The Influences of Chinese Culture on Historical Buildings in Surabaya

Olivia Gunawan

, Rhea Griselda

and Diana Thamrin

Department of Interior Design, Petra Christian University, Siwalankerto 121-131, Surabaya, Indonesia

Department of Interior Design, Petra Christian University, Surabaya, Indonesia

Keywords: Cultural Heritage, Historical Building, Chinese Culture, Surabaya.

Abstract: Surabaya is the second largest city in Indonesia that is vast and rich in history, proven by a large number of

traditional and historical architecture. One of the most prominent influences came from the Chinese culture,

which came with the Chinese people who migrated to Surabaya seeking to expand their trade. Despite the

mix of Javanese and European Indische cultures, the building still shows distinctive Chinese architectural

features. This research aims to identify the characteristics of Chinese-influenced buildings. Qualitative and

analytic approaches are used to summarize various historical data and reveal patterns in the building

distribution. The results show that the influence of Chinese culture is concentrated in the northern part of

Surabaya, as proven by the number of Chinese building forms. These buildings serve as evidence of history

that is preserved in Surabaya, along with their diverse people and cultures that have undergone cultural

developments as time progresses. It is expected that this cultural influence can be well-documented and

utilized as valuable resources for historical studies and cultural preservation and function as a basis for

research, building design influence, and the development of tourism.

1 INTRODUCTION

In the early 16

century, Surabaya was one of the

trade centers in Indonesia with various people and

cultures. Until this day, Surabaya has grown into a

metropolitan city with various traders from around

the world. The traders who entered through the

coastal areas of Surabaya included the Chinese in the

- 14

century, the Arabs in the 15

- 16

century,

and the Dutch in the 16

- 19

century. (Sudikno &

Salura, 2012).

The arrival of traders in Surabaya brought a

variety of cultures. One of the cultures that has a big

influence is the Chinese culture. In the past, Chinese

people came to trade with the locals, but then they

settled near the Red Bridge and Kalimas. The

settlement that has been created then suppressed the

movement of Chinese people because of a

Wijkenstelsel enactment created by the Dutch

Colonial government. The limitations of activities

created a culture in these areas that were very attached

and well represented.

https://orcid.org/0000-0001-5729-8459

https://orcid.org/0000-0003-4932-4244

https://orcid.org/0000-0002-8531-5276

In 1867, the distribution of Chinese community

was concentrated in Chinese Voorstraat (now known

as Karet Street) which is located near Tanjung Perak

Harbour today. Therefore, the residential area and

trade activity in Chinatown has grown rapidly as

illustrated in Figure 1.

Figure 1: Surabaya map 1867 enlarged (Cronenberg et al.,

1867).

The Chinese community started to grow and

spread to the central parts of Surabaya. Evidently, the

Chinese buildings can be found in the south of

Chinatown. The buildings are located along the

620

Gunawan, O., Griselda, R. and Thamrin, D.

The Inﬂuences of Chinese Culture on Historical Buildings in Surabaya.

DOI: 10.5220/0010756000003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 620-633

ISBN: 978-989-758-604-0

Kalimas river and were built in a row. As shown in

Figure 2.

Legenda:

A: Kampung pecinan Kapasan Dalam

B: Klenteng Boen Bio

C: Rumah Abu Han

D: Rumah Sembahyang The Goan Tjing

E: Klenteng Hok An Kiong

F: Kembang Jepun Kya Kya

G: Klenteng Hong San Ko Tee

Figure 2: Surabaya map 1867 (Cronenberg et al., 1867).

Figure 3: Surabaya map 1883-1884 enlarged

(Topographische Inrichting ('s-Gravenhage), 1907).

The buildings with Chinese influences are found

in the Chinatown area. The six buildings studied in

this research are in northern Surabaya area and the

other are newer ones that can be seen spreading to the

South area away from the coast. The buildings with

Chinese ethnic style have decreased and are starting

to disappear.

