Poetics of Emptiness: Redefining the 21st Century Alun-Alun in Semarang
PROGRAMME
STUDENT
Siti Nur Farah Binte Sheikh Ismail
YEAR
2
ADVISOR/TUTOR
A/P Erik L'Heureux
![](https://cde.nus.edu.sg/arch/wp-content/uploads/sites/32/2020/07/01-2.jpg)
Poetics of Emptiness: Redefining the 21st Century Alun-Alun in Semarang
The alun-alun is a large open space that is located in front of a royal palace with two peculiar looking trees positioned in the middle of the square. The canopy of the trees is said to resemble an umbrella which means protection, from the royal leaders to his people. Traditionally, the commoners will sit under the hot sun, before meeting the leaders in the palace. But on most days, the alun-alun will remain empty and this has made the space into a symbol of power for the royals. The constant state of emptiness of the alun-alun further emphasises the power the royals have over the space.
When the Dutch colonialised Java in the 1800s, the alun-alun was replicated in other cities such as Semarang. However, in 1969, the alun-alun was moved away from the colonial town towards a new city centre. Today, it is called Simpang Lima, which is the site that I have chosen for my design.
My thesis is a proposal for an alternative form of the alun-alun that is modified and situated in Simpang Lima. My design concept was derived from the state of emptiness of the alun-alun that I had observed during my site visit. Even though the 21st Century has seen major growth and changes across the Indonesian archipelago, the alun-alun still remains as one of the most prominent historical element in any Javanese city. And since the idea of emptiness itself is actually a strong concept that is rooted in the Indonesian culture, my architecture intends to represent it in a different light and in a metaphorical manner that shows simplicity and deep respect for the context of the site. It seeks to alter the symbolism that draws people away due to fear and intimidation, to a symbol that actually draws people closer to it.
Firstly, Simpang Lima is currently surrounded by heavy traffic which deters people from using the space as it is a hassle to cross the 12m wide road. Secondly, the climatic conditions of Semarang is one of the main reasons that locals do not go to Simpang Lima during the day. The harsh sunlight and blazing sun makes it uncomfortable to be there. Therefore, the main urban strategy for my design is to modify the alun-alun from having a single layer, to a model that has a layer below for the traffic and a layer above to address the climate in Semarang.
By moving the traffic underground, it creates a pedestrianised area around the site and this increases the porosity between the alun-alun and the city. The main element of the architecture is then the canopy structure that embodies the concept of emptiness as a void that demands to be conquered.
The canopy is made of 12 modular roof structures due to the scale and size of the site. The aim of the design is to raise a canopy and free up the ground space with minimal structural components. The flat roof in each module provides an open shade and the configurations of the modules create a central courtyard in the middle of the site. Two Banyan trees will be positioned in the centre of the courtyard as a historical symbol within the modified alun-alun.
On the underside of the roof canopy where people are able to look up and see as they walk through the voids, a metallic roof veil is added to filter the intense sunlight in Semarang. It is made of perforated aluminium panels that is 1m by 0.5m which allows for easy removal for maintenance. Gold is chosen as the colour of the veil to create a soft ambience throughout the day. The contrast between the gold and concrete finish also creates a visual appeal that makes that veil stand out from the roof structure.
The canopy is nestled among the landscape on the outer perimeter of the alun-alun. The trees play an important role in enhancing the ambience of the voids under the roof to create a spatial experience that is comforting and contemplative. The interaction between the scale of the structure and the way the landscape fills the space seeks to enhance the experience between the users and the voids within the alun-alun.
As day turn into night, the alun-alun is lit with lights. Dimmer lights are placed between the landscape and the pathways to create a dialogue between the senses and the voids. The central courtyard becomes the main focal point that reminds the users of the monumental symbol of the alun-alun in a modern contemporary city.
My thesis represents a new model of the alun-alun in the 21st century to instil a change in the symbolism behind it. It repositions the alun-alun in a new manner where the old and contemporary ways are able to harmoniously exist. The architecture embraces emptiness and the use of voids to engage the users with the space and allow them to seek comfort in it. This distinctively creates a new dialogue between the alun-alun and the people. New memories, life and stories that weave into the voids become instruments that initiate a new symbol of the 21st Century alun-alun in Semarang.