Edited by Joaquim Rodrigues dos Santos

PRESERVING TRANSCULTURAL HERITAGE:

YOUR WAY
OR MY
WAY? Questions on Authenticity, Identity
and Patrimonial Proceedings in the
Safeguarding of Architectural Heritage
Created in the Meeting of Cultures
TITLE EXECUTIVE COMMITTEE
Preserving Transcultural Heritage: Joaquim Rodrigues dos Santos (chairman)
Your Way or My Way? Maria de Magalhães Ramalho
Questions on Authenticity, Identity and Patrimonial Inês Cristovão
Proceedings in the Safeguarding of Architectural Tiago Rodrigues
Heritage Created in the Meeting of Cultures Cátia Reis
Vera Mariz
EDITOR Luis Urbano Afonso
Joaquim Rodrigues dos Santos Margarida Donas Botto
(ARTIS – Institute of Art History, School of Arts
and Humanities, University of Lisbon) The authors are responsible for their texts and the
images contained on them, including the correct
SCIENTIFIC COMMITTEE reference of their sources and the permissions from
Vítor Serrão (chairman) the copyright owners.
Ana Tostões
Christopher Marrion
Francisco Lopez Morales LAYOUT
Gill Chitty Fernanda Cavalheiro
Giovanni Carbonara Margarida de Almeida
Hélder Carita
Javier Rivera Blanco ISBN
Joaquim Rodrigues dos Santos 978-989-658-467-2
Johannes Widodo
Jorge Correia DOI
José Delgado Rodrigues 10.30618/978-989-658-467-2
Kassim Omar
Khalid El Harrouni LEGAL DEPOSIT NUMBER
Luís Urbano Afonso 428851/17
Maria João Neto
Maria Lúcia Bressan Pinheiro ISSUE
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CONTENTS

015 Foreword
Vitor Serrão
Maria Magalhães Ramalho

019 SOME ISSUES ON THE PRESERVATION OF TRANSCULTURAL HERITAGE

021 Why the Preservation of Transcultural Heritage?
Joaquim Rodrigues dos Santos

027 Questions of authenticity concerning different cultures and preservation

Jukka Jokilehto

037 ICOMOS International Scientific Committee on Shared Built Heritage:

its history, work and role in preservation and conservation of transcultural heritage
Siegfried Enders

085 “The sea was yesterday what heritage can be today, we must only beat some Adamastores”:
The ICOMOS Portugal and the World Heritage of Portuguese Origin program
Ana Paula Amendoeira, José Aguiar, Raimundo Mendes da Silva

093 The Relevance of a Charter for Transcultural Heritage

Gustavo Araoz

099 HERITAGE VALUES AND MANAGEMENT OF AFRICAN AND AMERICAN HISTORIC CITIES
AND SITES WITH EUROPEAN INFLUENCES
101 The 19th Century Architecture and Urban Planning in the Kasbah of Algiers:
A Colonial Inheritance to be Protected
Asma Hadjilah

109 Preservation of Heritage and Professionalization of Culture in Belém do Pará:

Theoretical Aspects and Ideological Divergences
Cybelle Salvador Miranda
123 Architecture Identity of the Old Town of Buenos Aires: Defense and Recovery of its
Transcultural Heritage
Jesús Rojas-Marcos González

133 Authenticity and Identity Dilemma: The Case of Mombasa Old Town and Lamu World
Heritage Site
Kassim M. Omar

141 Urban Conservation of Historical Areas: Come Back to Thirty-Five Years (1981-2016)
of Observation in Fez Medina, Morocco
Khalid El Harrouni

151 The Preservation of Maputo’s Downtown Built Heritage: Issues, Practices and Challenges
Lisandra Mendonça
161 The Construction of Cultural Heritage in Brazil: Minas Gerais and Goiás
Margarida Helena de La Féria Valla

171 Preservation of Heritage and Urban Renovation: The New Meanings of City Landscapes
Tereza Duarte Paes

177 SAFEGUARDING OF THE ARCHITECTURAL HERITAGE BELONGING TO ETHNIC

AND RELIGIOUS MINORITIES INSIDE COUNTRIES WITH DOMINANT CULTURES
179 Universal Rules or Community Values? Negotiative Conservation of Minority Heritage
in Turkey
Elif Keser-Kayaalp

187 Artistic Interventions as Guardians of Palestinian Minority’s Heritage

Irit Carmon Popper; Alona Nitzan-Shiftan

197 Built Together, Heritagised Together: Using Building Archaeology for Safeguarding Early
Modern Churches in China
Thomas Coomans; Yitao Xu

207 Safeguarding of Abandoned Architectural Heritage in Poland Originally Belonging

to Religious Minorities – Problems and Challenges
Tomasz Tomaszek

219 Minority Architecture as Shared Built Heritage: The Transylvanian Saxon’s Communal
Buildings in Romania
Timo Hagen

229 The Xucuru-Kariri and Their Transcultural Heritage

Suzany Marihá Ferreira Feitoza; Maria Angélica da Silva; Alícia Alves Rocha

239 A Virtuous Itinerary Between Ghetto Synagogues and Emancipation Synagogues:

The Rediscovery of North Italian Judaism
Valeria Rainoldi

251 THE “INDIAN MELTING POT” FOR RELIGIONS AND CULTURES:

CHALLENGES CONCERNING THE PRESERVATION OF THE TRANSCULTURAL HERITAGE
253 The Politics of Renovation: The Disappearing Architecture of Goa’s Brahmanical Temples
Amita Kanekar

265 “Your Church is Older than the Taj Mahal!” The Challenge of Preserving the Patrimony of the
Archdiocese of Bombay
Fleur D’Souza

