The Historical Soundscape Analysis of Fatahillah Square, Jakarta

acoustics

Article The Historical Soundscape Analysis of Fatahillah Square, Jakarta

Michael Isnaeni Djimantoro 1,2, Widjaja Martokusumo 1,* , Heru W. Poerbo 1 and R. Joko Sarwono 3

1 Architectural Design Research Group, School of Architecture, Planning and Policy Development, Institut Teknologi Bandung, Bandung 40132, Indonesia; [email protected] (M.I.D.); [email protected] (H.W.P.) 2 Architecture Department, Faculty of Engineering, Bina Nusantara University, Jakarta 11480, Indonesia 3 Building Physics Research Group, Faculty of Industrial Technology, Institut Teknologi Bandung, Bandung 40132, Indonesia; [email protected] * Correspondence: [email protected]; Tel.: +62-22-2504625

Received: 19 October 2020; Accepted: 27 November 2020; Published: 8 December 2020

Abstract: Understanding conceptions of the protection of cultural heritage continues to develop until now. Presently, urban historic places are not only comprehended as tangible but also include intangible dimensions. However, the conservation of cultural heritage dominantly still emphasises the visual sense more than any other senses. Thus, this paper addressed several questions on the role of human senses, the historic sonic environments, and the soundmarks of the past in examining a historical area. This paper aims to reveal the relation between sound sources and its predicted sonic environment in historic places over the time. The case study was Fatahillah Square, Jakarta, which has been documented from the 19th century until now. Some methods were carried out such as soundwalk, recalled in memory, and visual analysis. The results show that comprehensive study of multisensorial stimulus can increase a holistic understanding of historic places. Therefore, the protection of historic sites cannot only focus on the object per se, but also it must be considered to be a holistic entity. This research highlights new perspectives in analysing historical areas using combination of pictorial sources and sonic information.

Keywords: conservation; historic district; historic soundscape; Fatahillah Square; Jakarta

1. Introduction Presently, the understanding of heritage has shifted compared to the time when the initial idea of conservation of cultural heritage was sparked through the 1931 Athens charter. The shift of understanding can be observed from the purpose and approach of conservation, the values contained therein, objects included in the heritage category, ways to do it, and the implementation process of conservation [1–3]. These changes may have eventually impacted on how to manage and use the cultural heritage of today and future’s practical conditions. Early development of conservation theory and practice was dominated by Western perspectives, where the protection of cultural heritage was focused on its physical fabrics and by an emphasis on visual senses. Therefore, the authenticity of cultural heritage has a strong relationship with the originality of the physical condition, and the conservation practice relates on how to preserve, maintain, and restore—sometimes rebuild—those objects. This earlier understanding and practice of conservation saved the cultural heritage per se but lacked in appreciation and attachment with surrounding environment and communities. Thus, the current discourse of conservation of cultural heritage tries to bring more beneﬁts for humanity [3,4]. The authenticity is no longer based on the

Acoustics 2020, 2, 847–867; doi:10.3390/acoustics2040048 www.mdpi.com/journal/acoustics Acoustics 2020, 2 848 physical value of the heritage fabric only but it involves human experiences especially when interacts with cultural heritage objects which is called perceived authenticity [5,6]. This experience of humans in urban areas—including historic places—can be assessed from all of the senses which generate the perception of the urban space [7,8]. According to Maﬀei, the cultural value of soundscape of cultural heritage can be assessed with Methodological Triangulation, namely physical analysis, historical analysis and social analysis [9]. This article highlights the historical analysis aiming to investigate the sound sources that could bring a direct or indirect inﬂuence on the soundscape of the past using in-depth interview with experts, soundwalk, and multimedia sources (e.g., pictorial sources). Based on this method, several questions then can be raised. To what extent does the role of other senses besides the visual sense play in increasing the appreciation of historic places? What was the sonic environment of the historic area like in the past? What kind of soundmarks, distinctive sounds or sounds that are closely related to the historical development of the area need to be preserved or reproduced in order to increase the appreciation of the historic area? This article aims to examine the sound sources over the period to predicted sonic environment in enriching the appreciation of the historic district.

2. Theoretical Discourse Currently, discourse of heritage is not confined to a mere tangible object, but also the intangible dimensions of cultural heritage. Despite the static physical form, the background of this circumstances is determined through various forms of culture, such as dynamics of daily life. In relation to that, UNESCO recognises the diversity of cultural heritage which should be preserved for the future to come [10,11]. According to the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage, the “intangible cultural heritage”, is manifested inter alia in the following domains: (a) oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; (b) performing arts; (c) social practices, rituals, and festive events; (d) knowledge and practices concerning nature and the universe; (e) traditional craftsmanship [12]. In Eastern society, culture is valued beyond material realities [13,14]. Especially in Asia where the cultural values emphasise organic relationships, spiritual values, and meanings embedded in objects of cultural heritage that differentiate them with common conservation practices. In the term of assessment, the Asian Region considers immaterial qualities such as values, impressions, emotional impact, religious context, multisensorial, and creative process [15]. Whereas the assessment in the historic places involves multisensorial assessment such as the sound, smell, and taste. In the general sense, human perception is formed through perceived multisensory qualities [7]. Previous research on soundscapes in historic urban places discovered that the engagement of heritage sites has always been dominantly based on the visual sense and it has less consideration of the sonic environment [16,17]. This situation leads to a problem, which is a lack of public understanding of historical values contained and attributed in the area in which the sonic element is closely related to human existence and community [18,19]. This also becomes an important concern, especially in historic places that built their environment for cultural heritage, since the sonic element cannot be solely described and appreciated using mono-sensory which exclusively based on visuals. Such an approach now becomes a common alternative to better and comprehensively understand specific urban areas [20]. Thus, it is quintessentially critical to examine the nexus between visual character and the sonic environment to understand historic places [21] and this can be done by using soundscape. Soundscaping is a study that looks for a relationship between sound perception and the context of the surrounding environment [22,23]. Considered to be a new approach in understanding the formation of an urban area, the concept of ‘soundscape’ is now widely used in disciplines outside its original acoustic-based roots -such as architecture, environmental health, sociology, and urban studies. All of these disciplines have one thing in common, i.e., they deal with how humans experience and attempt to establish relationships between the physical environment and the human responding to it [18,24,25]. Acoustics 2020, 2 849

Soundscape research can be carried out at three acoustic environments, namely in situ at locations, Acoustics 2018, 1, x FOR PEER REVIEW 3 of 21 by laboratory simulations, and recalled in memory—especially for digging up memories of the past. Eachbe assessed acoustic by environment soundwalk has and its researchtechnical protocol. recordin Theg, the in-situ laboratory acoustic acoustic environment environment can be assessed can use by soundwalkrecording, andsimulation technical or recording, reproduction the laboratory technique, acoustic whileenvironment the recalled can in usememory recording, uses simulation in-depth orinterviews reproduction with technique,the experts while [26]. the recalled in memory uses in-depth interviews with the experts [26]. Regarding the soundscape of cultural heritage, Maffei Maffei introduces the triangulation methodology to assessassess the the cultural cultural value value of soundscape of soundscape of cultural of cultural heritage heritage (cf. Figure (cf.1). Figure There are1). threeThere dimensions are three thatdimensions need to that be analysed.need to be analysed. Those are Those the physical are the physical analysis, analysis, the historical the historical analysis, analysis, and the and social the analysis.social analysis. The physical The physical analysis analysis is required is required to measureto measure on-site on-site acoustic acoustic or or to to reconstructreconstruct virtually acoustic. The acoustic measurements are performe performedd using several techniques such as soundwalks, sound recordings, and and other other technical technical methods. methods. The The virtual virtual acoustic acoustic reconstruction reconstruction technique technique can can be beused used to auralise to auralise sounds sounds of the of the past. past. Meanwhile, Meanwhile, the thehistorical historical analysis analysis can canbe assessed be assessed through through inin-depthdepth interviews interviews with with experts experts and and various various multimedia multimedia sources sources (e.g., (e.g., pictorial pictorial sources). sources). Furthermore, Furthermore, the historicalhistorical analysisanalysis aims aims to to identify identify the the elements elements representing representing the potentialthe potential sound sound sources sources that could that havecould a have direct a ordirect indirect or indirect influence influence on the sonicon the environment sonic environment of the past. of the The past. social The analysis social analysis is used tois verifyused to the verify role the of the role soundscape of the soundscape in human in human perception perception [9]. The [9]. sound The sourcesound source is then is classified then classified by the standardisationby the standardisation of sound of sourcesound source in urban in environmenturban environment [27–29] [27–29]

Figure 1. The Methodological Triangulation. Source: Redrawn after Maffei (2016). Figure 1. The Methodological Triangulation. Source: Redrawn after Maffei (2016). 3. Methods 3. Methods The methods in this research were modified from Maffei’s Triangulation Methodology. (cf. Figure1). SinceThe the observationmethods in timeline this research in this researchwere modified has a wide from range Maffei’s of periods, Triangulation several methods Methodology. for collecting (cf. dataFigure were 1). Since carried the out. observation The current timeline condition in this isrese assessedarch has by a soundwalk.wide range of The periods, sonic several environment methods in 1970sfor collecting was explored data were by interviews carried out. with The experts current and condition visual analysis is assessed of pictorial by soundwalk. sources. In The addition, sonic theenvironment sonic environment in 1970s inwas the 1880sexplored and by 1920s interviews was visually with analysed. experts Figureand visual2 summarises analysis theof researchpictorial periodssources. andIn addition, the conducted the sonic research environment methods. in the 1880s and 1920s was visually analysed. Figure 2 summarises the research periods and the conducted research methods.

