'A' New Museum of Indonesian Batik: As an Architecture Showing

‘A’ New Museum of Indonesian Batik: As an Architecture Showing Off Yuke Ardhiati Architecture Department of Universitas Pancasila, Jakarta INDONESIA [email protected]

Abstract: The paper will focus on the effect of “Visit Museum Years 2010-2014” project of Indonesia by revitalization and built a new museum. The museum of Indonesian Batik is a new museum the winner of Ministry of Education and Culture’s Museum Design Competition. Situated in a cultural heritage museum collection, this architectural research project as a multiple-discipline related to museum design improvement. Design drawing of a new museum practices represented a museum building as a national prestigious project. This paper examines how this museum partnership expands the traditional ways in which non- architectural museums display, present and provide by collaboration between Historian, Architect, Museology, Designer, and Batik Collector with the Ministry of Education and Culture to aimed a Term of Reference of Museum Design’s Competition by inserting a museum storyline of Indonesian Batik into a contemporary architecture. The storyline was described the process of batik making, the period of batik, a hall of fame and a visible museum storage. The new museum is also described how contemporary architecture as a container ‘form’ of batik as a cultural heritage can provide a spatial experience such as well as Architecture-Event theories of French philosopher Jacques Derrida.

Keywords: Architecture-Event, ‘Form’, Indonesian Batik, Storyline, Visible Museum Storage

Introduction

The first Indonesian museum built by Dutch-Indies government called “the Elephant Building“ or Museum Gajah because of the large bronze statue of an elephant standing in the front yard. It was presented by the Thailand’s King, Chulalongkorn when visit to the museum in 1871. Now, thus museum it became as the National Museum of Indonesia managed by Ministry of Education and Culture. Recently, Indonesia has more than 400 museum buildings. Most of it used by the heritage buildings. All the time, museums in Indonesia have many of problems, especially in management, the collections display and also the shortage of the old building into a museum dedicated. During Susilo Bambang Yudoyono’s era, the government realized its shortcomings and to improve itself in a way create Visit Indonesia Museum Year 2010-2015 project is a part of the government policy as the initial momentum started to “Love National Museum’s Movement” held for 5 years. One of the activities in those programs is the revitalization of museums to realize the museum Indonesia dynamic and efficiently in accordance with the standards of ideal museum management and utilization and built a new museum program especially the thematic museum. They will be materialized Indonesian museum interesting, informative and able to meet the need of the community. Visit Indonesia Museum Year 2010-2014 in principle held in museums throughout Indonesia, by priorities in seven provinces, namely Jakarta, Yogyakarta, West Java, Central Java, East Java, Bali, and North Sumatra. 1

During the year in 2010, is planned around 89 museums in Indonesia already scheduled featured activities, such as exhibitions of local culture, ceremonies, art performances and discussions, and workshops at the museum building existing and create a new museum building. During with it program, Indonesian Batik as a traditional fabric had recognized by UNESCO as the Intangible Cultural Heritage of Humanity at 2009. In order to celebrated of the recognition, the Ministry of Education and Culture need to creates ‘A’ New Museum of Indonesian Batik. Currently, the Ministry of Education and Culture of Indonesia had two of the architectural museum designs. The first, created at 2011 as an internal result and the second created as the winner of the Museum Design’s Competition at 2013. The first design explored by a Javanese architecture, and the second explored by a contemporary architecture adopted batik metaphor to enrich the building’s façade.

The Ministry of Education and Culture is doesn’t have an experiences to create a Museum Design’s Competition. They usually create the new building by a consultant’s tender system, and by adopted thus way is doesn’t effectively to find an excellence design, because it can’t be obtained a good idea of design. In order they will be have many of ideas they invite the expert to collaboration to preparing the Academic Research Study to produce a Term of Reference of Museum Design’s Competition.