Today, the influence of Chinese culture is

indicated by the architectural form, notably on the

roof, and the interior of several buildings in certain

areas in Surabaya. However, the buildings are in poor

condition and most of them have undergone some

form of modifications. This resulted in the loss of

their original characteristics in some of the buildings

while some has also been mixed with the local culture

(Indrani & Prasodjo, 2005). Therefore, this research

was conducted to find buildings with Chinese

characteristics. It is expected that this cultural

influence can be well documented and utilized as a

valuable resource in historical studies and cultural

preservation as a basis for research, building design

influence and development of tourism.

Figure 4: Surabaya map 1914. (Baedeker Indien 1914 Maps

- Perry-Castañeda Map Collection - UT Library Online,

1914).

The Inﬂuences of Chinese Culture on Historical Buildings in Surabaya

621

Figure 5: Surabaya Chinatown map 2021.

2 METHODS

This research uses qualitative methods through

triangulation analysis between literature data, field

observations, and contextual inquiry with the

following details:

2.1 Literature Study

According to Sugiyono (2012), a literature study is a

theoretical inquiry of references and other scientific

literature related to culture, values, and norms that

develop in the social situation to be being analyzed.

This method supports and strengthens the results of

the observations and the analysis based on previous

researches. In addition, this is adopted to better

understand the architectural and interior

characteristics of Chinese buildings that have

undergone the process of acculturation with the local

culture, such as Javanese and Dutch Colonial culture.

2.2 Observation

This method was conducted through the observation

and documentation of architectural forms in

Chinatown Surabaya. Determination of the data

source and object was done through purposive

sampling technique. Purposive sampling is a

technique to determine data source while taking into

account certain considerations and criteria (Sugiyono,

2009, p. 216). The considerations and criteria above

exhibit the following indicators:

• The building has been occupied or managed by a

Chinese descent.

• The building was built before 1967. The year was

chosen on the basis of Instruksi President or

government policy that prohibit the Chinese

descent to celebrate any religious or cultural

event.

• The building has distinct Chinese cultural

features.

The buildings that meet these criteria are Klenteng

Hong San Ko Tee, Shophouse at Kembang Jepun,

Chinatown at Kapasan Dalam, Kya-kya, Roemah

Sembajang Kaloearga Han Bwee Koo (Rumah Abu

Han) and The Goan Tjing family house at Karet

street.

2.3 Interview: Contextual Inquiry

Interview contextual inquiry is a method to deepen

the understanding towards the topics that are

currently researched. This method is a combination

from interview and observation. In addition, to

obtaining information directly through the source, the

result of the interview can be directly identified

through the facts in the field (Nyström & Sjögren,

2012).

The Contextual Inquiry interview was conducted

through an interview process with one of the

administrators of Boen Bio Temple and Hong San

Koo Tee Temple as well as the owner of Roemah

Sembajang Kaloearga Han Bwee Koo to gather

information that has never been known and has never

been reviewed before. The information obtained were

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descriptions of history, symbols, and meanings of all

the architectural and interior elements of the building.

2.4 Descriptive Analysis

This research uses qualitative methodology with a

descriptive type of analysis. The data collected were

descriptions, and images, which were obtained in

their natural settings (Moleong, 2007). Literature

theory was obtained from books, journals, internet

sources, videos, and several informants in the

observation and interview stages. The step produces

data that becomes a benchmark to strengthen the

results of analysis to address the hypotheses.

3 RESULTS AND DISCUSSION

3.1 Pecinan

Pecinan is a term for China town in Indonesia during

the Dutch Colonial Era; that is, an area with a

community of a Chinese ethinicity in a certain part of

the city. This area generally has typical characteristics

of Chinese architectural forms, decorations and

elements. The existence of retail or business trade

activities such as restaurants, shops, and temples are

also one of the characteristics of a Pecinan (Salim,

2012). According to (Handinoto, 2008), the Pecinan

area is relatively narrow consisting of several

buildings such as: Klenteng or temples, Shophouse,

Residential, that have the following characteristics:

• a spacious courtyard

• a distinctive roof shape

• an open structural element (usually also

accompanied by decorative ornaments)

• distinctive colors (Red, Yellow/Gold).

