are various basic concepts of action that

can be taken as a concrete effort to preserve this

cultural heritage:

1. Conservation is the entire process of

managing a place so that its cultural meaning

is maintained. This includes conditions-

appropriate maintenance which includes

Preservation, Restoration, Reconstruction and

Adaptation

2. Maintenance is the continuous maintenance

of a building, the meaning and arrangement

of a place.

3. Preservation is maintaining (preserving) what

has been built somewhere in its original state

without any changes and prevents

destruction.

4. Restoration is restoring what has been built in

a place to its original known state, by

removing additions or rebuilding original

components without using new materials.

5. Reconstruction is rebuilding a place in

accordance with the original conditions that

are known and differentiated by using new or

old materials.

6. Adaptation is changing a place according to

the function that can be combined.

7. Revitalization is a development activity

aimed at regrown important values of cultural

heritage by adjusting new spatial functions

that do not conflict with the principles of

preservation and community cultural values.

Simon Thurley proposes his idea of how to make

cultural heritage a part of modern society today

Transformation of a Chinese Cultural Heritage House in Bandung: Towards Sustainability

287

through a cycle: enjoying, understanding, valuing

and maintaining. According to Thurley, when a

cultural heritage is enjoyed by society, there is an

effort to understand it. Once understood, the cultural

heritage is given a special value or meaning. After it

is interpreted specifically, people will take care of it.

After the cultural heritage is preserved, people will

enjoy it, and this cycle will continue (Thurley,

2005).

2.3 Chinese Contemporary

Architecture

Chinese contemporary architecture refers to the

buildings that were designed after the start of the

Opium wars in the 1840s. During that period,

Chinese architecture began to elaborate the

traditional Chinese style with the western

architectural characteristics. The traditional elements

such as sweeping roofs, open courtyards, screens

and wooden columns as elements held over the

Ming Dynasty (1368 – 1644) and those inherent to

the Qing Dynasty (1644 – 1911) of the time

remained prominent.

By its openness to western culture, China started

to adopt an eclectic European style in Chinese

architecture during the 1840s to 1920s. Several main

treaty ports such as Guangzhou, Xiamen, and

Shanghai possessed lots of buildings designed by

foreign architects. The so-called Chinese

contemporary architecture is therefore an idea of

blending traditional style of architecture with a more

eclectic Western architectural style in terms of

expression. But in the narration there are 3 aspects

that are treated in the process: form and function

examined in architectural ontology, the social and

cultural value of architectural texts and the

technological evaluation of architectural products

(Xue, 2006: 5).

During the past decade, the understanding of

contemporary Chinese architecture has changed.

Along with the massive growth of China’s cities,

architects have a larger opportunity to work freely,

innovatively, distinctively and creatively. Architects

find their way in these sudden eruptions of speedy

changes; they react creatively and critically upon

these changing conditions. Architects are looking at

tradition as an inspiration, as an intellectual and

conduct physical engagement with the creation of

space (de Muynck, 2016).

2.4 Contemporary Chinese Indonesia

Home

This research paper focused on a current Chinese

Indonesian dwelling. The previous existing studies

generally discuss Chinese buildings during the

Dutch colonized situation; most of the research will

refer to heritage buildings of expansive Indische

Empires mansions style, decorated with extravagant

traditional Chinese symbolic elements, and old-style

furnishings made with special custom ornaments

related to Chinese culture. This case study object

was purposely chosen, described, analyzed, and

interpreted by comparing to typical styles of

traditional Chinese culture.

This paper tries to discuss a well preserved house

located in Gang Basalamah (Basalamah Alley)

Bandung city, at a business block area (Astana

Anyar – Jendral Sudirman). Gang Basalamah is a

narrow street of 2 meters in width. Along the

western street entrance; nearly half of the street

length, with hawker stalls on both sides becoming a

traditional wet market called Pasar Basalamah

(Basalamah Market). They are selling specifically

Chinese dishes’ materials (pork, fishes, frogs, crabs,

chicken, beef, and Chinese vegetables), condiments,

and Chinese spices. On the east side of the road is a

clear street without any stalls on both sides are

residential areas. The nominated house is a

consolidated lot of 3 houses, Gang Basalamah

number 4, 6, and 8.

Figure 1: Map of Gang Basalamah.

Figure 2: Building (Basalamah 6, 8) façade as seen to the

west, the end side of the traditional wet market.

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Figure 3: Façade (Basalamah 4, 6, 8) as seen to the east,

junction with Jalan Kasmin.

The owner is Mr. Lin Che Wei, a successful

professional and businessman. His childhood time

was living in the house Basalamah Alley 8. Mr. Lin

also owns another building facing the main street

(Jendral Sudirman Street) once used as an art gallery

Sarasvati house. Those two places are connected

through a short alley. In this Basalamah Alley lot,

those three buildings façade are kept as their origin,

assumed built about 1920s – 1930s. By observing

the façade and roof style carefully, the building has

gone through the process of being restored.