The Ministry of Education and Culture invited the multiple-discipline among other; Historian, Architect, Museology, Designer, and Batik Collector to preparing an Academic Research Study before they preparing a Term of Reference of Museum Design’s Competition. Finally, the museum partnership expands the traditional ways in which non-architectural museums display, present and provide a Term of Reference of Museum Design’s Competition.

The New Concept of Museum Design

Especially to find the excellence design, the Architect’s team had discussing about a new architectural design approach in museum building. The Architect’s team start to learning the new museum phenomenon in the world and found the key aspects in museum design named a museum storyline and a contemporary architecture as the container ‘form’ of the museum building. Finally they decided to insert a museum storyline into a contemporary architecture as the basic design competition.

Before the team decided to insert a storyline theme, they explored other museums as architecture-precedents by learning many of the famous museum design by Museum Design’s Competition or design by the prominent Architect.

2 As the architecture precedent, they learn about a well-known museum in the 1980s. The Solomon R. Guggenheim Museum, at New York created by Architect Frank Lloyd Wright, created by interpreted of Founder’s museum had messages to Wright: “I want a temple of spirit, a monument!”. Then, Wright’s expressed his uniqueness take on modernist architecture’s rigid geometry as a symphony of triangles, ovals, arcs, circles, and squares. The building ‘forms’ echo one another throughout the oval-shaped columns. In conquering the static regularity of geometric design and combining it with the plasticity of nature, Wright produced a vibrant building whose architecture is as refreshing now as it was 56 years ago. Since it’s opening, the Guggenheim building has served as an inspiration for invention, challenging artists and architects to react to its eccentric, organic design. In 2008, the museum was designated a National Historic Landmark, and then in 2015 the building was nominated by the United States to be included in the United Nations Educational, Scientific and Cultural Organization (UNESCO). Post Wright, most Architects inspire to explore the museum design by adopted the new architectural concept.

The Architectural Concept of “Showing off”

The architectural concept is a part of the Academic Research Study. The Architect’s team proposed Architecture-Event concept as the basic design of ‘A’ New Museum of Indonesian Batik. Architecture-Event theory introduce by De-constructivist philosopher Jacques Derrida. (Derrida, 2009:1). It applied as an Event-Cities (Praxis) by Architect Benard Tschumi when he designed the New Acropolis Museum at Athens at 2005. Also it adopted by McDugall to the National Museum of Australia at Canberra at 2011.

Refers to an architectural perspective, what has Tschumi and McDugall described as a ‘form’ of architecture making as described by Jacques Derrida, can be related to dramatically ways of “showing off” by practicing of the contemporary architecture phenomenon in museum context. Beside them, Frank Gehry in 1997 also creates the unique building of Guggenheim Museum of Bilbao1 as the New York’s branch. He explained as a reaction to the commodification and result-oriented development of the museum design practices in Madrid combined with architectural event seeking more touching with ‘A Wow Effect’ in design working. ‘A Wow Effect’ is means a special state of mind referring to a special ‘view’. When we ‘re surprised by something wonderful or really great, we got the ‘wow effect’. The statement usually to say of the wow effect as gained when a hot chick is seen. The origin’s phrase of ‘wow factor architecture’ has been used extensively in both the UK and United States to promote avant-gardist buildings within urban regeneration since the late 1990s.

French philosopher, Jacques Derrida describes the new phenomenon is a part

1 Source: http://www.architectural-review.com/buildings/1997-december-guggenheim-museum-by- frank-o-gehry-and-associates-bilbao-spain/8603272.fullarticle 3 of Architecture-Event practices in building as a turn towards discursive and socially engaged architecture. He links this way of working to architect design performance from and describes their effect of the viewer in the architecture design making process: “…la structure même du dispositif architectural: séquence, sérialité ouverte, narrativité, cinématique, dramaturgie, choregraphie (Derrida, 2009:1). The concept of contemporary architecture design is also called trans-architecture.

