Reappearances of the SARINAH heritage mall building: an “urban forest” theme and restore the historical artwork

doi:10.21203/rs.3.rs-3782729/v1

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Reappearances of the SARINAH heritage mall building: an “urban forest” theme and restore the historical artwork

https://doi.org/10.21203/rs.3.rs-3782729/v1

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The Modern Architecture Movement’s stance against ornamentation, however, the architectural characteristics of the International Style in Indonesia in 1960s are often combined with iconography in the building façade or structural wall. The existence of these artworks inside or outside of various buildings are considered to colour the triumph of Modern Architectural Style. This Design-Build project of SARINAH heritage mall building in Jakarta is organized in a multidisciplinary manner by accommodating an adaptive reuse method. Due to spatial changes on the ground floor, 15 figures of the relief-sculptures as a part of the structural wall, which had been ‘buried’ for 30 years, were rediscovered and they needed to be restored. This case study seeks to reveal the uniqueness of the ongoing transformation project, especially how to treat the heritage building to meet to the contemporaneous. By accommodated “urban forest” theme and restore the historical artwork, the reappearances of the SARINAH heritage mall can meet to the sustainable city goals, enriched by the 15 relief-sculptures reinforces the cultural aesthetics for the shopping centre’s urban destination. Meanwhile, to avoid the high risk to casting the historical artwork then the digitally record held by digital sculpting.

adaptive_reuse

digital sculpting

SARINAH heritage mall

urban forest theme

relief-sculptures

The Modern Architecture Movement’s stance against ornamentation, beginning with Austrian architect Adolf Loos’ 1908 essay “Ornament and Crime” and evolving into Le Corbusier’s Modernist architecture, such as the Villa Savoye (1928–1931) whose simplicity implies that ornament is a crime. The iconic works of Le Corbusier and Mies Van der Rohe from their mature works in the early 1960’s manifest the lack of ornament in favour of geometric order (Hill and Gibberd, 2017). Meanwhile, the ‘crime’ that has become the haven in architectural practice in postmodern era (Elmoghazy and Afify, 2020). However, the architectural characteristics of the International Style in Indonesia are often combined with iconography in the building façade, that may be covered with artworks that depict ‘Indonesian diversity’ through various materials, such as stone sculptures, concrete sculptures, wood sculptures, ceramic mosaics, murals, etc. The existence of these artworks inside or outside of various buildings are considered to colour the triumph of Modern Architectural Style in Indonesia (Author (s), 2013).

The architectural style in the capital city of Jakarta in the 1960s has a close influence with the architectural style found in the capital city of Brazil. Both of Leader of Brasillia, President Juscelino Kubitschek and President Soekarno are close of friendship (Author (s), 2013). At that time, Brazil became the first country in the world to build a Capital City with the modern city concept it was inaugurated in 1960, it was unlike any other city in the world. Designed with a radical, artistic urban plan by Lúcio Costa and Oscar Niemeyer, and enrich by avant-garde landscape design by Roberto Burle Marx (Waldek, 2020).

Referring to Kelly, the Brasília capital city was not only built with beautiful road infrastructures, but also buildings and city sculptures that were prepared in an integrated manner as well as the city sprouted as shown the rise of Brasília (Kelly, 2020). Inspired by Brazil, then Mr. Soekarno beautify Jakarta Capitol City in the 1960s by significant architectural legacies of the Modern Architecture buildings that were subjects to restoration. Firstly, the Gelora Bung Karno Main Stadium of Jakarta (2017–2018) in as the Asian Games XVIII venue (Author (s), 2020). Then, the Istiqlal Mosque (2020–2021) and the Planetarium (2021–2022). Recently, the SARINAH Department Store during 2020–2022 (Author (s), 2021). The Soekarno’s legacies were contemporaneous with the Modern Architecture Movement’s. But, his architecture buildings legacies are often combined with iconography in the building façade, that may be covered with artworks that depict ‘Indonesian diversity’ through various materials, such as stone sculptures, concrete sculptures, wood sculptures, ceramic mosaics, murals, etc. The existence of these artworks inside or outside of various buildings are considered to colour the triumph of Modern Architectural Style in Indonesia (Author (s), 2013). Contemporaneous with the early Modern Architecture movement, the International Style buildings are predominantly in reinforced concrete construction. As a new material at that time, reinforced concrete was important not only in technical terms, but also in how reinforced concrete influences the growth of Modern Architecture in Indonesia, adjusting to Indonesia’s deep-rooted culture and the political order during the Soekarno and Soeharto eras (Hanum, Lukito, and Kurniawan, 2020).

