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"Arsitektur vernakular merupakan wujud arsitektur lokal suatu masyarakat tertentu yang menjadi cerminan dari nilai-nilai budaya masyarakat tersebut. Rumah gadang dan surau merupakan dua bangunan utama arsitektur vernakular dalam masyarakat Minangkabau. Bagi masyarakat Minangkabau yang menganut sistem matrilineal, perempuan memiliki peran yang lebih besar dalam pandangan adat. Nilai-nilai budaya matrilineal ini sangat terasa dalam bangunan rumah gadang. Rumah gadang dimiliki oleh perempuan, sehingga anak laki-laki dipersiapkan untuk merantau meninggalkan kampung halamannya. Surau inilah yang menjadi pusat dari kegiatan anak laki-laki Minangkabau. Surau tidak hanya di gunakan sebagai tempat ibadah, namun juga digunakan sebagai tempat pendidikan ilmu agama dan adat yang menjadi bekal merantau. Besarnya peranannya dalam masyarakat inilah yang menjadikan surau sebagai salah satu citra arsitektur vernakular masyarakat Minangkabau yang kaya dengan nilai-nilai budaya.

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Vernacular architecture is a form of existing architecture for the society group that becomes a reflection of the cultural values of the society. Rumah gadang and surau are the two main buildings of vernacular architecture in Minangkabau society. In the matrilineal system of Minangkabau, women have a greater role in customary views. These matrilineal cultural values are deeply felt in the Rumah Gadang. Rumah Gadang is owned by the women, so the boys are prepared to wander away from his hometown. Surau is the center of the whole activities of the Minangkabau boys. Surau is not only used as a place of worship, but also used as a place of religious and custom education that became the provision in wandering away tradition. Because its role in the society makes the surau as one image of vernacular architecture of Minangkabau society that is rich in custom values of Minangkabau."

"[Arsitektur masjid di Indonesia terus mencari identitas bentuk dan gayanya mengikuti perkembangan modernitas desain arsitektur saat ini. Beberapa arsitek membebaskan desain karya dari kurungan tradisi salah satunya ialah Masjid Al Irsyad Satya Kota Baru Parahyangan Bandung. Modernisasi desain masjid Al Irsyad Satya diasumsikan dari adanya penerapan aspek aspek minimalisme mengacu pada terminologi minimalis rdquo ldquo sederhana atau kesederhanaan simplicity yang menjadi artikulasi dominan untuk menggambarkan karakteristik masjid pada berbagai ulasan desain dan karya ilmiah. Penulisan ini bertujuan menganalisis desain Masjid Al Irsyad Satya berdasarkan pada analisis historis faktor faktor yang terlibat pada pembangunan masjid serta pengukuran aspek minimalitas untuk menguji kesesuaiannya dengan asumsi di awal. Meskipun terdapat aspek kesederhanaan dan minimalitas diterapkan pada desainnya di sisi lain berbagai faktor seperti biaya perawatan dan hadirnya ekspresi personal si arsitek justru menunjukkan desain berada di posisi bertentangan dengan prinsip minimalisme sehingga Masjid Al Irsyad Satya bukanlah arsitektur masjid minimalis. Ditambah lagi preferensi si arsitek yang diduga mengambil kualitas desain yang mirip dengan bangunan arsitektur minimalis lain yang telah ada sehingga asumsi di awal mengenai masjid minimalis rdquo di awal menjadi wajar. Hal ini diharapkan dapat membantu masyarakat dan praktisi arsitek untuk lebih memahami sejarah teori dan perkembangan gaya arsitektur masjid modern di Indonesia secara kritis dan menjadi salah satu referensi umum untuk mengeksplorasinya di masa mendatang.

