THE RELATION OF MAJAPAHIT TEMPLES WITH VASUSASTRA-MANASARA

Abstract- Vastusastra is a text which discusses Indian architecture which is published in several books, included Manasara. Vastusastra contains guidline for building Indian construction, including religious building such as temples. Although the narrative was made for the construction of temples in India, it turns out that there are some elements in vastu that also found in Mataram Kuno temples. This raises questions about the relationship of Indian architecture with Majapahit, which was the era after Ancient Mataram, given the Hindu-Buddhist influence still existed in the Majapahit era. To find out this, vastusastra-Manasara was used as a benchmark to find out the elements of the Majapahit temple which was influenced by India, especially South India which was thought to have a more dominant influence than North India on temple architecture in Indonesia. This study uses a descriptive method with a qualitative approach by describing the figure and mass-space layout of Majapahit temples that have been selected as the object of research and compared with vastusastra-Manasara's narrative using reference objects to facilitate analysis in order to find out the relations of the Majapahit era temples with vastusastra-Manasara narrative. Based on the results of the study, it was found that the temples of the Majapahit era still have relations with vastusastra-Manasara narrative when viewed in terms of figure and mass-space layout. But the relationship between the two can be said to be increasingly decreased. The re-domination of the original culture of Indonesian society in the Majapahit era and the influence of other cultures such as China is thought to be the cause of the waning influence of India on the architecture of the Majapahit temple. This led to the fusion of culture in the Majapahit temple and resulted in variations of new temples that had never existed before. Key Words: candi, majapahit, temple, vastusatra, manasara, relation

Adalaj Stepwell: A Magical Resonance of Architectural Ingenuity

The term Stepwell defined as "Well with Stairs" is a window to the ethnicity of forgotten civilizations. Stepwells are structures up to 3 to 5 storeys down from ground level, many of which are artistically designed with exquisite workmanship. These stepwells collect water during seasonal monsoons and in the deeper part of the ground with shadows around, such water bodies undergo slow evaporation process. In India, stepwells have been around since the age of Harappa and Mohenjo-Daro, about 4,500 years ago. During this period, bath wells with steps were created, with rooms surrounding the well-pit for resting. Such stepwells were once integral to the semi-arid regions of India, as they provided water for basic amenities for subsistence. These wells were also venues for colourful festivals and sacred rituals, paving the way for a rich cultural legacy. One such unique stepwell is located in Adalaj village in Gujarat, India, initiated by Raja Veer Singh in 1499 and completed by King Mohammed Begada for Rani Rudabai, wife of the Raja. The cultural and architectural representations in the stepwell at various levels are a tribute to the history, built initially by Hindus and subsequently ornamented and blended with Islamic architecture during the Muslim rule. But present-day perception, nurtured by technological advancements, has shifted. The paper focuses on the effects of the changing urbanscape on the architectural and visual connectivity with the cultural heritage of Adalaj so that adequate conservation measures can be proposed to preserve this icon of Indian architecture. Understanding the cultural relevance of such structures is crucial for their continued appreciation and protection.

Book review: Chand Singh, Aspects of Medieval Indian Architecture

Chand Singh, Aspects of Medieval Indian Architecture. Delhi: Agam Kala Prakashan, 2015, ₹2,950, 147 pp., ISBN: 9788173201554.

PENERAPAN METODE TRANSPROGAMMING DALAM PENCIPTAAN RUANG INTERAKSI ANTAR ETNIS YANG FLEKSIBEL DI PASAR BARU

Pasar Baru Woven Society is a Third Place located on Jl. Pintu Air Raya, Pasar Baru, Central Jakarta. The project began with a vision to present a third place in Pasar Baru which became a crossing space between cultures and traditions in Pasar Baru. As is known in Pasar Baru village, it has a diversity of cultures consisting of several ethnic groups, including ethnic Chinese, ethnic Betawi, European ethnic, and Indian ethnic. Each of these ethnic groups has different needs and activities. Pasar Baru district has three main roads that dominate in the shopping area, each road has its own character, including; Pintu Air road is dominated by Indian architecture, Pasar Baru road is dominated by Chinese-style architecture, and Veteran road is dominated by European architecture. These roads seem separate because of their diversity, the Pasar Baru district should be a single entity that encompasses these differences. Therefore this project goals to cross various kinds of inter-ethnic programs that will generate a new typology of space that is more general and flexible so that it can be enjoyed together. To reach the goals, the design approach uses Bernard Tschumi's Trans Programming method. With this method, existing programs and programs that have similarities between ethnic groups will be crossed into a more general program to be together. So that there is no single program that is specific to one Ethnicity. Keywords: ethnic diversity; Pasar Baru society; third place; trans programming Abstrak Tenunan Masyarakat Pasar Baru merupakan sebuah Third Place yang terletak di Jl. Pintu Air Raya, Kelurahan Pasar Baru, Jakarta Pusat. Proyek ini dimulai dari visi dan tujuan untuk menghadirkan tempat ketiga di kelurahan Pasar Baru yang menjadi ruang persilangan antar kebudayaan dan tradisi yang ada di Pasar Baru. Seperti yang diketahui di kelurahan Pasar Baru memiliki keberagaman kebudayaan yang terdiri dari beberapa Etnis, diantaranya etnis Tionghua, etnis Betawi, etnis eropa, dan etnis India. Setiap etnis tersebut memiliki kebutuhan dan aktivitas yang berbeda – beda. Kelurahan Pasar Baru memiliki tiga buah jalan utama yang mendominasi di kawasan perbelanjaan tersebut, masing – masing jalan memiliki karakternya tersendiri, diantaranya; Jalan Pintu Air yang di dominasi oleh arsitektur India, Jalan Pasar Baru yang di dominasi oleh arsitektur bergaya Tionghua, dan Jalan Veteran yang di dominasi oleh arsitektur Eropa. Jalan – jalan tersebut terkesan terpisah karena keberagamannya, seharusnya kelurahan Pasar Baru merup akan sebuah satu kesatuan yang melingkupi perbedaan tersebut. Maka dari itu project ini bertujuan untuk menyilangkan berbagai macam program antar Etnis yang akan menghasilkan sebuah tipologi ruang baru yang bersifat lebih general dan fleksibel agar dapat dinikmati bersama. Untuk mencapai hal tersebut maka pendekatan desain menggunakan metode Trans Programming Bernard Tschumi. Dengan metode ini maka program yang ada dan program yang memiliki kesamaan antar etnis akan di silangkan menjadi suatu program yang lebih general untuk bersama. Sehingga tidak ada satupun program yang spesifik terhadap satu Etnis.

