In episteme of postmodernism, the condition
is seen differed from two epistemes
in the past—traditional and modernism. In certain boundaries, Indonesian
architecture in episteme of
postmodernism seems has bigger opportunities to assimilate with any foreign
architecture product. This is because
the most of postmodernism architecture
principles even gives space for application the property of ornamental of the
traditional architecture, through the six concept which has been elaborated at
initial part of this paper.
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Figure 1. A church in Tana Toraja with
Longa ornament of traditional
building (tongkonan) of Toraja: a
somersault of modern architecture esthetics norm order
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Concept of Pro Improvisation and Spontaneity is applied by Heinrich Klotz
(1988, in Ikhwanuddin) to express that any masterpiece emerged from the ideas
of postmodernism of architecture is not must be perfect, regular and planned,
as which is generally recognized at
modern architecture concept. But the un-perfection might be an element of
deliberateness of design. Kurokawa divides this concept into three
sub-concepts: playful, pleasure,
enjoyment, while Charles Jencks applies the terms of pro humour,
pro irony, and pro parody, to express a attitude of somersault the order or pattern, which is
usually comprehended for the purpose of insinuation or humour (see Ikhwanuddin,
2005:89). One of cultural
characteristics in society of postmodern, according to Putranto ( 2005), is
forms of urban architectures showing the symptom of the conspicuousness of
amusement entertainment, "take it easy; relax", what usually can be
seen at shopping malls, amusement centre, and dwelling complex like real estate
housing, condominium, and apartment. One
of expansion prospects of the concept of 'pro improvisation and spontaneity',
is application imperfectly of the ornamental of traditional architecture,
and neglectfully the mythology aspects
and believe systems.
Hyperreal is a concept of a situation making someone is losing
of his/her ability to differentiate reality and fantasy. Hyperreal enables
expansion of original idea to create impressive simulations with new
technologies that result in an even better experience than the original ( see
Smith and Bugni, 2002). Uniqueness of ornamental and also forms of Indonesian
architecture clearly gives space to hyperreal, both for partial application and
also for full application.
Radical Ecleticism in architecture is interpreted as an
approach of conceptual which is no longer stand upon the order and the norms of
modern architecture, and radically refuses esthetics and artistic
codes of recognized at modernism
architecture era. If at episteme of modernism, Indonesian architecture does not
have place at modern architecture, because of delimitation by
rationality of design esthetics norms, like unity, balance, simplicity,
accentuation (emphasis), and, proportion and scale, then on the contrary, at episteme of postmodernism, Indonesia
architecture has broader place to
assimilate with the development of contemporary architecture. Tongkonan
( traditional house of Toraja), for example,
might be applicated as a entrance of a
contemporary building, without need to pay attention to principality of unity
and simplicity
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| Figure 2. The facade of Sultan Hasanuudin airport terminal:
transplantation (hybrid) of a typical
form of the ship's bridge (anjungan) of Bugis-Makassar's typical
ship (perahu pinisi).
Concept of Hybrid, first time was submitted by Robert Venturi to express that
the idea of postmodern architecture is not a pure idea, but hybrid
(transplantation). According to Jencks,
hybrid is a method to create patterns from the past, but with new material and
technique. Kurokawa defines hybrid as merger or mixing various
best elements from different cultures, good between present day cultures and
past, and also intercultural of present ( see Ikhwanuddin, 2005). The applying of this hybrid concept can be
seen at various buildings with a number of the styles and manners which there
are in all the world mingled in one
building ( see Smithies, 1982: 24). Clearly that concept of hybrid gives
spacious space for applying of plurality elements (kebhinekaan) and the rich ornamental of Indonesian architecture. One of examples is seen at
Fugure 2. It shows the applying of hybrid concept at facade of the
airport's terminal building of Sultan Hasanuddin in Makassar by transplant the typical form of the ship's bridge (anjungan) of Bugis-Makassar's typical ship (pinisi), as accentuation for the airport terminal building. Applying
of the ship's bridge ornament of course is no longer be constituted by a
religion consideration or mythology, also possible not by functional
consideration, and rationality, however likelier
by consideration of commodification. Something
having a "trade value" by special characteristic at the
"tourism gate" of South Sulawesi.
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Figure 3. Simulation of an artificial form of
traditional boat: applying of the concept of simulacra at a part of a
shopping mall interior.
Simulacra are perfect representations of entities which do not
exist; they are also simulation processes that generate a "real"
which lacks an origin or reality
(Baudrillard, 1991: 2, in Smith and Bugni, 2002). Concept of Simulacra at postmodern architecture in fact is not only limited to the application of
traditional building architecture only, but traditional ship architecture can also
be applicated. An shopping mall, as shown in Figure 3, applies the concept of
simulacra, by creating a simulation from a traditional boat into their interior
design.
Figure 4. Cottages of Marante: Commodification of
Toraja traditional building fortourismindustry(source: http://www.marantetoraja.com/gallery/marante.php).
Commodification is transformation from something is normally
not a commodity, into a commodity. Properties
of ornaments and forms of Indonesian architecture has a big potency in applying
of the concept of commodification at contemporary buildings of postmodern,
either in partially or on the whole. As an example, is commodification of
traditional house of Toraja (Tongkonan) at the cottages in Marante Hotel in Toraja,
as an effort to sell traditionality of Toraja for tourism industry (see Figure 4).
By this description, it is seen that every idea
concept of postmodernism in architecture can give broader space for application
the Indonesian original architecture into the world contemporary architecture. If
at modernism episteme, Indonesian
architecture is limited, in participating at development of the world
contemporary architecture, by pluralities (kebhinekaan)
and properties of its ornamentals which is incompatible the esthetics priciples of modern
architecture, then at episteme of postmodernism, plurality and
properties of ornamentals owned by Indonesian original architecture even gives broader space for its
development into the domain of world
contemporary architecture
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