“Arsitektur Panggung” Di Kawasan Tugu Nasional

Abstract

ABSTRACT The many of architecture works of Soekarno in the 1960s are express the Nation Pride by exploring the Indonesian culture as the basic design into Modern Architecture’s buildings. This paper is a narra- tive of the spatial experiences in Soekarno’s masterpiece work, Tugu National. The study is refers to a qualitative research and used a Grounded Theory of Glaser and Strauss. By using a phenomenological spatial investigation in Tugu National building area was found an architecture drama analogy by adop- ted the sequences programming space looks like a drama performing especially from above through an aerial view of the Tugu National. The monument building looks like a resembled of ‘the drama perform- ing’ shown from a balcony on the aircraft cabin. A new theory named “Architecture of Stage” include to reveal Khora, as the concept of the ‘architectural form’ by traced the Soekarno’s ideas to express the uniqueness form of the monument. He composed an ‘Architecture Drama’ analogy as his tacit know- ledge in ‘tonil drama’ during his exile at Ende and Bengkulu. He reflected the Old Javanesse culture as the basic of the Modern Architecture design as an Architecture’s Event at that time. Keywords: Architecture’s Drama, Phenomenology, tonil drama of Soekarno, spatial investigation, Tugu National Monument    ABSTRAK Beberapa karya arsitektur Soekarno seputar tahun 1960-an merupakan ekspresi Nation Pride melalui eksplorasi budaya Indonesia sebagai basis perancangan bangunan Arsitektur Modern. Tulisan merupakan narasi pengalaman spasial pada karya masterpiece Soekarno, di kawasan Tugu Nasional berdasar penelitian kualitatif yang menerapkan strategi Grounded Theory meru- juk Glaser dan Strauss. Melalui pengamatan keruangan secara fenomenologi di kawasan Tugu Nasional telah ditemukan arsitektur drama analogy melalui cara mengadopsi sekuen ruang yang menyerupai pertunjukan drama, terutama melalui pandangan udara di kabin pesawat yang mengudara di atas kawasan Tugu Nasional, bagaikan  pertunjukan drama yang disak- sikan dari sebuah balkon. Teori baru yang dinamai “Arsitektur Panggung” disertai  pengung- kapan khora, sebagai konsep bentuk/’form’ arsitektur Tugu Nasional yang ditelusur sebagai ide Soekarno. Ia telah menggubah arsitektur drama sebagai pengetahuan tacit semasa menggelar drama tonil di pembuangan Ende dan Bengkulu. Soekarno mengekspresikan budaya Jawa Kuno sebagai basis perancangan Arsitektur Modern, yang kini dinamai ‘Arsitektur-Peristiwa’. Kata kunci: “Arsitektur Panggung”, fenomenologi, drama tonil, pengalaman keruangan, Tugu Nasional

A Preliminary Conservation Study for Art and Culture in Indonesia

“…Focusing on Jakarta as "an exemplary center," as the performance stage, Soekarno intended the projects to convey to the public a patriotic message as a 'symbol of national unity and a 'new emerging world political power' [2]. Some studies on the impact of Soekarno's policies and attitudes in the scheme have inspired a critical understanding which has come to be known as the idea of the Indonesian Mercusuar Project (Grand Project) [3] as a manifestation of the nation's progress images [4] which marks Indonesia's new identity [5]. In this case, political and cultural policies in the 1960s could not be separated from the awareness of building national identity and even trying to represent national pride through the process of extracting superior values of national culture aimed at the international community [6].…”

“…Some studies on the impact of Soekarno's policies and attitudes in the scheme have inspired a critical understanding which has come to be known as the idea of the Indonesian Mercusuar Project (Grand Project) [3] as a manifestation of the nation's progress images [4] which marks Indonesia's new identity [5]. In this case, political and cultural policies in the 1960s could not be separated from the awareness of building national identity and even trying to represent national pride through the process of extracting superior values of national culture aimed at the international community [6]. Many academicians studying cultural identity in art practice often define artworks within the framework of symbolic creation as individual ideas generated based on patronage relationships between artists and government or private institutions.…”

“…2 in 1961 has led to the entire arrangement of public and ideal mass with several new monuments and buildings. There are at least 10 works of architectural design in Soekarno's Mercusuar Project which are decorated with Indonesian ornaments and are still preserved until today, for example Hotel Indonesia building [15]. Here, Hotel Indonesia as one of the first international standards luxury hotels in Indonesia has become a magnet for the activities of the upper classes of the capital city of the Republic of Indonesia.…”