He guided Architect how to present the ‘event’ by presenting a ‘wow effect’ it called Point de Folie - Maintenant L'Architecture or the madness in Architecture. He guided a trans-architecture building’s concept by combine the six-criteria among others: a. sequences, b. the open-serialize, c. narrative, d. cinematic, e. the drama, and f. the choreography. Architects can adopted more design approaches to create the uniqueness ‘form’. By inserting the six criteria into the museum building concept they can find a ‘new form’ as an extraordinary building ‘form’ and it seems as unusual museum building’s appearances. By finding the new one the city will have a new icon to enrich their civilization. Refers to him the educational practices in Architecture-Event concept Derrida’s suggestion that Architect and viewer are equally contributing to the production of knowledge can be related to Architecture-Event theories based on the work of Peter Eisman and Tschumi in the 1980’s.

In his seminal paper the contemporary architect Benard Tschumi – “Six Concepts. Excerpt Architecture and Disjuction” 2 he describes the implementation of Architecture-Event-based practices in site-specific contexts by adopted six concepts among others; a. Technologies of De-familiarization, b. The Mediated “Metropolitan” Shock, c. De-structuring, d. Superimposition, e. Cross-programming, f. Events: The Turning Point. He situates the shift paradigm from a modernist museum gallery space into an Event-Cities (Tschumi, 1999:013) to the consideration of a place’s specificity in the 2000’s. “…The space of art was no longer perceived as a blank slate, a tabula rasa, but a real place.” Tschumi critically examines the growing interest in the notion of place and its physical, historical, and social connotations in architecture. He stated that a dominant drive of site-oriented practices today is the pursuit of a more intense engagement with the outside world and every-day life – a critique of culture that is inclusive of non-art spaces, non-art institutions, and non-art issues”.

2 Source:http://workgroups.clemson.edu/AAH0503_ANIMATED_ARCH/M.Arch%20Studio%20Docu ments/Tschumi_6_Concepts.pdf 4 even it similar as a big statue or a sculpture. The architecture phenomenon is also a part of ideas the “architecture stage” ( Ardhiati, 2013:1327). The Idea of “Architecture Stage” is a Non-Material Architecture Theory of monument’s building, included museums as the unconscious to produce civilizationand space linked with Architect’s psyche.

Considering museology space as an environment to learning, the new museum concept called Museums 2000 including The 4P Museum Concepts among others; Politics, People, Professionals and Profit (Boylan, 1994: 7). The new concept is the basic idea how to improvement the services and facilities the museum post the Museum Year Conference at 1989 in London. He describe any priority list of factors of central importance to museums and art galleries in recent years and at the present time should have included the impact of politics on museums at both national and local levels.

In other hand, refers to the conference of ANMA- the Asian National Museum Association, Masami Zeniya from the Tokyo National Museum stated two essentially mission and roles in society of a museum for the future related in architecture. It’s needs to improve facilities to deal with the deterioration of air- conditioning equipment and to provide barrier-free access to allow visitors to view artworks in comfortable (Zeniya, 2002). The first mission is how to aware for the younger generation and how to attract younger visitors and deepen their understanding of the museum.

Based on both, the Architectural Concept of ‘A’ New Museum of Indonesian Batik has a result of Academic Research Study as a Term of Reference of Museum Design’s Competition by adopted the The 4P Museum Concepts of Boylan and also adopted Zeniya’s into the building standard facilities and building’s performance especially the pattern of building’s plan, building’s façade, a hall of fame and a visible museum storage. In relation to what has recently been described how contemporary architecture as a container ‘form’ of Indonesian batik as the cultural heritage collection settings can provide the spatial experiences such as those described by Architecture-Event theories as well as by deconstruction philosopher Jacques Derrida. (Ardhiati, 2013:16).

