From “Haus Tambaran” to Church: Continuity and Change in Contemporary Papua New Guinean Architecture

Abstract

ABSTRACT This article examines contemporary Papua New Guinean architecture created in the oscillation between Melanesian culture and Western impact. Some of the country's indigenous buildings are truly remarkable, especially the prestigious structures known as “Haus Tambaran” in the Sepik River area which have lent inspiration to many outstanding samples of contemporary Papua New Guinean design. We have studied both the indigenous and contemporary architecture of the Sepik region in the field and in additional research in collaboration with the late Professor Wallace Ruff and are comparing and contrasting contemporary architectural design with indigenous buildings. Here, we focus on a church at Ambunti, East Sepik Province. There is no electricity available on the site to facilitate climate control. Moreover, this contemporary building serves Western political, social, religious and educational functions. At the same time, the church incorporates aspects of the country's architectural heritage, including aesthetics as well as site-design and design with climate. Our comparison contrasts the modern building's functions, aesthetics, and design solutions with the area's indigenous local equivalent, the Haus Tambaran, and reveals elements borrowed, left aside, or altered in the process of adaptation. Issues discussed here include historic precedent, aesthetics, ownership, gender, and other social issues, as well as design and construction. Formal aspects, their meanings and functions, as well as environmental considerations and design solutions are borrowed, translated, or transformed, recalling but also differing from “Green Architecture,” to serve contemporary Western needs.