275 Challenges in Preserving and Presenting Colonial French Heritage in India: The Case of
Puducherry
Helle Jørgensen

283 Cultural Idiosyncrasies and Preservation Challenges in the Indo-Portuguese

Catholic Religious Architecture of Goa (India)
Joaquim Rodrigues dos Santos

295 Preservation of the Historical and Artistic Heritage of the Archdiocese of Goa:
Plan to Implementation – Early Outcome
Mónica Esteves Reis
303 Preserving the Exfoliated Weathered Fabric of Basilica of Bom Jesus, Old Goa –
Approach Conflict
Nizamuddin Taher

315 A Garden Overgrown: Panjim’s Garcia da Orta Park and the Remaking of Eco-Cultural Legacies
R. Benedito Ferrão

321 The Ruination of the Inconvenient: Eroding Goa’s Intangible Heritage

Vishvesh Kandolkar; Pithamber Polsani

329 QUESTIONS, CONTROVERSIES AND IDIOSYNCRASIES ON AUTHENTICITY BETWEEN

DIFFERENT CULTURES, WHEN FOCUSING THE SAFEGUARDING OF TRANSCULTURAL
HERITAGE
331 Preserving the Transcultural Identity of Local Shopping Streets: North Street and
Castle Street, Belfast
Agustina Martire; Anna Skoura

343 Conservation of Transcultural Heritage: Cooperation Towards Correct Interpretation and

Common Strategies – The Vice-Roys Portrait Gallery
Ana Teresa Teves Reis; António Candeias

353 Instability, Terror and Destruction of Old Cultures: Case of the Middle East and North Africa
(1991-2016)
Barış Gür

363 “The Elephant in the Room”: A Nineteenth Century Well-House Preservation in South Tel-Aviv
Braha Kunda

371 “My Culture” as a Constantly Changing Perception: Vernacular Built Traditions in Kwazulu-
Natal, South Africa
Deborah Whelan

381 Conservation, Safeguarding and Sustainability of Cultural Heritage of Galata, its Authenticity
and Integrity
Demet Ulusoy Binan; Gülce Güleycan Okyay

393 Yin Yu Tang and the Effects of Re-Contextualization on Vernacular Architecture

Mariko Azuma

403 The Church of Atarfe (Spain): From the Continuity to the Break with the Islamic Past
Mario Mata González

413 (Re)Inventing the Indians: Native American Voices in Contemporary Museum Practice
Meghan Gilbride

429 Memory, Space & Transcultural Heritage in Puerto Rico

Nadya K. Nenadich Correa

437 The Artificial Cascade Fountain of Cyrillo Volkmar Machado in Quinta de Belas:
Challenges to its Preservation
Sofia Braga

449 HUL: Shared Built Heritage in Wuhan for Sustainable Urban Development
Song Yi; Ding Yuan
459 CONTEXTUALIZING THE (UN)WANTED: TOURISM AND MANAGEMENT OF TOTALITARIAN
REGIMES IN EUROPE
461 Contextualizing the Heritage of the Communist Regime in Poland: New Narratives
Elżbieta Błotnicka-Mazur

471 Sense and Sensitivity: Krakow’s Route of Memory as a Way of Collective Trauma Management
Łucja Piekarska-Duraj

479 (Un)Wanted Heritage? Socialist Realist Architecture in Gdynia and Gdansk

Magdalena Howorus-Czajka

489 Memory of Different People in One Territory: WW2 Cemeteries in Cassino & Montecassino
Michela Cigola; Arturo Gallozzi; Marcello Zordan

499 WEST VERSUS EAST: DIFFERENCES AND DIFFICULTIES TO THE CONSERVATION OF THIS
SHARED HERITAGE (EUROPEAN COLONIES IN FAR EAST / “ASIANTOWNS” IN THE WEST)
501 Pondicherry – A Model Heritage City for India
Ashok Panda; Shubham Biswas

511 Conserving Canada’s Chinatowns: A Consideration of late 20th Century approaches

John Ward

523 Sino-Portuguese Heritage Safeguarding in Macau Between 1990 and 1999

Luís António Guizado de Gouveia Durão

533 Dalian’s “Russian-Style Street”: A “Facadist” Approach to the Preservation of Russian Heritage
in China
Valentine Nebon-Carle

543 GREEKS, ROMANS AND BYZANTINES IN THE MEDITERRANEAN REGION AND NEAR EAST:
GUARDING TRANSCULTURAL REMAININGS CONTAINING ANCIENT CLASSICAL INFLUENCES
545 Multi-Cultural Perception of the Cult Site of Hacı Bayram in Historic Center of Ankara
Açalya Alpan; Ece Kumkale Açıkgöz

555 Preserving Roman Archaeology in Northern Africa: The House of Amphitrite Curculum (Algeria)
Alessandro Pierattini

565 The Via Antiqua from Braga to Astorga: Transformation, Disruption and Permanence of a
Cultural Route
Daniel Vale

573 Viminacium: Research, Protection and Recognition

Emilija Nikolić; Jelena Anđelković Grašar; Dragana Rogić

585 Felix Romuliana as a Bird Phoenix

Ljudmila Djukic

593 Learning from the Past: The Case of Transcultural Heritage in Rural Ecclesiastical Monuments
of Cyprus
Nasso Chrysochou

601 Empire on the Borders: Fragile Structures Along the Frontiers Between the Byzantine and
Slavic Cultures
Nora Lombardini; Elena Fioretto
611 How to Plan an Ancient City Within Modern Settlement: The Case of Soli Pompeiopolis
Remzi Yağcı

619 Comparative Analysis of the Identity and Patrimonial Processes of Two Roman Archaeological
Sites in Portugal: The Roman Temple of Évora and the Schrine of Panóias, Vila Real
Rute Teixeira; Fabio Vergara Cerqueira