This paper contextualizes an Academic Research Study to find a Term of Reference of ‘A’ New Museum of Indonesian Batik. The research held by collaboration between Historian, Architect, Museology, Designer, and Batik Collector with the Ministry of Education and Culture to aimed the Academic Research Study of ‘A’ New Museum of Indonesian Batik. The team works in collaboration during six months to examine how a contemporary architecture can provide the Indonesian Batik. The museum contains substances, the ‘batik’ as the information centers, promotion, development and also the conservation. It designed by the visitors flow, arranged in attractive façade, fulfill of architecture design approach to “showing off “ the all of batik pattern and style as well as the Indonesian batik masterpieces. They expect the museum is become a spatial learning experiences to batik appreciation as the origin Indonesian art craft include economy value, fashion, creative industries and 5 then encourage the tourism. They considered of museum’s role as an information center, promotion, development and also the conservation practices.

Post the Ministry of Education and Culture rejected the first museum’s design of 2011 they aimed to find a Term of Reference of Museum Design’s Competition at 2013. The Academic Research Study of ‘A’ New Museum of Indonesian Batik is needs to lead their prestigious work creates by a collaboration between Historian, Architect, Museology, Designer, and Batik Collector.

Refers to an architectural perspective, what has Tschumi and McDugall described as a ‘form’ of architecture making as described by Jacques Derrida, 2009 can be related to dramatically ways of “showing off” by practicing of the contemporary architecture phenomenon in museum context. Beside them, Frank Gehry in 1997 also creates the unique building of Guggenheim Museum of Bilbao3 as the New York’s branch. He explained as a reaction to the commodification and result-oriented development of the museum design practices in Madrid combined with architectural event seeking more touching with ‘A Wow Effect’ in design working. ‘A Wow Effect’ is means a special state of mind referring to a special ‘view’. When we 're surprised by something wonderful or really great, we got the ‘wow effect’. The statement usually to say of the wow effect as gained when a hot chick is seen. The origin’s phrase of ‘wow factor architecture’ has been used extensively in both the UK and United States to promote avant-gardist buildings within urban regeneration since the late 1990s.

French philosopher, Jacques Derrida describes the new phenomenon is a part of Architecture-Event practices in building as a turn towards discursive and socially engaged architecture. He links this way of working to architect design performance from and describes their effect of the viewer in the architecture design making process: “…la structure même du dispositif architectural: séquence, sérialité ouverte, narrativité, cinématique, dramaturgie, choregraphie (Derrida, 2009:1). The concept of contemporary architecture design is also called trans-architecture. He guided Architect how to present the ‘event’ by presenting a ‘wow effect’ it called Point de Folie - Maintenant L'Architecture or the madness in Architecture. He guided a trans-architecture building’s concept by combine the six-criteria among others: a. sequences, b. the open-serialize, c. narrative, d. cinematic, e. the drama, and f. the choreography. Architects can adopted more design approaches to create the uniqueness ‘form’. By inserting the six criteria into the museum building concept they can find a ‘new form’ as an extraordinary building ‘form’ and it seems as unusual museum building’s appearances. By finding the new one the city will have a new icon to enrich their civilization. Refers to him the educational practices in Architecture-Event concept Derrida’s suggestion that

3 Source: http://www.architectural-review.com/buildings/1997-december-guggenheim- museum-by-frank-o-gehry-and-associates-bilbao-spain/8603272.fullarticle 6 Architect and viewer are equally contributing to the production of knowledge can be related to Architecture-Event theories based on the work of Peter Eisman and Tschumi in the 1980’s.

In his seminal paper the contemporary architect Benard Tschumi – “Six Concepts. Excerpt Architecture and Disjuction” 4 he describes the implementation of Architecture-Event-based practices in site-specific contexts by adopted six concepts among others; a. Technologies of De-familiarization, b. The Mediated “Metropolitan” Shock, c. De-structuring, d. Superimposition, e. Cross-programming, f. Events: The Turning Point. He situates the shift paradigm from a modernist museum gallery space into an Event-Cities (Tschumi, 1999:013) to the consideration of a place’s specificity in the 2000’s. “….The space of art was no longer perceived as a blank slate, a tabula rasa, but a real place.” Tschumi critically examines the growing interest in the notion of place and its physical, historical, and social connotations in architecture. He stated that a dominant drive of site-oriented practices today is the pursuit of a more intense engagement with the outside world and every-day life – a critique of culture that is inclusive of non-art spaces, non-art institutions, and non-art issues”.