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The mosques architecture in Indonesia is on progress for re searching its form identity and style following the design modernity development recently. Some of architects explore by freeing it from any limitating tradition e.g Al Irsyad Satya mosque Kota Baru Parahyangan located in Bandung. The modernisation of its design is assumpted from the implementation of minimalism aspects by such minimalist simple rdquo and ldquo simplicity terms become the dominating articulations to picture about Al Irsyad Satya mosque characteristics which are often stated in many design review and report. This research aims to analyze design style of Al Irsyad Satya based on historical analysis many factors involved during the mosque design develpoment to examine the assumption. Some of minimalism aspects simplicity and minimality are presented but combined together with architects personal expression and maintenance factors make its design a contradictory position with minimalism principles in other hand which results Al Irsyad Satya mosque is not precisely categorized to one of minimalist mosque architecture. In addition the design preference from the architect shows spatial quality aspects which assumpted commonly taken or referred from another built minimalist design thus matches with the assumption from the first place. This research is expected to facilitate both communities and practitioners to understand more about critical history theories and style development in modern mosque architecture in Indonesia and be one of reference to explore it in the future., The mosques architecture in Indonesia is on progress for re searching its form identity and style following the design modernity development recently Some of architects explore by freeing it from any limitating tradition e g Al Irsyad Satya mosque Kota Baru Parahyangan located in Bandung The modernisation of its design is assumpted from the implementation of minimalism aspects by such ldquo minimalist rdquo ldquo simple rdquo and ldquo simplicity rdquo terms become the dominating articulations to picture about Al Irsyad Satya mosque characteristics which are often stated in many design review and report This research aims to analyze design style of Al Irsyad Satya based on historical analysis many factors involved during the mosque design develpoment to examine the assumption Some of minimalism aspects simplicity and minimality are presented but combined together with architect rsquo s personal expression and maintenance factors make its design a contradictory position with minimalism principles in other hand which results Al Irsyad Satya mosque is not precisely categorized to one of ldquo minimalist mosque architecture rdquo In addition the design preference from the architect shows spatial quality aspects which assumpted commonly taken or referred from another built minimalist design thus matches with the assumption from the first place This research is expected to facilitate both communities and practitioners to understand more about critical history theories and style development in modern mosque architecture in Indonesia and be one of reference to explore it in the future ]"

"ABSTRAKDalam upaya pengoptimalan bangunan bersejarah tidak hanya bagaimana bangunan tersebut dirubah agar tetap dapat digunakan hingga masa datang, namun juga mencakup nilai yang terkandung dalam bangunan tersebut. Perubahan fisik bangunan menyebabkan kaburnya nilai sejarah, sehingga terdapat kemungkinan adanya pengikisan makna dari bangunan asli. Makna bangunan dapat ditangkap melalui visual yang didukung oleh konteksnya. Karena lingkungan sekitar merupakan penguat identitas bangunan tersebut, bagaimana bangunan memiliki makna bagi orang yang melihat. Sebagai contoh Masjid Cut Meutia Menteng berdiri selama lebih dari satu abad dan mengalami perubahan fisik sesuai fungsi baru bangunan tersebut. Dalam perubahannya, Masjid Cut Meutia mengalami kendala dalam penyampaian sejarah masa lampau. Pemaknaan bangunan sebagai gerbang kawasan Menteng sedikit demi sedikit terkikis dan hampir hilang seiring perkembangan lingkungan sekitar Masjid Cut Meutia. Hal tersebut yang memengaruhi Masjid Cut Meutia secara visual sebagai sebuah gerbang kawasan Menteng. Namun kesesuaian fungsi dalam proses perubahannya, menjadikan bangunan tersebut mampu mempertahankan identitasnya sebagai tengeran suatu wilayah dan dapat menciptakan citra kawasan Menteng.

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ABSTRACTIn an attempt to optimizing historical buildings, the purpose of transformation is to make building can used until the future also keeping historical values the building. It becomes very vulnerable to development and modernization. The physical modifications to the building causing the distortion of the history, so there is the possibility of displacement of value from the original building. The meaning of the building can be captured through the visual supported by its context. Because the environment is help to define the identity of the building, how the building has meaning for people who see. Cut Mutia Menteng Mosque was established for more than a century and changes according to the new function. In the process of transformation, the mosque of cut Mutia experienced constraints of the building and its surroundings. The meaning of the building as Gates Menteng area gradually neglected because Cut Meutia Mosque rsquo s surounding. But compliance function in the process of conservation, make this building was able to maintain its identity as a landmark and also as an image of Menteng. "

"Tulisan ini untuk memahami sejarah dan arsitektur masjid di Aceh yang dibangun diatas rertuntuhan Candi Hindu. Studi ini penting untuk memahami pengaruh dari Hindu terhadap arsitektur masjid di Indrapuri. Tulisan ini terdiri dari konten, metodologi dan kesimpulan.

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This paper aim is to understand the history of mosque architecture in Aceh which was built on the former site of Hindu temple. This study is important to understand the influence of Hindu to mosque architecture in Indrapuri. This following paper will along with the content, methodology and conclusion."

"ABSTRAKMasjid memiliki arti penting dalam kebudayaan dan peradaban Islam di Indonesia. Masjid Mantingan Jepara merupakan salah satu masjid yang dibangun pada akhir abad XV pada masa kesultanan Demak. Masjid ini memiliki keterkaitan dengan perkembangan kebudayaan Jawa, yang pada masanya dibangun saat masyarakat Jawa masih dominan menganut agama Hindu. Sehingga ketika Islam masuk ke Pulau Jawa, beberapa adaptasi dan perubahan terjadi pada penerapan budaya Jawa dan tercermin dalam arsitektur masjid dan makam. Masjid Mantingan dibangun dengan dilengkapi Kompleks Makam Mantingan dan mengadopsi bentuk, orientasi kosmologi, dan arsitektur Jawa. Tujuan penulisan naskah ini adalah untuk menganalisis elemen-elemen arsitektur Kompleks Masjid dan Makam Mantingan dan memahami hubungan arsitektur Kompleks Masjid dan Makam Mantingan dengan arsitektur budaya Jawa menurut sistem kosmologi dan kepercayaan Jawa. Naskah ini menemukan bahwa adanya kosmologi pada tiap-tiap elemen arsitektur masjid maupun makam saling membentuk sumbu yang menggambarkan aplikasi dari konsep dualitas pada kosmologi secara utuh, sehingga memberikan gambaran adanya suatu proses menerus dalam arsitektur Kompleks Masjid dan Makam Mantingan, Jepara.