Figure 6: Types of Chinese Roofs (Chiou et al., 1996).

3.1.1 Concept of Order

According to (Kartono, 2012), the basic concept of

the Chinese building plans was influenced by Taoism,

such as:

• North-South axis: considered as a provider of the

good energy of chi flowing from north to south,

according to fengshui.

• Outer Wall: has an inner opening to protect the

inhabitant from danger from the outside. This wall

also symbolizes the unity of a family.

• Courtyard: A space where the air circulate that

also symbolizes the relationship between human

(horizontally) and between human to God

(vertically)

• Main Gate: As a territorial mark and also as an

entry into the area.

• Spatial Hierarchy: In a Chinese building, the

location of a room determines the importance and

values of the space. The deeper the location of a

room within the building, the more important it is

and the higher the privacy of the area. The activity

around the altar was to remind people to respect

their ancestors.

• Symmetry: The symmetrical layout symbolizes

the Yin and Yang that balances one and the other.

According to (Bai, 2007) and (Ma, 1999), the gate

decoration and design in a house is an important

element, which is as a symbol of rank or wealth of the

owner. Even though there is a difference in the

decoration splendor on a house door, the gate must

still have double doors because it fulfills the

symmetrical principle or balance of Yin and Yang.

3.1.2 Building Typology

The Chinese building typology according to

(Adhiwignyo & Handoko, 2015) are as follows:

• Vertical Rectangular Type

Figure 7: Vertical rectangular layout.

This type is a simple building with an airwell or air

hole in the middle. It is called a vertical rectangle

because the distance between the main wall and the

back wall is longer than the distance between the right

and left walls. This type is the most common form in

narrow urban cities with a shophouse on the front.

The Inﬂuences of Chinese Culture on Historical Buildings in Surabaya

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• Horizontal Rectangular Type

Figure 8:

Horizontal rectangular

layout.

This type of building that is widely used by people in

rural areas. This building type is based on one main

building with three covering walls and a barrier wall,

where the wall of the front door is longer than the

distance between the front door and the wall behind

it.

3.1.3 Types of Courtyard

In northern China, courtyards are enlarged in the

north and south to receive winter light.

• Siheyuan Type

Figure 9: Type of Siheyuan layout.

Siheyuan consists of three buildings with the basics

of Sanheyuan and the addition of a courtyard at the

front, marked by the addition of the main gate on the

right side, while in the Sanheyuan, the fence is in the

middle. The concept of symmetrical and angular

planning is used in the presence of a north-south

orientation and a covering wall. Siheyuan is widely

used in courtyard-type dwellings in the South China

area.

• Sanheyuan Type

Sanheyuan type consists of three buildings positioned

opposite the main building and two flanking doors on

the left and right sides. The middle part is usually left

open as a courtyard for gathering and other daily

socio-economic activities. Its main feature lies in the

symmetrical concept and angular axial design but

does not follow the north-south axis and there is no

covering wall.

Figure 10: Type of Sanheyuan layout.

• Combination or Mixed Type

This type is a combination of Sanheyuan and

Siheyuan types which expand at the front yard. Three

buildings were added with the same composition as

Sanheyuan and the gate is located in the middle. In

the center of the main building complex is the

ancestral altar. This type of house is usually found in

the wealthy areas of South China, in which they can

add and expand the left and right sides and the back

with new building complexes with large complex

corridors.

3.2 Acculturation

Acculturation is a process of cultural and

psychological change that occurs between cultural

and individual group members (Berry, 2017).