The uniqueness of buildings are become a new iconic building by showing unusual building façade composed by adopted the four basic of Fashion Elements and Principles of Design; color, silhouette, line, and texture into the architecture’s body and façade (Ardhiati, 2014: ). Because of adopted the four basic of fashion’s elements, the building called a metaphoric of Fashion- Architecture by placing the details of the fashion’s elements; accessories, millineries, and cosmetics. So, it looks like unusual building’s appearances even it similar as a big statue or a sculpture. The architecture phenomenon is also a part of ideas the “architecture stage” ( Ardhiati, 2013:). The Idea of “Architecture Stage” is a Non-Material Architecture Theoryof monument’s building, included museums as the unconscious to produce civilizationand space linked with Architect’s psyche. The Architectural Concept of ‘A’ New Museum

The collaboration works of Researchers, Architects, the Batik collectors, Museology and Designer in partnership with the Ministry of Education and Culture to aimed an Academic Research Study a Term of Reference ‘A’ New Museum of Indonesian Batik Design’s Competition in 2013. They create an interactive and educational museum exhibition by museum in collaborating with a winner contemporary Architects. ‘A’ New Museum of Indonesian Batik addressed batik nusantara region, ecological and social importance, occupied a space adjacent to the permanent and temporary displays. It included a series of multi-media projections and interactive sculptures that presented viewers with multi-sensory experiences related to the museum’s narrative displays,

4Source:http://workgroups.clemson.edu/AAH0503_ANIMATED_ARCH/M.Arch%20Studio%20D ocuments/Tschumi_6_Concepts.pdf 7 architecture and surrounding outdoor environment.

Based on Derrida’s Architecture-Event theory, an Academic Research Study of ‘A’ New Museum of Indonesian Batik held by exploring the Batik Nusantara as the originally Indonesian art crafts product choose as the main storyline of the museum exhibition (Ardhiati, 2013). It’s designed to provide open-ended learning opportunities and tourism experiences of environmental conditions of Indonesian Batik industry. So, the architect participants of Museum Design’s Competition must be elaborated the building’s design by adopted Architecture- Event concepts including; sequence, open serialize, narrative, cinematic, drama, choreography.

The Architecture-Event’s concept of museum was held by insert a museum storyline. A museum storyline is role to direct visitors fluent during their appreciation inside the building. ‘A’ New Museum of Indonesian Batik as a museum building contained the Indonesian Batik clothes show at sequences of displays. Start from the classical batik period, contemporary and it’s industry in early 10th century. The storyline held to describe how the process of batik making and exposed in thus period. Batik as art craft industry and it’s changing conditions by influences of India, Dutch and Chinese. Recently, a contemporary batik known as a blended of interdisciplinary and a new pattern of batik to be a new Indonesian Batik.

The museum will be shows a narrative of the origin Indonesian batik. In the 19th century batik became highly developed and was well ingrained in Javanese cultural life as an art form for Javanese royalty. Batik patterns reserved to be worn only by royalty from the Sultan’s palace. The batik making is an important part of a Javanese young ladies accomplishment that she was capable of handling a canting - the pen-like instruments used to apply wax to the natural materials such as cotton or silk.

Canting is a small thin wall spouted copper container, sometimes it called a wax pen that is connected to a short bamboo handle. Within approximately 11 cm, the copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth. Canting have different sizes of spouts, numbered to correspond to the size to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts ash to fill in very large areas.

