Exhibiting Modernity and Indonesian Vernacular Architecture : Hybrid Architecture at Pasar Gambir of Batavia, the 1931 Paris International Colonial Exhibition and Taman Mini Indonesia Indah

In Her Research Yulia Nurliani Lukito Analyses Modernity And The Construction Of Culture By The Authorities Using The Images Of Indonesian Vernacular Architecture Presented At Three Different Sites And Times. She Argues That Modernity Is Not Solely Constructed By The Authorities, Rather It Is An Ongoing Process Modified By Visitors Of Exhibitions. Pasar Gambir Was A Laboratory Of Modernity For The Colony, And An Important Stage In Modernizing And Negotiating Cultural And Social Conditions In The Colony. The Dutch Pavilion At The 1931 Colonial Exhibition Became A Moment When The Indies Heritages Played A Role In Marking Colonial Territory. Modern Ethnographic Park Of Taman Mini Gives A Way To The Making Of An Official 'authentic' Culture And Suppresses The Previous Dutch Construction Of The Indies Culture. Contents · Pasar Gambir Of Batavia: Hybrid Architecture And Space Of Encounter For The Indies People · The Dutch Pavilion At The 1931 International Colonial Exhibition In Paris: Contrasting Authenticity And Modernity · Taman Mini Indonesia Indah: The Rebirth Of Indonesian Vernacular Architecture After Independence Target Groups · Lecturers And Students Of The Social Sciences Especially In History And Theory Of Architecture · Readers Who Are Interested In Cultural Studies, Architecture, History, And Modernity The Author Yulia Nurliani Lukito Received Her Doctorate Degree In Theory Of Architecture From Rwth Aachen. Her Research Interests Are Theory And History Of Architecture, Modernity, And Indonesian Vernacular Architecture. Yulia Nurliani Lukito. Also Available Online. Doctoral Universität, Aachen Includes Bibliographical Reference (pages 181-192). Abstract 5 Acknowledgement 8 Table of Contents 10 List of Figures 12 1. Introduction 15 1.1. Research Questions 22 1.2. Purposes of the Dissertation 23 1.3. Method of the Thesis Work 23 1.4. Relations to Some Theories and Previous Works 24 1.5. Overview of Chapters 28 2. Pasar Gambir of Batavia: Hybrid Architecture and Space of Encounter for the Indies People 30 2.1. Pasar Gambir as the Liveliest Colonial Exhibition in Batavia 33 2.1.1. Pasar Gambir in the King’s Square 34 2.1.2. A Blend of a Pasar and a Fair: the Beginning of Negotiation at Pasar Gambir 39 2.1.3. The Organizer of Pasar Gambir 40 2.2. The Hybrid Architecture of Pasar Gambir 42 2.2.1. The Plan of Pasar Gambir 44 2.2.2. The Gate to Pasar Gambir 48 2.2.3. The Pavilion of Pasar Gambir: the Power of Hybrid Architecture 51 2.2.4. Pasar Gambir Fair as an Open Experimental Platform of Hybrid Architecture 54 2.2.5. Hybridity in the Making of Pasar Gambir 56 2.3. Pasar Gambir and the Experience of Modernity 61 2.3.1. Urban Modernity in Batavia 63 2.3.2. Electric Lighting and Advertisements as Signs of Modernity in Pasar Gambir 67 2.4. Space of Encounter in Pasar Gambir 69 2.5. The Reception of Pasar Gambir’s Visitors 71 2.6. Pasar Gambir in Indonesian and Sino-Malay Literature 75 2.7. Pasar Gambir and the Gaze: Celebrating Colonial Modernity and Defining the ‘Self’ 79 3. The Dutch Pavilion at the 1931 International Colonial Exhibition in Paris: Contrasting Authenticity and Modernity 82 3.1. The Last International Colonial Exhibition and the Narrative of Progress 84 3.2. The Layout of the Exhibition and the National Pavilions 87 3.3. The Architecture of the Dutch Pavilion and the Role of the Dutch as a ‘Mediator’ 90 3.3.1. The Architects of the Dutch Pavilion 96 3.3.2. The Burden of Representation: Hybrid Architecture of the Dutch Pavilion 97 3.3.3. Constructing the Culture of the Colony 100 3.4. The Story of the Gates at the Dutch Pavilion 104 3.5. The Ethnographic Showcase at the Dutch Pavilion 108 3.6. Architecture in the Colony: From Mute and Autistic Architecture to a New Synthesis 112 3.6.1. The Javanese Pendopo at The Work of Two Dutch Architects 120 3.6.2. Beyond the Balinese Gates and the Javanese Pendopo 123 3.7. Visitors at the 1931 Paris International Colonial Exhibition 127 4. Taman Mini Indonesia Indah: the Rebirth of Indonesian Vernacular Architecture after Independence 133 4.1. Architecture and Spatial Politics of the Young Nation 136 4.2. Beautiful Indonesia in Miniature Park: the Return to Local Culture 140 4.3. The Site of Taman Mini 142 4.4. Interpreting the Site of Taman Mini: From Mandala Structure to Nation Building 146 4.5. Some Precedents for Open-Air Ethnographic Park 151 4.6. The Gate to Taman Mini 156 4.7. The Architecture of Taman Mini’s Pavilions 159 4.8. The Scale of Taman Mini: Amplifying the Cultural Construction 162 4.9. The Reception of Taman Mini’s Visitors 165 4.10. Nostalgia for the Lost Origins in Taman Mini 169 4.11. Taman Mini and Utopia of Unity and Diversity 174 5. Conclusion 178 Appendix 185 Bibliography 190 Annotation In her research Yulia Nurliani Lukito analyses modernity and the construction of culture by the authorities using the images of Indonesian vernacular architecture presented at three different sites and times. She argues that modernity is not solely constructed by the authorities, rather it is an ongoing process modified by visitors of exhibitions. Pasar Gambir was a laboratory of modernity for the colony, and an important stage in modernizing and negotiating cultural and social conditions in the colony. The Dutch Pavilion at the 1931 colonial exhibition became a moment when the Indies heritages played a role in marking colonial territory. Modern ethnographic park of Taman Mini gives a way to the making of an official authentic culture and suppresses the previous Dutch construction of the Indies culture." Front Matter....Pages i-xv Introduction....Pages 1-15 Pasar Gambir of Batavia: Hybrid Architecture and Space of Encounter for the Indies People....Pages 17-68 The Dutch Pavilion at the 1931 International Colonial Exhibition in Paris: Contrasting Authenticity and Modernity....Pages 69-119 Taman Mini Indonesia Indah: the Rebirth of Indonesian Vernacular Architecture after Independence....Pages 121-165 Conclusion....Pages 167-173 Back Matter....Pages 175-192