Integrating Vernacular Balinese Architecture Into A Neo-Vernacular Design

Students at BINUS University have been tasked to investigate ways to incorporate vernacular principles from various cultures into their designs in their Architectural Design Studio. The rapid change brought about by the contemporary era has led to abstractions of traditional values, no longer negelcting it in the name of functionality, though not simply imitating vernacular architecture. The course was arranged to encourage students in developing an original understanding of neo-vernacular concepts.

One such example is a discussion involving Balinese Architecture. The student studies the opportunities and advantages of Balinese Architecture. They then continue to study and review literature discussing Bali culture before explaining the process of elaborating vernacular into neo-vernacular architecture. The discussion involves breaking down strong relevant concepts in Balinese architecture and culture as well as defining the different ways in which neo-vernacular architecture can adapt the vernacular.

Batik Checkered Cloth/Kain Poleng

Bali’s iconic black-and-white checkered textile, kain poleng, is more than a pattern—it’s a symbol of balance, duality, and harmony between opposing forces. Integrating such motifs into architectural facades doesn’t just beautify buildings; it embeds them with narrative. When used thoughtfully, these traditional patterns can become dynamic design tools—structuring spatial zoning, creating rhythm on facades, and even informing material choices.

Asta Kosala Kosali

Asta Kosala Kosali is an ancient Balinese manuscript that outlines traditional rules for architecture, especially related to how buildings are positioned and arranged in harmony with their surroundings. In this paper, its role is to inform the layout and zoning of a modern gallery-museum design. The philosophy behind Asta Kosala Kosali emphasizes balance between humans, nature, and the divine—a concept deeply rooted in Balinese culture.

In practice, this means organizing spaces in a way that reflects spiritual and functional priorities. For instance, the design applies this principle by placing communal or public zones at the center (symbolizing harmony and unity), while locating service areas farther from the spiritual or symbolic orientation. The manuscript also promotes using natural and environmentally conscious materials, which aligns well with sustainable design goals in modern architecture. By integrating Asta Kosala Kosali, the building isn’t just a structure—it becomes a continuation of cultural wisdom, reinterpreted to suit contemporary needs while staying faithful to its traditional roots.

The Tri Mandala

Tri Mandala is a fundamental spatial concept in Balinese architecture that divides an area into three zones, each representing a different level of sacredness or function. In this paper, the Tri Mandala philosophy is adapted to organize the layout of a modern gallery-museum, helping ensure both cultural relevance and clear spatial hierarchy.

The three zones are:

• Utama Mandala – the innermost and most sacred area
• Madya Mandala – the middle zone, typically used for communal or transitional activities
• Nista Mandala – the outermost and least sacred zone, often used for support or public functions

In the museum’s design, this concept guides the vertical and horizontal arrangement of space. For instance, the basement and first floor—serving practical and service-related needs—are treated as the Nista Mandala. The middle floors, which include public exhibition areas and communal spaces, function as the Madya Mandala. The top floor, which hosts more private or introspective functions like workshops or specific galleries, represents the Utama Mandala.

By applying Tri Mandala in this way, the building reflects a culturally significant spatial order while still meeting modern programmatic demands. It ensures that the experience of moving through the building feels intentional, transitioning from the public to the more private or sacred, just as in traditional Balinese compounds.

Elaborating Vernacular to Neo-Vernacular Architecture

Vernacular and Neo-vernacular architecture are described and sepertated into two different terms which are AML (Arsitektur Masa Lampau) and AMK (Arsitektur Masa Kini). Various ways were defined in which AML is elaborated into AMK. Such cases are listed as:

• Attachment of AML elements to AMK
• AML physical elements merge into AMK
• AML physical elements are not clearly visible in AMK
• The form of AML dominates AMK
• The expression of AML form merges into AMK\

Blending vernacular architecture into neo-vernacular Balinese design is a careful and layered process that merges cultural aesthetics with modern-day functionality. The goal is to honor and preserve traditional heritage while reshaping it to fit current lifestyles and sustainability standards.

Incorporating these traditional elements demands both respect for the original principles and a creative rethinking to suit contemporary requirements. By thoughtfully adapting cultural forms and values, this approach keeps traditional architecture alive and meaningful within today’s built environment.

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After reviewing the underlying principles within Balinese Architecture, the knowledge is used and applied to a design of a theoretical Gallery or Museum in Jakarta. Elements of the Batik Checkered cloth is integrated into the design through an intricate façade design. Asta Kosala Kosali is also implemented through a central spatial organization and use of natural light (symbolizing a harmony with nature). The four-storey design of the Museum reflects the Tri Mandala concept where the basement floor reflects the Nista Mandala which is least sacred and used as a building service area. The second and third floor are dedicated to public functions reflecting Madya Mandala, communal and transitional activities. The fourth floor, being the most private and facilitating more intimate activities such as lecture halls, workshops, demonstration rooms, lobby, café, and exhibition spaces, reflects the Utama Mandala which is the most sacred.