Acoustics 2020, 2 850 Acoustics 2018, 1, x FOR PEER REVIEW 4 of 21

Acoustics 2018, 1, x FOR PEER REVIEW 4 of 21

FigureFigure 2. 2.Research Research PeriodPeriod and Research Methods Methods. Figure 2. Research Period and Research Methods TheThe in in situ situ soundwalk soundwalk method method forfor identifyingidentifying the acoustic environment environment and and its its component component is is the most frequent methods applied to collect data. Soundwalk is carried out by implementing a the mostThe frequent in situ methodssoundwalk applied method to for collect identifying data. the Soundwalk acoustic environment is carried outand byits component implementing is a protocolprotocolthe most that that hasfrequent has been been methods widely widely discussed. applieddiscussed. to ParticipantscollectParticipants data. walked Soundwalk in in silent silentis carried along along outthe the routeby route implementing to toevaluate evaluate thea the perceptualperceptualprotocol of that of visual, visual, has been the the widely perceived perceived discussed. sound, sound, Participants andand otherother walked conditions in silent of of the the along environment environment the route towith withevaluate their their ownthe own viewpointsviewpointsperceptual [23 [23,29–31]. ,of29 visual,–31]. the perceived sound, and other conditions of the environment with their own viewpointsTheThe in in situ situ [23,29–31]. soundwalk soundwalk research research was was conducted conducted during during weekdaysweekdays and weekends in in order order to to get get a completea completeThe picture in picture situ of soundwalk theof the condition condition research in in the wasthe historic historic conducted district. district. during TheThe weekdays weather conditionand condition weekends due due thein the order soundwalks soundwalks to get waswasa sunny. complete sunny. TheThe picture walks of theadopted adopted condition and and inexpanded the expanded historic the district. theonline online questionnaireThe weather questionnaire condition with general with due generalthe questions, soundwalks questions, open questions, and semantic differential scales [32,33]. General questions asked about participant openwas questions, sunny. The and walks semantic adopted di ffanderential expanded scales the [32 onli,33ne]. questionnaire General questions with general asked questions, about participant open background: gender, age, and education. The open questions tried to identify visual elements and background:questions, gender,and semantic age, and differential education. scales The [3 open2,33]. questions General triedquestions to identify asked about visual participant elements and audialbackground: elements gender, from age,the respondent.and education. The The seven open po questionsints semantic tried todifferential identify visual scales elements assessed and the audial elements from the respondent. The seven points semantic differential scales assessed the perceivedaudial elements affective from with the scale respondent. one to seven The which seven ex poploredints semantic the respondent differential perception scales assessedrelated to the the perceived affective with scale one to seven which explored the respondent perception related to the generalperceived descriptors, affective visualwith scale descriptors, one to seven audial which descriptors explored and the thermoception respondent perception descriptors. related Forty-three to the general descriptors, visual descriptors, audial descriptors and thermoception descriptors. Forty-three respondentsgeneral descriptors, (60% male visual and descriptors, 40% female) audial from de thescriptors architectural and thermoception students (ages descriptors. 17 to 21) Forty-threeparticipated respondentsinrespondents the soundwalk. (60% (60% male The male andsoundwalk and 40% 40% female) female) was organised from from thethe in architecturalarchitectural three areas students of students Old Town (ages (ages of17 17Jakartato to21) 21) participated as participated shown in in theFigurein soundwalk.the 3. soundwalk. However, The inThe soundwalkthis soundwalk paper, merely was was organised organised discuss the in Fatahillahthree three areas areas Square of of Old Old soundwalkTown Town of ofJakarta Jakartaresult. as shown as shown in in FigureFigure3. However, 3. However, in thisin this paper, paper, merely merely discuss discuss the the Fatahillah Fatahillah SquareSquare soundwalk soundwalk result. result.

Figure 3. The route of soundwalk in Old Town of Jakarta. The location of Soundwalk assessment: (1) FigureFigure 3. The 3. The route route of of soundwalk soundwalk in Old Town Town of of Jakart Jakarta.a. The The location location of Soundwalk of Soundwalk assessment: assessment: (1) North Kali Besar (2) South Kali Besar (3) Fatahillah Square. (1) NorthNorth KaliKali BesarBesar (2) South South Kali Kali Besar Besar (3) (3) Fatahillah Fatahillah Square. Square.

Semi-structuredSemi-structuredSemi-structured interviews interviews interviews with with with the thethe experts expertsexperts were were conducted conducted with withwith several severalseveralquestions questions questions toto to exploreexplore explore the conditionsthethe conditions conditions and historical and and historical historical realities realitiesrealities occurred occurredoccurred in that era.inin that The era. experts TheThe experts wereexperts selected werewere selectedselected carefully carefully carefully according according to their professional backgrounds. Since Fatahillah Square is not a residential district, the to theiraccording professional to their backgrounds.professional backgrounds. Since Fatahillah Since Fa Squaretahillah is Square not a residentialis not a residential district, district, the protocol the protocol of the interview [29] must be modified. The chosen expert represents the archaeologist, an of theprotocol interview of the [29 interview] must be [29] modiﬁed. must be modified. The chosen The expert chosen represents expert represents the archaeologist, the archaeologist, an architect an architectarchitect and and people people who who had had direct direct experiencesexperiences in the area. These expertsexperts werewere people people who who know know and people who had direct experiences in the area. These experts were people who know deeply,

Acoustics 2020, 2 851

Acoustics 2018, 1, x FOR PEER REVIEW 5 of 21 have direct experiences, and pay attention to the conditions of the research location at that time. Thedeeply, interview have addresseddirect experiences, the expert’s and professionalpay attention background, to the conditions the sonic of the environment, research location the identified at that soundtime. source,The interview the character addressed of the the sound expert’s and theirprofes feeling.sional background, the sonic environment, the identifiedFor periods sound ofsource, 1880s the and character 1920s, of visual the sound analysis and their of representative feeling. pictures of certain areas purposivelyFor periods be implemented of 1880s and in order 1920s, to bringvisual more analysis insights of representative on what the case pictures looked of like. certain Observation areas ofpurposively the place through be implemented pictorial sources in order identified to bring the soundmore insights source elementson what of the the case past. looked This pictorial like. investigationObservation of identified the place the through classification pictorial sources of sound identified sources the of sound urban source areas [elements27–29]. Theof the analysis past. alsoThis highlighted pictorial investigation the change identified of urban the morphology, classification and of sound the various sources possible of urban activities areas [27–29]. of the The area. Theanalysis pictorials also highlighted analysis was the complemented change of urban with morp historicalhology, recordsand the fromvarious many possible sources activities to predict of the the sonicarea. environment The pictorials of analysis the past. was Visual complemented data was collected with historical from several records sources from such many as sources “Digital to Collection predict the sonic environment of the past. Visual data was collected from several sources such as “Digital Leiden University” [34], Merrillees’ Greetings from Jakarta: Postcards of a Capital 1900–1950 [35], Collection Leiden University” [34], Merrillees’ Greetings from Jakarta: Postcards of a Capital 1900– Heuken’s Historical Sites of Jakarta [36], and private collections of the experts. 1950 [35], Heuken’s Historical Sites of Jakarta [36], and private collections of the experts. 4. The Development Period of Fatahillah Square 4. The Development Period of Fatahillah Square Jakarta—the capital city of Indonesia—has a long history. According to Heuken, its history can Jakarta—the capital city of Indonesia—has a long history. According to Heuken, its history can be traced back to the 14th century when this area was called Sunda Kalapa—a trading port under be traced back to the 14th century when this area was called Sunda Kalapa—a trading port under the the Pajajaran kingdom [35,36] This area began to be occupied by the Dutch East India Company in Pajajaran kingdom [35,36] This area began to be occupied by the Dutch East India Company in 1619, 1619, by establishing a trading office in the Dutch India, which later became the fortress of Batavia. by establishing a trading office in the Dutch India, which later became the fortress of Batavia. Because Because of environmental degradation, the walled city of Batavia then was demolished, and the city of environmental degradation, the walled city of Batavia then was demolished, and the city developed linearly to the south to become the new centre of the Dutch colonial government in Dutch developed linearly to the south to become the new centre of the Dutch colonial government in Dutch East India until 1942. The name Batavia was later changed to Jakarta during the Japanese occupation East India until 1942. The name Batavia was later changed to Jakarta during the Japanese occupation and remains to this day. and remains to this day. Morphologically,Morphologically, Old Old Town Town Jakarta Jakarta was was influenced influenced by by the the structure structure of of typical typical Dutch Dutch canal canal city city and hasand had has a characterhad a character of grid town.of grid The town. grid The structure grid structure was shaped was by shaped the canals by andthe canals their promenades, and their andpromenades, Fatahillah and square Fatahillah (stadhuisplein) square (s wastadhuisplein) one of the was main one open of the spaces main (cf. open Figure spaces4). (cf. Even Figure after 4). the canalsEven hadafter beenthe canals transformed had been into transformed streets in the into beginning streets in of the 19th beginning century, of these 19th distinctive century, these urban elementsdistinctive and urban the wholeelements grid-structure and the whole of grid-structure the area can stillof the be area recognised can still todaybe recognised [2] as represented today [2] inas Figure represented5. in Figure 5.