Refers to Derrida’s concepts the museum building’s open serialize adopted a story line of Indonesian batik to enrich the building’s plan and façade. The Museum Indonesian Batik performance is expected to appear as Indonesian masterpiece museum building by express a creative innovation of local genius architecture in harmonized with other museums at the same location at Taman

8 Mini Indonesia Indah region. The basic concept of architectural ‘form’ is refers to Indonesian batik patterns including geometric and naturalist pattern/ non- geometric. The geometric pattern, among others; kawung – designs based on circles, ceplok designs based on combined of squares, rhombs, circles, stars and non - geometric pattern among others; grudo, buketan, nitik, and tanahan (Ardhiati, 2013).

Based on Derrida’s Architecture-Event concepts the Museum Design’s Competition asked to Architect participants to elaborated building’s plan and façade by inserting a storyline of batik. The Term of Reference of Academic Research Study of ‘A’ New Museum of Indonesian Batik start to built in October 2015 at Taman Mini Indonesia Indah–TMII in Jakarta with land area around 6.451.25 m2. It’s bordered by three existing building museums; the Soldier Museum, the Heritage Museum and the Insect Museum. All museums had a main gate directed between the Heritage Museum and the Insects Museum. As the district rules, the new building is must be has a line towards the imaginary axis to Pancasila Fire Flame Monument - a miniature of the Tugu National Monument of Indonesia. Architect participants must be adopted the TMII’s regulation among others; the building area coverage and the maximum height of the floor, and also refers to green building architecture.

‘A’ New Museum of Indonesian Batik is contained substances, among others; information centers, promotion, development and also as a conservation. It’s designed with the visitor flow, arranged in attractiveness design. And fulfill criteria as well as a distinctive ‘form’ so that later became a masterpiece building of Indonesia. The museum’s sequences create as permanent and temporary exhibition selected batik collection by several key themes. The first sequent is the Batik Nusantara’s Discourse, describes the introducing a philosophical batik patterns, the area produces, the coastal batik, and batik inland. The displays are showing off the diversity of batik in each region, and batik patterns influences by Dutch, Arab and Chinese culture.

The second sequent is the Batik of Technology, describes the techniques of batik (stamp, write-down, and combinations), the batik process, the materials of batik, the tools used when making batik, the staining technique. The next sequent is the Traditional Batik Clothes, among others; dodot, lengh cloth or tapih/ kain, gloves, scarves, kemben, headband, lendang/ baby carrier, etc. And finally sequent is the Batik Development, describes a new form of batik as clothes, fashion accessories (jewelry, shoes, handbags, wallets, etc.), home accessories, daily appliances (pillowcases, sheets, blankets, tablecloths, napkins, etc.).

The cinematic of the museum concept held by shows a simple simulation of the Batik Making Procession as well as a drama of batik making. It is start to finished including all fixtures physical; sumur - wells as tools for nglorot and medel. The story of canting board as klowong, cecek, isen, and also cap- stempel, brushes, wax batik resin (paraffin, microwash, beeswax, gondorukem). The outdoor sculpture themed batik and also the waste 9 treatment.

The choreography in Architecture-Event’s concepts at the museum creates by a Hall of Fame Batik Indonesia. Is an intermediary space to the main showroom by display works of batik worn of international figures creates by dedicated actor in Indonesian batik divided in; a. The Colonial Era represented by Raden Ajeng Kartini’s Batik, b. The Soekarno’s Era represented by Go Tik Swan and Ibu Soed, c. The Soeharto’s Era represent by Iwan Tirta, Ramli and Obien, d. The Gus Dur’s Era represented by Adji Notonegoro, and Megawati’s Era represented by a Clasiccal Lady’s Batik, and Susilo Bambang Yudoyono’s Era represented by the woven-batik of Carmanita.

The Hall of Fame of Batik is continuing by Figures in Dressing Indonesian Batik especially to represent by the Dodot of the Mataram Dynasty, the Batik Indonesia of Soekarno by exposed his wife-Hartini’s collection, the Batik Sarimbit – Batik Spouses of Soeharto and his wife. And, the finally shows is the President Clinton and Nelson Mandela in dressing batik. To enrich the museum, it added an Interactive Space Visitors by locate an Art of Batik Illusion as a both of visitors to take pictures without interacting with collections. The museum is also include a Visible Museum Storage for more than 10.000 batik collections as well as a warehouse located at indirect sunlight which can be seen by visitors from outside.

