Dhian Lestari Hastuti, S.Sn., M.Sn, is a lecturer of design interior at Indonesis Arts Institute, Surakarta, Indonesia, and Executive Director of Djawa Trails, an heritage organization based in Solo. Besides her research activities, she likes to participate in heritage activities as well in Solo city.
Agung PW:
Your postgraduate’s thesis entitled 'Ndalem Interior at Batik Laweyan Houses’ Merchant in Early 20th-Century, An Aesthetics Studies', is quite interesting. What is your background to choose the case?
Dhian Lestari Hastuti:
The background to the study of aesthetics of ndalem interior in houses of Laweyan campong’s merchants, because dalem for Laweyan people in the early 20-th century was one of several of self-identification as a marginalized cultural communities. The beauty of value housing philosophy, particularly ndalem for Laweyan batik merchants were life meaning they believed.
Agung PWHow do you define the ndalem interior? Does the word of ndalem refers to the typical architecture of Java?
Dhian Lestari Hastuti
Yes, I am referring to the Java architecture. Ndalem Interior is part of a pattern of organizational architecture or Java spatial after the pendopo (the public area and manifestation of masculine area), the peringgitan (a place for puppet show). Ndalem as a feminine manifestation functions to serve the birth, marriage, and death (especially for Laweyan campong people) that is interpreted as a sacred area. Only the owner, relatives, and honorable guests can access it.
Agung PW
How many ndalem interiors did you research? What philosophical aestethetics did you find on them?
Dhian Lestari Hastuti
Actually I have researched more five houses and the ndalem interiors of batik merchant, especially for the ones that their functions still existed. However, I only analyse three ndalem interiors of them for my thesis. They represented the two regions of Laweyan in the beginning of the 20th century, that are, subdistricts of Bumi and Laweyan. Unfortuntely I did not get permission to do the research at subdistrict of Sondakan.
Agung PW
What is the hallmark of their ndalem interiors? Are they still preserved its until now?
Laweyan houses of batik merchans usually have in common, as commom people with the form of roof as pyramids. Because they realized that they were not noblemen, so it was impossible to build joglo architecture of their houses. Templates and spatial organization still uses Java and interior architectural template. In every house there is a different style, depending on the nature of its owner. Their house was originally a wooden constructed, but because of their success in the stamped batik industry, the Laweyan batik merchants built their architecture to be bearing construction with brick wall. They are characterized by the presence of two iron pillars carved on the front side of ndalem area, just opposite to petanen (a place to keep agricultural harvest).
Two ornate iron pole as a form of Javanese identity life, because the Javanese house is always characterized by four main pillars.. The construction using a bearing wall, so they put both ornate iron pillars. They are still using Javanese calendar create architectural space based on parts of the body of household head. They still used the principle of hierarchy of space in the architecture of Java.
Until now the houses that I researched were carefully maintained. But some others have changed. Because Laweyan has been imaged as the batik campong for tourist destination. So, many people compete to renovate their houses into batik showrrom.. This is quite worrying, because the successors do not understand the meaning of houses of their anchestors in the past. Those houses have historical value. They should not renovate them into glassed-showroom. So there is almost no building difference between inside and outside Laweyan area.
Agung PW
Is in the beginning of the 20th century an important momentum for the development of Laweyan Campong region in particular and Solo city in general?
Dhian Lestari Hastuti
Yes, in the beginning of the 20th century could be called the early modern period to Laweyan and Solo. Batik tools brought by Chinese merchants to Kauman campong, it turned out to grow rapidly at Laweyan. The Laweyan area passed by the River Premulung with one of forty-four Bengawan Solo ports have supported the growth of stamped batik. Batik-making system changed from written batik to stamped one. Witten Batik was originally carried out by women, turned into stamped batik by men.
From the time side it runs faster and produces incredible income. Home-based business management system turned into an industry with enterprise systems. Increased revenue due to changes brought batik traders mindset and values and social systems which they believe have created the different cultures. The Javanese , European and Chinese are the three cultures that affect the shape Laweyan culture at the beginning of the 20th century. Further development is the cultural change from river to land culture which impacted to transport system change in the delivery of goods by train that is more popular than the boat. This resulted in changes in spatial structure to modern city of Solo with automotive transport.
Agung PW
How does the influence of Dutch architecture in the ndalem interior? Is it mixed Dutch-Javanese style?
Dhian Lestari Hastuti
The influence of Dutch architecture is in the system interior bearing wall construction and more to interior styling and materials. They brought the materials from Europe to support the style. Special layout and placement of furniture in house, they still attached the Javanese culture Only style atmosphere is a mixture of European, Chinese and Javanese - between Art Nouveau and Art Deco.
Agung PW
Have batik merchants in Laweyan already used the services of an architect? Or Did they deal directly with the contractor to build the architecture of his house, including interior as well?
Dhian Lestari Hastuti
Yes, because my research is to houseses of batik great merchants. They have the ability to directly relate to the architect. One is an Chinese architect.
Agung PW
What is the most important findings of your thesis? Are ndalem interior style of house Laweyan merchants found in other campos in Solo city area?
Dhian Lestari Hastuti
House for them is a residence and place of batik production. My most important findings is Laweyan people to build house, especially ndalem interior as the identity symbol. It is as a form of struggle towards their ideals as marginalized people. in order to obtain the identity (social status) and equal recognition with native nobility. The ndalem interior is a influential form of European, Chinese and Javanese acculturation. Highest social class is Dutch colonial. The native people are among the nobles An the China is higher than natives. They combined the acculturating results to to obtain the recognition of social status.
Their struggle is the real business of teaching Mangkunegara IV in his Javanese literature work entitled Wedhatama, pupuh sinom on 29th verse as below:
‘Bonggan kang tan merlokena, mungguh ugering ngaurip, Ian uripe tri prakara, Wirya arta triwinasis, kalamun kongsi quiet, saka wilaryin tetelu, telas tilasing janma, aji godhong aking teak, temah papariman ngulandara papa.’
The essence of the teachings is to achieve social status, someone can take it by position. If the position is not owned, social status can be achieved by money and wealth. But if money is not, it can be by education. If someone does not have those three, his or her life will be like dry teak leaves, useless, and unclear fate. The profession of batik merchant who results the wealth exceeding the noble family is the effort of gaining recognition of social identity by money.
Agung PW
Besides interior design research, what other area are you interested to research? And what are your next research plans?
Dhian Lestari Hastuti
Besides interior design I am also interested in anthropology, such as the relationship between the two is very strong. To see and understand the shape of the design will be easier if we observe from anthropology perspective. Moreover, if Indonesia is rich of local wisdom in which each tribe has a product design as part of their daily lives. Basis of these conditions then we will be able to understand the meaning of the designs for their products.
Agung PWYou are also active in heritage activities, what is your advice on heritage preservation in Indonesia?
Dhian Lestari Hastuti
Heritage is entrusted to our children and grandchildren. So, heritage education should be started for children in the early age. From the activities to visit, see, observe, until they can understand. Eventually they will replace us later to take care of this country, Indonesia. The decision makers of this country must also understand the policy, not to destroy and sell it. So the heritage observers can have synergy with government programs and not to work separately.
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Dhian Lestari Hastuti
Email address: hadomiku@yahoo.co.uk
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