FigureFigure 4. 4.Map Map ofof BataviaBatavia in 1744. The The city city of of Batavia Batavia sh shapedaped in ingrid grid urban urban morphology morphology with with canals canals as astransportation transportation mode mode and and thick thick wall wall onon outer outer boun boundary.dary. Source: Source: Collection Collection of National of National Library Library of ofIndonesia. Indonesia.

Acoustics 2020, 2 852 Acoustics 2018, 1, x FOR PEER REVIEW 6 of 21

Acoustics 2018, 1, x FOR PEER REVIEW 6 of 21

Figure 5. The map of Old Town of Jakarta in 2020. The red line is the wall of the city in the past. FigureFigure 5. 5. The The map map of of Old Old TownTown of Jakarta inin 2020.2020. The The re redd line line is is the the wall wall of of the the city city in inthe the past. past. The Fatahillah Square is an important area in the core area of the Old Town Jakarta. As part of the TheThe Fatahillah Fatahillah Square Square is is anan importantimportant area inin the the co corere area area of of the the Old Old Town Town Jakarta. Jakarta. As As part part of theof the main building at the square, the former Stadhuis de Batavia had been revitalised in the beginning of mainmain building building at at the the square, square, thethe formerformer Stadhuis dede Batavia Batavia had had been been revitalised revitalised in inthe the beginning beginning of of 1970s, and it has served as Jakarta History Museum since 1974. For decades, the Fatahillah Square has 1970s,1970s, and and it ithas has served served as as JakartaJakarta History Museum since since 1974. 1974. For For decades, decades, the the Fatahillah Fatahillah Square Square has has becomebecomebecome a a popular apopular popular area area area for for for the thethe people peoplepeople of of Jakarta Jakarta as asas a aa placeplace place toto to gathergather gather and and socialise. socialise. socialise. Some Some Some of of importantof important important landmarklandmarklandmark buildingsbuildings buildings atat at its its its surrounding surroundingsurrounding havehave also alsoalso been bebeenen revitalised revitalised and andand adaptive adaptive adaptive reused reusedreused to to tomuseums, museums, museums, cafcafé,écafé,, and and and restaurants restaurants restaurants (cf. (cf. (cf. Figure Figure Figure6 ). 6).6). Since Since the the 2000s, 2000s,2000s, eefforts effortsﬀorts on on conservation conservation have have have mainly mainly mainly been been been focused focused focused ononon the the the publicpublic public space,space, space, so so thatthat thethe importance importance ofof of thethe the culturalcultural cultural heritage heritage heritage can can caneventually eventually eventually be beappreciated. beappreciated. appreciated. As As Assuchsuch such the the the awareness awareness awareness toward toward toward protection protection protection thethe cult culturaluralural patrimony patrimony patrimony can can be canbe enhanced enhanced be enhanced and and supported. and supported. supported.

N N

FigureFigure 6. The6. The area area of of Fatahillah Fatahillah Square Square with with thethe surroundingsurrounding heritage building. (1) (1) The The Fatahillah Fatahillah Square.FigureSquare. (2)6. (2)The Jakarta Jakarta area History of History Fatahillah Museum. Museum. Square (3) Museum(3) with Museum the of Finesurrounding of Fine Arts Arts and heritageCeramics.and Ceramics. building. (4) Post (4) O(1)Postﬃ ce.The Office. (5) Fatahillah Jasindo (5) Building.Square.Jasindo (2) (6)Building. Jakarta Café Batavia. (6) History Café(7) Batavia. Museum. Wayang (7) Museum.Wayang(3) Museum Mu Source:seum. of Fine Source: Collection Arts Collection and of Jakarta Ceramics. of Jakarta Satu, (4) 2020. Satu, Post 2020. Office. (5) Jasindo Building. (6) Café Batavia. (7) Wayang Museum. Source: Collection of Jakarta Satu, 2020. FigureFigure7 shows 7 shows the the historical historical development development timeline timeline ofof Jakarta,Jakarta, and marks important important interventions interventions and historic events or experiences in the Old Town of Jakarta. Based on the historical timeline, this and historicFigure 7 events shows orthe experiences historical development in the Old timelin Town ofe of Jakarta. Jakarta, and Based marks on theimportant historical interventions timeline, research on the sonic environment of the past is limited to some periods. The stages are divided as thisand research historic onevents the sonicor experiences environment in the of theOld past Town is limited of Jakarta. to some Based periods. on the Thehistorical stages timeline, are divided this follows: the first was the period of the 1880s, shortly before the steam engine tram was operated in 1883. research on the sonic environment of the past is limited to some periods. The stages are divided as follows: the first was the period of the 1880s, shortly before the steam engine tram was operated in 1883.

Acoustics 2020, 2 853

Acoustics 2018, 1, x FOR PEER REVIEW 7 of 21 as follows: the ﬁrst was the period of the 1880s, shortly before the steam engine tram was operated Second,in 1883. the Second, period the of period1920s, when of 1920s, the area when became the area the became business the centre. business The centre.third period The thirdto be periodobserved to wasbe observed the 1970s, was when the 1970s,the Fatahillah when the Square Fatahillah was Squaremisused was as misuseda bus terminal. as a bus The terminal. fourth Thewas fourth post- wasrevitalisation post-revitalisation period in 1974, period and in 1974,the last and period the last is the period current is the condition. currentcondition. These periods These are periods chosen are in orderchosen to in observe order toand observe determine and determinethe sonic environment the sonic environment occurred at occurredFatahillah at Square. Fatahillah Square.

Figure 7. HistoricalHistorical Development Development Timeline Timeline of Fatahillah Square. 5. Results 5. Results 5.1. Fatahillah Square in Early 1880s 5.1. Fatahillah Square in Early 1880s The first period to be looked at in depth is the period of early 1880s, because the steam tram engine The first period to be looked at in depth is the period of early 1880s, because the steam tram began to operate in 1883, which provided a different sonic environment [35,37]. In this early period, engine began to operate in 1883, which provided a different sonic environment [35,37]. In this early the neighbourhood around the Stadhuis de Batavia was still characterised with a low-rise building. period, the neighbourhood around the Stadhuis de Batavia was still characterised with a low-rise The former Stadhuis de Batavia building, which remains to this day the Museum Fatahillah, was the building. The former Stadhuis de Batavia building, which remains to this day the Museum Fatahillah, third city hall building as a placement of the previous ones. This building was inaugurated in 1710 was the third city hall building as a placement of the previous ones. This building was inaugurated and was used as a government and court building in Batavia [36]. in 1710 and was used as a government and court building in Batavia [36]. Figures8 and9 portray the Fatahillah Square in the 1880s period. The surrounding area of the Figures 8 and 9 portray the Fatahillah Square in the 1880s period. The surrounding area of the Stadhuis de Batavia was still an open space. Thus, it was predicted that many natural sounds would Stadhuis de Batavia was still an open space. Thus, it was predicted that many natural sounds would be heard. The most widely used mode of transportation was the horse-drawn carriage which had be heard. The most widely used mode of transportation was the horse-drawn carriage which had an an impact on the sonic environment of the area. Based on the historical records, the memorable impact on the sonic environment of the area. Based on the historical records, the memorable soundmark was the sound of the bell at the top of the Stadhuis de Batavia building—similar to a soundmark was the sound of the bell at the top of the Stadhuis de Batavia building—similar to a church-bell sound. This bell was used to call the residents to watch the executions of the death penalty church-bell sound. This bell was used to call the residents to watch the executions of the death penalty for those who violated the regulations in Batavia [36]. for those who violated the regulations in Batavia [36]. There are several categories of sound that were expected to be heard on that period. First, the sound of nature—e.g., the rustling of leaves in the wind and birds. Second, the sound of transportations which originated from horse-drawn carriages, both from the sound of horseshoes and the wooden wheels rolling on the ground. Another sound classification was the human voice—people chatting in the government offices and knocking of wood when the trial took places. It was also predicted that occasional groaning sounds would also be heard, because this building also served as a prison equipped with torture chambers for extracting confession from the defendants. Given the surrounding circumstances, the sonic environment in Fatahillah Square was considered very quiet and scary at that time.

