PANGGUNG KRAPYAK YOGYAKARTA
L. Edhi Prasetya Jurusan Arsitektur Universitas Pancasila Jl. Srengseng Sawah, Jagakarsa, Jakarta Selatan
[email protected] Dharma Widya
Jurusan Arsitektur Institut Teknologi Medan Jl. Gedung Arca, Medan
Abstract
Conservation is, therefore, primary a process which leads to the prolongation of the life of buildings and cultural property for its utilization now and the future. The main essence of conservation is to raise the people prosperous where the object of conservation stand, and bring back emotional and astonishment to its object as part of heritage.
Panggung Krapyak, which built by Pangeran
Mangkubumi later known as Sultan Hamengkubuwana I about 250 years ago, is still stand up now and there is no significant damaged cause this building as a part of Kraton Yogyakarta property is protected from public teased and harmed, however as an old building, climate and minimum maintenance become the dominant factor of damaging.
This paper would express the ideas and strategy of rehabilitation and revitalization Panggung Krapyak as a Kraton Yogyakarta heritage, there is include its historical and cosmological aspects. Revitalization strategy would embrace macro context to become the urban linkage continuity that derived from urban identity of Yogyakarta and also micro context as part of urban district.
Key words: Panggung Krapyak, Urban conservation, linkage continuity.
Understanding Conservation
Conservation commonly understand as activity to preserve, durable and to protect single building or environment that have hictoric values, or decayed building, even in wide spread terminology embracing cultural conservation which building stands. Ordinance iof historic artifact and heritage
regulate 50 years as a limit of object or environment which have historical values that proper to conserve.
Conservation as a knowledge is a multi-disciplinary work covered several special competence. Consercation interpretation not merely preserve or protect decayed building, but conservation have multi-spread terminology emphasizing in action and eforts of saving historical objects. Some interpretation of conservation in example:
1. Conservation can be defined as preservation from loss, depletion, waste or harm. (Martin E. Weafer, 1997).
2. Conservation is, therefore, primary a process which leads to the prolongation of the life of cultural property for its utilization know and the future(Bernard M. Feilden 1994).
3. Conservation are entire process to manage building or environment in order to preserve cultural meanings (The Burra Charter for the Conservation of Place of Cultural Significance, 1981).
Level of Preservation Activities
Efforts of preservation or conservation would cover several activities according needs and conditions of objects and also refers to urban gestalt and its history because conservation object can not stand as a single object but as an object which have spirit and soul in its environment thus preservation can be described in other word as a efforts to bring the preservation of the individual building into its urban context in order to have more coherence of the end result, Feilden (1982) divide several levels of preservation or conservation activities may take place simultaneous in various part of whole building, seven levels are identifield:
1) Maintaining the essential character
Maintaining the essential character of the building is the continuous protective care a monument or conservation building, the distinctive, original quality, structure, site or environment and exterior or interior features should be respected and retained.
2) Prevention of deterioration
Taking all necessary steps to prevent further decay or damage of the monument or conservation building, deteriorated architectural features should be repaired and retained wherever possible, replacement should be at last options.
3) Consolidation of the fabric
Physical addition or application of materials that strengthen or support the actual fabric to ensure its continued durability or structural integrity, in consolidating the building, the integrity of the structural system and its historical evidences should not be destroyed.
4) Restoration
Preserving and conserving the historic and aesthetic values of a monument or conservation building. Respect for original materials and reference to authentic documents is therefore essential, as a specialised operation, all available scientific knowledge and techniques should be employed and this work stop at the point where conjecture about the original building form begins.
5) Rehabilitation
Process of returning a property to a state utility, through repair or alteration, which makes possible an efficient contemporary use while preserving those portions and features of the property which are significant to its history, architectural and cultural values. The best way of that effort is to keep them in use, the original use is generally best, as it requires fewer change to its structure, but adaptive-re use which entails minimal alteration may be acceptable.
6) Reproduction
Replication of missing features or part of the building using old or new material, missing features and artifacts should be reproduced where the aim is to maintain the building or structure’s aesthetic harmony.
7) Reconstruction
Rebuilding of parts of building or entire building to the original form using old or new material, this action is necessary for the benefit of the whole.