SARINAH Heritage Mall Building

SARINAH, founded in 1962 was the first modernist department store built in Indonesia during Soekarno’s era (Soekarno, 1963). And, it is the only state-owned retailer owned by The Ministry of State-Owned Enterprises (BUMN), which has more than 100 Small-Medium Enterprises. Since SARINAH is just over 60 years old, the Minister of State-Owned Enterprises, Erick Thohir was determined to carry out a business transformation so that: “SARINAH will become a symbol of a nation brand as well as a “must visit” shopping and leisure habitat for tourists that provides a shopping experience and interacts culturally with local products.” Then, the SARINAH Transformation Project, which aims to change back to its 1960’s original building form, started in 2020 (Warta Ekonomi, 2020).

However, unbeknownst to the public, when the SARINAH Transformation Project was underway, there was a long wall as the building structure that had ‘the features’ of being found covered in brick walls. There are ‘the 15 relief-sculpture figures wall’ located in a mount (15 meters long and 2.9 meters high and protruding 1.0 meter in depth) were rediscovered. Due to spatial changes on the ground floor of the SARINAH building, the Soekarno-inspired artwork was ‘as if buried’ or hidden for 30 years inside the former Air Handling Unit (AHU) engine room. The ‘wall relief-sculptures’ portrayed the atmosphere of the Indonesian peoples’ struggle for life during the early Independence days. This social group, known as the ‘little people,’ received great attention from Soekarno, and this group was even mentioned in his speech at the inauguration of the “Statue of the Indonesian Hero” that represented by a farmer and a woman. Located at the Prapatan Park of Menteng of Jakarta in 1964, which was built contemporaneously with the SARINAH building. Made by two famous of Russian sculptors, Matvey Manizer and Ossip Manizer (Soekarno, 1964).

The depth of SARINAH ‘wall relief-sculptures’ is categorized as high relief. Due to the absence of an inscription, it is estimated that more than 15 Indonesian artists, who had studied at the “Sanggar Pelukis Rakyat” in Yogyakarta, were involved (Author (s), 2021). The SARINAH ‘wall relief-sculptures’ play a significant role as a public monument that enriches Modern Architecture in Indonesia. These ‘wall relief-sculptures’ impart an important message to show the transitional process of Indonesian society from an agricultural, craft-based society towards a modern commercial society. The transition from people who work as peddlers and traders to people who are oriented towards ‘modern markets’ led to the establishment of the SARINAH Department Store building that opened in 1966 (Author (s), 2021).

During the SARINAH Transformation Project (2020–2022), ‘wall relief-sculptures’ composed of fragile concrete, needed to be protected during the construction period from impact or further damage as shown in Fig. 2 and Fig. 3. The ‘wall relief-sculptures’ were secured in a sterile zone in order that artists and conservators could work more carefully. In appreciation of the President Soekarno’s legacy from the 1960’s, numerous media outlets, including twirajuda.wordpress.com (Wirajuda, 2021) reported that:

“… Farmers in conical hats evoke idyllic Indonesian rural life as they reap their rice paddies. Nearby, a group of village women carry their wares to the market past grazing water buffaloes. These scenes come from the “Sarinah Relief”, a 12-by-3 meter relief uncovered at Jakarta’s Sarinah department store in October 2020. Workers found the stone and cement structure in the shopping center’s warehouse after it closed for renovations in June of last year. President Sukarno is thought to have commissioned the relief, along with mosaics and other art, before Sarinah opened for business in 1966…”. The structure combined serene yet vibrant vignettes characteristic of Borobudur temple with the heroic social realist style of the Selamat Datang (Welcome) and West Irian Liberation monuments in Jakarta, which were created by Indonesian sculptor Edhi Sunarso on Sukarno’s commission in 1959 and 1964, respectively.

Responding to time and cost efficiency considerations, Minister Erick Thohir decided to implement the Design-Build project (DesignTek Consulting Group, 2022). The philosophy of the Design-Build is how to increase its usage (Ling, 2012). A Design-Build project or DB Project, it is recommended project method to strategies implemented because of included architectural planning, monitoring, coordinating, controlling, communication and decision-making in order to achieve project success (Bachik, Supardi, and Marhani, 2012). During The SARINAH Transformation Project, the architectural consultants and the structural contractors were under one contract so that there was a solid collaboration (The Ministry of Public Works and Housing, 2016). Initially, Airmas Asri Architects, in partnership with PT Wijaya Karya (WIKA) finished implementing the ‘Urban Forest’ design theme for the SARINAH Transformation Project.