Acoustics 2020, 2 854 Acoustics 2018, 1, x FOR PEER REVIEW 8 of 21 Acoustics 2018, 1, x FOR PEER REVIEW 8 of 21

Figure 8. Stadhuis de Batavia from the North in 1880. Identified sound source: (a) trees as a source of Figure 8. Stadhuis de Batavia from the North in 1880. Identified Identiﬁed sound source: ( a) trees as a source of natural sounds. (b) Horse-drawn carriage. Source: Leiden University Digital Collections. natural sounds. ( b) Horse-drawn carriage. Source: Source: Leiden Leiden University University Digital Digital Collections. Collections.

Figure 9. Stadhuis de Batavia and its Stadhuisplein in 1880. Identified sound source: (a) the Figure 9.9.Stadhuis Stadhuis de de Batavia Batavia and itsand Stadhuisplein its Stadhuisplein in 1880. in Identiﬁed 1880. Identified sound source: sound (a) thesource: government (a) the government officers. Source: Greetings from Jakarta: Postcards of a Capital 1900–1950. ogovernmentﬃcers. Source: officers. Greetings Source: from Greetings Jakarta: fr Postcardsom Jakarta: of Postcards a Capital 1900–1950.of a Capital 1900–1950.

Acoustics 2018, 1, x FOR PEER REVIEW 9 of 21

There are several categories of sound that were expected to be heard on that period. First, the sound of nature—e.g., the rustling of leaves in the wind and birds. Second, the sound of transportations which originated from horse-drawn carriages, both from the sound of horseshoes and the wooden wheels rolling on the ground. Another sound classification was the human voice— people chatting in the government offices and knocking of wood when the trial took places. It was also predicted that occasional groaning sounds would also be heard, because this building also served as a prison equipped with torture chambers for extracting confession from the defendants. Given the surrounding circumstances, the sonic environment in Fatahillah Square was considered very quiet andAcoustics scary2020 at, 2 that time. 855

5.2. Fatahillah Square in 1920s 5.2. Fatahillah Square in 1920s This 1920s period was an important period of Dutch colonial rule in Dutch India (the former of Indonesia).This 1920s At that period time, was Batavia an important was already period known of Dutch as one colonial of the rulepolitical in Dutch and economic India (the centres former in of SoutheastIndonesia). Asia. At thatAs previously time, Batavia mentioned, was already the knowncity of Batavia as one ofwas the expanded political andtowards economic the South, centres after in theSoutheast demolition Asia. of As the previously fortification mentioned, wall, due the to city an ofenvironmental Batavia was expanded decline. Following towards the this, South, government after the centredemolition in Dutch of the India fortification was moved wall, to due Weltevreden to an environmental (now: Lapangan decline. Banteng) Following andthis, the governmentStadhuis de Bataviacentre in building Dutch India was wasused moved as a provincial to Weltevreden office(now: for West Lapangan Java Province Banteng) [36]. and Thus, the Stadhuis the Old de Town Batavia of Jakartabuilding was was then used dominated as a provincial with obusinessffice for Westactivities. Java Province [36]. Thus, the Old Town of Jakarta was thenFigure dominated 10 is withtaken business from the activities. Stadhuis de Batavia building heading to the North in around 1930s [35]. AFigure picture 10 isshows taken the from tram the crossing Stadhuis Fatahillah de Batavia Squa buildingre (cf. heading Figures to 10 the and North 11). At in aroundthis period, 1930s there [35]. Awere picture five showstram thelines tram in crossingBatavia, Fatahillahbut only Squaretwo tram (cf. Figureslines crossed 10 and 11the). AtFatahillah this period, Square, there werewith approximatelyfive tram lines inhad Batavia, 10 min but interval only two [37]. tram There lines were crossed several the Fatahillahbuildings Square,that were with built approximately around the Fatahillahhad 10 min Square interval area [37 ].to Thereform werethe urban several square. buildings The three-storey that were built building around that the was Fatahillah completed Square in 1920area towas form used the as urban the office square. buil Theding three-storey for Netherlands building Lloyd that was Insurance. completed The in building 1920 was on used the asright the corneroffice building is the Central for Netherlands Post Office Lloyd which Insurance. was completed The building in 1928 on[35]. the The right construction corner is the of these Central offices Post hadOffi cetriggered which was the completedemergence in of 1928 human [35]. voice The constructionfrom office activities. of these o ffiAdditionally,ces had triggered the construction the emergence of theseof human mid-rise voice buildings from offi hadce activities. changed Additionally,the sonic environment the construction because of the these produced mid-rise sound buildings reflection had waschanged different the sonic from environment the previous because period the when produced the surrounding sound reflection area was distillfferent characterised from the previousby one- storeyperiod buildings. when the surrounding area was still characterised by one-storey buildings.

Figure 10. 10. FatahillahFatahillah Square Square heading heading to North to Northin 1930. in Identified 1930. Identiﬁed sound sources: sound (a sources:) tram. (b ()a )Horse- tram. drawn(b) Horse-drawn carriage. ( carriage.c) trees as (c )natural trees as sound. natural (d sound.). vehicles. (d). vehicles.(e). Human (e). voice. Human (f) voice.a bicycle. (f) a Source: bicycle. GreetingsSource: Greetings from Jakarta: from Jakarta:Postcards Postcards of a Capital of a 1900–1950. Capital 1900–1950.

Figure 11 shows the activities of the people passing by in uniform due to the business district that had been built in the surrounding area. There were also several cars parked under shady trees, which may be owned by government officials or surrounding offices. There were several classifications of the sound sources that made up the sonic environment of the area. There were the sounds of nature i.e., the sound of wind on the leaves and it was predicted that there were also bird sounds in the trees. The transportation sound came from the tram i.e., the engine and the bell, which was similar to a cow-bell sound, the vehicles—the mufflers and the horns, the horse-drawn carriages—from the sound of horseshoes and the wheels on the ground, Acoustics 2020, 2 856 and the bicycles—the sound of the wheels spinning on the ground, the gears, and the bicycle bells. Based on interviews with people who had direct experiences of the last operation of the trams in 1960s, theAcoustics sounds 2018, that1, x FOR came PEER from REVIEW the tram were the sound of the tram engine and also tram bell—similar10 of 21 to the sound of a cow-bell—to signals the rickshaws (locally: becak), pedestrians, and other vehicles to stopFigure and give11 shows way tothe the activities tram. Because of the people the tram pass lineing was by in still uniform mixed withdue to other the circulationbusiness district lines, signalsthat had were been necessary built in the to surrounding avoid accidents. area. The There human were sound also several came from cars theparked people under talking shady and trees, the soundwhich may of offi bece owned activities. by government officials or surrounding offices.

Figure 11. TheThe situation situation of of Stadhuis Stadhuis de de Batavia Batavia in in 1936. 1936. Identified Identiﬁed sound sound sources: sources: (a) vehicles (a) vehicles (b) (humansb) humans (c) tram. (c) tram. Source: Source: Leiden Leiden University University Digital Digital Collections. Collections.