627 EUROPEAN HERITAGE AS AN IMPERIALIST STATEMENT IN COLONIES: (UN)DESIRABLE

MEMORIES THAT MUST BE PROTECTED, OR TO BE FORGOTTEN?
629 The Architectural Conservation Movement in Colonial Egypt (1882-1956): A Methodology
Adham Fahmy

639 Colonial Heritage in Latin America: Damnatio Memoriæ or Transcultural Dialogue?

Amélia Polónia; Cátia Miriam Costa

647 Law, Religion, Heritage: Preservation in Late Colonial India – The Problem
of the Thatta Mosque
Indra Sengupta

657 Producing Anglo-India: The Shaping of Meaning Under a British Paradigm

Javier Ors Ausin

667 A New New Delhi? Re-Examining Areas of Conflict Between Conservation and Redevelopment
of Lutyen’s Delhi
Manas Murthy; Vanicka Arora

677 The Saint Sebastian Fortress on the Island of Mozambique: The Conservation
of a Foreign Heritage
Maurizio Berti

689 The Attitudes Towards the Built Heritage of Lahore

Saba Samee

701 Luís Benavente: A Key Player in Portugal’s Strategy for the Safeguarding
of Colonial Architectural Heritage
Vera Mariz

711 BETWEEN FAR EAST AND THE INDIAN SEA: INDOCHINESE AND INSULINDIAN CULTURES
(INFLUENCES, FUSIONS AND HERITAGE SAFEGUARDING)
713 Inhabitants’ Awareness of Shared Architectural Heritage: A Case Study of the Darmo
Conservation Area, Surabaya, Indonesia
Erika Yuni Astuti

723 World Heritage for Whom? Sustainable Heritage Tourism and Community Development
of Luang Prabang
Lui Tam

733 Saigon’s Colonial Architecture: Conservation in the Face of Rapid Development and New
Identity Construction
Phi Nguyen

745 The Virgin Mary in the Meeting of Cultures: Safeguarding the Transcultural Heritage in the
Immaculate Conception Community, Bangkok
Saraphun Wongngernyuang
755 GLOBALISATION AS GENERATOR OF NEW TRANSCULTURAL HERITAGES: PRESERVING
MIGRANTS’ ARCHITECTURAL HERITAGE
757 Questions About the Authenticity of the Brazilian World Heritage
Gabrielle Cifelli

765 Franciscan Friars in the Tropics: An Uneasy Cultural Meeting Between Brazil and Germany
Maria Angélica da Silva; Taciana Santiago de Melo; Ana Luiza Cavalcanti Mendonça; Náiade Alves

775 Australian Shared Built Heritage

Susan Jackson-Stepowski

785 Matter of Life and Death: Reasons to Remember in St. Mary’s Cemetery, Chennai
William Pettigrew; Emily Mann

797 PRESERVING SHARED HERITAGE ALONG THE SILK ROAD, A MAJOR CREATOR OF
CULTURAL ENCOUNTERS
799 Some Remarks Regarding the Preservation of Ilkhanid Architectural Heritage in Iran:
History, Challenges and Perspectives
Ana Marija Grbanovic

811 The Silk Road: How Maritime Routes can Promote Cultural Connections – Macau as
Case-Study
Maria José do Carmo Freitas

821 Chinoiserie: An Exploration of Cultural Heritage Along the Maritime Silk Roads
Mei Qing

831 A Century of Archaeological Research and Restorations at Ani: Preserving

an Armenian-Orthodox vs. Turkish-Islamic Past
Zeynep Aktüre; Fahriye Bayram

841 MEMORIES TO REMEMBER AND (NOT) FORGET: SLAVES’ HERITAGE OUTSIDE THEIR
HOMELANDS
843 Preserving Indonesia’s Slavery Inheritance Culture Through an Intuitive Approach in Creating
Spatial Experience in a Slave Memorial
Doni Fireza

857 The Architecture of Creole Cosmopolitanism: Strategies for Preserving the Landscapes of
Slavery in Mauritius
Dwight Carey

865 When Orishas Visit the Earth: Survivals at Terreiros of the Afro Matrix Religions in Alagoas,
Brazil
Louise Maria Martins Cerqueira; Maria Angélica da Silva; Arlindo da Silva Cardoso; Karina Mendonça Tenório
de Magalhães Oliveira; Lucas Cardoso Ramos; Paula Louise Fernandes Silva

877 THE OTTOMAN EMPIRE IN THE CROSSROAD BETWEEN EUROPE, ASIA AND AFRICA:
FUSION OF CULTURES AND HERITAGES TO PRESERVE
879 Heritage or Property: Preserving the Churches of Aintab
Gül Cephanecigil
889 Visitor Management at Historical Monuments and Sites: A Proposal for Topkapi Palace
Museum
H. İlke Tandoğdu; Gülsün Tanyeli

899 Highlights on the Restoration of the Ottoman’s Al – Qushlah Building (1987-1989)

Nawar Sami Mehdi Al-Ali

911 A Carmelite Father and an Ottoman Water Mill in Palestine: Cultural Interaction at the Monk’s
Mill
Ruth Liberty-Shalev; Adi Har-Noy

921 SHOULD BE FOLLOWED OR IGNORED? RECEPTION OF EUROPEAN HERITAGE THEORIES

WITHIN NON-WESTERN CULTURES
923 Jean-Philippe Lauer, Athens Conference and the Introduction of Anastylosis to Saqqara
Adham Fahmy