The “Showing off” Museum of Indonesian Batik

Museum Design’s Competition won by Young Architect Ivan Saputra. He true elaboration of the Term of Reference of design competition carefully to explore the outer perimeter design museum of Batik. He had a suitable reason to encourage the younger to visit. Ivan Saputra proposed to create a main plaza connected to all museums by a connecting hub museum concept. He adopted the Event of the Six-Concept of Tschumi.

He explored the building’s façade by a massif in context to protect the Batik as the fragile cloths of museum collections. He creates a massif in context with a corresponding copper cladding to expose the history behind of Batik. He found the cooper as the canthing’s material as a part of building envelope’s materials. In thus case, Ivan adopted the Fashion Elements and Principles of Design; color, silhouette, line, and texture into the architecture’s body and façade refers to Ardhiati, at once he created unusual building’s appearances even it similar as a big statue or a sculpture named the “architecture stage” of Ardhiati’s theory.

In order to successfully to encourage all people to visit includes the handicap persons he adopted a flowing circulation by create a ramp system inside the building. He also improve the rapidly of information technology to the future generation. To create an attractive museum, he adopted a museum storyline by sequences activity based. After entering into the museum area, visitor must be found a suitable pedestrian to connect to the ticketing counter. Visitors can see

10 the whole picture of Indonesian Batik exhibition at an introduction space.

After visitor’s drive through the museum main gate, they can be watching overview at the indoor collections. All visitors are directed down to each floor through the stairs. Then, people with disabilities will be provided of floor ramp. Visitors can be watching the outdoor collections include the traditional batik color processing equipment. The can watching how to waxing and medel, and then they will be looking the batik making process, washing and nglorot. After visit the outdoor collection, visitor’s drive to go to the Main Gallery.

At the Main Gallery visitor will be watching the Batik Exhibition as well as the Academic Research Study of Museum. The exhibition space includes the permanent exhibition of the Batik Pesisiran – coastal batik, the Inland Batik and Batik Nusantara. The museum facilities are as a Seminar Room, an Audio- Visual Room, a Batik Souvenir Shop to sell raw materials of books, souvenirs, batik, CD catalog, pattern catalog, canting, cap etc. The museum had a workshop for the training room to make batik techniques written and stamp. The Clinic Space for visitors who provide consultancy how to take care of batik to visitors. All museum space for visitor was trying to make batik as evidence to complement the creative thinking.

Refers to the success story of Contemporary Architects Arshton Raggatt McDugall at Canberra and Bernard Tschumi at New York that agree to avoid traditional museum interpretation, Ivan also creates a postmodern architecture to reflect the diversity of the museum’s collection. After he learned the visitor’s habit during inside the building. He adopted the Architecture-Event concept of Derrida to present his museum design. He try to present a ‘wow effect’ by applied the cooper material into the massif building envelope, and he also adopted the sequences, and narrative architecture to develop the museum building storyline as a dramaturgy phase. He also adopted the flowing circulation by adopted the ramp system floors to floors building and improvement the rapidly of information technology to all generations. Generally ‘A’ New Museum of Indonesian Batik try to adopted all of the Term of References need. As Architect, Ivan try to accepted the architectural concept of new museum by try to express the museum building within the key aspects as a part of Architecture-Event Concept, so the new museum adopted The Architectural Concept of “Showing off” to exposed the batik as Indonesian cultural heritage.