ToThere conclude, were several the atmosphere classifications in this of period the sound was estimated sources that to be made quite up busy the and sonic active, environment like a typical of urbanisedthe area. There area, were due to the oﬃ soundsces and of business nature i.e area., the around sound the of area.wind on the leaves and it was predicted that there were also bird sounds in the trees. The transportation sound came from the tram i.e., the 5.3. Fatahillah Square in 1970s engine and the bell, which was similar to a cow-bell sound, the vehicles—the mufflers and the horns, the horse-drawnAlong with thecarriages—from independence the of sound Indonesia of hors ineshoes 1945, theand new the wheels government on the tried ground, to show and the superioritybicycles—the as sound a newly of independent the wheels spinning country byon building the ground, several the superstructuregears, and the developments.bicycle bells. Based Most on of thoseinterviews buildings with werepeople erected who had in the direct centre experiences of the new of expanded the last operation area of the of city, the causingtrams in the 1960s, historic the districtsounds tothat be came quasi-neglected. from the tram At were the same the sound time, theof the usage tram of engine trams thatand werealso tram connecting bell—similar Batavia to with the newsound development of a cow-bell—to in the Southsignals had the also rickshaws been replaced (locally: by becak buses), pedestrians, and microbuses and inother 1964 vehicles due to political to stop reason.and give This way led to tothe the tram. misused Because of the the Fatahillah tram line Squarewas still as mixed a bus terminalwith other in thecirculation North of lines, Jakarta. signals wereAs necessary seen in Figureto avoid 12 accidents., the ground The surface human of soun the Fatahillahd came from Square the areapeople was talking covered and with the hardenedsound of soil.office In activities. the middle of the square was an area for microbus transportation, and the Northern side of the squareTo was conclude, used for the the atmosphere larger bus stop. in this While period large was buses estimated were used to forbe longquite distances, busy and the active, microbuses like a oplettypicalwere urbanised used for area, short–medium due to offices trips. and business The terminology area aroundoplet thewas area. named after the brand Opel, which was colloquially adapted to the local dialect. 5.3. Fatahillah Square in 1970s Along with the independence of Indonesia in 1945, the new government tried to show the superiority as a newly independent country by building several superstructure developments. Most of those buildings were erected in the centre of the new expanded area of the city, causing the historic district to be quasi-neglected. At the same time, the usage of trams that were connecting Batavia with new development in the South had also been replaced by buses and microbuses in 1964 due to political reason. This led to the misused of the Fatahillah Square as a bus terminal in the North of Jakarta.

Acoustics 2018, 1, x FOR PEER REVIEW 11 of 21

As seen in Figure 12, the ground surface of the Fatahillah Square area was covered with hardened soil. In the middle of the square was an area for microbus transportation, and the Northern side of the square was used for the larger bus stop. While large buses were used for long distances, Acousticsthe2020 microbuses, 2 oplet were used for short–medium trips. The terminology oplet was named after the 857 brand Opel, which was colloquially adapted to the local dialect.

FigureFigure 12. The12. The situation situation of of Fatahillah Fatahillah Square as as the the bus bus terminal terminal in 1971. in 1971. Identified Identiﬁed sound sources: sound sources:(a) (a) MicrobusesMicrobuses ((bb)) BusesBuses ( (cc)) human. human. Source: Source: Collection Collection of Tropenmuseum. of Tropenmuseum.

FigureFigure 13 shows 13 shows the the activities activities supported supported aroundaround the the terminal. terminal. There There was was a pool a pool of rickshaws of rickshaws whichwhich served served as short-distance as short-distance transportation transportation means,means, and and street street hawkers hawkers with with their their carts carts of food of foodand and drinks.drinks. Several Several buildings buildings at at the the square, square, such such asas thethe Jasindo—an insurance insurance company—building company—building and and the post office building are still used until now. Meanwhile, Figure 14 shows the buildings around the post office building are still used until now. Meanwhile, Figure 14 shows the buildings around Fatahillah Square that were used as commercial buildings and museums. Fatahillah Square that were used as commercial buildings and museums. The area of Old Town Jakarta was already a hub of commercial and business district in the early of 1970s. With the population of ca. 4.5 million people, Jakarta was considered to be a city with high urbanisation rate [38]. Based on in-depth interviews with an archeologist and an architect, Fatahillah Square was already very busy during that period. The identified sound sources came from buses and microbuses—especially the very distinctive trumpet sound from microbuses. In addition, the sound of vehicles also came from private vehicles and goods transportation, considering that there were offices and warehouses around the area. From the sound classification of the human voice, the sound source came from the men shouting off the designations of the bus routes, activities from street hawkers, and workers’ sound from the offices around Fatahillah Square. All these voices then overlapped with an amplified sound of the Malay Orchestra performed by the locals. Therefore, it can be concluded that in this period, the sound environment was already very busy, frenetic, and to a greater extent was considered lively. With these conditions—the usage of Fatahillah Square as a bus terminal and the noisy environment—caused the character of the area to be similar to an ordinary bus terminal Acoustics 2020, 2 858 in several other urban areas, which did not appreciate the important historical values contained in thisAcoustics area. 2018,, 1,, xx FORFOR PEERPEER REVIEWREVIEW 12 of 21

FigureFigure 13. 13.The The street street hawkers, hawkers, food food stalls stalls andand rickshawsrickshaws at the Fatahillah Fatahillah Square. Square. Identified Identiﬁed sound sound sources:sources: (a )(a rickshaws)) rickshawsrickshaws (b ((b)) street) streetstreet hawkers. hawkers.hawkers. Source:Source:Source: EugeneEugene CosseratCosserat Cosserat-Flickr. -- Flickr.Flickr.

FigureFigure 14. 14.Daily Daily activities activities at at the the surrounding surrounding ofof JakartaJakartarta History History MuseumMuseum Museum inin in 1971. 1971. Identified Identiﬁed sound sound sources:sources: ( a()a)) a aa bus busbus (((bb))) vehiclesvehiclesvehicles (( (cc))) rickshawsrickshaws rickshaws ((d ())d loading-unloading)loading-unloading loading-unloading materials.materials. materials. Source:Source: Source: CollectionCollection Collection ofof ofTropenmuseum.

Acoustics 2018, 1, x FOR PEER REVIEW 13 of 21

The area of Old Town Jakarta was already a hub of commercial and business district in the early of 1970s. With the population of ca. 4.5 million people, Jakarta was considered to be a city with high urbanisation rate [38]. Based on in-depth interviews with an archeologist and an architect, Fatahillah Square was already very busy during that period. The identified sound sources came from buses and microbuses—especially the very distinctive trumpet sound from microbuses. In addition, the sound of vehicles also came from private vehicles and goods transportation, considering that there were offices and warehouses around the area. From the sound classification of the human voice, the sound source came from the men shouting off the designations of the bus routes, activities from street hawkers, and workers’ sound from the offices around Fatahillah Square. All these voices then overlapped with an amplified sound of the Malay Orchestra performed by the locals. Therefore, it can be concluded that in this period, the sound environment was already very busy, frenetic, and to a greater extent was considered lively. With these conditions—the usage of Fatahillah Square as a bus terminal and the noisy environment—caused the character of the area to be similar to an ordinary busAcoustics terminal2020, 2 in several other urban areas, which did not appreciate the important historical values859 contained in this area.

5.4.5.4. Fatahillah Fatahillah Square–Post-Revitalisation Square–Post-Revitalisation of of 1974 1974 InIn the the beginning beginning of of 1973, 1973, the the first first conservation conservation programme programme had had been been started started and and initiated initiated by the by municipality.the municipality. Martokusumo Martokusumo eloque eloquentlyntly explained explained that that the the heritage heritage management management adopted adopted the the western-basedwestern-based conceptconcept ofof preservation preservation district district [39 [39,,40].40]. The The term term preservation preservation itself itself dealt dealt with allwith efforts all effortsof maintaining of maintaining all important all important old buildings old buildings in their in existing their existing state [41 state]. [41]. DueDue to to the the decline decline of of activities activities around around the the Fata Fatahillahhillah Square Square after after independence, independence, and and became became the the terminalterminal in in previous previous period, period, revitalisation revitalisation was was ca carriedrried out out in in the the period period of of 1973–1974 1973–1974 by by the the Governor Governor ofof Jakarta Ali Ali Sadikin to restore the image of the historichistoric district in particularparticular [[2].2]. He He made major renovationsrenovations in in this this area. area. The The surface surface of of Fatahillah Fatahillah Square Square was was replaced replaced by by natural natural stone stone pavement pavement and and itsits perimeter waswas surroundedsurrounded byby chain chain fences, fences, preventing preventing vehicles vehicles from from entering entering the the area area (cf. (cf. Figure Figure 15). 15).Meanwhile Meanwhile at thatat that time time vehicles vehicles were were still still allowed allowed to to go go around around the the Fatahillah Fatahillah Square.Square. The visible buildingbuilding was was the the Central Central Post Post Office Office building, building, with with several several vehicles vehicles parked parked in in front front of ofthe the building. building.

FigureFigure 15. The situationsituation of of Central Central Post Post O ﬃOfficece buildings buildin atgs Fatahillah at Fatahillah Square Square in 1980s. in 1980s. Identiﬁed Identified sound soundsources: sources: (a) humans (a) humans (b) vehicles (b) vehicles (c) road (c line) road with line bricks with (bricksd) the ( squared) the withsquare natural with natural stone. Source:stone. Source:Private Private Collection Collection of Attahiyyat. of Attahiyyat.