Historical Materials of The Modern Architecture

By revealing the original building façade, the SARINAH Transformation Project aimed to restore the department store back to its original appearance in the 1960’s, its historic location on Jl. M.H. Thamrin. The original building was in the International Style with the use of reinforced concrete materials (Author (s) 2021). The ‘wall relief-sculptures’ itself was also made from concrete aggregate and wire mesh, unlike the classical Indonesian relief carving of volcanic stone, river stone or other materials used at the Borobudur or Prambanan temples in East Java Province (Sutarto, Kusumayudha,. Murwanto and Faranisya, 2018). Nor do the materials of the Sarinah ‘wall relief-sculptures’ resemble those in Rome or Egypt, which used marble or granite or limestone materials (Appiah, 2022). Related to the concrete materials was pioneered in the early 20th -century. French Architect Auguste Perret (1874–1954) using the reinforced concrete, notably with the 25 Rue de Benjamin Franklin Apartments year 1903 in Paris, which combined modern reinforced concrete materials and naturalistic motifs. And then, the young Le Corbusier was born Charles-Edouard Jeanneret worked as an intern architect in Perret’s office from 1908–1910 and was undoubtably influenced, using reinforced concrete for his Modernist projects (Corbusian, 2021). The impact, also held in other country, as the sample is the architectural heritage of Algeria in the 1960s (Merzoug, Chergui and,. Zouaoui, 2020).

The SARINAH ‘wall relief-sculptures’ are made of concrete and wire mesh, etc, so they tend to be porous and brittle, not as strong as natural stone. The base materials used a mixture of cement, sand and natural stone fragments supported by a mesh structure of iron and wire. The shapes were formed in place by using a cement trowel, spoons and simple tools. The ‘wall relief-sculpture’ methods are close to conventional painting and/or carving techniques. Although there are inherent weaknesses in terms of its material strength, the texture seems sturdy, because the rough texture and colour are compatible visually with the concrete mixture (Author (s), 2021). The other material used in the restoration process is resin material, also used in the reproduction of the 3D Model ZBrush digital sculpting software application for the SARINAH ‘wall relief-sculptures’ that were printed at a 1:10 scale (Author (s), 2023).

This architectural research is practice-based research conducted during The SARINAH Transformation Project in Jakarta (2020–2022). SARINAH 14 storeys of department store is designated as a historic project. An Adaptive Reuse method involves exploring restoration methods, techniques, and procedures to achieve intended results, conducted inside or outside of the architect-artist’s studio (Author (s), 2023). The study aims to propose an educational methodology for dealing with heritage conservation projects involving adaptive reuse of historic buildings, especially in the execution of the ongoing transformation project, especially how to treat architectural theme and restored the inside building surround the ‘wall relief-sculptures’ to enrich the cultural aesthetics for the shopping centre’s urban destination.

All building and artwork restoration processes were conducted in accordance with the Indonesia Conservation Law Number 11 Year 2010. The Law states that objects found attached to the Heritage Buildings need careful assessment before the construction work is carried out (Fitri, Ahmad, and Ahmad, 2015). The SARINAH Transformation Project was conducted in accordance with the legal statutes that included the ‘wall relief-sculpture’ restoration and the researcher’s documentation beforehand (Author (s), 2021). Finally, the Cultural Heritage Expert Team DKI Jakarta Province published their “Recommendations for Restoration in the Transformation of the Sarinah Building” (Jakarta Culture Service, 2021).

To accommodate the discovery of the ‘wall relief-sculptures’, the Architects had to revise their digital floor plans that supported digital applications source of Building Information System Modelling (BIM). After the consultation process with the Cultural Heritage Expert Team, DKI Jakarta Province was completed, then the architect's new design was approved. The new plan involved dismantling the second and third floor bays of the old building by drilling and demolition to form ‘The Big Void’ so that visitors could easily view SARINAH’s historic artwork from above (Jahja, 2021). The result of the design concept to reveal the ‘wall relief-sculptures’ in a huge void was successful with a remarkable increase in visitor numbers and potential customers to the newly renovated department store and historic landmark of Modernist Architecture.