Acculturation usually occurs because of the migration

process in a culturally pluralistic society among

ethnocultural communities (ethnic groups that have

different cultures). In addition, according to

(Koentjaraningrat, 1996), acculturation is a social

process that occurs in a society with a different

cultural background after establishing

communication, so that the cultures' distinctive

characteristics of each group become new cultural

elements but still do not leave the original culture.

3.3 Pecinan at Kapasan Dalam Street

The small Pecinan is located at Kapasan Dalam

Steeet. To get to this Chinatown, you need to enter a

small alley across the Kapasan Market. The condition

around the Chinatown Village is very crowded with

trading activities and there are lots of shophouses.

The function of the gate shape is for the entrance to

the Chinatown village and it has the xiē shān (歇山)

saddle roof form with an arch. This kind of roof is

often found in Chinese buildings in Indonesia.

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Figure 11: Kapasan Dalam Gate.

Figure 12: Xie-shan roof (Source: Chiou, 1996).

Figure 13: Detail Kapasan Dalam Gate.

Figure 14: Front house at Kapasan Dalam.

The use of the distinctive red color in Chinese-

patterned buildings has a philosophical meaning

which means luck and prosperity. Red also

symbolizes Fire or South. Meanwhile golden yellow

is associated with the element of Earth or center,

which is regarded as the royal or imperial color. Both

color in Feng Shui suggest that the use of colors can

change the mood and balance of the Chi (Yin and

Yang) or brings harmony (Lee, 2012).

Figure 15: Kindergarten at Kapasan Dalam.

Figure 16: Xuan-shan roof (Chiou et al., 1996).

Inside the Kapasan Dalam Chinatown, there is a

building that currently functions as a kindergarten.

This building has a Chinese style roof with the Xuán

Shān (懸山) type.

3.4 Boen Bio Temple

Figure 17: Klenteng Boen Bio exterior.

Figure 18: Xie-shan roof (Chiou et al., 1996).

The layout type used in Boen Bio temple is a vertical

rectangular extending backward with the courtyard

Sanheyuan type.

The Inﬂuences of Chinese Culture on Historical Buildings in Surabaya

625

Figure 19: Klenteng Boen Bio layout.

Figure 20: Klenteng Boen Bio interior.

Figure 21: Side view of Klenteng Boen Bio.

Boen Bio Temple is located at Kapasan Street

Number 131, Surabaya. It is a special pagoda for the

Confucian religion, the only one in Southeast Asia.

Red is the dominant color in this building. The

building has a roof in the shape of Xiē Shān (歇山).

It has 4 main pillars on the outside of the main

building and 5 large doors as a symbol of the 5 earth

elements, namely water, fire, metal, earth, and wood.

The middle entrance is deliberately made steep and

not stepped because it has a philosophical meaning

which means humans who want to achieve a holy life

will not be easy. The construction of the Boen Bio

temple was built on the initiative of the people in

Kapasan Dalam, namely Go Tik Lie and Lo Toen

Siong in 1883 because the Kapasan Dalam area did

not have a worship place. After this temple was built,

it received the blessing of the Qing Dynasty emperor

by being given a tablet with the emperor's stamp read

Sen Diau Nan Cing.

Figure 22: Altar Klenteng Boen Bio.

Figure 23: Klenteng Boen Bio pillar.

The Boen Bio temple has interior elements that are

very distinctive to Chinese ethnic buildings can be

seen from the shape of the pillars which have dragon

carvings. The ceiling support form (Tao Kung) shows

the constructive details of the joints between columns

and beams. The room is also dominated by red and

yellow. The floor on the Boen Bio temple on the

terrace has an Art Nouveau-style floor pattern,

namely the Encaustic style which was then

popularized by the Dutch Colonial in Indonesia.

Figure 24: Floor of Klenteng Boen Bio.

Figure 25: Under wall in Klenteng Boen Bio.

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3.5 Roemah Sembajang Kaloearga Han

Bwee Koo

Figure 26: Front view of Roemah Sembajang Kaloearga

Han Bwee Koo.