The revitalisation project in this period also reconstructed the water fountain in the middle of the square, which was the source of water for the residents in the past [36]. Additionally, during this period, the Stadhuis de Batavia building began to be revitalised and used as the Jakarta History Museum. The atmosphere in this area was calmer compared to the previous period even though the office building and the Central Post Office were still operating. As shown in Figure 16, there were many newly planted trees. Compared to the quiet conditions in previous period, it was predicted that in this area there were many sounds of rustling leaves blown by the wind and the sound of birds. The condition of the area was also open, where motorised vehicles could still pass in the area, therefore, it was expected that noise arose from motorised vehicles, although it had a low intensity. This condition brought new hope for a better appreciation of the historic district, even though the revitalisation was implemented in form of beautification of the area and the buildings. With the existence of Fatahillah Square, which was off limit to vehicles and a calmer atmosphere, it allowed the public to enjoy the Stadhuis de Batavia and other cultural heritage buildings visually. Acoustics 2018, 1, x FOR PEER REVIEW 14 of 21

FigureFigure 16. 16.The The reconstruction reconstruction of of Water Water FountainFountain in the centre of of Fatahillah Fatahillah Square. Square. Identified Identiﬁed sound sound sources:sources: ( a()a) the the treetree (b(b)) naturalnatural stone pavement pavement (c ()c )water water fountain. fountain. Source: Source: Private Private Collection Collection of ofAttahiyyat.

5.5. FatahillahThis condition Square inbrought the Current new Conditionhope for a better appreciation of the historic district, even though the revitalisation was implemented in form of beautification of the area and the buildings. With the The current condition is the result of the several revitalisation programme in Old Town of Jakarta, existence of Fatahillah Square, which was off limit to vehicles and a calmer atmosphere, it allowed which had been carried out in stages from the period of 1990s until 2010. In 2006 the revitalisation the public to enjoy the Stadhuis de Batavia and other cultural heritage buildings visually. programme of Jakarta waterfront areas was heralded as one of the priorities for the urban (heritage) development5.5. Fatahillah schemes Square in in the Jakarta. Current Condition Following this, in the core area of Old Town Jakarta, the Town Planning Office of Jakarta prepared a pedestrianisation programme for Fatahillah Square that was implementedThe current in the condition period ofis 2006–2008.the result of The the pedestrianseveral revitalisation walkways prog wereramme part ofin Jakarta’sOld Town Macro of Jakarta, which had been carried out in stages from the period of 1990s until 2010. In 2006 the Transportation Plan and the Spatial Plan of Jakarta in 2010 [2]. It was argued that pedestrianisation of revitalisation programme of Jakarta waterfront areas was heralded as one of the priorities for the the area is an important key in supporting the economic and cultural activities proposed (revitalisation urban (heritage) development schemes in Jakarta. Following this, in the core area of Old Town efforts). Through such activities, new dimensions of appreciation towards the heritage sites and Jakarta, the Town Planning Office of Jakarta prepared a pedestrianisation programme for Fatahillah conservation practices was also established. Since then, this area has been designated specifically for Square that was implemented in the period of 2006–2008. The pedestrian walkways were part of the pedestrian zone, therefore private vehicles are not allowed to enter this area as shown in Figure 17. Jakarta’sAcoustics 2018 Macro, 1, x FOR Transportation PEER REVIEW Plan and the Spatial Plan of Jakarta in 2010 [2]. It was argued15 thatof 21 pedestrianisation of the area is an important key in supporting the economic and cultural activities proposed (revitalisation efforts). Through such activities, new dimensions of appreciation towards the heritage sites and conservation practices was also established. Since then, this area has been designated specifically for the pedestrian zone, therefore private vehicles are not allowed to enter this area as shown in Figure 17.

FigureFigure 17. 17.Jakarta Jakarta HistoryHistory MuseumMuseum and and Fatahillah Fatahillah Square Square in in 2017. 2017.

Presently, the conditions of Fatahillah Square are significantly different on weekdays and weekends. On weekdays, this area tends to be empty from visitors, especially when the temperature is very hot. There have been a significant changes in Fatahillah Square, whereby the existing trees were cut down in early of 2017 (cf. Figure 18). Meanwhile, at the weekend evenings, this area becomes very crowded, where many local communities, street hawkers and street artists gathers there. In addition, supported by the private sector, the management unit of Old Town Jakarta initiates musical performances to attract visitors and to promote the historic district. Despite of the crowds at the weekends, such events has resulted in the coming of many street hawkers and street arts which also enliven the situation in the Fatahillah Square.

Figure 18. Trees in Fatahillah Square in 2016. Source: Private Collections of Attahiyyat.

Figure 19 shows the condition of Fatahillah Square on a weekend afternoon, where a lot of people gathered with their groups. In the distance, there were tents that were used as stage for music performance. The sound source that can be identified by the respondents were human voices and activities (talking, laughing, screaming, etc.), non-motorized transport (bicycle and its bell), and amplified music with a loud volume (cf. Figure 20). Based on data collected by semantic differential

Acoustics 2018, 1, x FOR PEER REVIEW 15 of 21

Acoustics 2020, 2 861 Figure 17. Jakarta History Museum and Fatahillah Square in 2017.

Presently,Presently, the the conditions conditions of Fatahillahof Fatahillah Square Square are significantly are significantly different different on weekdays on weekdays and weekends. and Onweekends. weekdays, On thisweekdays, area tends this toarea be emptytends to from be empt visitors,y from especially visitors, when especially the temperature when the temperature is very hot. Thereis very have hot. been There a significanthave been changesa significant in Fatahillah changes Square, in Fatahillah whereby Square, the existing whereby trees the were existing cut down trees inwere early cut of down 2017 (cf.in early Figure of 201718). Meanwhile,(cf. Figure 18). at theMeanwhile, weekend at evenings, the weekend this areaevenings, becomes this very area crowded,becomes wherevery crowded, many local where communities, many local street communities, hawkers and streetstreet artistshawkers gathers and there.streetIn artists addition, gathers supported there. byIn theaddition, private supported sector, the by management the private sector, unit of the Old management Town Jakarta unit initiates of Old musical Town Jakarta performances initiates to musical attract visitorsperformances and to to promote attract thevisitors historic and district. to promote Despite the of historic the crowds district. at the Despit weekends,e of the such crowds events at hasthe resultedweekends, in thesuch coming events ofhas many resulted street in hawkers the coming and of street many arts street which hawkers also enliven and street the situationarts which in also the Fatahillahenliven the Square. situation in the Fatahillah Square.

FigureFigure 18.18. Trees inin FatahillahFatahillah SquareSquare inin 2016.2016. Source:Source: Private Collections ofof Attahiyyat.Attahiyyat.

FigureFigure 1919 showsshows thethe conditioncondition ofof FatahillahFatahillah SquareSquare onon aa weekendweekend afternoon,afternoon, where aa lotlot ofof peoplepeople gathered with with their their groups. groups. In Inthe the distance, distance, there there were were tents tents that thatwerewere used usedas stage as for stage music for musicperformance. performance. The sound The soundsource source that can that be can identi be identifiedfied by the by respondents the respondents were were human human voices voices and andactivities activities (talking, (talking, laughing, laughing, screaming, screaming, etc.), etc.),non-motorized non-motorized transport transport (bicycle (bicycle and its and bell), its bell), and andamplified amplified music music with a with loud a volume loud volume (cf. Figure (cf. 20). Figure Based 20 ).on Baseddata collected on data by collected semantic by differential semantic di fferential scales, the average comfort level of respondents in the Fatahillah Square area at the weekends was 4.61 on a scale of 7. The level of crowd at weekends also did not increase the perceived value of being a historical district either, with an average rating of 5.07 out of a maximum scale of 7. Figure 21 illustrate the condition of Fatahillah Square at noon on a weekday. Based on the conducted soundwalk, the respondents felt a higher level of comfort with an average of 5.67 on a scale of 7. This quieter situation supports the level of appreciation of respondents to the historical aspect in the area by an average of 5.80 out of 7 scales. The majority of respondents’ complaints were more related to the area’s high temperature. Most of the respondents identify the sounds come from human voices and activities such as talking, laughing, screaming, etc., and the sound of bells from ontel bicycles. There was some background music. This quieter condition supports the respondents to listen to sounds more closely, such as the flapping of bird wings and also when the wind blows through the leaves, which could not be heard when the atmosphere was crowded (cf. Figure 22). Acoustics 2018,, 1,, xx FORFOR PEERPEER REVIEWREVIEW 16 of 21 scales, the average comfort level of respondents in the Fatahillah Square area at the weekends was 4.61 on a scale of 7. The level of crowd at weekends also did not increase the perceived value of being Acoustics4.61 on 2020a scale, 2 of 7. The level of crowd at weekends also did not increase the perceived value of being862 a historical district either, with an average rating of 5.07 out of a maximum scale of 7.

Figure 19. TheThe condition condition of of Fatahillah Fatahillah Square Square on on weekends weekends... IdentifiedIdentified Identiﬁed soundsound sound sourcesource source inin thethe in the picture:picture: picture: ((a)) human(a) human voice voice (b)) (aab bicycle)bicycle a bicycle ((c)) a (ac music)music a music stage.stage. stage.