933 Transferring Urban Theories to Iranian Context

Azadeh Arjomand Kermani

943 The Role of European Professors in Historic Preservation in Turkey: The Case of Paolo Verzone
Mesut Dinler

953 Against the Reception of Eurocentric Heritage Theories on Non-Western Cultures:

A Case of Pre/Post Colonisation in Nigeria
Olukoya Obafemi

965 OTHER CONTRIBUTIONS

967 Unwanted Heritage as Asset, Position of Memorial Architecture of Communist Yugoslavia
in Contemporary Bosnia and Herzegovina
Aida Bičakčić

968 Enhancement and Digitization of Ecclesiastical Relics

Athanasios T. Stogiannos

969 Preserving Transcultural Heritage in a Unique Land Where the Continents & Cultures Meet:
Istanbul Case
Ebru Yıldız; Elmas Erdoğan

970 Archeological Landscapes, it’s Survival and Sustainability: Antalya, Perge Case
Ebru Yıldız; Elmas Erdoğan

971 Preservation of the Basilica of Bom Jesus in Goa: An Illusion of Immanence

Joaquim Rodrigues dos Santos

972 The Apprehended Rebellion Against Modern Catholic Church Architecture and Iconography
in a Small Philippine City
Liliane Rejante Manahan

973 Portuguese-Brazilian Landscape: An Urban Heritage Network

Roseline Vanessa Oliveira Machado; Flávia Cerullo; Bianca Machado

974 Clerical House and Museum: Trajectories of Architectural Heritage in Brazil

Silveli Maria de Toledo Russo
PRESERVING INDONESIA’S SLAVERY
INHERITANCE CULTURE THROUGH
INTUITIVE APPROACH IN CREATING
SPATIAL EXPERIENCE IN SLAVE MEMORIAL

Doni Fireza
Agung Podomoro University, Jakarta

https://doi.org/10.30618/978-989-658-467-2_78

ABSTRACT
Slavery is a crime against humanity and Indonesia had experienced it under the Dutch coloni-
zation. This paper is discussing the approach that can be applied to create the spatial experience
of memorial that will represent the preservation of the slavery inheritance hybrid cultures. This
includes; (1) analyze the intuitive process in order to generate the emotion as subjective inter-
pretation to become the design inspiration, (2) validate the interpretation by decoding the con-
cepts into the objective design guidance through the pragmatic strategy, (3) conduct several sce-
narios in combining the programming with the design guidance incorporating the culture. The
outcome is to create the attractive experiential space that may represent the story of the event
and the inherited culture.

KEYWORDS
Intuitive Approach; Spatial Experience; Slavery Inheritance Culture; Memorial Design; Cultur-
al Preservation
Introduction

Although it was not directly related to the activities of the transatlantic slave trade, the
slavery in the East-Indies was caused by a massive desire of Dutch East-Indies Company (Ver-
eenigde Oost-Indische Compagnie; VOC) to make this archipelago as the main source of the
economy of the Netherlands as well as one of its colonies. Slavery in the Dutch East Indies
(now called Indonesia) took place in the internal parts of the archipelago, where there were
large-scale forced migration from various regions in the eastern part of the archipelago to
the western region, especially to Batavia as the center of VOC’s government and commercial.
This forced migration always involved the violence or even mass killing to the defeated local
people by VOC’s soldiers in their campaign.
Slavery in Dutch Indies at that time was not only to support the plantation business, but
also many of which became slaves for domestic use of the Dutch rulers in major cities like Bat-
avia. In Batavia itself, as a result of mass people migration that became slaves then emerged
new slave settlements (kampungs) from particular ethnics. Where the names of these villag-
es are still exist until to now. The official encylopedia website of the Government of Provin-
cial Jakarta, stated that Kampung Manggarai at the 17th century was the home of the slaves
that came from Manggarai, West Flores in East Nusa Tenggara. Kampung Makasar was also
the home of the slaves who came from Makassar, Sulawesi and its surrounding area, and the
best known is a milestone of slavery history in the Dutch Indies by was Kampung Bandan,
North Jakarta, which was the village of slaves originating from Banda Neira Island, Maluku.
The story of Banda Island’s people migration to become slaves in Batavia was preceded by the
massacre of Banda people by the VOC’s Governor General Jan Pieterszoen Coen in order to
control the island, which at that time was known as the center of nutmeg crop in the world.
Because it took place hundreds of years ago, many of the descendants of these original
slave villages are no longer understand the traumatism experienced by its ancestors. These
stories lived just such like another legends that adorn their folklore. Despite the controversy
between should we forget and we should remember these traumatic events, slave settlements
were developed to become the significant contributors to the development of nation’s culture.
These Kampungs (villages) have become a marker that during the colonial occupation, this
nation has experienced incidents which not only a crime against humanity, but also contrib-
uted to the culture hybridization of the region.

Preserving The Hybrid Culture of Slavery Inheritance

This hybrid culture was a mixed of the origin culture, local culture of the slave’s new place-
ment and the Dutch colonial culture. This culture served as one of nation’s identities so the act of
preserving these identities nationally or to the international wide is quite significant. The problem
faced then, was the presence of high intensity global culture that hit the existence of Indonesian
cultures, especially the way of life culture, the orders, and local wisdom. Accepting global culture
must necessarily be filtered and juxtaposed with local cultures without removing the substance
of both. This will produce the harmonization of global-universal cultures and local-regional cul-
tures, which more responsive to the progress of time.