Conclusions

Museum buildings problematic in Indonesia were encouraged the debates, because of the unusual to adopted a new museum design. In other hand the recent museum appearance is need to change related how to get a successfully mission to educate the younger people. Museum is also need to accommodate the politics, people, professionals, and also profit. In order to successfully in to Museum 2000 and the future of museums refers to Boylan, it needs to creates

11 an uniqueness of new museum buildings. It is make a sense to be an iconic building ‘form’ to enrich the city. To find unusual building’s museum may adopted the Architecture-Event theory to expressing a contemporary architecture of point de folie-Le maintenance-architecture. The museum building’s become a pleasure of building by insert a story line into; sequence, open serialize, narrative, cinematic, drama, choreography of Derrida’s.

A new ‘form’ of museum building may be called ‘a wow effect’ or an Architecture ‘a showing off’ located at the entrance, the inside or somewhere to make a happily young generation visitors. Because of the future generation is related with internet media usually presented an attractive visually in all museum building in order be to “a show off architecture” as a part of the idea of architecture stage to show their own culture civilization by prefer the beautiful site (the lake, the heritage, the hill) to educate the future generation the better sustainable design. An Academic Research Study may a new approach in museum building design by multi disciplines in collaborating with government. By research-based practice of museum collaborations as the shift paradigm in museum management was found the beneficial implications for future museums.

REFERENCES Ardhiati, Yuke. 2014. The Fashion-Architecture’s Theory: Reflecting Tribe Civilization into Contemporary Age. The International Journal of Civil Engineering and Architecture 8/12 page 1536 Ardhiati, Yuke. 2013. The Idea of “Architecture Stage”: A Non-Material Architecture Theory. The International Journal of Civil Engineering and Architecture 7/10 page 1323

Ardhiati, Yuke. 2013. Academic Research Study: The Establishment of Museum Batik Indonesia. Department of Education and Culture, page 14-20

Boylan, Patrick (Ed). 1992. Museum 2000: Politics, People, Professionals, and Profits. London and New York: Museum Association-Routledge.

Department of Education & Science. 1993. Provincial Museums & Galleries. London: Her Majesty’s Stationary Office.

Derrida, Jacques. 2009. Point De Folie-Le Maintenance-Architecture. Sources: //www.jacquesderrida.com.ar/Point de folie — maintenant l'architecture_source : 27 Avril 2009 Edson, Gary & Dean, David. 1996. The Handbook for Museums. London & New York: Routledge. Fopp, Michael. 1997. Managing Museums and Galleries. USA and Canada: Routledge. Groat, Linda & Wang, David. 2002. Architectural Research Methods, John Wiley & Sons Inc, Canada. Kliment, Stephen (ed). 2001.Building Type Basic for Museums. New York: John Wiley & Sons, Inc. Rose, Gillian. 2006. Visual Methodologies. An introduction to the Intepretation of Visual Materials, SAGE Publications Ltd, London. Tschumi, Benard. 1999. Event-Cities (Praxis), The MIT Press, London. Zaniya, Masami. The Mission and Roles in Society of a Museum for the Future. http://en.chnmuseum.cn/Default.aspx?TabId=817&InfoID=83303&frtid=867&AspxAutoDetectC ookieSupport=1 Menzies, Isa.2014.Review: Spirited: Australia's Horse Story, National Museum of Australia, Canberra, Animal Studies Journal, 3/2, 41-47. Available at:http://ro.uow.edu.au/asj/vol3/iss2/8

Image List A model of Museum Indonesian Batik by Architect’s Team of Ivan Saputra. Taman Mini Indonesia Indah Historic Site, 2014. A graphic presentation of Museum Indonesian Batik by Architect’s Team of Ivan Saputra. Taman Mini Indonesia Indah Historic Site, 2014. 12

ABOUT THE AUTHOR Dr. Yuke Ardhiati: Yuke Ardhiati is a Lecture in the Engineering Faculty of Architecture Department of Universitas Pancasila, Jakarta, Indonesia. She is an architect and researcher interested in interdisciplinary approaches to visual art, collaborative and heritage practices. Her works in creating architecture, art- fashion and heritage. She has an extensive record of national and international of journal, she is a member of the IAI – Institute of Architects of Indonesia. Her work has focused on Soekarno’s architectural ideas.