Figure 27: Roemah Sembajang Kaloearga Han Bwee Koo

layout.

Roemah Sembajang Kaloearga Han Bwee Koo is an

altar house located at Karet street 72, Bongkaran.

Following the results of an interview with Mr.

Richard Han (personal communication, April 19,

2021), this house was built by a captain from China

named Han Bwee Koo in 1800 as an administrative

office for immigrants from China and a place of

worship for the Han family. This building currently

functions as a place of prayer or to hold a ceremony

to honor the ancestors and currently inhabited. The

layout of the building uses a rectangular vertical

layout that extends backward and uses a mixed type

with the courtyard type Sanheyuan and Siheyuan. The

shape of the building has been adapted to the climatic

conditions in Indonesia so that the house is made with

a large front porch, protected from the sun by a wide

hanging roof, which expands to all angles. This shape

is similar to the characteristics of the Joglo roof in

traditional Javanese houses. However, the shape of

the roof with a pointed arch that rises upwards is

included in the Xiē Shān (歇山) roof type which is

commonly used in Chinese houses in Indonesia.

Figure 28: Front Pillar of Roemah Sembajang Kaloearga

Han Bwee Koo.

Figure 29: Doric Style (Perrault & McEwen, 1993).

The structures of the building in the form of two

pillars uses The Empire Style, influenced by the

Dutch colonial style, which adopted the Greek style

column, namely the Doric style. Doric style is

characterized by its simple shape with a square capital

and tubular shaft.

Figure 30: Courtyard pillar of Roemah Sembajang

Kaloearga Han Bwee Koo.

Figure 31: Tuscan Style (Perrault & McEwen, 1993).

The support form in the Rumah Abu Han is in the

form of a column of The Empire Style which got an

influence from the Dutch colonial style and adopted

the style of the Greek column, namely the Tuscan

style. The Tuscan style is characterized by a simple

shape with a square capital and a tubular shaft.

The Inﬂuences of Chinese Culture on Historical Buildings in Surabaya

627

Figure 32: Front porch floor.

Figure 33: Side porch floor.

The floor pattern on the porch of the Abu Han house

is characterized by Dutch colonial culture which can

be seen by the use of tiles with Encaustic motifs.

Figure 34: Table in courtyard.

Figure 35: Altar ceiling

Figure 36: Robyong lamp in porch.

The high ceiling in the altar room shows the

influence of Dutch culture as well as plant vine motifs

and a medallion circle.

Figure 37: Robyong in Keraton (Jogjakini, 2009).

In each courtyard of the Abu Han House, there is a

Javanese robyong lamp which has a branching

feature, and a pair functions as decorative lights

which have a meaning for life.

Figure 38: Front courtyard.

Figure 39: Back courtyard.

There are three doors in the courtyard and prayer

area. The number three in Chinese culture has a

philosophical meaning of three realms, the first is the

"non-polar realm" ( 無極界), the second is the

"supreme realm" (太極界), and the third is the

"desire realm" (現世界). Taoism defines "three

doors" with the assumption that the gods come from

three realms, where the last realm is the human realm.

The entrance to the prayer area is adopted from the

Dutch colonial form which is an elevated rectangle

with two single-layer doors. The influence of the

Dutch colonial culture can also be seen in the shape

of the door ventilation which is in the shape of a

semicircle (bovenlicht) with wood finishing and dark

blue paint.

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3.6 Rumah Sembahyang Keluarga the

Goan Tjing

Figure 40: Front view of Rumah Sembahyang Keluarga the

Goan Tjing.

Figure 41: Rumah Sembahyang the Goan Tjing layout.

Figure 42: Xuan-shan roof (Source: Chiou, 1996).

Figure 43: House signage.

Rumah Sembahyang Keluarga The Goan Tjing is an

altar house located on Karet Street Number 50,

Bongkaran. This prayer house was built by The Goan

Tjing's descendants during the Dutch colonial era.