844
 Sandarupa (2014) and Fernandez (2009) called this process as a Glocalization. In con-
text with a new or hybrid culture inherited from the slave’s placement to one region, the ac-
culturation process has undergone for several years. Glocalization process took place when
the global culture represented by the origin culture of the slave and the Dutch colonial cul-
ture met with the local culture of the new slave’s placement. This activity produced a cultural
dialogue among them, and took cultural elements of each to increase and enrich the value of
the hybrid culture by avoiding the negative elements of those cultures. The dialogue between
cultures will show the similarities and differences among them. Similarities build awareness
that the local ones have global elements – outstanding universal values. Differences build
awareness of other practices and beliefs. Thus, these cultures are able to compare, contrast,
and critically evaluate other cultures (Sandarupa, 2014), which through time will compose
the new culture of the region.
The next question after this dialogue of cultures took place was; is there any importance why
these hybrid cultures need to be preserved? The first thing may come up to answer this question
is that the effect of globalization might cause the shocking changes to the culture in every layers.
This shock would affect the layer of mental symbolic, social behaviour, and the product of cul-
tures itself. If there were any shifting values of knowledge and belief systems, and the insistence
of new values to replace the old values, then the cultural management was needed (Sandarupa,
2010). One of which is the cultural preservation, which the slavery inheritance hybrid culture
was considered as a special acculturation.
According to Kleden in Indonesia Congress of Culture (2013), the design of cultural man-
agement applied to preserving the hybrid culture of slavery inheritance can be planned as; (1)
treating culture as a resource by prioritizing the production process for cultural development
such as knowledge and skills in architecture, engraving, dancing, traditional music, oral lit-
erature and so on, (2) conserving and saving the existing cultural products to be able to sur-
vive for as long as possible and can be enjoyed by future generations, and (3) developing the
culture by concerning to creation in the production process, to produce new products in cul-
ture, by breaking existing orders, and discovering new patterns in the creation of culture.
The efforts of cultural preservation are other than by doing the three plans above, also by trans-
forming the functions of the units of the cultural products. For example, the traditional dance
whose functions as a ritual dance is transformed into an aesthetic dance or to performing arts.
It was all done for the sake of the existence of the national culture without changing its original
style. As a country in a global village the purity of culture is no longer effective if it is only meas-
ured from its original functions because the more culture is preserved the more adjustment must
be made, otherwise the local culture is left behind and becomes the object rather than the subject
in global life. So it needs to be changed as well as cultural permanence.
Combining all efforts mention above, then the needs of parties, which can contribute to
the preservation of the culture to be responsive to the age progression is significant. Creative
people with creative works such as architects, artists, curators, and people who can make an
incentive to the cultural creation are encouraged to do more in this efforts.
Architecture is considered as an agent of change in dealing with cultural preservation. For
something related to specific events like slavery, which was considered as a dark incident that
Indonesia people had been through, building a memorial of slavery is one of creative way to
commemorate the incidents and to preserve the cultures inherited from this event. Architec-
ture plays a role in making something intangible into a tangible artefact. The process is incor-
porating the quantifying of what is usually qualitative measured. Making something related to

845
emotions and psychological things into a physical appearance. This needs a special approach in
design strategy, which can be represented by intuitive approach. So, in order to design the me-
morial of slavery era in Indonesia, the basic concept was a memorial that plays a role in pre-
serving the slavery inheritance culture, which able to generate the spatial experience that rep-
resents the emotions of the slaves.
In the process of developing the memorial of colonial era of slavery, there are two main
objectives that must be addressed. First, the memorial purpose as a commemoration of the
tragic events, so the people who live present days are able to generate an understanding of the
previous condition and still commemorate these events as a part of the nation’s history and
can draw lessons from it. To make the visitor able to feel the emotions and psychological im-
pact caused by the slavery, then the emotion exploration about this tragic event needs to be
done. Therefore, we need an intuitive process as an emotion generator, to get a subjective in-
terpretation of the public perception about slavery.
Secondly, the memorial should be able to plays a role in preserving the hybrid culture that
inherited by the slavery incidents. The acculturation of the slave’s origin culture, the Dutch
colonial culture, and the local culture where the slaves were placed are the main source to
this hybrid culture. Selecting the appropriate units and elements of cultural products of this
hybrid culture is an important to be developed as a design strategy of the spatial experience.

The Traumatism and the Emotion Exploration

From the view of psychology, the incident of slavery was considered as a traumatic event.
This traumatism was experienced by the people where the slaves were taken and by the slaves
themselves. To the people who live in the origin place may be different to the people who
were abducted and experienced a new phase of life as slaves. In context to the development
of the culture inherited by the slavery, the psychological model of the process can be de-
scribed as below:

From the model above, it can be seen that the hybrid culture inherited from the slavery
was the result of the slaves’ reaction to the trauma they had. It was considered as a human
ability to adapt to the new place along with its local culture, and through time made some

846
adjustment to it by acculturating three main source of cultures; original culture, Dutch colo-
nial culture, and local culture. These three combined in any way and made dialogue among
them to create a new culture.
Just like other slavery inheritance cultures such as African-American cultures that implied
some emotions about slave rebellion, homesick, the lost of family, and also the civil right move-
ment to their cultures, the hybrid culture inherited from the slavery in Indonesia was also im-
plied the same. Those emotions were expressed as a part of adaptation and adjustment process
in order to survive. The oral or written poetry, folklore, folksongs, dance, and ritual ceremony
of this hybrid culture were influenced by these emotions.
It is hard for Indonesian people today to understand the traumatism as a result of slav-
ery. The events that happened hundreds of years ago has led to the absence of a valid source
that express the emotion about the darkness of that time. The emotion can only be felt that
expressed from product of cultures inherited by the former slaves descendants. Almost there
are no generation of slave descendants who live in the present that can directly understand
the emotions generated by the incident of slavery.
To be able to describe the emotional state that can represent the darkness of that time, it
is necessary to study the public’s perception of modern Indonesian today about slaves and
slavery at that time. Therefore, we need an intuitive process as an emotion generator, to get
a subjective interpretation of the public perception about slavery. The study of perception is
done to generate an understanding of the previous condition, and still commemorate these
events as a part of the nation’s history and culture.

