Jengki, also known as Yankee style, was a post-war modernist architectural style developed in Indonesia following its independence. The style was popular between late 1950s and early 1960s. Jengki style reflected the new influence of the United States on Indonesian architecture after hundreds years of the Dutch colonial rule. It can be interpreted as a tropical interpretation of American post-war modernist suburb houses. Johan Silas, a native architect, speculates that this distinctive architecture is an expression of the political spirit of freedom among the Indonesians, which translated into an architecture that differs from what the Dutch had done. History Early form Jengki style first appeared with the development of new satellite town Kebayoran Baru. Designed by Ger Boom Job & Sprey, Construction of the area was finished in 1955. These houses, which were made for the staffs of BPM oil company, were known for its bold character and playful angles. For example, middle class houses in Kebayoran were designed with square or rectangular layout, but the first floor is tilted forward to protect the facade of the lower level from the sun. Lower-level official houses in Kebayoran make use of front patio. Similar houses were built in other cities where the BPM operates, e.g. Balikpapan. Development of a new style The style was further developed in the 1950s. Bold use of color is introduced, while playful angles and steep unusual roofs characterized houses of this period. It is also becoming more and more influenced with the American mid-century modern style. At this period, the particular style was known in Indonesia as Yankee-type or Jengki style due to its heavy American influence. It can be interpreted as a tropical interpretation of American mid-century Googie style. Buildings in Jengki style were mostly designed by construction companies or architecture students of Bandung Institute of Technology, where the first Department of Architecture in Indonesia was established in 1951. Initially established under Dutch professors, they had to leave in the mid 1950s during the second wave of repatriation due to political turmoil in newly independent Indonesia. For a short period some German professors managed the department, but by the end of the 1950s it was taken over by Americans and Indonesian graduates from American universities. Consequently, the architecture graduates of ITB are most influenced by American architecture. Among those graduates are Djelantik, Harjono Sigit, Johan Silas and Harry Winarno Kwari. This influence was possibly brought