The layout form of The Goan Tjing's House adopts a

vertical rectangular type with a mixed courtyard type

between the Siheyuan and Sanheyuan types. The roof

of the prayer house The Goan Tjing is of Xuán Shān

(懸山) type which is in the form of a gable with an

arch parallel to the gavel.

Figure 44: Xuán Shān Roof form of Rumah Sembahyang

Keluarga the Goan Tjing.

The floor in the courtyard uses an Art Nouveau style

with an enchanted pattern taken from the shape of a

flower.

Figure 45: Courtyard floor.

3.7 Klenteng Hok An Kiong

Figure 46: Front view of Klenteng Hok An Kiong.

Figure 47: Klenteng Hok An Kiong layout.

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Figure 48: Front porch of Klenteng Hok An Kiong.

Hok An Kiong Temple is located at Coklat Street

Number 2, Bongkaran. This temple has a roof shape

of the Xiē Shān (歇山) type. The ceiling is left

exposed to the open showing a column-to-beam

connection system. The colors used are dominated by

two distinctive colors: red and yellow. The other

colors on wall dioramas are green, blue, and white.

Each color represents values that will be explained in

Table 1.

Table 1: Color meaning based on Feng Shui. (Lee, 2012).

Color Meaning Symbolize

Black / Blue Profundity Water

Green Advancement Wood

Red Luck, Happiness Fire

Yellow Prosperity Earth

White Purity Metal

All the colors have a meaning to balance each

other (Yin and Yang). The layout on the Hok An

Kiong Temple adopted the vertical rectangle layout

with Siheyuan courtyard type.

3.8 Kembang Jepun

Figure 49: Kembang Jepun Kya-Kya Gate.

Figure 50: Xie-shan roof. (Source: Chiou, 1996).

Kya-Kya Kembang Jepun Gate is a road gate that

marks the Chinese Voorstraat and the Chinatown area

in Surabaya. The gate has a Xiē Shān (歇山) roof

shape with a dragon ornament as decoration on the

roof. The gate has 3 colors, namely red, gold, and

green. Each color represents values that will be

explained in the Table 2.

Table 2: Color meaning based on Feng Shui. (Lee, 2012).

Colo

Meanin

mbolize

Green Advancement Woo

Luck, Happiness Fire

Yellow Prosperity Earth

Figure 51: Front view of shophouse at Kembang Jepun.

Figure 52: Front view of shophouse at Kembang Jepun.

The shophouses in the Kembang Jepun area are

built in a row and met with a characteristic form of

decoration on the 2nd floor with a facade shape like

the characteristics of a shophouse in Penang

Malaysia.

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3.9 Klenteng Hong San Ko Tee

Figure 53: Front gate of Klenteng Hong San Ko Tee.

Figure 54: Klenteng Hong San Ko Tee layout.

Figure 55: Xie-shan roof (Chiou et al., 1996).

Hong Sang Ko Tee Temple is located at

Cokroaminoto Street. This temple is a Tridharma

temple that is used for 3 religions: Confucianism,

Buddhism, and Taoism. Both the shape of the main

gate and the entrance to the temple both have 3 doors

following the characteristics of the temple building

which means 3 realms. The use of red, green, and

yellow colors remains the dominant color. The

entrance gate has a roof in the form of Xiē Shān (歇

山) and the shape of the building layout is a vertical

rectangular type. The courtyard type at Hong San Ko

Tee Temple is a mixed type, which is a combination

of Sanheyuan and Siheyuan types.

Figure 56: Floor pattern on front altar.

Figure 57: Roof of Siti Moyo.

Figure 58: Wall and decoration.

Figure 59: Table ornament on altar.

Figure 60: Siti Moyo front view.