The Structural Method of Retrofit

The SARINAH building was built on April 24 in 1963 constructed by Obayashi Gumi, Ltd in collaboration with consultant PT. Perentjana Daja Architect with loan funds guaranteed by Japanese war reparations funds (Nishihara, 1976). By applied the Reinforced Concrete Moment Resisting Frame System, then the building inauguration held on August 15 in 1966, also marked the presence of the first department store in Indonesia. Unfortunately, after Soekarno’s era it has also undergone various changes in role which have resulted in its original appearance also changing. Without realizing it, the SARINAH Department Store shifted to become a capitalist economy embryo, an economy oriented towards large investors. This fundamental change in concept was driven by management's desire to survive by accommodating the wishes of anchor tenants. One of the characteristics is that every time there is facial movement. The change in SARINAH's appearance was not only triggered by the wishes of the anchor tenant, but also due to the restoration of the building's appearance following three fire accidents. Around the 1980s, two fire accidents occurred. The first disaster occurred on 18 July 1980 and the second on 13 November 1984, and the third on 15 October 2015 (Author (s), 2021).

When the building was restored, its appearance also changed. A type of Aluminium Composite Panel (ACP) material was added as a secondary skin or building envelope. However, there was also the addition of facade ornaments that seemed to follow the Postmodern architectural style that had penetrated Indonesia in the 1980s. Since then, the appearance of the SARINAH building has shifted from its original appearance and is no longer recognized as a Modern Architecture style (Author (s), 2021). Refers to structure engineering PT. Graha Survey Indonesia, the SARINAH had structural strengthening was carried out from the 7th floor to the roof level. The typical reinforcement takes the form of column jacketing with additional reinforcement, joint jacketing with additional reinforcement including stirrup reinforcement, beam jacketing with additional reinforcement, plate reconstruction using bondex and additional WF beams (Graha Survey Indonesia, 2020). After the fire disaster in the 1980s, the building had addition of a podium terraced built by the space frame structure, along with the presence of a bank office, restaurant club and also a Hard Rock café. In the 2000s, the complexity of the building's facade reached its peak with the presence of a "veil" on the front facade axis. And, before the transformation project was decided in August 2020, the SARINAH building once had a crown on its roof (Austhor (s), 2021). Considering that the existing of SARINAH building has been standing since 1966 (more than 50 years) and is a Cultural Heritage, then the Structural Engineering Consultant applied Nonlinear Static Procedure (NSP - Pushover Analysis) as shown in Fig. 3.

After they had checked analysis of the existing structure was carried out by using procedures based on ASCE 41 − 17 (Seismic Evaluation and Retrofit of Existing Buildings) as the main reference as instructed by the Building Expert Team of Jakarta City Province. During project were conducted to several regulations that apply in Indonesia (SNI) and also several of internationally recognized reference codes as references, such as Structural Concrete Requirements for Buildings and Commentary (in Indonesian) called SNI 2847 − 2019 [24] and the Earthquake Standard (National Standardization Agency of Indonesia. 2019). And then, ACI 318M-14 Building Code Requirement for Reinforced Concrete (ACI Standard and Report, 2014).

To response the seismic disaster they applied the Indonesia Seismic Design refers to the SNI 1726–2019, and Seismic Loads Guide to the Seismic Load Provisions of ASCE 7–16, and, the Indonesian Earthquake Hazard and Source Map year 2017 called ISBN 978- 602-5489-01-3. The structure of Steel Design refers to National Standardization Agency, Procedures for Planning Steel Structures for Buildings, SNI 1729–2015 and AISC 341 & AISC 358. And, the Foundation Design, refer to The National Standardization Agency, Procedures for Earthquake Resistance Planning for Buildings (SNI 1726–2019) and SNI 8460 − 2017. Meanwhile the Structural Loading refers to The National Standardization Agency, Minimum Loads for Designing Buildings and Other Structures (SNI 1727–2013) and ASCE 7–16, Minimum Design Loads for buildings and other structures. The assessment and strengthening of structures refers to (i) ASCE Retrofit (ASCE 41 − 17), (ii) ACI 369.1M-17, (iii)ACI 562 − 16, (iv) ACI 214.R-10, (v) ACI 440.2R-17 (vi) FEMA 547 and the local regulation of the Head of the P2B Service No.50 of 2007 – Guidelines, and the National Standardization Agency, Geotechnical Design Requirements SNI.

“Urban Forest” theme conforms to the UNESCO Agenda for Sustainable

The spirit of the SARINAH Transformation Project is to transform the appearance of the SARINAH heritage building, while maintaining its Modernist character. Sustainability is the key to the successful rebranding the SARINAH shopping mall as an urban destination. First, the design guideline governing the renovation is to conform to the International Style of the 1960’s. Second, the ‘Urban Forest’ design theme promotes the sustainability of the shopping mall in an urban oasis as shown Fig. 4 to Fig. 5. The ‘Urban Forest Sustainable City” conforms to the UNESCO Agenda for Sustainable Development Goals (SDG’s) Target space for 2030 and 2050 (Vuuren, 2022).

