Abstract:
The phenomenon of globalization that overwhelmed the world implies that everything happened in one particular place will eventually affect events on the other side of the globe significantly. Politicians and economists are forced to respond to the pressure of this change through regulation and competitive advantage to avoid being excluded or shut out from the global system. This pressure has affected culture as well.
The response to globalization in the field of architecture is marked by the emergence of interest in local characteristic or features that previously ignored in the discourse of modern architecture. Practitioners and theoreticians are beginning to turn their attention towards local or ethnic elements that are considered unique, specific and full of variations. By raising the local knowledge and the historical aspect which has stood the test of time, it is hoped that local identity will not be swept away by the tide of globalization. One may even rest assured that this kind of knowledge will enable a certain region to play an active role in global culture.
This study aims to reveal relationships between the concept of form and meaning in Sundanese architecture in the context of change. The approach used for interpreting form is the typological one derived from De Quincy-Rossi and pattern language from Alexander, whereas the approach used to interpret meaning is structuralism approach derived from Levis-Strauss. These approaches are then elaborated taking into account the world-view of the Sundanese people (“Urang Sunda”) and their concept of place (patempatan) in line with the conditions of the three case studies. Based on these two approaches, specific theoritical framework is developed in order to comprehend the relationship between concept of form and meaning in Sundanese architecture in the context of change.
The analysis conducted has depicted the surface-structure of the formal aspects of form and meaning in Sundanese architecture. As for the aspect of form, the following types can be found : the kampong, the musholla, and the house, which are influenced by the concepts of “luhur-handap, lemah-cai, wadah-eusi” and , “kaca-kaca”. As for the aspect of meaning, it was found that activities involving rituals, production-reproduction, socialization and everyday routines are all influenced by the concepts of “nadran, uga, pamali” and “sineger-tegah”. Based on the surface-structure, the concept of deep-structure can be revealed: “kaca-kaca” for the aspect of form and sineger-tengah for the aspect of meaning.
Three important findings of this study comprise the following. Firstly, that the dynamic change in the concept of form and meaning of the architecture encountered in three case studies can be differentiated into four categories, (1) the concept is still known and used in accordance with its original meaning, (2) the concept is still known, but used in a different sense, (3) the concept is still known but no longer in use, (4) the concept is unknown or in oblivion. Secondly, that there is “triadic-patterns” which consists of a boundary and of two elements being bounded or separated. Thirdly, that in manifesting the concept of form and meaning into architectural shape, a tendency toward practical and symbolic measures can be observed.
There are at least three kinds of contribution that can be offered by this study. Firstly, the enrichment of the vocabulary of theory and methodology of architecture. Secondly, propositions for the empowerment of the Sundanese community in the three case studies. Thirdly, recommendations for policy makers. All in all, it can be concluded that it is impossible to make generalization about an authentic Sundanese architecture, and accordingly the survival strategy for the Sundanese architecture must be treated case by case.
Copyrights :
Copyright (c) 2006 ITB Post-Graduate School.
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