Intuitive Approach in Design Process

For conditions where it will be difficult to find a particular source that can shows the emo-
tion to be excavated from an incident, the most effective approach to do is to dig a collective
comprehension of an emotion due to the public perception and their subjective interpretation
about it. It is called an intuitive approach process. Intuitive approach is processed inside the hu-
man brain particularly at the right part, in accordance with the experience, affordance, and fa-
miliarity of the observer. In the design process with an intuitive approach, the design problem
that should be raised is how to get an interpretation of the principles of design used, as a result
of the extent to which the designer is well informed about the programs that will be contained.
In the context of architecture, the affordance here is a three-way relationship among users, ob-
ject and spatial experience (Stangeland, 2016).
Intuitive design is about how to make a simple design because it is designed with human
reasoning that lies in mind of the users (Butko and Molin, 2012). The design objective from
the intuitive approach is the experience obtained by the users can go directly to their mind.
Therefore, the design should be familiar. The design elements such as colour, size, position-
ing, composition, must be familiar and associated easily with the experience intended by the
designer. In the context of architectural design, the users should not be burdened with too
much information given at one time. It is intended so that the emotions that will be brought
by spatial experience design can be more about the nature of their mind. If indeed there are
some important content that needs to be included in an experience of that space, the meta-
phor approach can be used (Butko and Molin, 2012).

847
 In addressing the design problems, an architect can react with an intuitive and non-ver-
bal ways. The intuitive thinking process will always involve an aspect of spirituality similar
as thinking process of artists from eastern culture, which is deeper than logic and reasoning.
Thus the architectural design with an intuitive approach may also be referred to as a symbol
of the mind (Kheirollahi, 2012). There are artistic intuition activities where there is a process
of making imagination into reality by way of incarnation, not by presenting an imagination
to the real world. Dr. Gholam Reza Eslami stated in Mahmoodi (2001) that the architectural
design process can be represented by the following diagram:

In this case, the aesthetics of the design does not lie on the form but on how it speaks to
others through the works. However, in terms of architectural design, intuitive thinking in the
design process is a creativity leading to inspiring spirituality that remains to be based on log-
ical thinking that is acceptable to certain provisions.
Architectural creativity in the intuitive design process is a subjective process, where ideas
that appear are very dependent on the architect’s external factors such as social, cultural, polit-
ical, emotional, and personality. The creativity sometimes appears directly from the architect,
which involves additional sensors such as; gut feeling, sixth sense, inner sense, instinct, inner
voice, spiritual guide, etc. The ideas that emerge will be the tangible result of the architect’s im-
agination by intuition. Thus, the process of creativity in an intuitive approach is how to organ-
ize metaphysical thoughts that passes physical reasons in the process of changing the subject
into an object. The subjects came from ideas, which are then realized through visualization as
objects. Visualization is then a basic concept of a desired architectural design. The basic design
activity of this intuitive approach is the coding process of creative imagination to the visuali-
zation of emotions. It is associated with metaphor, subjective, imaginative, and presentation of
symbols, as illustrated by the diagram above.

Applying Intuitive Approach to the Design of Cultural and

Emotional Space

When dealing with the process of applying the intuitive design process into a project that
related to historical events or cultural matters, then the research of those background must
be done very carefully and casuistic. The dialog between cultures and the emotions must be
addressed well in order to get the right design concept. This concept will produce design sce-
narios that promote the spatial experience, which will express the culture and the emotions
through physical appearance of architectural design.
An example found in Indonesia about the effort to use of the emotion as a design genera-
tor can be seen at the Tsunami Museum in Banda Aceh. Museum designed by architect Rid-
wan Kamil was indeed trying to use the tsunami victim’s emotional and psychology when
faced this cataclysmic event as a source of inspiration in creating the spatial experience of the

848
museum. This act of making intangible to tangible hopefully can make visitors feel the same
emotions when exploring the building.
Sequence of spaces is attempted to represent the emotional state of the Acehnese people
were trying to be symbolized with physical manifestation by Kamil, the architect. The emo-
tions such as confusion, despair, frantically looking for missing relatives, and loss of proper-
ty, until the feeling of hope were trying to be accommodated in this museum. According to
him, this is the most difficult design he ever did because he was trying to raise the deepest
chaos emotions and tried to symbolize it through metaphor.
Another example of intuitive process to architectural design was the design process con-
ducted by Daniel Libeskind at the Jewish Museum Berlin. There were intuitive processes that
relate the building design, conceptual interpretation and presentation drawings.
These processes are then combined using cognitive-historical analysis method, as a tool
to enrich the interpretation of the history associated with the scientific discoveries leading to
the creative design process.
Libeskind represented, formulated, and modified his design through construction design
sketches and diagrams that came from the intuitive process about the relationship between
the Jewish culture and their position in Germany. Libeskind can bring four important think-
ing lines as the design idea of the Jewish Museum (Dogan and Nersessian, 2012), namely:
(1) The contradiction between the philosophy of the Star of David symbol to the Jewish peo-
ple condition at that time, (2) The linkage to the history of prophecy of Moses and Aaron, (3)
The lost of culture and the expulsion of the Jews in Germany, and (4) The urban apocalypse
in Walter Benjamin’s prose entitled One Way Street.
The Jewish Museum design process also shown Libeskind’s subjective interpretation of
the relation of Berlin people with the Jewish people today, which is originated from the his-
tory exploration of broken relationships between Jews and Germans, which leads to the lost
of Jewish cultures in the Germany until the present days where the German-Jews culture was
re-composed. The symbols and metaphors of the historical line about the life of the Jews in
Germany emerged in the design as a metaphor of broken Star of David’s lines and arranged
them in zig-zag composition. The presence of a dark period of the relationship during World
War II appeared in the form of void lines, which divides the mass of buildings that repre-
sents a void era of life.
From the Libeskind’s Jewish Museum case study, it can be found that there was an explora-
tion about how to relate conceptual and spatial that formed a spatial configuration with the ap-
pearance of symbols and metaphors. There were also mental modeling, mental simulation, and
diagramatic reasoning, which accompanied cognitive science and related to interpretations.