The following design guidelines intend to offer a framework to achieve the “Urban Forest” design theme: (a) To enrich the green landscape by planting varieties of local flowering plants; (b) To create a reflecting pool to restore the historical traces of the original building in a tropical environment; (c) To utilize the existing staircase that was redesigned in proportion to the modern amphitheater, with additional design touches and tree placement; (d) To combine hard landscaping like stone paving and soft landscaping like grass on the Western terrace to beautify the urban setting. Visitors can choose to sit under a tree or in the shade under the building; and (e) To provide accessibility for a pedestrian-friendly environment with a ramp on either side of the road for disability access.

Meanwhile, the landscaping plan specifies using 60 local plant species, such as; alstonia scholaris exotic, alstonia cholaris, artocarpus altilis, bauhinia blakeaa, erytrina cristagali, filicium decipiens, plumeria rubra, etc. The plant selection also pays attention to the following points: (1) To strengthen the green city image of the Sudirman – Thamrin main boulevard access and its significant historical location, (2) To plant Bauhinia trees in the parking areas to enhance CO2 absorption; (3) To reduce the Western solar heat gain with a layered tree formation; (4) To retain historic landscaping to strengthen memories of SARINAH’S history in its strategic location; (5) In the spirit of the Small-Medium Enterprises, to obtain plants and landscaping from local sources. More than 90% of the plants will be obtained from local farmers. Relative to sustainability and reducing carbon emissions, the plan is to source water-absorbing materials from a radius of 25 km from the SARINAH site for the communal space and bicycle parking areas (Jahja, 2021).

Building Information System Modelling (BIM) for Architecture Work

During the SARINAH Transformation Project, the Architect designed the heritage building supported by the digital applications source of Building Information System Modelling (BIM) by used Computer Aided Design-AutoCAD software to create precise 2D and 3D drawings as shown in Fig. 6 to Fig. 19, among others; (a) redrawing 14 storeys of heritage building, (b) purpose a new design by adjustments based on the existing floor plan, (c) drawing all floor plans, façade views, sections, and drawing details in an integrated manner with supported by digital transformation in architectural, engineering, and construction, included interior design and landscape work (Jahja, 2021).

Creation of “the big void” for visitor’s viewing the historic artwork

Because of mean a significance of heritage artifact, the SARINAH ‘wall relief-sculptures’ could see by visitors from the two floors above. Then, the Architect’s proposed alteration to the historic structure was to drill and subsequently demolish two reinforced concrete floors to create ‘The Big Void’. Although the job was very risky to the artwork, it was achieved successfully. The process are shown an unusual of the engineering work as shown at Fig. 11 to Fig. 13.

Historic Artwork Treatment

‘Wall Relief-Sculptures’ Damage Mapping

The first step of restoration SARINAH ‘wall relief-sculptures’ has been carried out, namely by photographing the 15 metres length. Using a high-resolution cameras shot time-to-time detail frames. The photo documentation was carried out to map and then to examine the damage conditions as shown in Fig. 14 and Fig. 15. Meanwhile detail of the Damage Mapping shown in (a) Table 1. The ‘Wall Relief-Sculptures’ Damage Mapping, (b) Table 2. The Marking the Heavy Damages and Light Damages, and (c ) Table 3. The Identify of the Damage by Code and Detail Images.

The steps for Damage Mapping creating included: (a) ‘wall relief-sculpture’ damage identification; (b) Visual data of 3D model; (c) Publication images; (d) Archive images; and (e) others (Author (s), 2023). All artwork photos were taken carefully at close range and were assembled using the Photoshop application. The images were printed on a layer of canvas measuring 15 centimetres x 2.9 centimetres from original size 15 meters x 2.9 meters. The excellent photos at various angles established accurate positions of the Damage Type identified for the ‘Wall Relief-Sculptures ‘Damage Mapping at a 1:100 scale. All photos were assembled. saved in a jpeg format, imported into the AutoCAD software and combined with the Cartesian Diagram Coordinates to easily identify the damages. The software is used to obtain a scalable size or the equivalent of a 1:1 scale.

By using the AutoCAD application, and then running the rectangles command to create boxes measuring 100 cm x 100 cm and 10 cm x 10 cm, respectively, which were then arranged into a size of 15 meters x 2.9 meters according to the existing size of the rectangles, Cartesian Diagram Coordinates were established with photographs to scale. Each composite photo was given a name and a description; as shown in Fig. 1 to 15 (Author (s), 2023).