Mr. Lin has the idealism to preserve historical

heritage by establishing an art-house (Sarasvati Art

House) in Bandung while together intending to make

that area (Jendral Sudirman Street) as one of the

unique identities of Bandung (https://sarasvati.co.id/

roemah-seni-sarasvati/background/ accessed on July

12, 2020). He said many people understand the

meaning of buildings only as inanimate objects,

whereas since the building was designed, we see the

journey of human life in it (https://www.dunia

lingga.com/2013/05/menelusuri-jejak-art-deco-di-ba

ndung.html accessed on July 12, 2020). His

inspiration to get involved with passion in

preservation of cultural heritages is from Lu Xun

(1881 –1936) a Chinese writer: “Hope is like a path

across the land, it is not there to begin with, but when

lots of people go the same way, it comes into being”.

Mr. Lin said, the preservation Mr. Lin said that very

few people have preserved Chinese cultural buildings.

Preservation can be started from him, so that other

people will see and also participate in preserving it. In

the year 2013, Mr. Lin became CEO of PT

Pembangunan Kota Tua Jakarta (Jakarta Old Town

Development) who took the revitalization of buildings

in Jakarta Old City area which at that time Jakarta

Governor was Basuki Tjahaja Purnama (Ahok).

Lin Che Wei house is a representation of the

Indonesian Chinese House which still exists, where

most Chinese houses in Bandung have undergone

very drastic changes and no longer gives the

impression of Chinatown (Kusteja, 2012). The

construction of modern Chinese houses after 1990

caused the depletion of traditional Chinese elements

in architecture (Hadinoto, 2007). The house is still

maintained, and has been restored with a mature

concept by Mr. Lin as a cultural observer, and has

been realized in revitalizing the Old City of Jakarta

and Gedung Pensil Bandung. This building itself is

very important because it is on the West Groote

Postweg Line (Jalan Raya Barat/Jalan Jendral

Sudirman) and within the Jamika Industrial Estate

area. Only people with certain positions or certain

economies could own a house in the center of the

main route during the Dutch colonial period. Groote

Postweg is the main highway for the economic

interests of Java Island which was built in 2 years by

the Dutch General Governor (Daendels) (William,

1979: 1-29).

3 RESULTS AND DISCUSSION

David G. Khol (1984: 22), wrote in the book

"Chinese Architecture in The Straits Settlements and

Western Malaya”, provides a kind of guidance, how

to see the characteristics of Chinese architecture that

exist, especially in Southeast Asia. These are some

characteristics of Chinese Architecture in the

Chinatown area until prior of 1900:

1. courtyard

2. emphasis on a distinctive roof shape open

structural elements (which are sometimes

3. accompanied with decorative ornaments)

4. use of distinctive colors

Although Mr. Lin renovated based on his

personal experience, in fact, the characteristics of

Chinese houses as referenced by Knapp was

unwittingly restored by Mr.Lin.

The existing theories provide the characteristics

of houses before 1990; there is a theoretical gap for

researchers to analyze the characteristics of Chinese

contemporary houses after 1990. Through the

discussion of this case study, it is suggested for

further research on Chinese contemporary houses to

use the following characteristic criteria:

1. courtyard

2. distinctive roof shape

3. Chinese decorative ornaments

4. local / global culture ornaments

5. distinctive colors

Transformation of a Chinese Cultural Heritage House in Bandung: Towards Sustainability

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3.1 Courtyard

Figure 4: Courtyard.

The courtyard has some benches, sometimes the

owner runs movies on the white screen, which

covers the red bricks end wall for the shows, and

sometimes he likes to have tea in this area. The front

building (left side) is still preserved as built before.

The right side building is totally rebuilt with new

construction; the designer was the late Ir. Ahmad

Djuhara. The roof ending has a different style

compared with the front side (diverge with

traditional custom).

3.2 Roof Shape

On renovated gable walls Mr. Lin restored the

specific design at the peak and at two sloping sides

with curls ends as previous. Those styles are not

copied from any typical Chinese traditional style.

But in general, those decorated parts and sloping

ridge at two ends are in general similar to South

China’s traditional architecture styles. It is a

reinterpretation of traditional customs by previous

developer.

Figure 5: The current roofing and gable wall condition, the

2 ends of gable sloping, finished with curls.

Figure 6: The typical Chinese traditional gable wall peak

details.

Figure 7: The ending roof ridge is sloping up at both ends,

similar with traditional Southern China typical ridge

architecture. Here the sloping is with corner and straight

line, while the traditional style is smooth arc without any

sharp bent.

Figure 8: Additional ornaments were added during the late

Mr. Lin’s father, intended as Chinese geomancy (feng shui

风水) elements against bad things (sha qi 杀气).

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3.3 Decorative Ornaments

The one focal point within three buildings; is the set

of 18 units of wooden lattice panels at the hall

building which are distinctively showing his passion

with Chinese culture style crafts. For the panels area

he made a serial design for each of them. Patiently

Mr. Lin ordered the craft artisans to produce specific

complicated double faces – a copy of the same

sculpture on both sides for each panel. Every panel

decorated with “The three kingdoms” (san guo yan

yi三国演义) episodes, to remember his childhood,

the story that he loved to read when he was young.