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ABSTRACTMosque plays a significant role in Islamic culture and civilization in Indonesia, on the Island of Java. The Mantingan Mosque in Jepara, Central Java, is one of the early mosques build at the end of the fifteenth century during the Demak sultanate. This mosque has a close relationship with the development of Islam in Java because during the mosque was built when Javanese people were still dominated with Hinduism. Hence, when Islam come to Java, some adaptation and changes happened to the application of Javanese culture for built environment, and those adaptations were reflected in the architecture of the mosque and the cemetery complex in Mantingan. The mosque was built next to the cemetery complex of Mantingan and adopted forms, cosmological orientation and architecture of Javanese people. The purpose of this thesis is to analyze architectural elements of Mantingan Mosque and Cemetery Complex in order to understand the connection of the architecture of Mantingan Mosque and Cemetery Complex with Javanese cosmology. The finding iof this thesis is that Javanese cosmology plays an important role in the formation of the mosque and cemetery complex through the creation of an axis. Moreover, the axis also relates to the duality concept in Javanese cosmology that shows balance and unity including in the architecture and the development of Mantingan Mosque and Cemetery Complex. "

"ABSTRACTMasjid Peneleh merupakan masjid tua yang berada di Surabaya yang dibangun berssamaan dengan Masjid Sunan Ampel pada tahun 1421. penelitian ini bertujuan untuk mengetahui tinjauan arkeologis yang berada di ruang utama Masjid Peneleh dengan membandingkan bangunan ruang utama Masjid Sunan Ampel yang meliputi bagian atap, pintu, jendela, mihrab, mimbar, bedug, tiang saka guru, pawestren, menara dan serambi. Beradasarkan hasil analisis dapat diketahui persamaan dan perbedaan bangunan Masjid Peneleh dan Masjid Sunan Ampel.

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ABSTRACTPeneleh Mosque is an old mosque which is located in Surabaya. It had been built simultaneously with Sunan Ampel Mosque in 1421. This research aims to know the archaeological observation that is kept in the main room Peneleh Mosque by comparing the main room in Sunan Ampel Mosque which consist of the roof, doors, windows, mihrab, pulpit, drum, pillar of saka guru, pawestren, tower and porch. According to the results of analysis, we can find out the similarities and differences between buildings of Peneleh Mosque and Sunan Ampel Mosque."

"Masjid merupakan sebuah tinggalan arkeologis yang dapat menjelaskan bagaimana agama Islam berkembang di suatu daerah. Agama Islam yang berkembang di pulau Jawa merupakan wujud akulturasi dari penyesuaian terhadap agama dan kebudayaan sebelumnya. Penyesuaian kebudayaan yang dihasilkan dari sebuah proses akulturasi tersebut terlihat dari adanya beberapa komponen masjid yang menunjukkan corak-corak kebudayaan yang berbeda. Pada bagian atap masjid terdapat gaya Tionghoa yaitu atap Tsuan Tsien, pada bagian ruang inti masjid terdapat banyak unsur kebudayaan Jawa, dan pada bagian mihrab dan ragam hias terdapat unsur Timur Tengah. Berdasarkan hasil analisis mengenai dua aspek yaitu arkeologi dan akulturasi, dapat disimpulkan bahwa Masjid Jami Lasem merupakan wujud dari sebuah masjid yang merangkul semua golongan masyarakat, dan merupakan wujud dari cerminan masyarakat multikultural.

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The mosque is an archaeological heritage that can explain how Islam developed in this area. The Islamic religion that flourished on the island of Java was a form of acculturation from adaptation to previous religions and cultures. The result of  an acculturation process is proven from the existence of several components of the mosque that show different cultural elements. On the roof of the mosque there is a Chinese elements called the roof of Tsuan Tsien, in the center space of the mosque there are many elements of Javanese culture, and in the mihrab and ornaments of the mosque there are elements of the Middle East culture. Based on the analysis of two aspects of archeology and acculturation, it can be concluded that Jami Lasem Mosque is a form of a mosque that embraces all community groups, and is a manifestation of the reflection of multicultural society."