On the inside of the pagoda, there is an additional

space with features like as a temple with a description

The Inﬂuences of Chinese Culture on Historical Buildings in Surabaya

631

in writing on several altars using Javanese script

which is modified using Latin letters. The ornaments

around it use floral motifs and leaf tendrils in gold.

3.10 the Similarities to Chinese

Buildings Characteristics

Through the analysis conducted, the overall

characteristics of buildings observed at Pecinan

Surabaya that are influenced by the Chinese ethnic

culture are the roof shape, followed by three doors.

These three doors contain the philosophical meaning

from Buddhism and Taoism. According to Cangianto,

the first is the door of Emptiness (空門 sunyata), the

second is the "door without form" ( 無相門

annimitta), and the third is the "door without desire"

(無願門 apranihita). Meanwhile, in the teachings of

Taoism, it has the meaning of three realms, the first is

the "non-polar realm" (無極界), the second is the

"supreme realm" (太極界), and the third is the

"desire realm" (現世界). Taoism defines "three

doors" with the assumption that the gods come from

three realms, where the last realm is the human realm.

In addition, the philosophical meaning of the number

three can also mean the three teachings of Buddha,

Tao, and Confucius. Three doors form a balance (yin-

yang), with the middle door as the main point and

usually larger than the two doors on the left and right

(Hetyorini, 2014).

4 CONCLUSIONS

Chinese architectural style buildings are mostly found

in the northern part of Surabaya, by the presence of

Chinese-style buildings which have a few mixtures

with Javanese and European elements. Each building

has influences from Chinese culture and is

characterized by a Xuan Shan roof form and has a

dominant building colour of red. Meanwhile, the

influence of Dutch Colonialism was widely applied to

the floor, using encaustic motifs. Local culture is also

reflected in several forms of carving and spatial

organization.

● The Chinese architectural style buildings and

Chinatowns in Surabaya generally can still be

found in the northern part of Surabaya because it

is close to Tanjung Perak Port which was the only

access for Chinese traders to enter Surabaya via

the waterway. In addition, it was also caused by

the wijkenstelsel law which did not allow ethnic

Chinese to leave the area. The buildings have

similar characteristics of Chinese influence,

especially in their roof forms, which are

dominated by the Xiē Shān (歇山) type as seen in

Boen Bio Temple, Roemah Sembajang Kaloearga

Han Bwee Koo, Hok An Kiong Temple, Kya-kya

Gate, and Hong San Ko Tee Temple Gate.

● The use of red, green, and yellow in buildings is

also one of the elements that show Chinese

architectural characteristics.

● The majority of Chinese buildings in North

Surabaya uses an arrangement of three parallel

doors at the entrance which has a divine

philosophy that comes from the three realms

where the last realm is the human realm.

● There was an acculturation process by Javanese

and European cultures in several Chinese

buildings in Surabaya, especially in the northern

parts. Cultural acculturation is not only found in

the physical building, both exterior, and interior,

but also in the circulation of space.

● Some of the buildings are in poor condition.

Therefore, through the results of this study, it is

hoped that government agencies, the private

sector, and the Chinese community can make

efforts to preserve these valuable old Chinese

buildings in a sustainable way, especially in the

northern parts of Surabaya.

ACKNOWLEDGMENTS

Foremost, the author would like to express gratitude

to our interviewee, Mr. Richard Han, who gave us

access and information about Roemah Sembajang

Keloearga Han Bwee Koo. We are also grateful to Dr.

Laksmi Kusuma Wardani, S.Sn., M.Ds., Head of the

Department of Interior Design of Petra Christian

University who has been supporting and giving us

guidance for this research.

REFERENCES

Adhiwignyo, P. K. D., & Handoko, B. (2015). Kajian

Arsitektural dan Filosofis Budaya Tionghoa pada

Kelenteng Jin De Yuan, Jakarta. Interior Design, 4(1).

Baedeker Indien 1914 Maps - Perry-Castañeda Map

Collection - UT Library Online. (1914). http://

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