Aims of Conservation
Determine precise aims is major factor of conservation, because conservation is not only physical protection it also embrace non-physic protection, as identifield:
a) Put back the original appearance of the object. b) Using heritage object to support uor nowadays live.
c) Make efforts in a certain direction of nowadays which harmonious with the past as reflected on conservation object. d) As a reflection of urban history in a three dimensional form. Principles of Preservation and Conservation
Actions of conservation having basic principles that should be completely understand in order top get best result, as Feilden (1994) said with simple word coherence, which mean that result of conservation should put urban continuity where object stand, basic prinsiples of conservation can be mentioned as:
a) Conservation should be done basically on apreciation to the original condition of the object or environment and avoid to make any physical intervention to the building in oprder to maintain any historic evidences.
b) Purpose of conservation is untuk revival cultural meanings and spirit of the place and to prevent its from deterioration c) Conservation of a place should consider any aspects related
to every cultural meanings.
d) Single building or set of historical building should exist in its origin place, moving the part or entire building to other place is prohibited, unless it is the only way to maintain it’s eternity. e) Conservation policy which appropriate for single place should base on completely understanding cultural meaning and physical condition of the object.
Conservation Values
Conservation must preserve and if possible, enhance the message and values of cultural property, this values help systematically to set overal priorities in deciding interventions (Feilden, 1982). The Values assigned to cultural property come under three major headings:
a) Emotional Values
Deal with the sense of wonder, urban continuity, identity and spiritual and symbolic.
b) Cultural Values
Related to documentary, historic, archaelogical, aestetic and symbolism, townscape and landscape/ ecological, technology and science.
c) Use Value
Related to fuction, economic, social, political and ethnic. Having analysed these values, they should be condensed into a statement of the significance of the cultural property. Conservation actions should put these values in balance, in order to justify the total result for the community.
Panggung Krapyak History
Panggung Krapyak is a integral part of Yogyakarta Palace (Kraton Yogyakarta), in term of urban context and also in cosmologic term as a part of urban imaginary axis, this building structured completed in 1788, become the last building built by Sultan Hamengkubuwana I, known as Pangeran Mangkubumi. Panggung Krapyak was constructed to accomodate King and his royal family to rest and hunting especialy hunting deers.
The architecture of this building is unique. Each side has one door and one window. The door and the window are without shutters. The base of the door and the window is square while the top part is arch as the design of the doors and windows of a mosque. In front of the door, there is one stair in the form of half- rounded.
Panggung Krapyak is divided into two floors. The ground floor functions as an entrance while the first floor functions as a hunting place. The two floors were connected by a wooden ladder that could be positioned in southwest and southeast parts of this building to enable the king to ascend it. Now, the ladder is not available so that we cannot access the first floor.
This building describes the comfort that the king obtained, even when he went hunting. The high building provides feeling of comfort and secure for the king; he should not have to worry to be attacked by wild animals while looking out the targets. The first floor is also a secure, wide, open place that is bordered with hollow walls of medium height. There might be the roof on the building but it disappears now.
In addition to functioning as a hunting place, some people tell that Panggung Krapyak also functioned as defending post of the Kingdom. From this place, the movement of the enemies from south direction could be detected to tell the Yogyakarta Kingdom if there would be an attack. Some soldiers were on guard in this post.
Yogyakarta urban structure basically related to Kraton Yogyakarta existence that stated since Giyanti Aggrement (Perjanjian Giyanti) February 13rd 1755, that date can be mention as a day that King (Sultan Hamengkubuwana I) start to build his palace, completed with its infrastructure to provide a place for kingdom activity. The next King after Sultan HB I also built the kingdom palace appropriate with era and its style. Architectural features, infrastructure, aesthetic, etic, symbol, and religi and philosophy, all its existence have coherence relation with its fuction as good as its sign and symbol.
Yogyakarta is unique and distinctive city, structuraly formed by full of philosophy-simbolic meaning, described in
imaginary axis of Merapi Mountain-Tugu (pillar)-Kraton
(Palace)-Panggung Krapyak-South Ocean (Hindian Ocean), this axis line is a physical configuration part of urban linkage of Yogyakarta. This imaginary axis also represent spiritual aspect and imaginary frame of human live, from early birth to the end of live facing the God Almighty.