Figure 20. TheThe classification classiﬁcation of identified identiﬁed sound sound sources sources on on the the weekends. weekends.

Figure 21 illustrate the condition of Fatahillah Square at noon on a weekday. Based on the conducted soundwalk, the respondents felt a higher levellevel ofof comfortcomfort withwith anan averageaverage ofof 5.675.67 onon aa scale of 7. This quieter situation supports the level of appreciation of respondents to the historical

Acoustics 2018, 1, x FOR PEER REVIEW 17 of 21 Acoustics 2018, 1, x FOR PEER REVIEW 17 of 21

aspect in the area by an average of 5.80 out of 7 scales. The majority of respondents’ complaints were aspect in the area by an average of 5.80 out of 7 scales. The majority of respondents’ complaints were more related to the area’s high temperature. Most of the respondents identify the sounds come from more related to the area’s high temperature. Most of the respondents identify the sounds come from human voices and activities such as talking, laughing, screaming, etc., and the sound of bells from human voices and activities such as talking, laughing, screaming, etc., and the sound of bells from ontel bicycles. There was some background music. This quieter condition supports the respondents ontel bicycles. There was some background music. This quieter condition supports the respondents to listen to sounds more closely, such as the flapping of bird wings and also when the wind blows to listen to sounds more closely, such as the flapping of bird wings and also when the wind blows Acousticsthrough2020 the, 2 leaves, which could not be heard when the atmosphere was crowded (cf. Figure 22). 863 through the leaves, which could not be heard when the atmosphere was crowded (cf. Figure 22).

Figure 21. Portraits the condition of Fatahillah Square on weekday. Identified sound sources in the Figure 21. Portraits the condition of Fatahillah Square on weekday. IdentiﬁedIdentified sound sources in the picture: (a) human voice (b) bicycle. picture: (a) human voice (b) bicycle.

Figure 22. The classification classiﬁcation of identified identiﬁed sound sources on Weekdays. Figure 22. The classification of identified sound sources on Weekdays.

6. Discussion 6. Discussion Based on the resultsresults ofof thethe researchresearch andand toto conclude,conclude, soundsound sourcessources andand theirtheir predictedpredicted sonicsonic Based on the results of the research and to conclude, sound sources and their predicted sonic environment in each period are describeddescribed in Table1 1.. TheThe influenceinfluence ofof sonicsonic environmentenvironment onon historichistoric environment in each period are described in Table 1. The influence of sonic environment on historic districts are the morphological setting changes of thethe area, the urban land-use of the area, and urban districts are the morphological setting changes of the area, the urban land-use of the area, and urban dynamics, especially fromfrom transportationtransportation modemode changes.changes. These morphologicalmorphological developmentdevelopment andand dynamics, especially from transportation mode changes. These morphological development and physical changes of surface material of the Fatahillah Square and construction of new buildings around the area have significant influences and impacts to the sonic environment in historic areas. The urban land-use of the area in accommodating certain activities will generate various kinds of human sounds. In addition, the continuous development of transportation in the area—starting from horse-drawn carriages to developing trams, private vehicles, oplets, and buses—will change the sonic environment Acoustics 2020, 2 864 significantly. Therefore, the management of historic places needs to consider the noise disturbance caused by the vehicles, which similar to the research result proposed by Montazerolhodjah et al. [16].

Table 1. The classiﬁcation of sound sources in Fatahillah Square over the periods.

Sound Source 2020s 1880s 1920s 1970s 1974s Categories Weekdays Weekends Tram, Buses, Horse-drawn Horse-drawn Microbuses, Transportation Vehicles. Bicycles. Bicycles. carriage. carriage, bicycle, Vehicles, vehicles. Rickshaws. Court Activity, Human Voices, Human Voices, Government Amplified Human voice, Human Singing, Human Music, Human Human Activity, Human Music, Human Office activities. Office activities activities, voices. Voice, Groaning Voices. Street Hawkers. footsteps. sound. Electromagnetic Constructions. Social Communal Church bell. Bells. Bells. Chipping Rustling leaves, Rustling leaves, Rustling leaves, Nature birds, rustling wind, birds. wind, birds. wind, birds. leaves, wind.

Predicted Sonic Quiet Quite busy Crowded Calm Calm/Quite Crowded Environment and Active

There are several identified soundmarks in Fatahillah Square in the past. The first was the church-bell sound from the period of 1880s, this sound created the negative perception of the places. The second was from the tram bells—like a cow-bell sound—from the period of the 1920s. The third was the microbuses trumpet from the period of 1970s. However, to decide which soundmark has the greatest influence on perceptions in the Fatahillah Square historic district requires further research. The challenge to determine the cultural values of soundscape of cultural heritage was searching the available data, especially for long-forgotten environment. In the case of the Fatahillah Square study, which experienced colonial rules and independence periods, many pictorial sources were obtained from the digital collection of Leiden University, which collected a lot of photographs in the past. The period with a small amount of data was the early period of Indonesian independence. This happened due to the government’s focus on other problems. Another possible means was to source photographs from private collections. As mentioned by Basturk et al., the soundscape is not just a matter in regard to the noise in city space, but it relates on how the soundscape will increase the understanding of the quality of urban environment, including historic places [42]. The Maffei’s Methodological Triangulation can help to determine the cultural value of soundscape of cultural heritage [9]. The results of this study indicate that understanding of the sonic environment provides a more complete appreciation of the context of the historic place in particular time periods. Therefore, this article argues that the assessment of significance of historic district cannot be implemented without a proper consideration of both tangible and intangible dimensions of the fabrics. The research clearly shows that even some landmark buildings such as Central Post Office, Jasindo, and Jakarta History Museum relatively remains unchanged over the time, unsurprisingly the urban dynamic setting might affect the appreciation of historic values of the places. As such, it is to confirm that historical context of heritage sites cannot be assumed to be a passive condition, but rather it may change time after time. The implementation of pedestrian area in the core area of Old Town Jakarta has affected the surrounding environment—including the sonic environment. Unfortunately that pedestrian designated area may not lead to the expected overarching understanding of the place. A holistic understanding of the district can only be achieved through a well-comprehensive multisensorial stimulus. Acoustics 2020, 2 865

7. Concluding Remarks Soundwalks, recalled in memory, historical records and pictorial analysis methods can be used to determine the sonic environment over a long period of time. Observation and interpreting visual and audio-visual data are to some extent problematic, especially if the conditions in the past were not well documented. The more pictorial and audio-visual recording available, the more accurate the prediction of sonic environment will be. As recommended, the sound source plays an important role in soundscape study, therefore, the sound source needs to be well managed in order to create the acoustic environment that can enhance the historic values of the district. The appreciation of historic district can be enhanced with the complete understanding through multisensorial stimulus. Based upon Maﬀei’s triangulation methodology, a further study can be directed to reconstruct the acoustic environment through laboratory experiments and assess the human perceptions about acoustic environment. This simulation will provide an inﬂuential sonic environment in the historic district which needs to be maintained, preserved, or restored.

Author Contributions: Conceptualisation, M.I.D., W.M., H.W.P. and R.J.S.; Methodology, M.I.D., W.M., H.W.P. and R.J.S.; Software, M.I.D.; Validation, M.I.D., W.M., H.W.P. and R.J.S.; Formal Analysis, M.I.D.; Investigation, M.I.D., W.M., H.W.P. and R.J.S.; Resources, M.I.D.; Data Curation, M.I.D.; Writing—M.I.D.; Writing—Review & Editing, M.I.D., W.M., H.W.P. and R.J.S.; Visualisation, M.I.D.; Supervision, W.M., H.W.P., R.J.S.; Project Administration, M.I.D.; Funding Acquisition, M.I.D. All authors have read and agreed to the published version of the manuscript. Funding: This research is partially funding by ITB Research Grant 2018. Acknowledgments: The authors acknowledge the support given by Bina Nusantara University and Old Town Jakarta Soundscape respondent. The authors also highly appreciate to the experts: Candrian Attahiyyat, Bintoro Hoepoedio and Bambang Eryudhawan. Conﬂicts of Interest: The authors declare no conﬂict of interest.