They took 4 years to finish the complete series with

3 sets of complete panels.

Figure 9: Set of 18 wooden lattice panels at the hall

building.

Some wooden crafted ornament units on the wall

as ventilation openings (crafted with “The three

kingdoms'' episodes), at the balcony railings they

show intricate Chinese traditional patterns, some

railing with Chinese object crafted emblem with

figures of The Gods (Fu Lu Shou 福禄寿).

Figure 10: The railing with Chinese style lattices pattern,

medallion with The Gods (Fu Lu Shou 福禄寿) images.

Figure 11: Window trellis with 8 corners, Chinese

traditional pattern lattice, in Chinese numerology 8 can be

symbol for Eight trigrams (ba-gwa 八卦), Eight treasures

(ba bao八宝), Eight deities passing the ocean (ba xian guo

hai 八仙过海), Buddhism eight lucky symbols (ba ji xiang

八吉祥).

Figure 12: Ventilation openings with hand crafted wooden

trellis, decorated with The Three Kingdoms episodes.

Figure 13: Railings with traditional Chinese patterns, the

balcony facing the street in front.

Mr Lin is very serious about preserving Chinese

culture. He has an in-house workshop with

permanent crafter artisans. He looked for crafter

artisans from Jepara, Central Java, the center of a

famous wood craftsmen artisan area, and was

employed in his private workshop. Expensive wood

chunks carved manually by craftsmen.

Transformation of a Chinese Cultural Heritage House in Bandung: Towards Sustainability

291

Figure 14: Crafter artisans.

3.4 Local/Global Culture Ornaments

The furniture collections inside building number 6

and 8 have some antique Chinese styles, mixed with

some articles related to Mr. Lin’s parents, as his

reminder of his younger time while living in that

home. Some of this furniture is called “Yankee

styles” (Indonesian: “Model Jengkee”) which is

popular during 1950s. Some of those Chinese styles

antique were collected from China when he was

travelling there.

Inside the building number 4, there is plenty of

amazing Balinese sculpture collections, especially

those created from naturally unique bending wooden

trunks. There are some Chinese styles of antique

furniture such as an old cabinet and a traditional

Chinese canopy bed which were imported from

China. The other furniture collections are from

mixed styles: modern, Yankees, and antique

European style (chairs, writing cabinet).

Figure 15: Balinese wooden sculptures collection.

3.5 Color

Chinese people really like the color red or vermilion,

because it symbolizes luck and joy, they use it a lot

on Chinese New Year or special occasions. Many

ancient royal buildings used this color. For the

facade of Mr. Lin’s house, he used red (maroon)

with yellow stripes, but not because it symbolizes

Figure 16: doors’ color.

luck. According to him, he is copying the color of

his daughter’s “The Nanyang Primary School” in

Singapore. For him, school (Nanyang Primary

Schoola) as the first place people (his daughter)

study Chinese culture and Chinese language. He

uses this color to remind him that people have to dig

their own root. The original color was green Tosca

(see bedroom photo).

Figure 17: Back side doors’ color.

4 CONCLUSIONS

This research focused on one current Indonesian

Chinese peranakan dwelling. Similar study related

to peranakan Chinese houses most researches will

refer to Dutch colonial era heritage buildings with

Indische Empires styles expansive mansions, with

the extravagance of Chinese traditional symbolic

elements on them. The styles and details are

repetitively like using a fixed template. The

furnishings usually are specific custom made as a

complete set for each manor, with complicated

ornaments related to Chinese culture.

With this case study, the conclusions are the

contemporary owner (Chinese peranakan) has wider

national and overseas vocabulary references, the

building was renovated to suit the owner's taste with

his private reinterpretation of traditional culture and

style into an eclectic architectural style. Although

the owner is a very keen observer of Chinese

traditional culture, from private discussion; shows

his interest in Chinese classical literature, Chinese

music instruments, calligraphy, Chinese traditional

poems, Chinese painting, and the family owns a

traditional Chinese tea cafe in Jakarta at Glodok

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Pecinan Area, but the furnishing and collections are

multicultural.

Revitalize is to evoke memories of the past /

recall the past. The owner has wide interest in

cultural vocabulary (local, Chinese, other nations)

that influence his style choice for collections

(modern furniture, European classic furniture,

Balinese sculptures, Javanese handcrafts). His

passions in Chinese traditional culture are shown on

the detailed design of hand carved wooden lattice

folding panels. He collected Chinese antiques

furniture, applying Chinese traditional patterns and

folklore on building ornaments. He did not try to

copy the characteristics of Chinese houses from the

past (such as literature write about Chinese 4 side

courtyard (siheyuan 四合院), traditional curved

roofs, dragon decorations, Chinese red yellow color,

as red luck of Chinese Culture) but rearranged

Chinese-ness based on his experience as Chinese

living in Indonesia (his favorite “Three Kingdom”

comics during his childhood, Red Lantern Film),

with Indonesian culture and insight into global

culture.

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