ture is an expression of the political spirit of freedom among the Indone- sians. When development picked up in the early 1970s under Soeharto’s New Order administration following the turbulent mid-century decades, Indo- nesian architects were inspired by the strong American influence in Indo- nesia’s architecture faculties following independence. The International Style dominated in Indonesia in the 1970s, as it did in much of the rest of the world. Aceh Tsunami Museum The 1970s saw the Indonesian gov- ernment promote indigenous Indone- sian forms. Constructed in 1975, the Taman Mini Indonesia Indah theme park re-created over twenty buildings of exaggerated proportions to show- case Indonesian traditional vernacu- lar forms. The government also called for Indonesian architects to design Soekarno-Hatta International Airport an Indonesian architecture, and by the 1980s in particular, most public buildings were built with exaggerated elements of traditional vernacular forms. These works includes the large concrete Minangkabau style roofs on government buildings in the city of Padang, the giant Javanese joglo structures at the University of Gadjah Mada, and also the Javanese-Balinese meru multi-tiered roofs of rectorate tower in University of Indonesia. Despite this commendable effort to try to define Indo- nesian architecture, through drawing inspirations from native elements of Indone- sian vernacular architecture and traditions, the practice and results might not be ful- filling expectations. Some- times the result is mediocre, criticized as superficial ad- Ngurah Rai International Airport dition upon modern build- ing – by merely applying traditional ornaments or just attaching traditional roofs. Nevertheless, there are some excep- tional result of this effort, such as the original design of Soekarno-Hatta International Air- port terminal 1 and 2, that create an airport terminal within tropical garden. The airport is formed as a collection of Javanese pendopo pavilions, akin to Javanese keraton compound.