References

1. Avrami, E.; Mason, R.; de la Torre, M. Values and Heritage Conservation: Research Report; The Getty Conservation Institute: Los Angeles, CA, USA, 2000. Available online: https://www.getty.edu/conservation/publications_ resources/pdf_publications/pdf/valuesrpt.pdf (accessed on 20 November 2019). 2. Martokusumo, W. The old town Jakarta: Perspectives on revitalization, conservation and urban development. In Proceedings of the Architectural Design Symposium, Bangkok, Thailand, 15 September 2010; pp. 25–38. 3. Kubontubuh, C.P.; Martokusumo, W. Meeting the past in the present: Authenticity and cultural values in heritage conservation at the fourteenth-century Majapahit heritage site in Trowulan, Indonesia. Int. J. Heritage Stud. 2019, 26, 469–479. [CrossRef] 4. Wells, J.C. Valuing historic places: Traditional and contemporary approaches. In Proceedings of the Preservation and Rehabilitation of Iraqi City Centers, Bagdad, Iraq, 22–25 March 2010. 5. Yi, X.; Fu, X.; Yu, L.; Jiang, L. Authenticity and loyalty at heritage sites: The moderation effect of postmodern authenticity. Tour. Manag. 2018, 67, 411–424. [CrossRef] 6. Park, E.; Choi, B.-K.; Lee, T.J. The role and dimensions of authenticity in heritage tourism. Tour. Manag. 2019, 74, 99–109. [CrossRef] 7. Merleau-Ponty, M. Phenomenology of Perception; Routledge: London, UK, 2002; ISBN 9780415278416. 8. Shirazi, M. Towards an Articulated Phenomenological Interpretation of Architecture: Phenomenal Phenomenology; Routledge Research in Architecture: New York, NY, USA, 2013; ISBN 9781134679720. 9. Maffei, L.; Brambilla, G.; Di Gabriele, M. Soundscape as part of the cultural heritage. Soundscape Built Environ. 2015, 215–242. [CrossRef] 10. ICOMOS. The Nara Document on Authenticity. Available online: https://www.icomos.org/charters/nara-e.pdf (accessed on 20 November 2019). 11. UNESCO. UNESCO Universal Declaration on Cultural Diversity. Available online: http://www.unesco.org/ new/fileadmin/MULTIMEDIA/HQ/CLT/pdf/5_Cultural_Diversity_EN.pdf (accessed on 20 November 2019). 12. UNESCO. Convention for the Safeguarding of Intangible Cultural Heritage. Available online: http://portal. unesco.org/en/ev.php-URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html (accessed on 20 November 2019). Acoustics 2020, 2 866

13. Chung, S.-J. East Asian values in historic conservation. J. Arch. Conserv. 2005, 11, 55–70. [CrossRef] 14. Kwanda, T. Western conservation theory and the Asian context: The different roots of conservation. In Proceedings of the International Conference on Heritage in Asia: Converging Forces and Conflicting Values, Singapore, 8–10 January 2009. 15. UNESCO. Hoi-An Protocols for Best Conservation Practice in Asia: Professional Guidelines for Assuring and Preserving the Authenticity of Heritage Sites in the Context of the Cultures of Asia. Available online: https://unesdoc.unesco.org/ark:/48223/pf0000182617 (accessed on 20 November 2019). 16. Montazerolhodjah, M.; Sharifnejad, M.; Montazerolhodjah, M. Soundscape preferences of tourists in historical urban open spaces. Int. J. Tour. Cities 2019, 5, 465–481. [CrossRef] 17. Kaymaz, I.; Cüre, C.T.; Baki, E. Perceived soundscape of urban historical places: A case study of Hamamönü, Ankara. Procedia Eng. 2016, 161, 1920–1925. [CrossRef] 18. Schafer, R. The Tuning of the World; Knopf: New York, NY, USA, 1977; ISBN 978-0394409665. 19. Truax, B. Handbook for Acoustic Ecology; ARC Publication: Vancouver, BC, Canada, 1978. 20. Martokusumo, W.; Poetry, F.; Sudarsono, A.S. Multisensory perception toward urban quality in historic urban areas. Some notions on understanding human perception for place making. In Proceedings of the 8th Biannual International Conference Arte-Polis, Bandung, Indonesia, 3–5 September 2020. 21. Leus, M. The soundscape of cities: A new layer in city renewal. Sustain. Dev. Plan. 2011, 1, 355–367. [CrossRef] 22. International Organization for Standardization. ISO 12913-1:2014 Acoustics—Soundscape—Part I: Definiton and Conceptual Framework; ISO: Geneva, Switzerland, 2014. 23. Kang, J.; Aletta, F.; Gjestland, T.T.; Brown, L.A.; Botteldooren, D.; Schulte-Fortkamp, B.; Lercher, P.; Van Kamp, I.; Genuit, K.; Fiebig, A.; et al. Ten questions on the soundscapes of the built environment. Build. Environ. 2016, 108, 284–294. [CrossRef] 24. Kang, J. Urban sound environment. Build. Acoust. 2007, 14, 159–160. [CrossRef] 25. Sörqvist, P. Grand challenges in environmental psychology. Front. Psychol. 2016, 7, 583. [CrossRef][PubMed] 26. Aletta, F.; Kang, J.; Axelsson, Ö. Soundscape descriptors and a conceptual framework for developing predictive soundscape models. Landsc. Urban. Plan. 2016, 149, 65–74. [CrossRef] 27. Kang, J. From understanding to designing soundscapes. Front. Arch. Civ. Eng. China 2010, 4, 403–417. [CrossRef] 28. Brown, A.; Kang, J.; Gjestland, T. Towards standardization in soundscape preference assessment. Appl. Acoust. 2011, 72, 387–392. [CrossRef] 29. International Organization for Standardization. ISO/TS 12913-2:2018 Acoustics—Soundscape—Part 2: Data Collection and Reporting Requirements; ISO: Geneva, Switzerland, 2018. 30. Jeon, J.Y.; Hong, J.Y.; Lee, P.J. Soundwalk approach to identify urban soundscapes individually. J. Acoust. Soc. Am. 2013, 134, 803–812. [CrossRef][PubMed] 31. Martokusumo, W.; Poerbo, H.W.; Sarwono, J.; Sudarsono, A.S.; Nitidara, N.P.A.; Djimantoro, M.I.; Arifiana, A.; Poetry, F.A. Soundscape and the understanding of historic districts in Bandung. Tataloka 2019, 21, 371–380. [CrossRef] 32. Kang, J.; Zhang, M. Semantic differential analysis of the soundscape in urban open public spaces. Build. Environ. 2010, 45, 150–157. [CrossRef] 33. Aletta, F.; Efstathios Margaritis, K.F.; Romero, V.P.; Axelsson, Ö.; Kang, J. Characterization of the soundscape in Valley Gardens, Brighton, by a soundwalk prior to an urban design intervention. In Proceedings of the EuroNoise 2015, Maastricht, Netherlands, 31 May–3 June 2015. 34. Leiden University Libraries Digital Collections. KITLV A752-Stadhuis van Batavia. Available online: https://bataviadigital.perpusnas.go.id/peta/?box=detail&id_record=18&npage=1&search_key=&search_ val=&status_key=&dpage=1 (accessed on 1 November 2020). 35. Merrilless, S. Greetings from Jakarta: Postcards of a Capital 1900–1950; Equinox Publishing: Sheffield, UK, 2012. 36. Heuken, A. Tempat-tempat Bersejarah di Jakarta; Yayasan Cipta Loka Caraka: Jakarta, Indonesia, 2016. 37. Sulaeman, A.Y. Trem Batavia, Mutiara Transportasi Jakarta yang Terlupakan. Available online: https://issuu. com/adriansyahyasinsulaeman/docs/jurnal_20trem_20batavia-ilovepdf-co (accessed on 11 October 2020). 38. Population of Indonesia by Province 1971, 1980, 1990, 1995, 2000 and Statistics Indonesia. Available online: https://www.bps.go.id/statictable/2009/02/20/1267/penduduk-indonesia-menurut-provinsi- 1971-1980-1990-1995-2000-dan-2010.html (accessed on 15 October 2020). Acoustics 2020, 2 867

39. Martokusumo, W. Urban heritage conservation: Experiences in Bandung and Jakarta. In The Indonesian Town Revisited; Nas, P.J., Ed.; LIT Verlag-Institute of Asian Studies: Singapore, 2002; pp. 374–389. ISBN 9783825860387. 40. Martokusumo, W. Urban heritage and modern project, critical notions on conservation and heritage management. A brief look at the case Jakarta’s Kota Tua. J. Southeast. Asian Archit. 2008, 11, 51–62. 41. Martokusumo, W. Altstadterneuerung zwischen Vision und Realität: Die Revitalisierungsvorhaben des innenstadtnahen Hafenareals Sunda Kelapas, Jakarta; Yearbook Stadterneuerung (Jahrbuch Stadterneuerung): Berlin, Germany, 2002; pp. 255–270. 42. Basturk, S.; Maﬀei, L.; Masullo, M. Soundscape approach for a holistic urban design. In Proceedings of the AESOP 26th Annual Congress, Ankara, Turkey, 11–15 July 2012.

Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional aﬃliations.

© 2020 by the authors. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).