In Yogyakarta urban structure, the imaginary axis of Panggung Krapyak-Sultan Palace completely form by formation of Panggung Krapyak on the south to Sultan Palace (Kraton) on the north connected by D.I. Panjaitan Street (Formerly named Gebayanan Street) – and entering Palace area from Gerbang Nirboyo (Plengkung Gading) a main entrance gate to the Regol (gate) Magangan- Alun-Alun Selatan (south square) – Siti Hinggil Selatan (South Palace) – Regol (gate) Gadung Mlati – Regol
(gate) Magangan. Philosophical meaning of those buildings formation is represent a human process from fetus, born untill the youth activities as apprentice.
Noth of Regol Mangangan is Kedaton which means human existence, Kedaton is souronding by Benteng (bastion) Baluwarti at the outside and Cepuri at the inside, from outside, there are five main gate can be use to enter the Palace area which is: Gerbang (gate) Nirbaya, ernang Jagabaya, Gerbang Jagasura, Gerbang Tarunasura and Gerbang Madyasura. Main entrance to go to Panggung Krapyak is by Gerbang Nirbaya at the south of Sultan Palace, Nirbaya means without danger (nir means dissappear, and baya means bahaya or danger), thus Plengkung Nirbaya means way to leave or enter the palace that safe or without danger, ar way that give us safety and walfare.
There no fundamental change occur the imaginary axis of Yogyakarta, changing process occur slowly, axis in north of Sultan Palace sign by straight road (Ahmad Yani Street, Malioboro Street, and Pangeran Mangkubumi Street; formerly known as Margamulya Street-Malioboro Street and Margatama Street), there are some building which part of urban history, as identifield as: nDalem Kepatihan (now Governor Office), Beringharjo Market and some small grain of shop in Chinese style building. Yogyakarta interaction with colonial administration and other foreign community give the Yogyakarta special character in architecture, such colonial heritage of Gedung Agung (President Palace), Vredeburg Fort, Nilmij Building (now BNI Building), Natour Garuda Hotel and china town around Ketandan District, Gandekan District. Bekalan and Pajeksan District.
Tugu-Kraton-Panggung Krapyak axis basically is an urban area that have spme significant component for the peoples. Historicaly that place also grown and develop in the certain sustain interaction with the culture. That imaginary axis also creating image for the whole people with significant urban component such as paths, edges, district, node and landmark. Historic-cultural values, phylosophy and architecture of ”imaginary axis” become the urban identity which have strong character and potention, these environment should protect, actualized and strengthen thus certain strategy should create to preserve this uniqueness axis remain “monumental” and “magnitism” for Yogyakarta.
Source: http://www.tembi.org/keraton_yogja/index.htm
Figure 1. Kraton Yogyakarta Map
Urban Review of Panggung Krapyak
Panggung Krapyak is 2 Kilometres away from Alun-alun Selatan (South Square Palace) there are some major street around Panggung Krapyak, such as Jalan (Street) Jogokaryan, Jalan Mangukuyudan and Jalan Tirtodipuran, these three street dominated with Tourism Service Industry such Café, Guest House, and centre of Batik Industry (paint and printed). Trace of this area as centre of Batik Industri can be found on former large Batik Store in corner of Tirtodipuran Street that now had changed to grocery store.
Figure 2. Krapyak Map
Main problem in conservating this urban area is strong cultural transformation that bring there by culture of tourism, although technically; tourist existence would race the urban conservation by their culture that more appreciate to heritage than local people itself but cultural conservation as integral part of physical conservation would give a specific challenge.
Some principal case that can be use as starting point for conservating Panggung Krapyak is this main potention described as:
Philosophical concept of “imaginary axis” Merapi Mountain- Tugu (pillar)-Kraton (Palace)-Panggung Krapyak-South Ocean (Hindian Ocean) as cosmological structure of Javanesse culture.
Imaginary axis would use to preserve linkage continuity between Keraton Yogyakarta objects in urban structure and local potention of Krapyak peoples would purpose to emphasize Krapyak as heir of javanesse cultural values.