THE PHENOMENON OF "LIVE" AND "UNALIVE" RESIDENTIAL OBJECTS IN ANCIENT INDIAN ARCHITECTURE

The article considers the rules of creating “live” residential objects based on the principles of ancient Indian architecture, the impact of such objects on the quality of life. For comparison, the impact of “dead” objects on human development is illustrated by examples. The concepts of "live" and "dead" residential objects are defined from the standpoint of ancient Indian architecture. Several basic principles of ancient Indian architecture are described. The importance of applying some of the principles of ancient Indian architecture in the design and construction of residential facilities in Russia. Examples of architectural inventions created by the world-famous architect Dr. Ganapati Sthapati are included. The article has three main sections devoted to the main postulates formulated by the ancient Roman architect Vitruvius.

The Chatrī: its Origin, its Basic Forms and its Variants in Bayana

The pavilions known as chatrīs are familiar features of North Indian architecture to the extent that Lutyens and Baker adopted them for New Delhi. Their antecedents in temple architecture and the traditional architecture of Iran, as well as their meaning, are intriguing: a canopy representing heavenly protection. The prevalence and variety of the form in Bayana is considered through detailed typological survey beginning with funerary chatrīs: the standard ones with four columns roofed with corbelled or true domes, also octagonal and hexagonal plans, or arranged in series as open rectangular canopied buildings. Indian prototypes and Persian wooden canopies, still standing or depicted in miniatures, are considered. Wooden pavilions in India are known from the sources, and early stone chatrīs for gateways are frequently found, while the Buland Darwāza to the shrine of Ḥamīd al-dīn Chishtī in Nagaur is a famous example with reverberations elsewhere. Bayana preserves experimental forms including a walled chatrī with twelve columns and the Baṛe Kamar: a tomb foreshadowing the arrangement of the tomb of Iʿtimād al-daula in Agra. The symbolic role in the minbars of early mosques is highlighted to explain how the emblematic form is deeply rooted in Indo-Iranian tradition.

Bayana

Bayana in Rajasthan and its monuments challenge the perceived but established view of the development of Indo-Muslim architecture and urban form. At the end of the 12th century the Ghurid conquerors took the mighty Hindu fort, building the first Muslim city below on virgin ground. It was the centre of an autonomous region during the 15th and 16th centuries and was even considered by Sikandar Lodī for the capital of his sultanate before he decided on Agra, then a mere village of Bayana. A peculiarity of historic sites in India is that whole towns with outstanding remains can, through political change or climatic events, be either built over by modern developments or fall into obscurity. The latter is the case with Bayana, abandoned following an earthquake in 1505. Going beyond a simple study of the historic, architectural and archaeological remains ‒ surveyed and illustrated in detail ‒ the book takes on the wider issues of how far the artistic traditions of Bayana, which developed independently from those of Delhi, later influenced North Indian architecture and were the forerunners of the Mughal architectural style, which draw many of its features from innovations developed first in Bayana.

Designed Environments, Mimesis and Likeness: Exploring Human-Material Ecologies

This paper attempts to understand the trajectories of “designed artifacts”, built or produced in the post war periods and its implications for the human body, material, ecology, and mimesis. Has Architecture gradually distanced itself from the body as an authoritative figure in its practice? Is it being seen more and more as an autonomous art, away from the complex web of social and political concerns? There seems to be a rationale to focus on the thinking and considerations that inform the production of architecture because it depends on the realm of conceptual philosophy; and both inhabit each other. The paper tries to address the association of humans with their artifactual environments. My interest stems from a long association of teaching in a college of architecture and design, and attempts to raise questions with regard to meaning and materiality. This paper also, in some sense, unlocks an environmental perspective on the relationship of the human body with the design that gives them shelter, affords actions, affords movement, and affords life in itself. Different patterns of the built environment afford different behaviors and aesthetic experiences. The perceptions of the environment thus limit or extend the behavioral and aesthetic choices of an individual depending on how the environment is configured, likened, imitated, or creatively reinterpreted. This article traverses, domesticity, tactile inhabitation, landscape, mythical realms of Indian architecture to the Postmodern architecture of “weak form”.