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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 ong...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Fachmedien ; Wiesbaden :
Springer VS,
[2016]
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| Colección: | Springer VS research.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Abstract; Acknowledgement; Table of Contents; List of Figures; 1. Introduction; 1.1. Research Questions; 1.2. Purposes of the Dissertation; 1.3. Method of the Thesis Work; 1.4. Relations to Some Theories and Previous Works; 1.5. Overview of Chapters; 2. Pasar Gambir of Batavia: Hybrid Architecture and Space of Encounter for the Indies People; 2.1. Pasar Gambir as the Liveliest Colonial Exhibition in Batavia; 2.1.1. Pasar Gambir in the King's Square; 2.1.2. A Blend of a Pasar and a Fair: the Beginning of Negotiation at Pasar Gambir; 2.1.3. The Organizer of Pasar Gambir.
- 2.2. The Hybrid Architecture of Pasar Gambir2.2.1. The Plan of Pasar Gambir; 2.2.2. The Gate to Pasar Gambir; 2.2.3. The Pavilion of Pasar Gambir: the Power of Hybrid Architecture; 2.2.4. Pasar Gambir Fair as an Open Experimental Platform of Hybrid Architecture; 2.2.5. Hybridity in the Making of Pasar Gambir; 2.3. Pasar Gambir and the Experience of Modernity; 2.3.1. Urban Modernity in Batavia; 2.3.2. Electric Lighting and Advertisements as Signs of Modernity in Pasar Gambir; 2.4. Space of Encounter in Pasar Gambir; 2.5. The Reception of Pasar Gambir's Visitors.
- 2.6. Pasar Gambir in Indonesian and Sino-Malay Literature2.7. Pasar Gambir and the Gaze: Celebrating Colonial Modernity and Defining the 'Self'; 3. The Dutch Pavilion at the 1931 International Colonial Exhibition in Paris: Contrasting Authenticity and Modernity; 3.1. The Last International Colonial Exhibition and the Narrative of Progress; 3.2. The Layout of the Exhibition and the National Pavilions; 3.3. The Architecture of the Dutch Pavilion and the Role of the Dutch as a 'Mediator'; 3.3.1. The Architects of the Dutch Pavilion.
- 3.3.2. The Burden of Representation: Hybrid Architecture of the Dutch Pavilion3.3.3. Constructing the Culture of the Colony; 3.4. The Story of the Gates at the Dutch Pavilion ; 3.5. The Ethnographic Showcase at the Dutch Pavilion; 3.6. Architecture in the Colony: From Mute and Autistic Architecture to a New Synthesis; 3.6.1. The Javanese Pendopo at The Work of Two Dutch Architects; 3.6.2. Beyond the Balinese Gates and the Javanese Pendopo; 3.7. Visitors at the 1931 Paris International Colonial Exhibition.
- 4. Taman Mini Indonesia Indah: the Rebirth of Indonesian Vernacular Architecture after Independence4.1. Architecture and Spatial Politics of the Young Nation; 4.2. Beautiful Indonesia in Miniature Park: the Return to Local Culture; 4.3. The Site of Taman Mini; 4.4. Interpreting the Site of Taman Mini: From Mandala Structure to Nation Building; 4.5. Some Precedents for Open-Air Ethnographic Park; 4.6. The Gate to Taman Mini; 4.7. The Architecture of Taman Mini's Pavilions; 4.8. The Scale of Taman Mini: Amplifying the Cultural Construction; 4.9. The Reception of Taman Mini's Visitors.