The restoration process of the ‘wall relief-sculptures’ was divided into five stages:

(1) First Stage concerned cleaning out all the former Air Handling Unit (AHU) by dismantling the engine foundation carefully that supported the artwork. Because the ‘wall relief-sculpture ‘was ‘as if buried’ or hidden for 30 years, it had been ‘rediscovered.’ In the interim, the artwork had suffered heavy damage such as: (i) Some damage occurred as acts of vandalism, and others were related damages; (ii) Chipped, broken, or cast in place concrete used for the foundation of the Air Handling Unit - AHU engine. The unit was placed directly opposite the ‘wall relief-sculptures’ at about a 20-centimetre clearance. Some parts of artwork had changed from a grey cement colour to yellowish and reddish tones, due to the chemical effect of water dripping from the floor above for a long time, (iii) One of the ‘wall relief-sculptures’ had part of its body covered in white paint; (iv) Most of the surfaces of the relief sculptures were stained. The artists used restoration tools like electric drills, hammers, chisels, and so on. Meanwhile, the main contractor prepared a demolition plan of the former AHU and marked off a boundary line to provide a measure of security by following the shape of the ‘wall of artwork’ ( Jakarta Culture Service, 2021).

(2) Second Phase involved cleaning the artwork using a smoothing process to remove dust and dirt with a soft brush and cloth. Then, the cleaning process continued to remove paint, cement and varnish stains with a fine wire brush, mini grinder and more. The next stage was sweeping up the trash and dirt leftover from the cleaning process.

(3) Third Stage focused on strengthening and patching by inspecting the ‘wall relief-sculptures’ for damages. The inspection process continued with the drying of damaged surfaces. The next step was the installation of anchors into the broken sculpture. To achieve a similar texture, the cement was mixed with pigments and additives for a final casting to align with the existing surface. Part of the restoration ethics refer to an article in the Conservation of Law to require differentiation in the restoration work in contrast with the original colour of the existing ‘wall relief-sculptures’.

(4) Fourth Stage was to return the ‘wall relief-sculptures’ as closely as possible to their original shapes by following the aesthetic elements of each relief-sculpture.

(5) Fifth Stage was to coat the sculpture with a finishing material and wait for the surface to dry.

3D Digital Sclupting Models of the ‘Wall Relief-Sculptures’

The SARINAH heritage artwork restoration is the first of the Indonesian government projects for artwork restoration made from concrete materials. The similar restoration is restoration of the Javanese temple sculptures that are made from river stone, namely the Ganesha Statue of Banon Temple of Magelang, held by National Museum of Indonesia (National Museum of Indonesia, 2021). For educational reasons, the National Museum also created a three-dimensional reproduction of several classical statues in the museum’s provincial displays. One of statue replicas is the King Adhityawarman statue, also called the Bhairawa, that is made from andesite stone, which is in the collection of the Museum of West Sumatra Province.

The process of statue replication is to create a casting of the statue, say at a height of 4.4 meters. In a conventional process, casting requires making a three-dimensional reproduction of the object. The casting for an original artwork or the original statue, typically is made from a mouldable material, such as clay, wax, or plaster. The process of reproduction includes poring a liquid or molten material, such as metal or resin into a mould. Then, it needs time to harden. Removing the mould will reveal the final casted sculpture. A basic casting will replicate difficult and complex shapes that are nearly impossible to make by other simple methods and techniques.

Ideally, for educational purposes, a replica of the SARINAH ‘wall relief-sculptures’ also could be made. Unfortunately, based on the laboratory results from the restoration project, the artists mentioned that all materials of ‘wall relief-sculptures’ were made from mixed concrete, so these are categorized as porous materials. Consequently, the risk is high if you make a casting model in the conventional way. That is, the original relief must be cast from resin material to create a 3D negative. However, original art objects made of porous materials can damage the structure and the relief surfaces. Based on these considerations based on the current situation, then the restoration team decided to create a 3D Model by Digital Sculpting (Deng et al., 2013).

Digital Sculpting is a digital reproduction technique used for the recording and modelling of three-dimensional objects, namely the 3D Model Digital Documentation (Calin, Damian, Popescu, Manea, Erghelegi, Salagean, 2015) as shown in Fig. 16 and Fig. 17. Four stages were carried out in different locations, as follows: (a) At the artwork location, (b) At the artist's studio, (c) At the 3D printing vendor, and (d) At the display location. The first stage was measuring the relief-sculptures as an object that will be subject to restoration. The process involves collecting overall photo data, details of the object, and re-measurement objects carefully as follows: (i) Depth of reliefs to be made for the 3D model, (ii) The proportion of each relief in relation to the other reliefs, (iii) A detail of the relief textures.