Tugu (Pillar) Merapi
Mountain
Keraton (Sultan Palace)
Panggung Krapyak Laut Selatan (South Ocean)
Figure 3. Imaginary Axis of Yogyakarta (shown in clockwise direction)
Conservation Strategy of Panggung Krapyak Area
Conservation strategy of panggung Krapyak covered two strategy: Macro Strategy (Urban) and Micro Strategy (District) in order to give the comprehensive result of urban conservation, can be described as:
Macro Strategy (Urban)
Panggung Krapyak existence can not separate by “imaginary axis” of Merapi Mountain-South Ocean (Hindian Ocean), thus the macro strategy to conservating this area is preserve urban-linkage continuity , urban linkage continuity embracing cultural, history and soul and spirit of the whole urban. Concrete implementation of this Urban Linkage Continuity is re- empasize D.I Panjaitan Street axis as main entrance to Krapyak direction, factual condition of this street show a discontinuity between Kraton to Krapyak, thus Panggung Krapyak as a whole system of “imaginary axis” seem alienated from its axis. Re- emphasize the discontinued of cultural axis Tugu-Palace- Krapyak will give back the soul and spirit of Panggung Krapyak as significant element of urban features. Some important elements that can be used to preserve continuity are: pedestrian system in D.I Panjaitan Street, former large Batik Store in corner of Tirtodipuran Street, and Plengkung (gate) Nirbaya.
Micro strategy would include people around the Panggung Krapyak because the effort of conservation mainly is “how the conservation could increase prestige, dignity and economic status people around the conservation object?”. According the district potention as artist of Batik (printed and painted) thus the conservation object (Panggung Krapyak) appropriate to adaptive re-use as a show room and batik course. This new function is rather different with the original use of this building, thus need some space consilidation and alteration to accommodate for a new fuction.
New function of building as a batik course and show room is appropriate according this district potention as batik industry area. Tourist from other country would taste a cultural nuance of cultural heritage in Krapyak but this is not the basic aims of conservation, the increase of economic status for people around the conservation object is basic consideration of this effort. Building rehabilitation to a state utility through repair or alteration should be done in minor changed of the main building, some interior alteration can be use with “knock down” system, and exterior change extremely prohibited while entails minimal alteration may be acceptable
Source: www.yogyes.com/panggung-krapyak accessed June 14th 2007 Figure 4. South elevation of Panggung Krapyak
Conclusion:
1) Major aims of Pangung Krapyak conservation is re-empasize linkage continuity of imaginary axis Merapi Mountain-Tugu (pillar)-Kraton (Palace)-Panggung Krapyak-South Ocean (Hindian Ocean, urban linkage continuity embracing cultural, history and soul and spirit of the whole urban.
2) Concrete implementation of this Urban Linkage Continuity is re-empasize D.I Panjaitan Street axis as main entrance to Panggung Krapyak that seem discontinued. Re-emphasize the discontinued of cultural axis Tugu-Palace-Krapyak will give back the soul and spirit of Panggung Krapyak as significant element of urban features.
3) Meso strategy would embrace people around the Panggung Krapyak, the increase of economic status for people around the conservation object is basic consideration of this effort. According the district potention as artist of Batik (printed and painted) the appropriate level of conservation is rehabilitation which is adaptive re-use of building as a show room and batik course. Adaptive re-use basically base on an effort to increase economic level of people around the building. 4) Completed aim of urban conservation of Panggung Krapyak
would embrace values of conservation: which is cultural value that reflected in cosmological aspect of urban form, emotional values that reflected in buildings continuity form as part of urban identity and use values that reflected in an effort to increase economic status of people around the conservation object proportionaly.
References
Feilden, Bernard M., Conservation of Historic Building, Butterworth Scientific, London, 1982.
Shirvani, Hamid, The Urban Design Process, Van Nostrand Reinhold, New York, 1985.
Web Site Source:
http://www.tembi.org/keraton_yogja/panggung_krapyak.htm
http://www.tembi.org/keraton_yogja/index.htm
http://www.tembi.org/keraton_yogja/plengkung_nirbaya.htm http://www.sinarharapan.co.id/berita/0507/12/nas03.html http://www.go_archipelago.com/
http://www.joglosemar.co.id/jogyakarta.html Accessed June 14th
2007.
http://www.yogyes.com/id/yogyakarta-tourism-object/places-of-
interest/panggung-krapyak/ Accessed June 14th 2007
http://www.yogyes.com/id/yogyakarta-alternative-tourism/batik-
short-course/ Accessed June 14th 2007
http://www.yogyes.com/id/yogyakarta-alternative-tourism/wayang-