The Generated Emotions Coding Process as an Objective Design

Guidance

The decision making process on the intuitive design approach may generally be repre-
sented by a model diagram below:

849
 How people make decisions. (source: Long, W. and Cooper, I. 2011 in www.grdc.com.au)

From the model diagram above can be seen that there is a necessity in searching the rules
of thumb that can represent the intuitive general perception of something. In the case of slavery
incidents to one ethnic or to a former slave villages, the rules of thumb can be explored by stud-
ying the perception of the respondents who are the descendants of ethnic or respondents from
the common public as the subject of intuitive process. This process will result a collective agree-
ment about emotions which derived by the architect who tried to get an affordance and a famili-
arity of the memorial design that intertwining the visitors, design objects and spatial experience.
The study of perception of the general public has been done to get a subjective interpre-
tation of slaves and slavery. The survey is conducted to 50 people aged between 18-21 years
old. This poll asked respondents what can be imagined and felt that closely associated with
the term of slave/slavery. Their answers have been conducted a coding process of imagina-
tion toward the visualization as follows:

Raw Data Preliminary Codes Final Codes

“Each time I heard about slave and slavery, - Domination - Hurt - Forced - Dominated
what I imagined and feel associated that - Poverty - Wealth - Victim - Intimidated
related to this incident was that human being - Social Gap - Human Rights - Dutch - Desperate
was capable in doing something very mean - Despair - Kidnapping - Japanese - Greedy
and terrible to their own kind. It was a crime - Labour - Vulnerable - Death - Tortured
against humanity, and it was an awful thing - Violence - Tied up - No wages - Exhausted
that ever happened to civilizations. Where a - Black Race - Freedom - Pity - Dead
greed from one nation can transform to an - Expansion - Human - Wrong
evil that came out of their life and force other - Civilization - Trade - Tired
people to do what beyond their will. I hope - 1600s - Hard worker
that this incident would never existed in our
world anymore”

The coding process above is respondents’ creative imagination process that poured into
preliminary codes and then transferred to final codes as emotions visualization that come
from the respondents’ feelings. These final codes will then become a design inspiration of the
experience of space that should be represented.
In Aceh Tsunami Museum, the process of extracting emotion as the basis for the crea-
tion of spatial experience is done directly by the architect gathered from much information

850
at that time. The Aceh culture, as symbol and representation of the Acehnese way of life were
also preserved to the museum in intuitive way. In terms of decoding process, Kamil tends to
use a pragmatic strategy to make the visualization concept of emotion through design ele-
ments that more easily accepted like color, light, shade, size, texture, sound, which compiled
sequentially into a storyline. The expression of Acehnese culture is preserved by using styliza-
tion of its famous dance – Tari Saman – generated pattern as building envelope design. These
all were easily validated by the Aceh people as part of their history.
While at the Jewish Museum, Libeskind played the active role in the process of creating sub-
jective interpretation of the German-Jewish relationship and acculturation. So did he to the idea
of chaos situation that came from a literature works. Libeskind prefers to use metaphors that
have been deconstructed originated from a previous metaphor to make spatial design and archi-
tectural mass concept. Validation of this approach was a little more difficult because the general
public sometimes cannot understand the dominant use of symbols and metaphors even tough
it was about their own cultural expression.
Back to the slavery memorial design process, the validation of interpretation from the gener-
ated emotion and the cultural expression as design inspiration becomes a challenge for the archi-
tect. Architect composed the design concept by raising generated emotion as the soul of the de-
sign object, which is then injected into the spaces and masses of buildings that will be enjoyed by
visitors with units of hybrid culture as vocabulary. The spatial planning and the building architec-
ture must be familiar to the visitors and must have the spatial experience desired by the architect.
Learning from two cases above, it can be seen that the concept decoding process later will
produce a design objective guidance as a rules of thumb of design decision-making process.
With the local context in Indonesia, the decoding process would be more appropriate to use a
pragmatic strategy, because it can focus more on the function of architectural spaces which will
be designed to produce an experience of space. In addition, a pragmatic strategy is considered
more appropriate to the location and the cultural context so that several scenarios of the design
decisions can be conducted.

Incorporating Culture as Creative Scenario

In making creative scenario, the architect can involve a variety of things. Generally, it can
be divided into tangible channels and intangible channels. In context of the architectural de-
sign of the memorial about the sorrow of slavery along with the purpose of preserving the hy-
brid culture, incorporating the origin culture into one of the scenarios is possible.
From the tangible channels, exploring the folk dance as an inspiration for building mass ar-
rangement and the use of folk music as the physical creation of the memorial architecture, are
can be used. Form analysis carried out pragmatically from the formations of the basic dance
sequences seen from the top. The serial dance formations like straight lines, a single dancer or
group, circle, grid, curves or geometric rotation will be captured. These patterns can be recalled
as symbols or messages contained in the dance.
Same goes to the use of music as an architectural design ideas. Goethe once said architecture is
referred as frozen music, and it is a good way to present the silent music. Architecture relationship
with music has been reviewed as a close relationship in the equation of characteristics and identity.
Architectural design concept can be extracted from the music whose a composition that presents
symbols. The similarity concept that contains the tone, beat, proportion, rhythm becomes a refer-
ence that can be clearly applied in the search for a architectural forms design concept.