The second stage is to create a 3D model of the ‘wall relief-sculptures’ in order the master file can be printed in any scale. In other countries, the method has already been used to digitize the ancient sculptural models (Calin, Damian, Popescu, Manea, Erghelegi, Salagean, 2015). To creating 3D models, supported by ZBrush software holds and synchronizes the three-dimensional computing program (Dovramadjiev, 2019). To operate the software requires a computer with the specifications of an 11th generation Intel i7 processor; 64GB Ram; GPU/Video card Nvidia RTX 3060 12GB. The stages of 3D digital data collection create the basic coordinates of the artwork by saving all visual data in a digital image compression format (png, tiff, jpeg). All visual database are recorded which includes visual elements referred to as relief details that are: (i) Length, width and height of the object; (ii) The figure’s sizes; (iii) The object face size; (iv) Any other details. Then, visual database is converted into digital data units (vector form) that is read by computing programs. A hybrid approach is need to perfect the character modelling (Kazmi, You, and Zhang, 2015). Since it is quite complicated and sophisticated work, a Digital Designer is required with a combined talent of artistic and digital skills. He or she must be able to operate and synergize four different software applications: (i) Photoshop; (ii) AutoCAD; (iii) Visual manipulation program; and (iv) ZBrush digital sculpting program.

Then, the stage of sorting out the sectors or sectioning is used to divide digital sculpting work among several artists to speed up the process. At this stage the sectors/parts of artwork that have been transferred into the computer program are considered as data components that function as data input information that can be processed into a three-dimensional printed form (3D Printing).

The next step is re-combining the sectors by joining all sectors that are stored in objdll (.obj) format and stereolithography (.stl) format files. The final files are almost 2 gigabytes. The processing files for making 3D sculptures can be up to 25 times or even more than the size of the final file. This is due to the many improved versions and other interpretations. In the case of SARINAH ‘wall relief-sculptures’, the total size of the process files is more than 50 gigabytes. To obtain a realistic and impressive result, the visualization stage transforms the digital data into a realistic image for visual presentation (rendering).

In the process of visual communication, the processed three-dimensional relief must be made of realistic photo images, so that viewers can understand it as well as receive an indication of its visual and dimensional accuracy. Considering the size of the file to be visualized, this process requires a qualified Graphics Processor Unit (GPU) This problem can be solved by ‘cloud rendering process’ by hiring an online supercomputer service from one of the rendering facilities from abroad.

Finally, the 3D Printing stage occurs from the software application to model the 3D shape. The assembled 3D Sculpting file is stored in a stereolithography (.stl) file with a memory requirement of around 2 gigabytes. Unfortunately, the 3D Printing specifically required for digital sculpting at a 1:1 scale that is larger than 40 centimetres is not available in Indonesia. The 3D printing machine is a very expensive investment, and in the absence of high demand for services, this poses a considerable obstacle for investors. For this reason, the process of printing the 3D Model is usually done by cutting the statues or relief-sculptures into many parts and then putting them together to form a statue/ relief model of the actual size.

The SARINAH ‘wall relief-sculpture’ 3D Model files are made at a scale of 1:10 with a relief height of 29 centimetres. It is estimated that the length of the print is about 150 centimetres. This size will be quite difficult for the packing and expedition process. For this reason, a printing method was divided into 4 (four) parts, which would later be put back together. The method for 3D Model printing is carried out by operating the Final File in stereolithography files which is entered into a special program. Then a built-in 3D printing machine “slices” the 3D model into thin plates (1mm). For the process of making 3D printing, it is chopped into more than 1.500 layers. These layers are projected one by one onto the surface of a liquid photosensitive resin, which hardens immediately upon exposure to light. The finish is only 0.15mm thick so on layer-by-layer is made so that it becomes the desired relief (Author (s), 2023).

After the stereolithography (SLA) printing process is completed, the 3D printer is washed with isopropyl alcohol. The goal is to remove the remaining resin residue on the surface. Then the 3D printed relief-sculpture is dried with high pressure air. The process is like painting a car. The dry 3D printed relief-sculpture then is inserted into an infrared box, and exposed to light for several minutes. The goal is to make the printed resin harder so it can no longer change shape. The next step is assembling 3D Printing into a single unit. Consequently, the 3D printing process completes all the 1:10 scale drawings, which are divided into 4 (four) digital relief parts. After the expedition process, the 4 (four) separate parts of the relief-sculpture are put together again. The joints are tidied up, the painting process and texture options can be done. Ideally, 3D Printing SARINAH ‘wall relief-sculpture’ is at 1:1 scale. However, for the study it will be made print on a miniature in 1:10 scale (Popovski, Mijakovska, Popovska, and Gorica, 2021).

