There is an important old element in Kasepuhan and Kanoman Palaces called Sitihinggil. The Sitihinggil complex refers to Majapahit relics located deep in East Java. This research aims to recognize Majapahit architectural patterns in Sitihinggil Keraton in Cirebon, so it is expected that architectural relationships from the Pre-Islamic-Majapahit to the Islamic period will be identified, especially in residential buildings. The research method is carried out through a typological comparison between relics of Majapahit buildings and Sitihinggil in their architectural transformation. The study has been conducted by examining the shape transformation and the spatial pattern of the mass-spatial arrangement, figure, and ornamentation through the real form of reconstruction results and the relief picture of the Majapahit temple. This study shows a strong architectural relationship between the Sitihinggil in Kasepuhan and the architectural patterns of Majapahit era. At the same time, the Kanoman palace has changed more dynamically. Both show an architectural transformation, but Majapahit traces can still be recognized by persistent patterns such as mass patterns, figures, ornaments, and gates. This phenomenon illustrates the spirit of preservation of the past, even though the religious orientation has changed.
Bali Island is a famous tourist destination in the world and this has made it a gathering hub and multicultural meeting center for tourists from several countries, thereby, raising concern on the possibility of the area losing its traditional Balinese architecture. It is necessary to make adjustments by adopting the shape of the old Balinese building. This means the emergence of new functions is not a taboo but a new design challenge, therefore, the traditional Balinese architecture and theater provisions were combined to produce a neo-vernacular architecture by using descriptive qualitative method. This led to the application of Asta Kosala-kosali in the theater space, modification on the roof, body and legs shape of the Balinese building, and the integration of the construction system and materials in the Balinese theater architecture. © 2020 Alan Darma Saputra, Rahadhian Prajudi Herwindo, Yohanes Karyadi Kusliansjah
After Buddha parinibbana, difference of views between his disciples in interpreting Dhamma result in the creation of three main Buddhist schools: Theravada, Mahayana, and Vajrayana. With slightly different philosophies, these schools also have their own unique architectural characteristics to represent sacredness. However, due to the absence of any architectural literature, wide interpretations of Buddhist teachings, and acculturation with local culture, sacred characteristics of Buddhist architecture became mixed and difficult to distinguish. This research aims to study the influence of Mahayana and Vajrayana schools on the sacred characteristics of Theravada Buddhist architecture in Indonesia. Elaboration of Buddhist architecture and sacredness theory are used to analyse case study in surrounding environment, figure, mass structure, spatial planning, and ornamentation scope to obtain comprehensive acculturation picture of Mahayana and Vajrayana philosophy on Theravada vihara in Indonesia. Based on the results of the analysis, it can be seen that the circular shape that was characteristic of the early Theravada school in the architectural form of the monastery began to be abandoned and the use of anthropomorphic Buddha and iconic symbols as ornamentation elements which were only known in the development of Mahayana and Vajrayana schools.
Dewasa ini, semakin banyak dijumpai rancangan arsitektur yang berusaha tampil berbeda tanpa mempedulikan konteks lingkungan sekitarnya. Kurang disorotinya kontekstualitas dalam rancangan menjadi fenomena yang mengkhawatirkan, khususnya bagi bangunan maupun kawasan bersejarah. Pasalnya, arsitektur yang tidak kontekstual membuat keharmonisan dan kesan kesatuan antar bangunan dan sekitarnya menjadi berkurang. Penelitian ini pada dasarnya berusaha memfokuskan pada pembahasan kontekstualitas pada rancangan Masjid Menara Kudus yang telah mengalami adisi, ekspansi dan renovasi. Dilakukannya penelitian ini bertujuan untuk mengungkap bagaimana nilai kontekstualitas rancangan terwujud pada rancangan Masjid Menara Kudus, beserta aspek-aspek apa saja yang mempengaruhinya. Analisis pada penelitian dilakukan dengan menggunakan teori tipomorfologi arsitektur yang digunakan untuk membedah konfigurasi rancangan objek studi dan teori kontekstualitas yang digunakan untuk menalaah pendekatan-pendekatan kontekstual beserta aspek-aspek apa saja yang menjadi indikatornya. Dari penelitian ini didapatkan temuan bahwa terdapat dua lingkup rancangan yang memiliki nilai kontekstualitas yang ideal dan dua lingkup rancangan lainnya yang kurang mencerminkan konsep rancangan kontekstual pada Masjid Menara Kudus. Pada penelitian ini juga ditemukan lima aspek rancangan yang berperan penting mempengaruhi nilai kontekstualitas Masjid Menara Kudus.
Gedung Sate was built to accommodate various architectural styles derived from local and foreign elements. The local elements have been widely studied, such as those relating to the architecture of the 'Candi' on the island of Java. Many external elements are associated with the Moorish European style and that of the Dutch. However, according to the elements, it also indicates the existence of Indian Islamic architecture, the Mughal style. This study of the Islamic elements of Mughal India has not been pursued or presented any further. This study aims to identify the traces of Islamic architecture in the Gedung Sate, especially those derived from the Mughal, Moorish and local styles. This research method used a qualitative approach by studying the morphology of Gedung Sate and Mughal or Moorish buildings to identify the relationship between their architectural elements. The results show that Gedung Sate does indeed show the use of Mughal architectural elements, especially in the outer layout and mass, processing of the figure section, and the ornamental exterior column, while the Moorish influence is more visible in the processing of curved elements and column heads and slender interior columns showing light elements. The idea of using Islamic architecture is carried out to represent the splendor in the typology of new buildings in the prospective capital city of the Netherlands Indies, namely Bandung. Indian architecture is used as a reference because it is considered to have a close relationship with Candi as an important resource in Java.
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