851
 The example can be shown here is the exploration of Cakalele Dance of Banda Neira. This
dance is related to the incident of the massacre of Banda’s leader that preceed the slavery of its
people in Batavia. Cakalele Dance of Banda Neira is a war dance against the invaders (Dutch
and Portuguese), which is loaded with cultural symbolism. The basic formations of the dance
and its movements can be analysed to become the organization of building masses and as the
inspiration of concept form that can be translated into an architectural vocabulary, which is
expressed in the form of architectural design.
Nusantara’s traditional music that classified into the pentatonic scales become a special
signature other than diatonic music that commonly known in western musical arts. The com-
position of traditional songs that tell the sadness or even traditional songs that accompany the
dance became the basis of the building mass. This process can also be used as the shape design
inspiration by using Fedorko’s conceptual relationship between music and architecture above.
From the intangible channels scenario, the use of literature or poetry can be used as an de-
sign inspirations of architectural forms. Traditional poetry symbolizing certain messages can
be useful both didactic and inspiration for architects in designing the architecture, like; (1) es-
tablish the rules of the architectural structure, (2) a special message from design, (3) treating
the mystery and surprise of space, (4) the meanings contained in the contexts and situations,
(5) the rhythm and rhyme of architecture, (6) emphasis on form and emphasis of meaning.
The essence of the use of poetry as a source of inspiration is how to choose the right poem
and make poetic palette of the poem. The poetry that is used should have a significant deep
relationship between the people and the hybrid culture inherited from slavery. This kind of
poetry can inspire the creation of dynamic architectural forms because it can serve as a geni-
us loci of the site and cultural context.
Poetic palette is a poetry in the manner of recitation or reading in accordance with the wish-
es of the poet. Used as a tool of analysis so that from reading and viewing of literary composi-
tion, it is expected that an idea can be generated intuitively and pragmatically as the concepts
architectural forms. It is important for an architect in using a certain poetry to be able to pro-
duce architectonic forms straight from the poem that contains metaphors and symbols as the
vocabulary of architecture. Architects should be able to firmly establish the physical space, the
shape of the landscape and build a structure in his mind as the source of the design concept.
Non-musical verbal literature or writings of ethnic groups who have experienced the
events of slavery can be used, especially who tells sadness or other important events. Oral lit-
erature like Royong poetry from people of Makassar South Sulawesi associated with ordinary
people who are freed from slavery (To Maradeka) and the class of slave society (Ata) can be
explored. While the category of written poetry can be derived from the poems called Lonta-
raq Pau-pau Rikadong. This ethnic saga of South Sulawesi is about something major events
that have occurred in the past and become a legend. These two examples of literature / poet-
ry will be developed into the form of poetic palette and architects will try to extract the ar-
chitectural works based on his interpretation of the poetry.

Conclusion
Architect do not design for him/herself. Although the dominant process in intuitive design
process is the subject to the architect’s mind, but involving methods and scientific analysis still

852
needs to be done to keep this process remains as a “glass box” process, so the results can be
accepted by common. This will guarantee the academic responsibility by the architect, which
will categorized the memorial design as an academic works.
In the case of the design objects about historical events that has long been underway, the
quest of the understanding of collective emotions and hybrid culture inherited from the events
become important factors to be achieved. So the design development towards the spatial ex-
perience can be derived as the architectural design, which later became the core design of the
memorial, which also has purpose as the cultural preservation.
In Indonesia, which is rich in historical events of formation of the nation and its culture, build-
ing a memorial contained with the spatial experiences and cultural values is much more important
and meaningful than mere symbolism and metaphors that appear from the design.

REFERENCES

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 Image 1 – The sequence of spaces
in Aceh’s Tsunami Museum,
clockwise from above right. Space
of Fear, Memorial Hall, The Well
of Prayer, Space of Confusion and
The Bridge of Hope (source: shu-
travelegrapher.com; mimzee24.
blogspot.com; museumtsunami.
blogspot.co.id; www.suara.com)

Image 2 – Artist impression on Aceh’s Tsunami Museum design. The building elevation is taking the metaphor
of a ship, while the mass formation is derived from the whirl of a sea waves symbolizing the tsunami (source:
museumtsunami.blogsopot.ac.id)

Image 3 – Libeskind’s basic conceptual diagram on Jewish Museum Berlin

design was showing the decostructed the form of Star of David symbolizing
the story of Jews and Germans relationship in Berlin. His sketches showing
the intuitive process combined using cognitive-historical analysis method,
and interpreted through serial conceptual diagram towards the search of
architectural form (source: Dogan, F. and Nersessian, NJ., 2012)

Image 4 – Conceptual diagram of

design process and the final dsign
result of the Jewish Museum Berlin
(source: Dogan, F. and Nersessian,
NJ., 2012; www.libeskind.com)

854
Image 6 – Twelve basic formations of Cakalele Dance of Banda Neira. This war dance is consists of odd number of
dancers, leads by Kapitans (the war captains) who wear a decorated old military helmet from defeated Portuguese
soldier (source: author’s analysis and http://www.sma1banda.sch.id/galeri-photo.html)

Image 7 – Don Fedorko’s diagram of conceptual relationships between architecture and music
(source: Antoniades, 1992)

Image 8 – Visual depiction of Homeric passages

composed as a poetic palette, which later inspired
Elpenorean architecture, an architecture of stairs
and terraces designed by Anthoni Antoniades
(source: Antoniades, 1992)

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