All of SARINAH ‘wall relief-sculpture’ was an exploratory study on the use of digital sculpting in conceptual product (Alcaide-Marzal, Diego-Más., Asensio-Cuesta, Piqueras-Fiszman, 2012). It has role a part of contemporary architecture record during the SARINAH ‘wall relief-sculpture’ conservation.

Results and Discussion

To be A New SARINAH Appearance Building

The SARINAH Transformation Project had finished and it launched in early of 2022. The Jakarta’s and citizens from other cities visited the ‘wall relief-sculptures’ renovation project. As part of their celebration, the visitors took photographs in front of the artwork to share on various social media platforms, (Meta, Twitter, Instagram, etc.). The phenomenon proofed that netizens has contributed of online narrative practices to urban heritage conservation (Hoeven, 2019). The photo both were preferred in the SARINAH utilized staircase as a modern amphitheater, as outdoor space facility as shown in Fig. 18. And, the SARINAH ‘wall relief-sculptures’ can be viewed from the third floor or second floor through “The Big Void” as shown in Fig. 19 to Fig. 20. Since the re-opening in 2022, the SARINAH Management said the SARINAH ‘wall relief-sculptures’ void was visited by around five million people. Meanwhile, the average visit reaches 40,000 people/day (Safitri, 2022). This successful increase in visitors verifies the appreciation from the public for traditional ‘wall relief-sculptures’ within Indonesian Modern Architecture.

‘Wall relief-sculptures’ digital recorded

On other hand the miniature of ‘wall relief-sculptures’ 3D printing, it is necessary to produce in 1:1 scale or life size scale shown in Fig. 21. In its current software development, many breakthroughs are being made to produce 3D printing, even in metal. In the future, digitally designed sculptures can be made by 3D printing in metal, which will be its highest achievement to date. It role to increase quality and resource-efficiency in the construction sector (Kanyilmaz, Demir, Chierici, Berto, Gardner, Kandukuri, Kassabian, Kinoshita, Laurenti, Paoletti, Plessis, Razavi, 2021).

The International Style of architecture as interpretated in Indonesia in the 1960s, revealed various types of ornamentation in the building façades, one of which is the SARINAH heritage mall building with 15 figures of the ‘wall relief-sculptures’. Based on Design-Build project of SARINAH heritage mall building organized in a multidisciplinary manner by accommodating an adaptive reuse method. The SARINAH had structural strengthening was carried out from the 7th floor to the roof level. The typical reinforcement takes the form of column jacketing with additional reinforcement, joint jacketing with additional reinforcement including stirrup reinforcement, beam jacketing with additional reinforcement, plate reconstruction using bondex and additional WF beams. Architecturally, the “urban forest” theme adopted and restore the historical artwork. The reappearances of the SARINAH heritage mall meet to the sustainable city goals enriched by the 15 relief-sculptures reinforces the cultural aesthetics for the shopping centre’s urban destination was held. Meanwhile, to avoid the high risk to casting the historical artwork then the digitally record held by digital sculpting

Author Contribution

Yuke Ardhiati wrote the main manuscript text Asikin Hasan wrote the detail of heritage artwork topic Fena Rushintadevi prepared figures and tables Rafli Alfiano prepared figures and tables

Disclosure Statement

No potential conflict of interest was reported by the author (s) and data available on request from the authors

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Tables 1 to 3 are available in the Supplementary Files section.

No competing interests reported.

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Reappearances of the SARINAH heritage mall building: an “urban forest” theme and restore the historical artwork

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Abstract

Figures

Background

SARINAH Heritage Mall Building

Historical Materials of The Modern Architecture

Method

Result and Discussion

The Structural Method of Retrofit

Building Information System Modelling (BIM) for Architecture Work

Creation of “the big void” for visitor’s viewing the historic artwork

Historic Artwork Treatment

3D Digital Sclupting Models of the ‘Wall Relief-Sculptures’

Results and Discussion

To be A New SARINAH Appearance Building

Conclusion

Declarations

Author Contribution

Disclosure Statement

References

Tables

Additional Declarations

Supplementary Files

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